Saturday – March 7, 2020 – Installation – 2:30- 4:00 – Art Gallery – UCM Art Center

Installation – 2:30- 4:00 – Art Gallery – UCM Art Center

  • Elizabeth A. Baker – OBJECT STUDIES – obsoleteData

Elizabeth A. Baker, Concept Creator, amplified illuminated manuscript

An offshoot of SURFACE STUDIES, a set of works which explore the process of two-dimensional representation of a three-dimensional object that is then interpreted in the undefined dimensional world of sound — OBJECT STUDIES takes a new approach to the process, three-dimensional objects are described on paper using the fairly antiquated technique of illuminated manuscript on a special contact amplified surface designed in tandem with a close miking system to capture the sounds of nibs, ink, and paper. Sounds from the illuminated manuscript process are processed in real time through the use of interactive gesture based technology, that at once highlights the preciousness of sound, whilst exploiting the spaciousness of a performance hall. The product of OBJECT STUDIES is a letter, which serves as a score for another realisation of SURFACE STUDIES — whereby a performer uses the description of an object they haven’t seen to interpret the energy of that object through the medium of sound — as such any performance of OBJECT STUDIES ends when the letter has been fully addressed and sealed with a wax stamp.

In Obsolete Data the objects to be described in illuminated manuscript are things that have been used for the storage or dissemination of data in the past, that have been discarded or otherwise replaced by newer technology. A tertiary discovery of these objects might include bringing them into the amplified zone and allowing sounds made by respectful touch exploration to become a counterpoint to the sound of letter writing. Examples of obsolete tech to be used in performance include — paper maps, a rolodex, 8” floppy diskettes, punch tape, a dot matrix printer, reel tape, internal computer parts, physical calculator, DAT tapes, lantern signals, physical books, slides, clay tablets, slate tablets, hand recorders, cassette tapes, laser discs, typewriters, pictographs, printing press typeface, and any other tools used to record, decode, or otherwise disseminate information from person to person.

Eschewing the collection of traditional titles that describe single elements of her body of work, Elizabeth refers to herself as a “New Renaissance Artist” that embraces a constant stream of change and rebirth in practice, which expands into a variety of media, chiefly an exploration of how sonic and spatial worlds can be manipulated to personify a variety of philosophies and principles both tangible as well as intangible. Elizabeth has received recognition from press as well as scholars, for her conceptual compositions and commitment to inclusive programming. In addition to studies of her work, Elizabeth has been awarded several fellowships, grants, and residencies, in addition to sponsorships from Schoenhut Piano Company and Source Audio LLC. As an experimental filmmaker, her work has been shown at festivals including Women of the Lens (United Kingdom), and the African Smartphone International Film Festival (Nigeria). As a solo recording artist, Elizabeth is represented by Aerocade Music, her first solo album on the California-based label Quadrivium released worldwide in May 2018 to rave reviews. She is founder of the Florida International Toy Piano Festival, The New Music Conflagration, Inc., author of three books, and the subject of a number of scholarly articles, thesis papers, and other academic research. In March 2018, Elizabeth retired from nonprofit arts administration to focus on her international solo career, though she remains committed to the community through workshops and public speaking engagements. Elizabeth is a recipient of a 2019-2020 Individual Artist Grant from the State of Florida as well as a commission for The Great Black Music Ensemble through the American Composers Forum (ACF) Connect programme in partnership with The Association for the Advancement of Creative Musicians (AACM Chicago).  Fanfare Magazine proclaimed in Fall 2019 “Perhaps Baker will be the Pauline Oliveros of her generation, and perhaps she will be more than that.”

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