Dafna Naphtali uses her laptop-based noise/audio processing "instrument" to alter the sound of her singing, vocalisms, and personalized recordings as well as the sound of any musician playing with her. It provides a curious accompaniment to her voice, and she considers all sounds fair game for her unique electronic mutations and expression.
During (and since) her residency at iEAR, Dafna has created brand new ways to creatively control her music and audio processing system during performance, oftentimes changing her relationship to her computer as she performs and also in ways that inspired new compositions using hand-gestures, vocally controlled music algorithms and tactile but invisible control.
Writing custom Max/MSP programs since 1992 has enabled her to perform using sound processing by sampling and filtering little bits of sound with her Eventide effects processor and computer. With her musical background, she gravitated to improvised music first, but began performing regularly with this instrument in 1994 in both improvised and composed situations.
In this evening at iEAR, of solo and duo compositions and improvisations, Dafna is joined by Hans Tammen on "Endangered guitar" (an often-time-collaborator in a wide range of projects) in a crazed collision course of the acoustic and the electronic worlds of each performer (Tammen is a master of prepared and digitally processed and controlled guitar). Dafna's live audio processing intended to facilitate a holistic interconnection between the digital and the acoustic, on both the large and small scale. Her computer processing always serves a strong musical purpose informed by acoustics as well as composition. Her interactive elements create more "control intimacy" for her as a performer and hopefully translate into more excitement for an audience and most importantly, a listener unaware of how exactly the sounds are actually being created.
About the Artist:
Dafna Naphtali is a sound-artist and improviser-composer from an eclectic musical background. As singer/guitarist/electronic-musician she performs and composes using custom Max/MSP/Jitter programs for sound processing of voice and other instruments that she has been writing since 1992. Besides her composing and improvised projects, she co-leads the digital chamber punk ensemble, What is it Like to be a Bat? with Kitty Brazelton (http://www.whatbat.org ). She has collaborated / performed with Lukas Ligeti, David First, Joshua Fried, Ras Moshe, Alexander Waterman, Kathleen Supove; and Hans Tammen, among others. This spring she will perform the Cage Songbooks for a second year with Beth Griffin, Gisburg, and Christian Kestian, in what will be an annual event, and is rehearsing Stockhausen's Stimmung for performances later this year.
Dafna has received commissions and awards from NY Foundation for the Arts, NY State Council on the Arts, Meet the Composer, Experimental TV Center, American Composers Forum, Brecht Forum, and residencies at STEIM (Holland), Music OMI and iEAR at Rensselaer Polytechnic Institute. She teaches and gives workshops at universities in the United States (especially New York University) and in Europe. Since 1996, she has taught, programmed and consulted about Max/MSP, and has sound designed and/or programmed work for the projects of Jin Hi Kim, Shelley Hirsch, Pamela Z, Phoebe Legere, Fred Frith, Jim Staley, Henry Threadgill, Steve Coleman, Chico Freeman and others.
Dafna can be heard with Mechanique(s) on a forthcoming release and as featured vocalist on Josê Halac's CD 'Dance of 1000 Heads' (Tellus), as well as on her acclaimed release with What is it Like to be a Bat? on Tzadik/Oracles (4 Stars, All Music Guide).
A reception with the artist will follow the presentation.