Automata Archives 2016-17

January 23rd, 2016

Luke Martin and Aaron Bresley

An Evening of New Works for String Quartet

This program features five new works for string quartet, composed by Luke Martin and Aaron Foster Bresley. Performed by Luigi Polcari, Jonathan Tang, Yvette Holzwarth, and Joy Yi, the pieces explore the use of graphic scores, poetry, vocalization, noise, and alternate tuning systems. The first half of the concert will be a premiere of a new, long-form work by Aaron Foster Bresley. Titled “barrier – bend/erect,” the piece is based on motion void of direction and destination. The four performers are posited as a circuit of unique and precise states, and given music through which they may become music(al). Following this, the second half of the concert will feature four shorter graphic score string quartets, by Luke Martin. These pieces are from his new CD (to be released on the FWD: rcrds label in December 2015), “residues.” The works seeks to explore the uncertain relational space between subjects and everyday objects existing as residue due to their leftover or forgotten status. In this space, there can be a dissolving of that subject-object relationship, creating a sort of faded, yet vibrant mingling; a potential for new combinations, momentary sparks, and the slippage of selves.
Luke Martin is an experimental composer, musician, and poet currently living in valencia, CA. his work focuses on the concepts of liminality, neutrality, and fragility, often seeking to explore the listener/performer's limits of perception. in particular, he is interested in the role of silence both in and out of music, and how to increase the listener, composer, and performer's consideration of silence. he is currently in his last semester of the MFA music composition program at CalArts.

Aaron Foster Bresley composes, programs, and sometimes dabbles in performing. he enjoys having his birthday on an holiday weekend. he has probably not yet met you, but he hopes to. aaron always asks celebrities what flavour of jello they would be. aaron currently lives in new york city, and is the east-coast half of the experimental music label FWD: rcrds. he thinks he would probably be lime. he has never learned to do a handstand or to juggle. many of these are things that belong in bios. aaron is lucky to spend his time pursuing things that do, and most of it doing things that do not.

January 28th, 2016

Pleats of Matter: The Films of Blake Williams
3D and 2D films by Toronto Filmmaker Blake Williams

Co-Presented by Automata and Acropolis Cinema

One of North America's most exciting young filmmakers, Toronto's Blake Williams has spent the past few years experimenting with anaglyph 3D technology, emerging with a series of films that formally investigate a variety of otherwise quotidian spaces and landscapes by casually unlocking their nascent art-historical dimensions. At once playfully conceptual and viscerally charged, his films merge the aesthetics of the digital age with the tools of classic optical technologies, playing light, shadow, and other natural phenomenon off one another in hyper-sensory displays of depth and color. His two latest works, Red Capriccio (2014) and Something Horizontal (2015), represent the pinnacle this approach to date, and together have travelled to the Toronto, New York, and Oberhausen Film Festivals. Join us as we welcome Blake Williams for the first presentation of his work in Los Angeles, with a two-part program dedicated to his work in the realms of both two and three dimensional space.
Curated by Jordan Cronk

January 30th, 2016

Southland Ensemble
Music of Earle Brown: FOLIO

Earle Brown’s influence on the avant-garde community has been philosophical as well as tangible and practical. His conducting techniques and experiments with “time notation,” improvisation, and open-form compositional structure have become part of contemporary compositional usage. His work with new notations, scoring methods, and performance attitudes led to his development of graphic, improvisational, and "open-form" scores such as Folio and Four Systems.

About Southland Ensemble:

“Boundaries were blurred—not just between the pieces themselves, but also between music and theater, between audience and performer, between performance and life.”
Isaac Schankler - NewMusicBox

The Southland Ensemble, formed in 2013, is a vibrant addition to the experimental music community and has thus far committed itself to presenting a series of portrait concerts. Each concert is carefully programmed to reflect a specific creative period in a given composer's career so that the audience is offered the opportunity to delve deeper into the work. Since its formation, the ensemble has presented works by Christian Wolff, Alvin Lucier, Pauline Oliveros, Robert Ashley and James Tenney. The ensemble seeks to broaden its focus to include composers outside of the United States in subsequent seasons.
The Southland Ensemble consists of eight core members who possess a vast amount of experience within the experimental tradition, particularly in the interpretation of graphic notation and text scores. The collective is flexible in size and often collaborates with guests as the music requires. The Southland Ensemble seeks to collectively share their experiences through the mediums of interactive concerts, workshops and lectures.

March 5th, 2016

Karaoke Night: Puppet Optional

Automata's first ever karaoke night!
Hosted by Automata favorites Moira MacDonald and Molly Allis

March 25th-27th, 2016

Into the Rice Fields

by Yulya Dukhovny

A storytelling using drawings, paper dioramas and movable pictures on a toy theater scale, with physical theater techniques. An original play is inspired by the work of two extraordinary philosophers and "travelers in time": Lafcadio Hearn, writer(1850 - 1904) and Tōru Takemitsu, composer (1930 – 1996).

March 26th, 27th, 2016

Pinhole Camera Workshop

with Robin Miller and Alexis Macnab

The magic of pinhole photography transforms a paint can (or any other light-safe container) into a camera. The device is easy to make and the images you capture are very special frozen-in-time moments.This two-part workshop will take you step-by-step through the process of pinhole photography including capturing images on photopaper, developing your photographs, and creating your own pinhole camera. Saturday 11am-2 pm and Sunday 2-5pm

April 9-10th, 2016


An evening length choreographic work by

Fatal is an evening-length work sourcing movement and text from the 1987 film Fatal Attraction to trace an arc from desire to aggression through the bodies of six diversely trained performers.

Performances by Anton Lieberman, Daeun Jung, Devika Wickremesinghe, Donel Williams, Erin Schneider, and Jason Black
Sculptures by Jared Dyer
Live score composed and performed by Gabriel Slavitt

April 22nd, 23rd and 24th, 2016

3 Evenings of New Work

Automata presents three evenings of new work by Ulrich Krieger, including several world premieres. Krieger is an internationally recognized saxophone player and composer. He is known for his original, innovative contemporary composed and free improvised music. His recent focus lies in the experimental fields and fringes of contemporary Pop culture: somewhere in the limbo between Noise and Heavy Metal, Ambient and Silence.

Each Evening is a unique show

April 22: Universe Series 1&2 Record release concert

April 23: Universe Series 3&4 Premiere!

April 22: Blood Oath Official Premiere of Krieger's new experimental noise metal band: Ulrich Krieger, Max Kutner, Linda Lockwood, Ness Morris, and Josh Carro

Ulrich Krieger is a composer, performer, improviser and experimental rock musician. His main instruments are saxophones, clarinets, didjeridu and electronics. He calls his style of playing ‘acoustic electronics,’ using sounds, that appear to be electronic, but are produced on acoustic instruments and then sometimes electronically treated, blurring the borders between the fields. Krieger transcribed Lou Reed's (in)famous Metal Machine Music for chamber ensemble and works with groups like Text of Light (with Lee Ranaldo) and zerfall–gebiete (with Thomas Koner). Born 1962, in Freiburg, Germany, he lived in Berlin from 1983-2007 with longer residencies in the USA and Italy from 1991-97. In September 2007 he moved to California, where he is professor for composition and experimental sound practice at California Institute of the Arts. Krieger has worked with Lou Reed, Lee Ranaldo, Phill Niblock, David First, Thomas Köner, Alan Licht, Michiko Hirayama, Witold Szalonek, Mario Bertoncini, Miriam Marbe, Seth Josel, Zbigniew Karkowski, Merzbow, zeitkratzer and many others performing in Europe, North-America, Asia and Australia. His works are being performed by the California EAR Unit, zeitkratzer, KontraTrio, Soldier String Quartet, Wandelweiser Ensemble, and many others. He has released over 50 CDs of his original compositions, improvisations, with his groups and as a collaborator with many musicians.

April 29th and 30th, 2016

Singing Resistance

Creating 17 albums over the past 11 years, Emily Lacy shares the release of her first set of her recordings ever printed on vinyl. Concentrating on the art of vocal music, and influenced by folk and punk traditions from around the world, her new collection of songs, “Your Weatherbeaten Soul” is a meditation on some of the darker origins of the American political system. It also investigates the folklore surrounding that system, as well as patterns of family, loss, violence, and oppression in many forms.

Lacy will also lead and share a selection of material meant for communal singing from her spring recording project “5 Songs for Bernie Sanders”, which concerns notions of freedom and justice in the now.

June 5th, 2016

performing Tom Johnson's NINE BELLS

Tom Johnson’s seminal piece for solo performer lasts, in the words of the composer, “about three miles”. Split into nine movements, the performer walks nine different shapes using the nine bells as coordinates, striking the bells along with the footpath to create a sonic doubling. Johnson then alters the patterns through delay/canon to create two simultaneous shapes. It is not a multimedia piece so much as a geometrical abstraction which takes place in sound and space. John Eagle’s new setting of the piece utilizes a set of justly-tuned bells to make this simultaneity even more specific, placing the shapes on a plane of harmonic space. The spatial relationships of musical pitches reinforce and are reinforced by the shapes of Johnson’s piece.

John Eagle is a composer, performer, and sound designer. His recent work prescribes harmonic environments (often paired with other systems) in which players move independently, taking a cue from harmonic modeling techniques developed by composers Tom Johnson, James Tenney, and others. He has contributed music for songwriters Michael Douglas, Jon Borcherding, and Tavo Carbone. In interdisciplinary work, his music and sound design has been heard in collaborations with artists Janie Geiser, Cassia Streb, Randolyn Zinn, Allen McCullough, and Dina Janis.

Tuesday, June 21st, 2016

Two Overlapping Works
Luke Martin and Andrew Young

Two overlapping works. Part one is an experiment in relationships, memory, representation and continuity. A small ensemble of performers will begin playing one piece, then two at once, and finally one piece again.

Part two is an improv with noise group sinecure (Andrew Young, Luke Martin, Ben Levinson), exploring sound through no-input feedback, turntables, and laptop performance. .

Andrew Young is a composer, improviser, performer, coffee drinker, and open-source enthusiast. He is the founder of the Rise Above Trio, a co-founder of Yawn Tapes, and a co-director of the Wulf. His work with sound ranges in style from sparse, reduced, structured music to searing, improvised, harsh noise. His compositions often utilize algorithmic procedures, indirect notation, imitative polyphony, field recordings, instrumental noise and some notion of choice.

Luke Martin is an experimental composer, musician, and poet, living in Valencia, CA. He received his M.F.A. in Music Composition, studying with Michael Pisaro, from California Institute of the Arts in 2016 and his B.A. in Music and English from Colby College in 2014. His artistic practice is centered on an exploration of silence, neutrality, and blandness in music, and is influenced by composers/thinkers such as John Cage, Morton Feldman, Alvin Lucier, Samuel Beckett, Gertrude Stein, and the Wandelweiser Group. He is currently engaged in an exploration of both the possibilities of notating/performing silence and of the social potential within silence.

Tuesday, June 28th, 2016

Tim Eriksen
with special guest Susan Brearey

The Magic Lantern: Songs, Stories and Projections From an Imaginary New England Village

Tim Eriksen, multi-instrumentalist, “one of the best singers in music” (T-Bone Burnett) and three time GRAMMY nominee presents a solo performance of original music, traditional Americana and music from his world travels, joined by painter/projectionist Susan Brearey in selections from their multimedia collaboration.

The Magic Lantern: A mysterious trunk found in a Yankee attic, full of leatherbound tunebooks, letters, musical instruments, 8 track tapes, a handwritten sheaf of ballads, a machete and even an old “magic lantern:” an ancient projector, with a box of painted glass slides. Tim Eriksen and painter Susan Brearey take you to Pumpkintown, revealing the mysteries of the trunk and the curious multicultural history of the village itself, through songs, stories and magic lantern projections.

Tim Eriksen is "widely regarded as the best ballad singer of his generation" (BBC Radio). He combines hair-raising vocals with savvy arrangements for fiddle, banjo, guitar and bajo sexto, transforming American tradition with a "northern roots" sound that embraces old New England murder ballads, “shape-note” gospel and haunted originals alongside Southern Appalachian and Irish songs. Tim's latest solo album "Northern Roots Live in Namest" (Indies Scope 2009) celebrates the power of this music in concert.

Considered "among the world's finest folk practitioners" (Toronto Star) for his expertise in traditional song, Tim is also known for his own compositions - “strange and original works” (NetRhythmsUK) with a “rare sense of purpose” (Q Magazine) that have been included in films like the Billy Bob Thornton vehicle Chrystal and the upcoming feature documentary Behold the Earth. Eriksen's other notable work has included extensive contributions to Anthony Minghella’s 2004 Oscar-winning film Cold Mountain as well as collaborations ranging from hardcore punk and Bosnian pop to symphony orchestra and the 2009 Grammy-nominated album Across the Divide with Afro-Cuban world-jazz phenomenon Omar Sosa.

The erstwhile frontman of the prophetic groups Cordelia's Dad ("folk-noise"), Northampton Harmony (shape-note quartet) and Zabe i Babe (Bosnian folk and pop), Tim Eriksen is the only musician to have shared the stage with both Kurt Cobain and Doc Watson (not to mention Jack White and Ralph Stanley), and his media appearances have ranged from Prairie Home Companion to the Academy Awards. Having graduated from early shows at punk mecca CBGB, Tim’s more recent performances have included his Carnegie Hall debut as a soloist in Evan Chambers' symphonic work "The Old Burying Ground" and two week-long stints at the Blue Note Jazz Club with Omar Sosa. In the studio, he has worked with producers including Joe Boyd, T-Bone Burnett and Steve Albini.

Susan Brearey is a painter known for her unique, iconic depiction of animals. In Brearey’s works, totemic images take the place of the photorealistic visual details found in some other works of wildlife art. Animals become rudimentary and almost featureless, set against abstract surfaces. Brearey’s evocative approach was inspired in large part by the cave paintings at Lascaux, France. Brearey first saw the paintings in the mid-1980s as a college student, an experience that turned her into a serious painter.

Brearey’s paintings have been the subject of numerous solo exhibits in Seattle, Washington; West Bretton, England, Jackson Hole, Wyoming; Martha’s Vineyard; Orlando, Florida; and Providence, Rhode Island, among other places. Her works have also been numerous group exhibits, including Post-Pastoral: New Images of the New England Landscape at Dartmouth College’s Hood Museum of Art and the Clarke Galleries’ IV Centuries of Birds in Painting, Sculpture, and Fine Prints. Her works are in the collections of Nashville, Tennessee’s Cheekwood Museum of Art; the Vermont Studio Center, Johnson, Vermont; the Putney School, Putney, Vermont; the Bank of Boston, Boston, Massachusetts; and the Meditech Corporation, Westwood, Massachusetts. In 1993, Brearey won the Cheekwood National Contemporary Painting Competition.

Ongoing at Automata


Opening Reception: June 17, 7PM to 10 PM

Inconsolable Objects, Susan Simpson (2016)
Ghost Algebra (Peephole Edition), Janie Geiser (2016/2009)

Peephole Cinema LA is part of a “miniature cinema" project created by Brooklyn-based artist Laurie O’Brien, with satellite projects in three cities: San Francisco, Brooklyn, and Los Angeles. The Los Angeles Peephole Cinema at Automata was developed in collaboration with LA-based filmmaker and scholar Allison de Fren, and opened in 2014. It is located in the alley behind Automata, to the left of our back door, between North Hill Street and Chung King Road.

September 22 - October 2, 2016

Automata joins Bootleg Theater, Union Station, Ace Hotel Downtown Los Angeles, The Springs and other locations in hosting a two-week celebration of new, experimental and experiential live arts.


Brian Getnick / Moonchops

Evoking a moonlit forest, MOONCHOPS draws its performative and visual materials from Brian Getnick’s body of writing about a rural town and its inhabitants, living and dead. In this concrete fantasy for the theater, Getnick inhabits a succession of characters who lead viewers deeper and deeper into the winter woods, toward the heart of his story.

PERFORMANCES: 9/22, 9/23, 9/24

WHYTEBERG / as occurred, as recalled

Choreographers Gracie Whyte and Laura Berg generate a new work for the LAX Festival. AS OCCURRED, AS RECALLED explores visceral memories and personal reflections of perception. Audiences move through a series of solos and duets, revealing how repeatedly revisited memories can become obscured from reality—and memory can prove malleable.

PERFORMANCES: 9/25, 9/26

John Eagle, Janie Geiser, Cassia Streb / Sound House

SOUND HOUSE is a performance/installation centered on a series of tasks that shape the sound in the room, enacted by a group of eight artist/performers who manipulate objects, controllers, microphones, speakers, walls and wooden puppets. Specific and interdependent, their actions emerge from a variety of sources—including the history of the Minuteman Missile project, bricklaying, time and its measurement, and more.

PERFORMANCES: 10/1, 10/2

Saturday, November 19, 2016 at 8 PM



Dada Divas is a music-theatre work that unearths and re-imagines the lives, creative works and ideas of important female artists and performers who were among the originators of Dada: Emmy Hennings, Mina Loy, Baroness Elsa von Freytag-Loringhoven, Hannah Höch, and others.

Modular, non-linear, and site-adaptive, Dada Divas illuminates historical and artistic contributions by these women who have been overshadowed by their male counterparts, while commenting on such larger issues as the status of women, émigrée life, war, consumerism, and other concerns that are as relevant today as they were when Dada erupted a century ago.

Dada Divas is joined by renowned Dutch vocalist, composer, and poet, Jaap Blonk, in a celebration of Dada's centenary. Vignettes excerpted from Dada Divas' staged performances will be intermingled with Blonk's performance of Dada sound poetry.

Composed by Jacqueline Bobak
Performed by Jacqueline Bobak, Carmina Escobar, Jaap Blonk, Meltem Ege
Staging by Cordelia Istel
Sound design by Mark Bobak

Friday, January 13th, 2017 at 8 PM

Amy Golden and Luke Martin

Amy and Luke will present two new works for ensemble(s), interspersed together, followed by a duo improvisation.

Luke Martin: 'other-texts (2 / WRMTH-SCRM)'

Amy Golden: 'new work'

Amy & Luke: improvisation

Performing: Iris Sidikman (vc), Patrick Behnke (vla), Jonathan Tang (vln), Rachel Iba (vln), Amy Golden (voice), Kathryn Shuman (voice), Argenta Walther (voice), and Luke Martin (reader, electronics).

Luke is on tour in Boston, NYC, and LA. This concert kicks off a long stint in LA (till the 21st). See other concerts here:

Amy Golden is a composer, sound artist, vocalist, and occasional sculptor based in Los Angeles. She creates works for acoustic instruments, voice, fixed media, and non-instruments, as well as sound and sculptural installations and performance art with a special focus on the relationship between sound and object, definitions of texture, and the female experience.

Luke Martin is an experimental composer, performer, and poet, living in Boston, MA. His artistic practice is centered on an exploration of silence, blandness, and community in music, and is influenced by composers/thinkers such as John Cage, Joseph Beuys, Samuel Beckett, and the Wandelweiser Group. He is currently engaged in an exploration of both the possibilities of notating/performing silence and of the social potential within silence.

Saturday, January 28th, 2017 at 8 PM


Southland Ensemble presents the chance poetry of Jackson Mac Low. Mac Low’s dedication to systems of composition - which included chance, indeterminacy, and simultaneous performance - allowed him to create works of extreme openness. His poems represent a moment in poetry where truths of authorship were called into question and the very boundaries of music and poetry were pulled taut.

54th Light Poem: For Ian Tyson
5 Biblical Poems
Is That Wool Hat My Hat
Young Turtle Asymmetries
Tree Movie
Numbered Asymmetries

“I myself think that if it is a connection and it does something, it’s some kind of cause but it’s different from the time-linear cause going from past to future. It’s across any present, between any two things coexisting. ... And I think that one thing that systematic chance does allow... is for something to happen on that synchronous plane.” - Jackson Mac Low


Tuesday, January 31st, 2017 at 8 PM


An evening of experimental music, avant-garde cabaret and performance art

Imagined Elasticitiesis an evening of experimental music, avant-garde cabaret and performance art, curated by artist and writer Sara Debevec.

The concert and performance showcase celebrates original music and performance by artists from LA to New York. Experience the sounds of cello, violin, guitar and drums in three separate acts which will be intertwined with performance art and spoken word.

Imagined Elasticities brings together Valerie Kuehne and the Wasps Nests, Copán and Rachel Mason for one night only at Automata's Chinatown space. The evening challenges the boundaries of performance art and music creating an immersive space of collateral reflection.

Sunday, February 5th 2017 at 8 PM

Ritual for Three

Los Angeles based flutist Christine Tavolacci presents an evening of new and recent works that explore a vast array of rich and beautiful sonic environments for flute, alto flute and bass flute.

Ritual for Three - Laura Steeberge
Journey to Expanse - Odeya Nini
invasive species / a - Kurt Isaacson
breathe out clouds - Carolyn Chen

with special guests Andrew Munsey, percussion & Jonathan Stehney, bassoon Christine Tavolacci is a Los Angeles based flutist, composer and educator specializing in contemporary and experimental music. She is active as a soloist, improviser, curator and chamber musician, and is co-founder and co-director of Southland Ensemble, as well as a member of the Dog Star Orchestra, Gurrisonic, and the Vinny Golia Large Ensemble. Her playing has been released on Orenda Records, Slub Music(Japan) and Tzadik.

Odeya Nini
A Solo Voice

Evolving over the last six years, A Solo Voice by Odeya Nini is an investigation of extended vocal techniques, resonance and pure expression, exploring the relationship between mind and body and the various landscapes it can yield. The work is a series of malleable compositions and improvisations that include field recordings and theatrical elements, aiming to dissociate the voice from its traditional attributes and create a new logic of song that is not only heard but seen through movement.

Odeya Nini is a Los Angeles based experimental vocalist and contemporary composer. At the locus of her interests are textural harmony, gesture, tonal animation, and the illumination of minute sounds, in works spanning chamber music to vocal pieces and collages of musique concrète. Her solo vocal work extends the dimension and expression of the voice and body, creating a sonic and physical panorama of silence to noise and tenderness to grandeur.
Odeya has collaborated extensively with dancers, visual artist, filmmakers and theater directors as both a composer and soloist and has worked with artists such as Lucy & Jorge Orta, Meredith Monk, Butch Morris, and LA’s contemporary orchestra – Wild Up.
Odeya’s work has been presented at venues and festivals across the US and internationally, such as The Hammer Museum, REDCAT, Joyce Soho, Art Basel Miami and the Banff Centre, from Los Angeles to Tel Aviv, Canada, Mongolia and Vietnam. Odeya has lectured as a guest artist on contemporary vocal techniques and composition and leads workshops on voice and movement.

MARCH 5–11, 2017

D+R Residency #1

Jay Carlon and Lindsey Lollie

Jay Carlon + Lindsey Lollie: Directors
Samantha Mohr: Dancer
Young Tseng Wong: Corporeal Mime Artist
Jimmy Cabrera: Psychiatric Professional & Advisor

Saturday, March 11 at 6p and 8p
Join us for one of two in-progress showings, and become a part of Carlon + Lollie’s process of developing this new work of immersive dance theater. Open Studio allows artists to test ideas, and audiences an opportunity gain insight into, and inform, artistic process. Open Studio events are free (or contribute in support of the program).

The collaborative team of Jay Carlon and Lindsey Lollie will be in residence developing a new work of dance theater that seeks to push physical and emotional boundaries by integrating elements of exhaustion, violence, and memory. The duo began working together in 2015, after having individually experienced about 3 years of creative hiatus due to experiences with loss and depression. For this new project, they examine how physical narrative can drive an immersive experience that examines the disorienting characteristics of PTSD, sleep paralysis, auditory hallucinations, dementia, and panic attacks. Their process will include professional psychiatric Jimmy Cabrera to advise on current mental health research.

Carlon + Lollie is a collaborative duo formed by movement artists Jay Carlon and Lindsey Lollie. They employ their identities as multicultural millennials to deepen their connection to heritage and ancestry—Lollie is half African-American and first-generation Mexican-American; Jay Carlon is first-generation Filipino-American and child of an agricultural migrant family. Through immersive, transformative and extremely physical dance theatre, they strive to incite thoughtful provocation of socio-political issues surrounding identity, race, gender, mental health and sexuality. Based in Los Angeles, the met as colleagues at the Renaissance Arts Academy, where they currently teach contemporary dance, and have joined their shared interests in exploring their collective and individual identities. Individually, they have presented work at LA Dance Festival, HomeLA, Works in the Works (Bay Area, CA), and Electric Lodge. Collectively, Carlon + Lollie have performed at Lincoln Center, REDCAT, 92nd Y and The CURRENT SESSIONS.

Saturday March 18, 2017 at 8 PM


New Video Works by Poor Dog Group

The "frenetic and provacative" (---LA Times) LA performance collective screens a series of new video shorts.

Sunday March 19, 2017 at 8PM


New Music from Old Music

Composer Neil Rolnick will perform an evening of compositions for solo laptop computer. The concert will include Rolnick’s pieces from the early days of sampling technology, in the late 1980s, when he first explored what are now called “mashups” of existing music to create new works. It will also include some of his most recent works, which reconsider this approach to composing in the light of 30 years of technological development and the revolution in thinking about sampling.