Christina McPhee
Since the beginning
Works in United States of America

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BIO
Christina McPhee http://christinamcphee.net
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DISCUSSION

Fw: see the kabinet or forever wonder


Rhizomers of SF / Bay area...

Please come by and say hello.. I'lll be there Saturday night (in NYC now). The show is on tonight, Friday and Saturday.

"Curious technologies.....dedicated to the Muses...."

Christina

-----Forwarded Message-----
From: TROY BYKER <troy.byker@gmail.com>
Sent: Sep 14, 2005 4:12 AM
To: troy.byker@gmail.com
Subject: see the kabinet or forever wonder

Tho i dare say the kabinet consists of such fine materials that it
warrants many more viewings than the three that remain. You heard me
right, there are only 3 performances left. Viewings require less than
an hour and they happen Thursday Friday and Saturday night at 8, at
the Lab.

Hello all,
Troy here to tell you of the good fortune i have had in being able to
work closely with the exceptional craftspeople of the Wunderkabinet.
Bask in the awe that until now, has been restricted to the children of
the Lion, The Witch and the Wardrobe. Opera? Meeting of the masters?
Complete sensual immersion? Dont be swept underneath only to be
found later, wandering and wondering whats inside.

the Lab
2948 16th Street
San Francisco
415.864.8855

Curious?

check out

pamelaz.com/wunderkabinet.html
mjt.org
thelab.org

or read on

> Pamela Z
> (in collaboration with Matthew Brubeck and Christina McPhee)
> WUNDERKABINET
> at The LAB
> 2948 16th Street
> San Francisco, CA 94103
> p: 415.864.8855
> Thursday-Saturday, September 15-17, 2005
> doors open 7:30 pm performance at 8 pm
> $10-$20 sliding scale admission
>
> Thursday Special: The LAB will be donating all
> proceeds from Thursday evening's performance to
> the American Red Cross for the victims of Katrina.
>
> Saturday Special: After the show on Saturday,
> September 17, Pamela Z and her collaborators
> Matthew Brubeck and Christina McPhee will meet
> with the audience for a Q&A and reception. And
> David Wilson, from the Museum of Jurassic
> Technology, will be attending this final
> performance of Wunderkabinet.
>
>
>
>
> Wunderkabinet is a new experimental multi-media
> opera developed by composer/performer Pamela Z
> in collaboration with cellist/composer Matthew
> Brubeck and media artist Christina McPhee. Scored
> for voice & electronics, cello & electronics, &
> video, the piece is inspired by and based on the
> exhibits displayed at the enchanting and renowned
> Museum of Jurassic Technology in Los Angeles.
> Wunderkabinet premieres this month with a
> two-week run at The LAB Gallery in San Francisco.
>
> The boundary between reality and imagination is
> blurred as Wunderkabinet's central character
> "Alice May Williams" makes her strange and
> magical journey in search of the scientists of
> the Mount Wilson Observatory to whom she has been
> sending abundant correspondence, only to find
> herself in a strange cabinet of curiosities where
> she eventually becomes a docent.
>
> The music of Wunderkabinet is performed by Pamela
> Z (voice and live electronic processing) and
> Matthew Brubeck (cello & electronics, and a
> multi-layered set (largely comprised of projected
> images created by Christina McFee) evoking the
> dark yet radiant focus of the museum dioramas
> forms the backdrop for this evocative experience.
> The score (composed by Pamela Z and cellist Matt
> Brubeck) utilizes bowed and plucked strings,
> sampled found objects, and a wide range of vocal
> work ranging from operatic bel canto to
> experimental extended vocal techniques and spoken
> text. The libretto is derived from passages of
> actual descriptive texts from the Museum of
> Jurassic Technology's exhibitions and stories
> inspired by them.
>
> About the Artists:
>
> Pamela Z is a San Francisco-based
> composer/performer and audio artist who works
> primarily with voice, live electronic processing
> and sampling technology. Processing her live
> voice through "MAX MSP" software on a PowerBook,
> she creates solo works that combine operatic bel
> canto and experimental extended vocal techniques
> with found percussion objects, spoken word, and
> sampled concr�te sounds. These sounds are
> triggered with a MIDI controller called The
> BodySynth�, which allows her to manipulate sound
> with physical gestures.
>
> Pamela Z has toured extensively throughout the
> United States, Europe, and Japan. She has
> performed in numerous festivals including: Bang
> on a Can at Lincoln Center in New York; the
> Interlink Festival in Japan; Other Minds in San
> Francisco; and Pina Bausch Tanztheater's 25 Jahre
> Fest in Wuppertal, Germany. She has composed,
> recorded and performed original scores for
> choreographers and for film/video artists, and
> has done vocal work for other composers
> (including Charles Amirkhanian and Henry Brant).
> Her large-scale, multi-media performance works,
> Parts of Speech, Gaijin and Voci, have been
> presented at Theater Artaud and ODC Theater in
> San Francisco, and at the Kitchen in New York.
> She has had audio works included in exhibitions
> at the Whitney Museum of American Art in New
> York, the Erzbisch�fliches Di�zesanmuseum in
> Cologne, and the Dakar Biennale in S�n�gal. She
> has also been presented at the San Jose Museum of
> Art, El Museo del Barrio in New York and at La
> Biennale di Venezia in Italy.
>
> Ms. Z has been commissioned to compose works for
> new music chamber ensembles: the Bang On A Can
> Allstars; Ethel, the California E.A.R. Unit; the
> Left Coast Chamber Ensemble; and the St. Luke's
> Chamber Orchestra. Since 1986, she has been
> producing "Z Programs", an ongoing series of
> interdisciplinary events in which her own work
> has been featured along with that of other
> experimental artists in various genres. She has
> done collaborative work with Jeanne Finley + John
> Muse, Miya Masaoka, Donald Swearingen, The Qube
> Chix, Zakros New Music Theatre, and has performed
> with The San Francisco Contemporary Music
> Players. Pamela is the recipient of numerous
> awards, including: the Guggenheim Fellowship, the
> CalArts Alpert Award in the Arts; the Creative
> Capital Fund; the ASCAP Music Award; and the NEA
> and Japan/US Friendship Commission Fellowship.
> She holds a music degree from the University of
> Colorado at Boulder. She has a solo CD on
> Starkland which the WIRE (UK) refers to as "Sheer
> genius from the most gifted and enterprising
> vocalist/composer/audio artist in the US since
> the heyday of Joan La Barbara and Mededith Monk".
> http://www.pamelaz.com
>
>
> Matt Brubeck is a composer/performer specializing
> in improvisation on the cello. Classically
> trained, with a Master's in cello performance
> from Yale, Matt is at ease in multiple genres and
> has taken his cello improvisation skills into
> diverse musical territories. During his many
> years in the San Francisco area, Matt performed
> with a variety of jazz, improv, and new music
> artists including Pamela Z, John Schott, Ralph
> Carney, Myles Boisen, and Scott Amendola. He
> founded Oranj Symphonette, which recorded two
> CD's for Rykodisc and went on to play many of the
> major jazz festivals, including Toronto,
> Montreal, New York, San Francisco, and Monterey.
> Matt worked for several years as composer and
> cellist/bassist with the San Francisco based Club
> Foot Orchestra, contributing to scores for film
> and television. In the pop/rock world, his
> eclectic adventures include touring with the
> Dixie Chicks, Sheryl Crow, and the Indigo Girls,
> as well as performing and/or recording with Tom
> Waits, Sheryl Crow, Sarah McLachlan, Tracy
> Chapman, Jonathan Richman, and others. Matt has
> continued to play classical cello and was a
> member of the Berkeley Symphony Orchestra from
> 1989-2003. Under the adventurous direction of
> Maestro Kent Nagano, Matt enjoyed performing the
> traditional repertoire, as well as the works of
> many new music composers. His "Concerto Grosso
> for Two Improvising Soloists and Orchestra"
> (featuring violinist Carla Kihlstedt and Matt on
> cello) was premiered in 2003 at the BSO's Under
> Construction series for emerging composers.
> Currently Matt resides near Toronto, where he
> teaches cello, improvisation, and leads the New
> Music Ensemble at York University. Matt is
> actively involved in Toronto's vibrant music
> community, playing with a wide range of jazz and
> improvisational artists such as David Mott, Anne
> Bourne, Kevin Breit, Jesse Stewart, Marilyn
> Lerner, David Buchbinder, and David Braid, among
> others. (And, yes he is the tallest son of Dave.)
>
> Christina McPhee is a Los Angeles-born new media
> and installation artist who's technological
> landscapes engage strange ambiguities at the
> interface of art and science. Her performances,
> video and net art have been included in
> exhibitions, festivals and electronic media
> archives around the world, including Cornell
> University Electronic Media Archive, chairetmetal
> (Montreal), Cinemateque/Video Channel (Koln),
> Rhizome Artbase(New York) ,
> Cybersonica/Convergence at the ICA New Media
> Center, London, California Museum of Photography,
> back_up/Lounge|lab at Bauhaus-University Weimar,
> and Victoria Film Festival, Victoria, BC, COSIGN
> 2004 at the University of Split, Croatia, FILE
> Sao Paulo 2002 , and Digital Arts and Culture
> 2003 at RMIT Melbourne, especially for her online
> and installation project naxsmash. She writes on
> phenomenology, trauma and memory in electronic
> art and architecture, most recently in book print
> with "Net Baroque" in Life in the Ruins: A
> CTheory Reader", edited by Marilouise and Arthur
> Kroker (2004) and online with "Aphasia/Parrhesia"
> for drunkenboat(2005). Online, CTheory also
> features Slipstreaming the Cyborg, an interview
> with the artist with Rome-based Francesca De
> Nicolo. Current multimedia work queries seismic
> memory in digital chromogenic prints, video and
> live data based net art, in the Carrizo-Parkfield
> Diaries (2005). Created with text contributions
> from Jeremy Hight and web programming design from
> Sindee Nakatani, the live data work, based on
> current and archived ground motion values in
> collision, is part of the Whitney Museum of
> American Art, new media seriesArtport, and can
> also be reached at
> www.carrizoparkfielddiaries.net. McPhee's videos
> from the Carrizo Parkfield Diaries will travel to
> Carnegie Mellon University's Regina Gouger Miller
> Gallery, Pittsburgh, as part of Groundworks:
> Environmental Collaboration in Contemporary Art
> October 14 - December 11, 2005. In December 2005,
> she will be a visiting artist at HUMlab,
> University of Umea, Sweden.
> http://www.christinamcphee.net
>

<http://christinamcphee.net>
<http://naxsmash.net>

DISCUSSION

Wunderkabinet


http://www.pamelaz.com/wunderkabinet.html

http://www.thelab.org/

Pamela Z
Wunderkabinet
THE LAB
2948 16th Street
San Francisco, CA 94103
p: 415.864.8855
Thursdays-Saturdays, September 8-10, 15-17, 2005
doors open 7:30 pm performance at 8 pm
$10-$20 sliding scale admission

Wunderkabinet is a new experimental multi-media opera developed by composer/performer Pamela Z in collaboration with cellist/composer Matthew Brubeck and media artist Christina McPhee. Scored for voice & electronics, cello & electronics, & video, the piece is inspired by and based on the exhibits displayed at the enchanting and renowned Museum of Jurassic Technology in Los Angeles. Wunderkabinet premieres this month with a two-week run at The LAB Gallery in San Francisco.

The boundary between reality and imagination is blurred as Wunderkabinet's central character "Alice May Williams" makes her strange and magical journey in search of the scientists of the Mount Wilson Observatory to whom she has been sending abundant correspondence, only to find herself in a strange cabinet of curiosities where she eventually becomes a docent.

The music of Wunderkabinet is performed by Pamela Z (voice and live electronic processing) and Matthew Brubeck (cello & electronics, and a multi-layered set (largely comprised of projected images created by Christina McFee) evoking the dark yet radiant focus of the museum dioramas forms the backdrop for this evocative experience. The score (composed by Pamela Z and cellist Matt Brubeck) utilizes bowed and plucked strings, sampled found objects, and a wide range of vocal work ranging from operatic bel canto to experimental extended vocal techniques and spoken text. The libretto is derived from passages of actual descriptive texts from the Museum of Jurassic Technology's exhibitions and stories inspired by them.

<http://christinamcphee.net>
<http://naxsmash.net>

DISCUSSION

September on -empyre- soft-skinned space: Sites in Translation


Please join us at

<http://www.subtle.net/empyre>

as we explore "Sites in Translation"

with artists Ricardo Miranda Zuniga, Mariam Ghani, Lana Lin, H. Lan
Thao Lam, and Angel Nevarez

In 2004, five artists and collaborative groups were commissioned to make
web-based projects for the latest edition of inSite, the binational
exhibition of site-specific work staged every few years along the San
Diego/Tijuana border. Having opened the final week of August 2005,
inSite's
first venture online raises a number of interesting questions for
discussion. "Tijuana Calling" is online now at:

<http://www.insite05.org/auxillary/tjcalling2.htm>

The artists ask: "Is the net a vast

DISCUSSION

Iraq-related federal cuts for levees put New Orleans at severe risk


http://www.alternet.org/story/24871/

Why the Levee Broke

by Will Bunch, Attywood posted September 1, 2005

Even though Hurricane Katrina has moved well north of the city, the waters continued to rise in New Orleans on Wednesday. That's because Lake Pontchartrain continues to pour through a two-block-long break in the main levee, near the city's 17th Street Canal. With much of the Crescent City some 10 feet below sea level, the rising tide may not stop until until it's level with the massive lake.

There have been numerous reports of bodies floating in the poorest neighborhoods of this poverty-plagued city, but the truth is that the death toll may not be known for days, because the conditions continue to frustrate rescue efforts.

New Orleans had long known it was highly vulnerable to flooding and a direct hit from a hurricane. In fact, the federal government has been working with state and local officials in the region since the late 1960s on major hurricane and flood relief efforts. When flooding from a massive rainstorm in May 1995 killed six people, Congress authorized the Southeast Louisiana Urban Flood Control Project, or SELA.

Over the next 10 years, the Army Corps of Engineers, tasked with carrying out SELA, spent $430 million on shoring up levees and building pumping stations, with $50 million in local aid. But at least $250 million in crucial projects remained, even as hurricane activity in the Atlantic Basin increased dramatically and the levees surrounding New Orleans continued to subside.

Yet after 2003, the flow of federal dollars toward SELA dropped to a trickle. The Corps never tried to hide the fact that the spending pressures of the war in Iraq, as well as homeland security -- coming at the same time as federal tax cuts -- was the reason for the strain. At least nine articles in the Times-Picayune from 2004 and 2005 specifically cite the cost of Iraq as a reason for the lack of hurricane- and flood-control dollars.

Newhouse News Service, in an article posted late Tuesday night at The Times-Picayune Web site, reported: "No one can say they didn't see it coming. ... Now in the wake of one of the worst storms ever, serious questions are being asked about the lack of preparation."

In early 2004, as the cost of the conflict in Iraq soared, President Bush proposed spending less than 20 percent of what the Corps said was needed for Lake Pontchartrain, according to this Feb. 16, 2004, article, in New Orleans CityBusiness:

The $750 million Lake Pontchartrain and Vicinity Hurricane Protection project is another major Corps project, which remains about 20% incomplete due to lack of funds, said Al Naomi, project manager. That project consists of building up levees and protection for pumping stations on the east bank of the Mississippi River in Orleans, St. Bernard, St. Charles and Jefferson parishes.
The Lake Pontchartrain project is slated to receive $3.9 million in the president's 2005 budget. Naomi said about $20 million is needed.
"The longer we wait without funding, the more we sink," he said. "I've got at least six levee construction contracts that need to be done to raise the levee protection back to where it should be (because of settling). Right now I owe my contractors about $5 million. And we're going to have to pay them interest."
On June 8, 2004, Walter Maestri, emergency management chief for Jefferson Parish, Louisiana, told the Times-Picayune: "It appears that the money has been moved in the president's budget to handle homeland security and the war in Iraq, and I suppose that's the price we pay. Nobody locally is happy that the levees can't be finished, and we are doing everything we can to make the case that this is a security issue for us."

That June, with the 2004 hurricane seasion starting, the Corps' Naomi went before a local agency, the East Jefferson Levee Authority, and essentially begged for $2 million for urgent work that Washington was now unable to pay for. From the June 18, 2004 Times-Picayune:

"The system is in great shape, but the levees are sinking. Everything is sinking, and if we don't get the money fast enough to raise them, then we can't stay ahead of the settlement," he said. "The problem that we have isn't that the levee is low, but that the federal funds have dried up so that we can't raise them."
The panel authorized that money, and on July 1, 2004, it had to pony up another $250,000 when it learned that stretches of the levee in Metairie had sunk by four feet. The agency had to pay for the work with higher property taxes. The levee board noted in October 2004 that the feds were also now not paying for a hoped-for $15 million project to better shore up the banks of Lake Pontchartrain.

The 2004 hurricane season was the worst in decades. In spite of that, the federal government came back this spring with the steepest reduction in hurricane- and flood-control funding for New Orleans in history. Because of the proposed cuts, the Corps office there imposed a hiring freeze. Officials said that money targeted for the SELA project -- $10.4 million, down from $36.5 million -- was not enough to start any new jobs. According to New Orleans CityBusiness this June 5:

The district has identified $35 million in projects to build and improve levees, floodwalls and pumping stations in St. Bernard, Orleans, Jefferson and St. Charles parishes. Those projects are included in a Corps line item called Lake Pontchartrain, where funding is scheduled to be cut from $5.7 million this year to $2.9 million in 2006. Naomi said it's enough to pay salaries but little else.
"We'll do some design work. We'll design the contracts and get them ready to go if we get the money. But we don't have the money to put the work in the field, and that's the problem," Naomi said.
There was, at the same time, a growing recognition that more research was needed to see what New Orleans must do to protect itself from a Category 4 or 5 hurricane. But once again, the money was not there. As the Times-Picayune reported last Sept. 22:

That second study would take about four years to complete and would cost about $4 million, said Army Corps of Engineers project manager Al Naomi. About $300,000 in federal money was proposed for the 2005 fiscal-year budget, and the state had agreed to match that amount.
But the cost of the Iraq war forced the Bush administration to order the New Orleans district office not to begin any new studies, and the 2005 budget no longer includes the needed money, he said.
The Senate was seeking to restore some of the SELA funding cuts for 2006. But now it's too late. One project that a contractor had been racing to finish this summer was a bridge and levee job right at the 17th Street Canal, site of the main breach on Monday. The levee failure appears to be causing a human tragedy of epic proportions: "We probably have 80 percent of our city under water; with some sections of our city the water is as deep as 20 feet. Both airports are underwater," Mayor Ray Nagin told a radio interviewer.

The Newhouse News Service article published Tuesday night observed, "The Louisiana congressional delegation urged Congress earlier this year to dedicate a stream of federal money to Louisiana's coast, only to be opposed by the White House. ... In its budget, the Bush administration proposed a significant reduction in funding for southeast Louisiana's chief hurricane protection project. Bush proposed $10.4 million, a sixth of what local officials say they need."

Washington knew that this day could come at any time, and it knew the things that needed to be done to protect the citizens of New Orleans. But in the tradition of the riverboat gambler, the Bush administration decided to roll the dice on its fool's errand in Iraq, and on a tax cut that mainly benefitted the rich. Now Bush has lost that gamble, big time.

The president told us that we needed to fight in Iraq to save lives here at home. Yet -- after moving billions of domestic dollars to the Persian Gulf -- there are bodies floating through the streets of Louisiana. What does George W. Bush have to say for himself now?

Will Bunch is a senior writer at the Philadelphia Daily News and author of the blog Attytood.

<http://christinamcphee.net>
<http://naxsmash.net>

DISCUSSION

Re: Re: How do you prepare a powerpoint presentation for a


Geert, thank you, for bringing up the topic! Powerpoint hell is no fun.

-- and to everyone for responding with tips and help. I learned a lot from this little exchange.

Christina

-----Original Message-----
From: Geert Dekkers <geert@nznl.com>
Sent: Aug 27, 2005 10:51 AM
To: Rhizome <list@rhizome.org>
Subject: Re: RHIZOME_RAW: Re: How do you prepare a powerpoint presentation for a

Thanks, everyone --
Well, to conclude, I think I should keep it simple then. And,
thankfully, that means I can complete the presentation the way it is
set up.
Thanks again, this was really helpful.

Geert
http://nznl.com

On 27-aug-2005, at 19:03, Jason Van Anden wrote:

> I can't agree more with Pall, if they are requesting Powerpoint,
> disregard my comments entirely and definitely do Powerpoint.
> Hopefully my advice will be worth something for something else in a
> future time.
>
> I got carried away with the CD part in relation to your website,
> etc...
>
> Jason Van Anden
>
> <jasonvananden id="www.smileproject.com"/>
>
>