Experimental Intermedia’s MARCH 2008 PERFORMANCE SERIES - The Thirty-fourth Anniversary of EI performances at 224 Centre Street, the Thirty-ninth Anniversary of the Founding of Experimental Intermedia, the Thirty-ninth Anniversary of the 224 Centre Street loft, and, not least, The Eighteenth Annual Festival with no fancy name, Part Two (or B), Phill Niblock, Curator :: 224 Centre Street at Grand, Third Floor, N Y 10013 :: All of the EI March concerts are being streamed on free103point9 Online Radio at 9:00 pm.

Tuesday 11: Miya Masaoka (New York) will perform interactive koto and video pieces, also using Super 8 loop and projector; this work will be inspired by a quasi-documentary of the quest for the ‘Minetta Creek,’ the impassioned search for the last living natural stream of water in Lower Manhattan; she has recently created pieces where ordinary plant activity derails a model train, and insect movement and plane flight schedules create the structure and the formal design of audio compositions. www.miyamasaoka.com www.myspace.com/miyamasaoka.

Wednesday 12: Pierre Marietan (Paris and Switzerland) - BLACK OR WHITE’: existing sounds - collected sounds - small instruments - voices; usually, the listener follows the musical path previously taken by the composer; the latter may also give a shape to an existing acoustic material in such a way that this process preserves the listener’s freedom of interpretation; the four sequences proposed for the evening can be perceived through either listening mode; in ‘WITHOUT ANYTHING’, the existing acoustic structure that is revealed creates the music of the place; ‘CAPTIVE VOICES’ qualifies the space as a place of music; in ‘RUMEUR / EMERGENCES’, the sounds from elsewhere transferred into the place, take us off to other worlds; ‘RYTHMUS 21-23′ is a movie by Hans Richter associated with ‘EMPREINTES’, a musical piece for strings, piccolo, side-drum and saxophones. www.pierremarietan.com www.music-environment.com.

Friday 14: Christian Kesten (Berlin) performs works for breathing sounds (in-/exhaling) in monochrome textures, for tongue (acoustically and visually), for jokes in five languages with leaving out the punch lines while building up an installation on a table made out of mundane things, and works for video and voice.

Sunday 16: Manuel Rocha Iturbide (Mexico City) - Some of his compositions have been involved with daily sounds and their transformation through electroacoustic means, as well as with their spacialization; he will present various pieces composed in the last 4 years, most of them created in a multichannel format; with Margot Leverett, clarinet.

Monday 17: Esther Venrooy (Gent, Belgium) - The Spiral Staircase is a suite of short electronic vignettes that constitute two vertical movements; the piece was partly composed with the EMS Synthi 100 analogue modular synthesizer at the IPEM (Institute for Psycho-acoustics and Electronic Music) in Ghent. www.esthervenrooy.com www.myspace.com/esthervenrooy.

Tuesday 18: Screen Compositions - The fourth edition of Screen Compositions, the yearly evening dedicated to intersections of moving image with sonic art; a program of screen works representing dynamic two-way collaborations between video/ film artists and sound/ music artists specifically intended for single-channel projection with no live or performance component; featuring collaborations by: Liora Belford / Ido Govrin; Kjell Bjorgeengen / Marc Ribot; Yan Breuleux / Alain Thibault; Alexandra Dementieva / Aernoudt Jacobs; Richard Garet / Wolfgang R. von Stuermer; Katherine Liberovskaya / Phill Niblock; Francesca Llopis / Barbara Held; Marlena Novak / Jay Alan Yim; Billy Roisz / Toshimaru Nakamura; Billy Roisz / dieb13.

Wednesday 19: Folke Rabe (Sweden) - Composer of vocal and instrumental music with some emphasis on brass; but this will be a retrospective with tape pieces - ARGH!, Cyclone, What?? - and Ship of Fools, a video with the New Culture Quartet; works composed in the 1960s thru 80s.

Thursday 20: Jean Piche (Montreal) - Three triple-channel videomusic works are presented, forming a suite that has helped define a particular genre of pluridisciplinary work: the composer as visual artist; fabricating color and sound, stream and movement, shape and timbre, the artist articulates a highly kinetic discourse at the juncture of abstraction and documentary.