Japanese sound artist Fuji|||||||||||ta and ambient musician claire rousay bring their textural sound art to the National Sawdust stage, performing contemplative works that take inspiration from our surroundings.
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Japanese sound artist Fuji|||||||||||ta and ambient musician claire rousay bring their textural sound art to the National Sawdust stage, performing contemplative works that take inspiration from our surroundings. Fuji|||||||||||ta’s music explores, manipulates, and presents sounds commonly found in nature and showcases his resonant hand-built pipe organ, which is based on the traditional, seventh-century Japanese musical concept GAGAKU. rousay’s works collage voicemails, environmental recordings, and conversations into soundscapes that explore the significance of everyday life experiences, celebrating the minutiae that often go unnoticed. Join us as Fuji|||||||||||ta and claire rousay immerse the audience in their meditative compositions.
Claire Rousay is based in San Antonio, Texas. Her music zeroes in on personal emotions and the minutiae of everyday life -- voicemails, haptics, environmental recordings, stopwatches, whispers and conversations -- exploding their significance.
Yosuke Fujita, also known as FUJI||||||||||TA is a Sound Artist, organist and composer based in Japan. Fujita’s artistic practice centers on the exploration, manipulation and presentation of sounds commonly found within nature, including the use of air, water and even the echolocation of bats. The crux of his performances is his hand-built pipe organ. An instrument, which Fujita based on the traditional Japanese musical concept of GAGAKU, a slow and elegant form of classical music found in the 7th century. The organ itself is built of 11 pipes and has no keys. It utilizes an air-pump, known as “fuigo”, which is modelled after a historic blacksmith’s own tools.The organ is reliant solely on the skill of its creator in order to produce a sound.
Since 2009, Yosuke Fujita’s one-of-a-kind organ coupled with his mastery of the instrument has been recognized internationally. One of his recent works "iki", released by Swiss label Hallow Ground, has been named as one of the best albums of the year 2020 on Boomkat, a respected global retailer in the music industry. He has presented his work, both domestically and abroad, at various acclaimed festivals and events, including but not limited to,Tokyo Metropolitan Teien Art Musuem, MUTEK (JP) , Rewire Festival (NL), Issue project Room (US) , MODE Festival (UK) , Festival Variations (FR) , NODE Festival (IT) , Tectonics Festival Glasgow (UK). In addition to his own solo work, he has collaborated world-renowned musicians such as Yamantaka Eye of Boredoms, SUZUKI Aiko, Keiji Haino, Koichi Makigami,and Rashad Becker. Most recently, he collaborated with the famous fashion house, LEMAIRE, on their“A person who wears LEMAIRE series”.
The disciplines of poetry and physics might seem far afield from one another, but Ben-Oni draws on the odd properties of supersymmetry to create a dexterous collection of electric lyrics that defies conventions of science and syllabics alike. In fragments of text that float and swirl in staccato arrangements, Ben-Oni grapples with otherwise abstract principles made intimate in their idiosyncratic imagining... Projected outward, the poet’s vision captures relationships with breathtaking imagery, as when a poem slowly disentangles the speaker’s connection with her father-in-law: “The air is grey. & osseous. Sheds soft down. My eyes water”... the long final poem, “Poet Wrestling with Reverse {Re-verse} String Theory” invokes Hebrew gematria and the 11 dimensions hypothesized by string theory with equal ease, and serves as a cypher through which to understand preceding passages. An astonishing work for adventurous readers intrigued by science and literature. —Booklist, Starred Review for If This Is the Age We End Discovery (Alice James Books)
The powerful and provocative second collection from Ben-Oni tackles major existential issues—creation, nullification, personal experience, objective truth—with grace, humor, and linguistic flair. —Publisher's Weekly on If This Is the Age We End Discovery (Alice James Books)
“There are realms beyond our own. Rosebud Ben-Oni has seen them…” —The American Poetry Review on If This Is the Age We End Discovery (Alice James Books)
“Ben-Oni’s speaker constantly gives us meta: she basks in the cultural references of her childhood, yet she transcends them. If popular culture serves as commentary that combines the politics and social critiques of a time period, then the poet takes this up ten notches, presenting popular culture from both her coming-of-age youth and the present moment in time....I read turn around, BRXGHT XYXS as a poetic striptease" —The Poetry Foundation on turn around, BRXGHT XYXS