Drawings template

Here you will put some drawings. Drawings are great. Here you will put some drawings. Drawings are great. Here you will put some drawings. Drawings are great. Here you will put some drawings. Drawings are great. Here you will put some drawings. Drawings are great. 

Here you will put some drawings. Drawings are great. 

A Plane Unseen And Scattering Its Curve, Au Loin

A Plane Unseen and Scattering its Curve, au loin, is an installation and concert taking place over two consecutive evenings. Using a triadic structure, the work poetically addresses the concept of the ‘angle of incidence’, from three connected states that propel desire: the exalted, the neutral and the profane. Considering the phrase ‘as above so below’, one of the central tenets of Hermeticism, Friedberg explores the behavior of reflected sound and its perception in this one-hour composition, comprised of three segments across the two levels of the Swiss Institute’s gallery space. Exploring the sonic construction of a reality that presents itself when what is heard is perceptually devoid of its source, the work suggests a perceptual fourth dimension, in which motifs of ley lines, parallel planes and spherical dimensions reoccur in an attempt to reveal the in-between unseen.

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Photography by Daniel Pérez

Photography by Daniel Pérez

The Hant Variance

Sabisha Friedberg presents a live mix of the third and final movement of The Hant Variance as a quadraphonic experiential piece. Originally recorded with Peter Edwards in a custom-tuned environment at the Experimental Media and Performing Arts Center (EMPAC), advanced multi-channel recording techniques were used to capture a precise configuration of spatialized sound sources. This finale, the most symphonic in it construction and melancholic in its tonality, is the resolution to the first two movements, released by ISSUE Project Room as a double LP, The Hant Variance, in February 2015.

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Transit: A figure is as a figure of

A quadraphonic piece that is comprised of a specific composition using organic recordings arranged according to a graphic spectral score. The premise of the piece is traversion, through an arrangement of textures and tones. It has fixed points of duration and movements with an intention of spatialization through passing fragments that travel speaker to speaker whilst incorporating low frequencies via two subwoofers. The high tones travel in patterns, and the lower end of spectrum rests in a certain stasis to generate a sense of physical resonance - thereby bringing emphasis to a middle range that is absent to a degree in frequency but experienced as a sort of phantom intensity. The aesthetic to meant to convey a horizontal journey that evolves within the piece with crescendos that punctuate, the sonic image is of the sacred vessel that contains the arcane universe but can only be seen from one perspective at a time. For this I incorporate the formal decision of one light source, the natural pure light of one window.

2 prepared reel to reels (2 Nagras, 1 Teac), two frequency generators, 4 directional speakers, 2 subwoofers, and graphic intuitive score

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LEVITATION: Universe – Flex – Triad

Sabisha Friedberg explores the notion of levitation through a series of forms, both visual and aural. Drawing upon arcane sciences, contemporary non-linear theory, and ELF/subwoofer culture, the artist presents a personal metaphysical landscape addressing the notions of suspension, tension, and gravitational defiance.

Sexy subwoofer Hair Trick & Slayer Roof Flex Raining Blood Bass Demo

The elements are a combination of interpreted archaic lore, wry manifold coding, and the metaphor of a ‘hovering’ in acoustic space. Through her installation, Friedberg introduces new and antiquated technologies, reverse processes using analogue and digital sources, and the application of linear calculations imbued with sacred number systems. She references both the esoteric and scientific aspects of telekinesis, with the premise that sound as vibration – beginning with thought – has a “certain power of the unseen.”*

Dynamo levitation leans back matrix trick

Presented in triads of a devised language, the texts, visuals and audio works evolve in a phasic manner in both action and form over the course of the exhibition period.

Blowing up some Legacy 10″ subwoofers feat.Big Tiny

*Blavatsky, The Secret Doctrine. Written while drinking potions and projecting her double

Gallery installation

Gallery installation

Levitation 3 - Les Etoiles – Exhale Exalt Archival Pigment Print / Archival pigment print, wood frame, wood frame 17 1/4” x 12 3/4”, 2012 / Edition 1 of 3

Levitation 3 - Les Etoiles – Exhale Exalt Archival Pigment Print / Archival pigment print, wood frame, wood frame
17 1/4” x 12 3/4”, 2012 / Edition 1 of 3

Levitation 1 - (Ascension) / Archival pigment print, wood frame 17 1/4” x 12 3/4”, 2012 / Edition 1 of 3

Levitation 1 - (Ascension) / Archival pigment print, wood frame
17 1/4” x 12 3/4”, 2012 / Edition 1 of 3

Levitation 2 - (Divining Rod) / Archival pigment print, wood frame, 17 1/4” x 12 3/4”, 2012 / Edition 1 of 3

Levitation 2 - (Divining Rod) / Archival pigment print, wood frame, 17 1/4” x 12 3/4”, 2012 / Edition 1 of 3

Traversing Points / Archival pigment print, Ink, wood frame / 19 1/2” x 29 1/4”, 2012 / Edition 3 of 7

Traversing Points / Archival pigment print, Ink, wood frame / 19 1/2” x 29 1/4”, 2012 / Edition 3 of 7

Installation view

Installation view

Dear John Augustus Knapp; I Have Bagged The Head Of The Initiate Pencil and ink on paper, linen rag, ornate frame / 11 1/2” x 9”, 2012

Dear John Augustus Knapp; I Have Bagged The Head Of The Initiate Pencil and ink on paper, linen rag, ornate frame / 11 1/2” x 9”, 2012

Sublimation Text - Explicit Print on Paper / 11” x 17”, 2012, Edition 1 of 7

Sublimation Text - Explicit Print on Paper / 11” x 17”, 2012, Edition 1 of 7

The Starry Garter: A Certain Point Within a Sphere

Composed during Friedberg's residency at the Clocktower Gallery, The Starry Garter: A Certain Point Within a Sphere is a sonic poem for radio that combines elements of sound art, radio theater, film, and music to examine themes of transmutation and redemption.

Friedberg’s work is based on Etidorhpa, or, the end of the earth: the strange history of a mysterious being and the account of a remarkable journey, the tale of an unknown man’s quest into the center of the earth, which divulges arcane secrets in a process of initiation, and reveals a journey to an ethereal plane of non-material existence. Following Etidorhpa’s narrative arc, Starry Garter updates traditional radio theater by emphasizing the text’s sonic elements with atomized dialog, an electro-acoustic process, and interludes of acoustic cello, piano, and chorus.

The live performance of The Starry Garter transforms this 19th Century hermetic tale into an aural soundscape further textured by effects generated by vintage foley work (old-fashioned, handmade radio sound effects).

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Points Radiants

Commissioned by the Villa Noailles in Hyeres France, which houses the permanent archives of the family of the Vicomte and Vicomtess de Noailles --renowned for their patronage of the arts in the 1920’s-1940’s - I composed 4 pieces specifically for the building. Using the approach of traditional musique- concrete, I consulted sound archives in France to gather vintage recordings – voices, radio, machines, transportation, etc. – and then made current days recordings of the structure and environs. The base of the pieces is a mechanical wall clock of which was present in every room. In disuse, I recorded the still-functioning motors as metronome for the pieces that are concerned with history, time, evolution and the renowned punctuality and rituals of the nobles. There are voices of the artists that would stay at the Villa, the music that which was composed while in residence, the mechanisms of the building such as a mechanical shutter which was novel then but instituted with other electronic instruments by Mallet Stevens, a found modified gramophone, environmental wind. This organization material was very methodical so that conversations between artists (Artaud and de Sade) would take place but had not actually occurred, and reflections would occur simultaneously with the work itself. Much is about a certain reflection (the sound of the rain on the empty Salon Rose glass roof after the guests might have departed in the winter) and yet meant to capture a very specific joyousness where a group of artists flourished, namely Cocteau, Bunuel, Man Ray, Dali, Aragon, Balthus, Giacometti, Brâncusi, Miro, Dora Maar. And musicians such as (Darius Milhaud, Satie, Poulenc, Auric. offering an homage and bringing forth the rich yet neglected aural traces of this epoque. It is less a work of mine that is inner generated but rather an honouring of a time with its unheard traces.

¼ “ and ½” magnetic tape, digital transfer 

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