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Program Deep Listening Part 1
Time Doors 4:00 PM, Show 4:30 PM
Date March 2nd, 2024
Artists Veronica Anne Salinas / Zane Morris
Location Augustana Church
5500 S Woodlawn Ave, Chicago, IL 60637
About the Event
 

StretchMetal presents DEEP LISTENING PART 1, the first installment of a two-part series honoring the work and life of Pauline Oliveros, created in collaboration with Gene Siskel Film Center and Experimental Sound Studio. 

 

This program takes place in the nave of the Augustana Lutheran Church of Hyde Park, a brick-and-concrete sanctuary space. Much like the echoing caves used by the composer Pauline Oliveros, the Augustana Lutheran Church's nave becomes a vessel for sound and resonance. Veronica Anne Salinas will lead a deep listening session to begin the program, with Zane Morris closing it out with a guitar drone performance that will fade into dusk.

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Veronica Anne Salinas is a Tejana artist, educator, writer, and Deep Listener. Her creative research engages sound, landscape, geomancy, writing, anthropology, performance, the archive, and video. Her work in sound focuses on acoustic ecology, text scores, voice and language, listening practices, spatial audio, improvisation and performance, and sonic archiving. She holds an MFA in Sound from the School of the Art Institute of Chicago, is currently studying Deep Listening at the Center for Deep Listening at Rensselaer Polytechnic Institute, and serves on the board of directors for the Midwest Society for Acoustic Ecology.
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Zane Morris is a guitarist based in Brooklyn NY. His performance style is defined by a structured, hushed, and textured form of minimalist guitar improv. Formerly known as Tint, Morris released his final blistering LP “Ricochet Screen” in 2018 during the final days of the experimental label Root Strata. Following a debilitating injury and eventual rehabilitation, Morris has re-emerged abandoning his alias in a more tempered playing style. Though Classically trained and raised on underground hardcore, Morris has recently made efforts to invert such aural domination and offer a tranquil distribution of simmering modal motifs, all fixed under the spell of his simultaneous training as a bell ringer at Trinity Church in Manhattan and his friendship with mentor Loren Connors. Forging a new path and leaving behind old methods, the live setting is an ideal opportunity to witness the ongoing evolution of Zane Morris’ unique contribution to the experimental minimalist canon.
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