Lorem ipsum dolor sit amet, consectetur adipiscing elit. Vestibulum sagittis mi eu elementum malesuada. Maecenas arcu felis, suscipit vitae mi in, posuere ultricies nunc. Lorem ipsum dolor sit amet, consectetur adipiscing elit. Ut ante velit, condimentum eget erat a, suscipit porttitor nisl. Pellentesque in semper nunc
Panel discussion with Galindo and Raven Chacon, moderated by Christoph Cox.
Featuring:
Guillermo Galindo, composer and artist;
Raven Chacon, artist, composer;
Moderated by Christoph Cox, philosopher, critic, and curator.
People living in conflict zones rarely see the drones that pose a perpetual aerial threat to their safety, but they hear them constantly. A menacing sound coming from the sky is often cited as a principal facet of the embodied experience of drone warfare. This sonic awareness stands in direct contrast to the visual experience of those piloting the drone, who engage with their “targets” through a completely soundless aerial view. This panel will explore these tensions and intersections and the ways they illuminate the human costs of living under warfare.
**POSTPONED** Performance: Guillermo Galindo, Remote Control
Remote Control is a sonic representation of an alternative reality. Just like a video game, the performance is a virtual rendition of a video war game. The work is performed by a string quartet accompanied by a digital soundtrack played by members of the audience through their cell phones, tablets, or any other audio or audiovisual playback devices available. This piece was commissioned for Fifty for the Future: The Kronos Learning Repertoire, a project of the Kronos Performing Arts Association. The score and parts are available for free online at kronosquartet.org. Co-presented in partnership with The Clemente, Remote Control is performed by a student quartet from The New School.
Soundscapes of Conflict is presented as part of the symposium Remote Control: Surveying Drones and Culture Today, in a partnership between the Vera List Center for Art and Politics, High Line Art, and The Clemente Soto Vélez Cultural and Educational Center (The Clemente).
Remote Control: Surveying Drones and Culture Today
This event is part of the symposium Remote Control: Surveying Drones and Culture Today, organized by High Line Art and the Vera List Center for Art and Politics at The New School, in collaboration with writer and researcher Arthur Holland Michel. The symposium is convened by High Line Art in the context of artist Sam Durant‘s High Line Plinth commission Untitled (drone) and the Vera List Center's As for Protocols Focus Theme and was preceded by As for Protocols Seminar 7: Drones and the Bird’s-Eye View, September 20, 2021.
The Clemente Soto Vélez Cultural and Educational Center
The Clemente Soto Vélez Cultural and Educational Center, aka The Clemente, is a Puerto Rican and Latinx cultural space rooted in the Lower East Side. We connect and co-create with contemporary artists, cultural workers and small arts organizations by offering subsidized studios, exhibition, rehearsal, office and venue spaces; and produce our own programming in a spirit of responsiveness, heritage conversation and provocative collaboration.
________________________________________________________________
The Vera List Center’s participation in Remote Control is made possible, in part, by The Andrew W. Mellon Foundation, The Andy Warhol Foundation for the Arts, the Ford Foundation, and the Kettering Fund, as well as the members of the Vera List Center Board and The New School.
Lead support for High Line Art comes from Amanda and Don Mullen. Major support is provided by Shelley Fox Aarons and Philip E. Aarons, The Brown Foundation, Inc. of Houston, and Charina Endowment Fund. Additional support is provided by The Andy Warhol Foundation for the Visual Arts. High Line Art is supported in part, with a grant from the National Endowment of the Arts and with public funds from the New York City Department of Cultural Affairs in partnership with the New York City Council, under the leadership of Speaker Corey Johnson.
Major support for the High Line Plinth is provided by members of the High Line Plinth Committee and contemporary art leaders committed to realizing major commissions and engaging in the public success of the Plinth: Shelley Fox Aarons and Philip E. Aarons, Jennifer and Jonathan Allan Soros, Elizabeth Belfer, Suzanne Deal Booth, Fairfax Dorn, Steve Ells, Kerianne Flynn, Andy and Christine Hall, Hermine Riegerl Heller and David B. Heller, J. Tomilson and Janine Hill, The Holly Peterson Foundation, Annie Hubbard and Harvey Schwartz, Miyoung Lee and Neil Simpkins, Dorothy Lichtenstein, Amanda and Don Mullen, Douglas Oliver and Sherry Brous, Mario Palumbo and Stefan Gargiulo, Susan and Stephen Scherr, Susan and David Viniar, and Anonymous.
Presented by the Vera List Center for Art and Politics at the Schools of Public Engagement and The Clemente Soto Vélez Cultural and Educational Center and High Line Art.
The Vera List Center tries to share its programs as widely as possible, which means recording our programming and making it available on the Vera List Center and The New School websites. By attending the event, you consent to photography, audio recording, video recording and its/their release, publication, or exhibition. You can view past Vera List Center events at veralistcenter.org/events/past.
The extent of the work of experimental composer, sonic architect, performance artist and visual media artist Guillermo Galindo, redefines the conventional limits between music, the art of music composition and the intersections between art disciplines, politics, humanitarian issues, spirituality and social awareness...
Raven Chacon is a composer, performer and installation artist from Fort Defiance, Navajo Nation. As a solo artist, collaborator, or with Postcommodity, Chacon has exhibited or performed at Whitney Biennial, documenta 14, REDCAT, Musée d’art Contemporain de Montréal, San Francisco Electronic Music Festival, Chaco Canyon, Ende Tymes Festival, 18th Biennale of Sydney, and The Kennedy Center...
Christoph Cox is a philosopher, critic, and curator of visual and sonic art. He is Professor of Philosophy, Dean of the Faculty, and Vice President for Academic Affairs at Hampshire College, where he teaches modern and contemporary philosophy and art theory. Cox is also a member of the Graduate Committee at the Center for Curatorial Studies, Bard College...
Committed to amplifying diverse voices, The New School offers more than a thousand public programs and events each year, providing fresh perspectives and unique learning opportunities. These lectures, exhibitions, concerts, and performances feature prominent and emerging artists, activists, and thought leaders.
To receive updates about public programs and events at The New School, subscribe to our mailing list. Visit our Livestream and YouTube channels to watch select events live and recorded.
The extent of the work of experimental composer, sonic architect, performance artist and visual media artist Guillermo Galindo, redefines the conventional limits between music, the art of music composition and the intersections between art disciplines, politics, humanitarian issues, spirituality and social awareness. His acoustic work includes two commissioned orchestral compositions by the OFUNAM (Mexico University Orchestra) and the Oakland Symphony Orchestra and Choir, solo instrumental works, two operas, sonic sculptures, visual arts, computer interaction works, electro-acoustic music, film, instrument building, three-dimensional immersive installations and live improvisation. Galindo’s work is part of the permanent collections of Crystal Bridges Museum, Arkansas, Cornell Fine Arts Museum, Florida, LACMA, Los Angeles, California and National Gallery, DC.
Raven Chacon is a composer, performer and installation artist from Fort Defiance, Navajo Nation. As a solo artist, collaborator, or with Postcommodity, Chacon has exhibited or performed at Whitney Biennial, documenta 14, REDCAT, Musée d’art Contemporain de Montréal, San Francisco Electronic Music Festival, Chaco Canyon, Ende Tymes Festival, 18th Biennale of Sydney, and The Kennedy Center. Every year, he teaches 20 students to write string quartets for the Native American Composer Apprenticeship Project (NACAP). He is the recipient of the United States Artists fellowship in Music, The Creative Capital award in Visual Arts, The Native Arts and Cultures Foundation artist fellowship, and the American Academy’s Berlin Prize for Music Composition. He lives in Albuquerque, NM.
Christoph Cox is a philosopher, critic, and curator of visual and sonic art. He is Professor of Philosophy, Dean of the Faculty, and Vice President for Academic Affairs at Hampshire College, where he teaches modern and contemporary philosophy and art theory. Cox is also a member of the Graduate Committee at the Center for Curatorial Studies, Bard College. He is the author of Sonic Flux: Sound, Art, and Metaphysics (University of Chicago Press, 2018) and Nietzsche: Naturalism and Interpretation (University of California Press, 1999) and co-editor of Realism Materialism Art (Sternberg, 2015) and Audio Culture: Readings in Modern Music (Bloomsbury, 2017; Continuum, 2004).
