"less than human" album release (pan y rosas, 2015)

Last summer, Chicago-based net label Pan Y Rosas approached me in the interest of releasing a new album of work. I haven't created new solo material in a while, so this was a very welcome opportunity to do so. The album is called less than human, has 5 tracks totaling about 34 minutes, and was composed pretty much throughout all of January 2015 leading up to the February release.

1  being states [2:21]
2  plantlife [8:17]
3  a moth is born [3:39]
4  fractured barnacles [8:36]
5  gldufgsld [11:09]

"less than human" has received generous + thoughtful press in The WireDisquiet, Decoder Magazine, and Touching Extremes.

I hesitated at the time of release to write real liner notes, but felt a need to (now), so here is an attempt:

In LTH, I'm openly mulling on what it means to be less than human, who is considered to be less than human -- as personal exploration and intense meditation. An "open" "personal" exploration may seem somewhat at odds, to me; if it is so "personal," why operate in a "public" space (art-making / music-making)? I felt moved to approach composition in a different way from what I'm used to. I'm a minimal person at heart -- a trait I am critically aware of when thinking about how I self-identify in my practice -- and in creating this album, I wanted to be more transparent about, and dig into, my minimal systems-aesthetic, materials, etc. (or at least try). LTH is about sensitivity and volume, presence in space, the sounding of space, the very real perception of sound-space as being extra-physical even though we might initially think it to be immaterial. It is a narrative reflection on relation and relating-to. The compositional process of this album coincided with conversations I was having about the incomplete human, the diseased human, the less than human, and what it means to be seen as fully human. Discussion of these in/visibilities later led to a question / conversation of how to make visible the work process itself: how to make visible those who have helped in that process of the creation of work. 

I'm very thankful to several individuals who, whether they knew it or not, were a part of the compositional process leading to LTH. Thanks to Maysam, for initiating and having these conversations about the incomplete human, the diseased human, and the less than human with me, and for moving me to think more deeply and critically; David, whose 'multi-gran' app I indulged in in making beautiful ambient materials (not to mention remixes of Taylor Swift), snippets of which provided the occasional signal (not T. Swift though, to be clear); Derek, for his inspiring "Korra music" and generally for his support; Asha, for her inspiring ambient textures and generally for her support. All materials (sound sources, code) are original; I coded and composed everything in Max/MSP and mixed everything in Reaper.

less than human available for streaming and free download on Pan Y Rosas. Full volume on (good) speakers is necessary; no head/ear phones (also avoid laptop speakers) for an optimal listening experience. If you must use ear phones, let them hang out of your ears a little, but just try good speakers if possible. Many thanks to PYR for the interest.


CONSTRUCTION performances, Dec 4-6th 2014

In December 2014, I presented my Ph.D dissertation CONSTRUCTION (2014) in iterative form, as a series of live multimedia environments. A single CONSTRUCTION is a chance-determined combination of curated sound, light, movement, and silence. We gave six "performances" total, each performance a double-feature, portraying two CONSTRUCTIONs back-to-back.

Much of my work in the last few years has been influenced by my research in extreme time-stretching, space-time, silence, chance, and architecture -- these ideas inspired this new piece. I see architecture as a lens for experiencing performance. Architecture critic Ada Louise Huxtable once stated: "Space is meaningless without scale, containment, boundaries and direction."  Her words permeated the entire process of CONSTRUCTION.

After we finished our run of performances, I began to think about what this piece actually is. Here are excerpts of a public note I wrote after the last performance.


Silence is space.

CONSTRUCTION is the result of many individual, in-person conversations I had with each collaborator. How does one sound space? How do we listen? How do we navigate space, listen to it, energize it, meditate upon it? These conversations are important to me -- it is important that there is this continuing conversation, that everyone's opinions matter.

It is also important to note that in this piece, I am both human and an open vessel. I am a part of an organic, flexible system. The code for CONSTRUCTION is also a part of that organic system. One does not control the other. We both listen; we both respond. For me, the coding process is a continuing conversation.

It has been intense to prepare and perform CONSTRUCTION in the wake of Eric Garner and Michael Brown. For our performances, we asked audiences in a program addendum to think critically about how racism operates not only in our police and justice system, but in our daily lives as well -- and invited audiences to take in the silences of the sound scores as space for contemplation.

Silence is space. For me right now, silence contains everything: silence as a reminder of unheard voices, as well as space for those voices; silence as a clearing, a space for listening, an openness to the possibility of experiencing something new. Thank you for creating this with me.

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Thanks to Bettina Knoll and Jennifer Park for the performance photos.

Composer, director: Caroline Park
Musicians: Asha Tamirisa, Caroline Park, Luke Moldof, Peter Bussigel, Stephan Moore, Tim Rovinelli
Human Navigators: Allie Trionfetti, Jessie LaFargue, Kimberly Young
Light + sound installation: Caroline Park
Light operators: Nicole Carroll, Alex Dupuis, Jim Moses
Set Design Sculptures: Cecilia Salama
Oracle Box: Caroline Park (concept, design, programming), Derek Fukumori (carpentry, programming)
Cushions: Nina Ruelle

Asha Tamirisa
Luke Moldof
Peter Bussigel
Stephan Moore
Tim Rovinelli
Kimberly Young
Allie Trionfetti
Jessie LaFargue
Cecilia Salama
Derek Fukumori
Nina Ruelle
Chira DelSesto
Greg Picard
Shawn Tavares
Kris Kwasniewski
Sophia LaCava-Bohanan
Jim Moses
Akiko Hatakeyama
Butch Rovan
Todd Winkler
Ed Osborn
John Ferguson
John Mallia
Bridget Ferrill
Nicole Carroll
Alex Dupuis
Byrd McDaniel
Kate Haughey
Sophia Brueckner
Frances Carpenter
Paul Rochford Jr.
Lotus Pepper
Ashley Lundh
Kathleen Nelson
Jennifer Vieira
Mary Rego
Brown University Department of Music
Brown University Creative Arts Council
Jennifer, Cynthia, Chung, Anthony Park

SOTO (2014), available on Private Chronology

Very excited to say the Park & Tamirisa debut release, SOTO (cassette), is now out on the Private Chronology label, run by Reuben Son. This latest batch from PC includes Patrick Emm's cassette Theta States and Reuben Son's 7", Asleep at the Drawing Board. Asha and I are both humbled and honored to be a part of this triple-release with these two incredible artists.

(press release; privatechronology.com)

Caroline Park and Asha Tamirisa's debut, SOTO, takes its material and name from their first performance together at Boston's now defunct Studio Soto. Built upon a combination of generative patches, pre-recorded sound, and live-recorded sound, SOTO moves slowly as repeating motifs and percussive detail ebb into and out of swells of gauzy drone-sound. There's a heavy, yet effortless quality to SOTO, and in hearing it performed live in Studio Soto's large and austere space, it had a way of sounding unified with and indistinct from the room itself, similar in effect to the work of Jakob Ullmann. In translating this music to tape, care has been taken to remain faithful to the live set, while bringing to bear the conditions of the format. As such, the original board recording has been condensed and edited into two sides as a 'studio analogue' to the original performance.

Edition of 100 copies professionally duplicated on chrome tape in clear cassette shells imprinted by National Audio Company. The four-panel jcard features photography by the artists and a still from a video taken during the performance and has been printed via a combination of offset printing, hand-stamping, and embossing on ivory, linen-finish paper. 

OPENSIGNAL 2014 Compilation

Limited run of 100, coke-clear vinyl, black jackets (designed by Eel Burn / Lucy Lewis, letter-pressed by Nina Ruelle).  Featuring 8 OPENSIGNAL artists.  Available to purchase online, as soon as I gather up enough mailers ... check back on this link here to buy your copy.  




Side A:
Asha Tamirisa - HUM
Wilted Woman - stilbowd
Caroline Park - EA4
Bevin Kelley / Blevin Blectum - Conditioned Head

Side B:
Claire Kwong - Anopia
Bridget Feral - want no house
Lucy Lewis - Portcullis
Akiko Hatakeyama - shikkoku

Stream both sides (A top, B bottom) here:

OPENSIGNAL review (5.16-17, 2014)

IN PROVIDENCE, RI -- 16 performances, talks by Maria Chavez, Tara Rodgers, and Blectum from Blechdom, a sound installation with 86 featured artists worldwide, and our debut release on vinyl.  The inaugural OPENSIGNAL festival, thanks to a gazillion people.  Below are few pictures ... view the rest here.


















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QUARTETS: sound installation by Stephan Moore in collaboration with OPENSIGNAL. Photo by Asha Tamirisa.


CP is taking a short hiatus.
in the meantime, check out OPENSIGNAL:

tuesday, apr 21, 2015
talks/demos: 7:30-8:30pm & show: 9pm

laura cetilia/n0izmkr/cecilia lopez
machines with magnets
pawtucket RI



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