Block title

we listen, how we remember

Bonnie Jones (b. 1977, South Korea)

we listen, how we remember Baltimore, August 25, 2016 (history, sine tones, samples, objects, moving bodies)

A performance installation for the Walters Art Museum in the 3rd Floor Galleries of Migration Art, Byzantine, and Pre-Medieval objects. The piece starts with a text, a mediation on objects and their ability to hold and structure history. Various rooms of the galleries have objects acting as speakers, with samples or tones playing through the object.

The sine tones or pure tones are selected to establish tritones (diminished fifths) or what during the Renaissance was referred to as the "Devil's Interval" for is dissonant character. Later, that same dissonant struture would become the basis for the blues note, and other evolutions in jazz and blues. Careful selection and placement of samples are designed to foreground the literal museum space, for instance the sounds of industrial heating/cooling systems are played back into the space, in addition to evoking communication and connection through time by using shortwave radio samples and electronics.

And if I live a thousand lives I hope to remember one

And if I live a thousand lives I hope to remember one was commissioned for EVENING WILL COME: A MONTHLY JOURNAL OF POETICS (THE ART OF LOSING—ISSUE 58, OCTOBER 2015, curated by John Melillo and Johanna Skibsrud. View the publication here: http://www.thevolta.org/ewc58-bjones-p1.html

The piece is constructed by manipulating in live performances a cassette player and a TDK EC-6M 6 minute looping cassette tape. The cassette player is used during the performance to create feedback by indiscriminately pressing the player’s controls (record, stop, forward, rewind). These six minutes are a recombinant document of numerous live performances over the past several years where I recorded, re-recorded, and erased the sounds of audio tape feedback, myself and other musicians.

The piece was also exhibited in November 2016 at the Maryland Institute College of Art exhbition "Sight | Sound | Interaction 9".

  • And if I live a thousand lives I hope to remember one

    The piece is constructed by manipulating in live performances a cassette player and a TDK EC-6M 6 minute looping cassette tape. The cassette player is used during the performance to create feedback by indiscriminately pressing the player’s controls (record, stop, forward, rewind). These six minutes are a recombinant document of numerous live performances over the past several years where I recorded, re-recorded, and erased the sounds of audio tape feedback, myself and other musicians.
  • And if I live a thousand lives I hope to remember one

    This piece was commissioned for EVENING WILL COME: A MONTHLY JOURNAL OF POETICS (THE ART OF LOSING—ISSUE 58, OCTOBER 2015, curated by John Melillo and Johanna Skibsrud. View the publication here: http://www.thevolta.org/ewc58-bjones-p1.html

Improvised Music by Bonnie Jones & Michael Zerang

Bonnie Jones, electronics, mics, cassettes, field recordings
Michael Zerang, Percussion

Live improvised duo at Baltimore's High Zero Festival 2015.

  • High Zero 2015 Bonnie Jones and Michael Zerang

    Bonnie Jones electronics/objects, Michael Zerang percussion objects. Recorded at the 2015 High Zero Festival of Improvised Experimental Music in Baltimore, MD, U.S.A September Thursday September 24th, 2015. Sound by Natasha Tylee-Cooke and Jeff Carey.

"by the time" - Commissioned by the London ICA

"by the time" was commissioned by the London ICA as part of their "Soundworks" exhibition. View the archive website here: https://www.ica.org.uk/projects/soundworks

London ICA curators commissioned over 100 new sound works for Soundworks. The project takes it's stimulus from themes evoked in Bruce Nauman's Days, presented concurrently in the lower gallery.

SOUNDWORKS embraces the ephemeral nature of sound, and presents an online platform that doubles as a virtual exhibition space. This site aims to make the works internationally accessible, a place to explore the genre as a medium which is simultaneously inclusive, interactive, and subversive. It includes a wide range of audible approaches by artists who have been working with the medium for many years, as well as artists taking their first venture into the sonic arts.

"the p in pattern" performed live at MUAC, Mexico City

A recording of a live performance of "the p in pattern", a sound / text composition that uses live and recorded electronics, vocals, and text to create a distinctive sonic space where language and sound slip between visibility and invisibility.

English - Improvised Music by Bonnie Jones & Joe Foster

Joe Foster, trumpet, digital delay pedal, electronics
Bonnie Jones, digital delay pedal, microphones

English formed in Seoul South Korea in 2004. The duo has performed in the US and Asia at the ErstQuake Festival, Wesleyan University, Kid Ailack Hall and more

Text Videos, Text & Sound Constructions

My text & sound constructions are videos captured with computer screen capture software that record the act of writing/typing.

The source texts, vary and sound is used in some instances but not all. In addition, I have used live, improvised, typing in performance settings where I combine visual text and live sound.

The text videos explore language and writing beyond their typical use in communication and meaning making. The videos explore language as sound, a space, an experience, and as a visual and kinetic form.

  • Dividing Exercise

    Text video, silent. Source text from speeches given by North Korean leader Kim Jong Il.
  • Interpretations of Dream (Part 1)

    Video at the i.e. Reading Series performance of "Interpretations of Dream." A live typing performance with sound.
  • We've

    Text video, silent. Source text is a prose poem written about my experience visiting South Korea for the first time.
  • Interpretations of Dream (Part 1)

    Video at the i.e. Reading Series performance of "Interpretations of Dream." A live typing performance with sound.
  • Interpretations of Dream (Part 2)

    Video at the i.e. Reading Series performance of "Interpretations of Dream." A live typing performance with sound.

untitled (for Cynthia Gray)

untitled (for Cynthia Gray) was commissioned by Mike and Linda Aubry Bullock’s exhibition EARS BACK, EYES FORWARD: VIDEO SHORTS FROM MUSICIANS AND OTHER LISTENERS – presented at Vox Populi Gallery February 6 – March 1, 2015.

The piece is comprised of writing and field recordings gathered by Cynthia Gray and composed by Bonnie Jones. Gray passed away in 2014 and this project is in honor of her life and work and our collaboration.

  • untitled (for Cynthia Gray)

    untitled (for Cynthia Gray) was commissioned by Mike and Linda Aubry Bullock’s exhibition EARS BACK, EYES FORWARD: VIDEO SHORTS FROM MUSICIANS AND OTHER LISTENERS – presented at Vox Populi Gallery February 6 – March 1, 2015.

We’ve: Studies for places and bodies

This work was commissioned on July 2, 2015 by the online journal, The Experimental Music Yearbook.

View the project here:
http://experimentalmusicyearbook.com/We-ve-Studies-for-places-and-bodies-1

We’ve: Studies for places and bodies is a web-based iteration of the text Eulgiro-3ga written in 2005 after I returned to the United States after living in South Korea for one year.

Additional sources:
Body 3, an electronic music piece I first released on the CDR Vines, Experimental Music Research, CA, 2006
Audio recording with Ted Kennedy, Joshua Gen Solondz, Hudson NY, 2014
Karaoke footage with Trisha Baga, NYC, 2015

I recommend listening with headphones in Chrome on a desktop or laptop, mobile phones will most likely not work.

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About Bonnie

Baltimore City

Bonnie Jones is a Korean-American writer, improvising musician, and performer working primarily with electronic music and text. Born in 1977 in South Korea she was raised on a dairy farm in New Jersey, and currently resides in Baltimore, Maryland. Bonnie creates improvised and composed text-sound... more

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