"Experimental artist Tony Conrad is known for his innovative works in performance art, music, video, and fine art as well as his contribution to arts education as a longtime media professor at The University of Buffalo. A former Harvard math student himself, Conrad is widely considered to be a pioneer of minimalism, media criticism, drone pop, and noise music thanks to his lifelong dedication to deconstruction, abstraction, and self-empowerment."
(Erin Dennison, cinemathread)
"Yaybahar is an electric–free, totally acoustic instrument designed by Gorkem Sen. The vibrations from the strings are transmitted via the coiled springs to the frame drums. These vibrations are turned into sound by the membranes which echo back and forth on the coiled springs. This results in an unique listening experience with an hypnotic surround sound. What you hear in this performance is captured in realtime without any additional effects and with no post audio processing."
(Görkem Şen, 2014)
"Organised by committees in every major city in NZ under the Audio Foundation, Altmusic is an ongoing series of audio events, regularly bringing a vital injection of contemporary and avant–garde sound art from around the world to New Zealand.
As a turning cog in a thriving local audio art culture, Altmusic has, since 2001, offered a concentrated gathering point where New Zealand's audio art and experimental music scenes can cross wires with those from other centres (and other peripheries). At the same time Altmusic gives audiences the opportunity to share space with audio artists at the very pinnacle of their field, and previous years have seen programmes of performers who tour rarely and are highly regarded around the world.
Altmusic is listening with an eclectic breadth across a range of sonic trajectories, with programmes including artists investigating the embodied nature of performance and the place of live media within sound culture and some of the world's most respected pioneers of electronic music.
Altmusic does not offer a unifying framework, into which a genre ('sound art' 'noise' etc) is neatly packed, rather it attempts to disclose an–often clamorous – discursive space, in which ongoing debate as to what comprises an innovative art of sound can be publicly articulated. Aligned to such utterance is the experiential listening space which is the ground where sound art thrives, and where you, as listener, are given a chance, via the live context, to re–imagine spectatorship as participation."
(Sally Ann McIntyre)