Three Magic Circles are arranged on the stage. The magic circle represents a border condition between the chaos of the outside world and the safe space within. A magic circle usually protects the person in it by keeping bad energies out, or it summons an entity using its codified energies.The magic circles are animated by Markov chains, deterministic probability structures generated by an algorithm to sound like there is someone there. Perhaps the performance will summon a ghost from the machine. Performers play by activating “gear” with em microphones. No gear or processing is actually used in the piece, we only the natural emmissions of electronic waves from the various sleeping devices making up the Magic Circles of our digital lives.
Sofy Yuditskaya, Jess Rowland, Meg Schedel
Markov Magic Circles
Sofy (@horusVacui) is a site-specific media artist and educator working with video, interactivity, projections, code, paper, and salvaged material. Her work focuses on techno-occult rituals, street performance, and participatory art. Sofy’s performances enact and reframe hegemonies, she works with materials that exemplify our deep entanglement with petro-culture and technology’s affect on consciousness. She has worked on projects at Eyebeam, 3LD, the Rubin Museum, the Netherlands Institute voor Media Kunst, ARS Electronica, Games for Learning Institute, The Guggenheim (NYC), The National Mall and has taught workshops at GAFFTA, and MoMA. She is working towards her PhD in Audio Visual Composition at NYU GSAS.
Jess Rowland is a sound artist, musician and composer. Much of her work explores the relationship between technologies, popular culture and other absurdities, investigating the weirdness of reality and how we all deal with it. She is an incoming Fellow at Princeton’ Lewis Center for the Arts and has presented her work internationally. Recent installations and performances include Columbia University, Visible Futures Lab, NY Electronic Arts Festival, and Berkeley Art Museum. She is represented by Edgetone Records, and is currently working on a new music release.
Margaret Anne Schedel is a composer and cellist specializing in the creation and performance of ferociously interactive media whose works have been performed throughout the United States and abroad. While working towards a DMA in music composition at the University of Cincinnati College Conservatory of Music, her interactive multimedia opera, A King Listens, premiered at the Cincinnati Contemporary Arts Center and was profiled by apple.com. She holds a certificate in Deep Listening with Pauline Oliveros and has studied composition with Mara Helmuth, Cort Lippe and McGregor Boyle. She sits on the boards of 60×60 Dance, the BEAM Foundation, Devotion Gallery, the International Computer Music Association, and Organised Sound. She contributed a chapter to the Cambridge Companion to Electronic Music, and is a joint author of Electronic Music published by Cambridge University Press. In 2009 she won the first Ruth Anderson Prize for her interactive installation Twenty Love Songs and a Song of Despair. Her research focuses on gesture in music, and the sustainability of technology in art. She ran SUNY’s first Coursera Massive Open Online Course (MOOC) in 2013. As an Associate Professor of Music at Stony Brook University, she serves as Co-Director of Computer Music and is the Director of cDACT, the consortium for digital art, culture and technology.