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Brandon López and I in psychic space playing @bortolamigallery for Nathlie Provosty's show Threshold Speech 🧠🧠 @bantlopez @nathlie.provosty the painting is called "Communicating para-acoustically with the future" from Mei-mei Berssenbrugge

Brandon López and I in psychic space playing @bortolamigallery for Nathlie Provosty's show Threshold Speech 🧠🧠 @bantlopez @nathlie.provosty the painting is called "Communicating para-acoustically with the future" from Mei-mei Berssenbrugge

Brandon López and I in psychic space playing @bortolamigallery for Nathlie Provosty's show Threshold Speech 🧠🧠 @bantlopez @nathlie.provosty the painting is called "Communicating para-acoustically with the future" from Mei-mei Berssenbrugge

Brandon López and I in psychic space playing @bortolamigallery for Nathlie Provosty's show Threshold Speech 🧠🧠 @bantlopez @nathlie.provosty the painting is called "Communicating para-acoustically with the future" from Mei-mei Berssenbrugge

Brandon López and I in psychic space playing @bortolamigallery for Nathlie Provosty's show Threshold Speech 🧠🧠 @bantlopez @nathlie.provosty the painting is called "Communicating para-acoustically with the future" from Mei-mei Berssenbrugge

Brandon López and I in psychic space playing @bortolamigallery for Nathlie Provosty's show Threshold Speech 🧠🧠 @bantlopez @nathlie.provosty the painting is called "Communicating para-acoustically with the future" from Mei-mei Berssenbrugge

Announcing I Keep My Diamond Necklace in a Pond of Sparkling Water.

I live in a former bungalow colony. Out my window is a pond where Ukrainian-American immigrants once bathed. Next door is a former casino, where there was a trick cigarette machine which entered into a brothel. The view culls up pastoral imaginations – Beethoven’s Sixth, Bruegel’s The Hunters in the Snow, the word "glade."

In the summer, I hear Green frogs and strange, broken sounds of a Bullfrog. I play the Innato multi-chamber flute. It’s as if someone said: carry the clay flute to the edge of the pond. The woods have a spirit, if you can imagine it. The sound of breath across the flute seems to echo this. Later, think of the wind in the tops of trees. "And softly in the reeds drone the dark flutes of autumn" (Georg Trakl).
 
This record was recorded in High Falls, NY, harvested from the surrounding wildlife; there are also creatures I recorded British Columbia; and the booming songs of humpback whales, provided by my father from a trip he took to Rurutu, Polynesia.

The artwork is composed of photographs by Yair Oelbaum, who cuurently has show at Bucholz Gallery. It's the final week, so make the pilgrimage! Mysterious, innefable beauties.

Briefly: this music required a different approach to time – deeper excursions shooting beyond the “miniature trances” of my previous records. It aspires to access and play for the subtle body.

@n0oneh0me 📸
@m_tully for the immaculate design @taylor12k for mastering
@odettahartman for her otherworldly violin playing
@people_teeth for mixing together.

Announcing I Keep My Diamond Necklace in a Pond of Sparkling Water.

I live in a former bungalow colony. Out my window is a pond where Ukrainian-American immigrants once bathed. Next door is a former casino, where there was a trick cigarette machine which entered into a brothel. The view culls up pastoral imaginations – Beethoven’s Sixth, Bruegel’s The Hunters in the Snow, the word "glade."

In the summer, I hear Green frogs and strange, broken sounds of a Bullfrog. I play the Innato multi-chamber flute. It’s as if someone said: carry the clay flute to the edge of the pond. The woods have a spirit, if you can imagine it. The sound of breath across the flute seems to echo this. Later, think of the wind in the tops of trees. "And softly in the reeds drone the dark flutes of autumn" (Georg Trakl).
 
This record was recorded in High Falls, NY, harvested from the surrounding wildlife; there are also creatures I recorded British Columbia; and the booming songs of humpback whales, provided by my father from a trip he took to Rurutu, Polynesia.

The artwork is composed of photographs by Yair Oelbaum, who cuurently has show at Bucholz Gallery. It's the final week, so make the pilgrimage! Mysterious, innefable beauties.

Briefly: this music required a different approach to time – deeper excursions shooting beyond the “miniature trances” of my previous records. It aspires to access and play for the subtle body.

@n0oneh0me 📸
@m_tully for the immaculate design @taylor12k for mastering
@odettahartman for her otherworldly violin playing
@people_teeth for mixing together.

Announcing I Keep My Diamond Necklace in a Pond of Sparkling Water.

I live in a former bungalow colony. Out my window is a pond where Ukrainian-American immigrants once bathed. Next door is a former casino, where there was a trick cigarette machine which entered into a brothel. The view culls up pastoral imaginations – Beethoven’s Sixth, Bruegel’s The Hunters in the Snow, the word "glade."

In the summer, I hear Green frogs and strange, broken sounds of a Bullfrog. I play the Innato multi-chamber flute. It’s as if someone said: carry the clay flute to the edge of the pond. The woods have a spirit, if you can imagine it. The sound of breath across the flute seems to echo this. Later, think of the wind in the tops of trees. "And softly in the reeds drone the dark flutes of autumn" (Georg Trakl).
 
This record was recorded in High Falls, NY, harvested from the surrounding wildlife; there are also creatures I recorded British Columbia; and the booming songs of humpback whales, provided by my father from a trip he took to Rurutu, Polynesia.

The artwork is composed of photographs by Yair Oelbaum, who cuurently has show at Bucholz Gallery. It's the final week, so make the pilgrimage! Mysterious, innefable beauties.

Briefly: this music required a different approach to time – deeper excursions shooting beyond the “miniature trances” of my previous records. It aspires to access and play for the subtle body.

@n0oneh0me 📸
@m_tully for the immaculate design @taylor12k for mastering
@odettahartman for her otherworldly violin playing
@people_teeth for mixing together.

Announcing I Keep My Diamond Necklace in a Pond of Sparkling Water.

I live in a former bungalow colony. Out my window is a pond where Ukrainian-American immigrants once bathed. Next door is a former casino, where there was a trick cigarette machine which entered into a brothel. The view culls up pastoral imaginations – Beethoven’s Sixth, Bruegel’s The Hunters in the Snow, the word "glade."

In the summer, I hear Green frogs and strange, broken sounds of a Bullfrog. I play the Innato multi-chamber flute. It’s as if someone said: carry the clay flute to the edge of the pond. The woods have a spirit, if you can imagine it. The sound of breath across the flute seems to echo this. Later, think of the wind in the tops of trees. "And softly in the reeds drone the dark flutes of autumn" (Georg Trakl).
 
This record was recorded in High Falls, NY, harvested from the surrounding wildlife; there are also creatures I recorded British Columbia; and the booming songs of humpback whales, provided by my father from a trip he took to Rurutu, Polynesia.

The artwork is composed of photographs by Yair Oelbaum, who cuurently has show at Bucholz Gallery. It's the final week, so make the pilgrimage! Mysterious, innefable beauties.

Briefly: this music required a different approach to time – deeper excursions shooting beyond the “miniature trances” of my previous records. It aspires to access and play for the subtle body.

@n0oneh0me 📸
@m_tully for the immaculate design @taylor12k for mastering
@odettahartman for her otherworldly violin playing
@people_teeth for mixing together.

Announcing I Keep My Diamond Necklace in a Pond of Sparkling Water.

I live in a former bungalow colony. Out my window is a pond where Ukrainian-American immigrants once bathed. Next door is a former casino, where there was a trick cigarette machine which entered into a brothel. The view culls up pastoral imaginations – Beethoven’s Sixth, Bruegel’s The Hunters in the Snow, the word "glade."

In the summer, I hear Green frogs and strange, broken sounds of a Bullfrog. I play the Innato multi-chamber flute. It’s as if someone said: carry the clay flute to the edge of the pond. The woods have a spirit, if you can imagine it. The sound of breath across the flute seems to echo this. Later, think of the wind in the tops of trees. "And softly in the reeds drone the dark flutes of autumn" (Georg Trakl).
 
This record was recorded in High Falls, NY, harvested from the surrounding wildlife; there are also creatures I recorded British Columbia; and the booming songs of humpback whales, provided by my father from a trip he took to Rurutu, Polynesia.

The artwork is composed of photographs by Yair Oelbaum, who cuurently has show at Bucholz Gallery. It's the final week, so make the pilgrimage! Mysterious, innefable beauties.

Briefly: this music required a different approach to time – deeper excursions shooting beyond the “miniature trances” of my previous records. It aspires to access and play for the subtle body.

@n0oneh0me 📸
@m_tully for the immaculate design @taylor12k for mastering
@odettahartman for her otherworldly violin playing
@people_teeth for mixing together.

Announcing I Keep My Diamond Necklace in a Pond of Sparkling Water.

I live in a former bungalow colony. Out my window is a pond where Ukrainian-American immigrants once bathed. Next door is a former casino, where there was a trick cigarette machine which entered into a brothel. The view culls up pastoral imaginations – Beethoven’s Sixth, Bruegel’s The Hunters in the Snow, the word "glade."

In the summer, I hear Green frogs and strange, broken sounds of a Bullfrog. I play the Innato multi-chamber flute. It’s as if someone said: carry the clay flute to the edge of the pond. The woods have a spirit, if you can imagine it. The sound of breath across the flute seems to echo this. Later, think of the wind in the tops of trees. "And softly in the reeds drone the dark flutes of autumn" (Georg Trakl).
 
This record was recorded in High Falls, NY, harvested from the surrounding wildlife; there are also creatures I recorded British Columbia; and the booming songs of humpback whales, provided by my father from a trip he took to Rurutu, Polynesia.

The artwork is composed of photographs by Yair Oelbaum, who cuurently has show at Bucholz Gallery. It's the final week, so make the pilgrimage! Mysterious, innefable beauties.

Briefly: this music required a different approach to time – deeper excursions shooting beyond the “miniature trances” of my previous records. It aspires to access and play for the subtle body.

@n0oneh0me 📸
@m_tully for the immaculate design @taylor12k for mastering
@odettahartman for her otherworldly violin playing
@people_teeth for mixing together.

Announcing I Keep My Diamond Necklace in a Pond of Sparkling Water.

I live in a former bungalow colony. Out my window is a pond where Ukrainian-American immigrants once bathed. Next door is a former casino, where there was a trick cigarette machine which entered into a brothel. The view culls up pastoral imaginations – Beethoven’s Sixth, Bruegel’s The Hunters in the Snow, the word "glade."

In the summer, I hear Green frogs and strange, broken sounds of a Bullfrog. I play the Innato multi-chamber flute. It’s as if someone said: carry the clay flute to the edge of the pond. The woods have a spirit, if you can imagine it. The sound of breath across the flute seems to echo this. Later, think of the wind in the tops of trees. "And softly in the reeds drone the dark flutes of autumn" (Georg Trakl).
 
This record was recorded in High Falls, NY, harvested from the surrounding wildlife; there are also creatures I recorded British Columbia; and the booming songs of humpback whales, provided by my father from a trip he took to Rurutu, Polynesia.

The artwork is composed of photographs by Yair Oelbaum, who cuurently has show at Bucholz Gallery. It's the final week, so make the pilgrimage! Mysterious, innefable beauties.

Briefly: this music required a different approach to time – deeper excursions shooting beyond the “miniature trances” of my previous records. It aspires to access and play for the subtle body.

@n0oneh0me 📸
@m_tully for the immaculate design @taylor12k for mastering
@odettahartman for her otherworldly violin playing
@people_teeth for mixing together.

Announcing I Keep My Diamond Necklace in a Pond of Sparkling Water.

I live in a former bungalow colony. Out my window is a pond where Ukrainian-American immigrants once bathed. Next door is a former casino, where there was a trick cigarette machine which entered into a brothel. The view culls up pastoral imaginations – Beethoven’s Sixth, Bruegel’s The Hunters in the Snow, the word "glade."

In the summer, I hear Green frogs and strange, broken sounds of a Bullfrog. I play the Innato multi-chamber flute. It’s as if someone said: carry the clay flute to the edge of the pond. The woods have a spirit, if you can imagine it. The sound of breath across the flute seems to echo this. Later, think of the wind in the tops of trees. "And softly in the reeds drone the dark flutes of autumn" (Georg Trakl).
 
This record was recorded in High Falls, NY, harvested from the surrounding wildlife; there are also creatures I recorded British Columbia; and the booming songs of humpback whales, provided by my father from a trip he took to Rurutu, Polynesia.

The artwork is composed of photographs by Yair Oelbaum, who cuurently has show at Bucholz Gallery. It's the final week, so make the pilgrimage! Mysterious, innefable beauties.

Briefly: this music required a different approach to time – deeper excursions shooting beyond the “miniature trances” of my previous records. It aspires to access and play for the subtle body.

@n0oneh0me 📸
@m_tully for the immaculate design @taylor12k for mastering
@odettahartman for her otherworldly violin playing
@people_teeth for mixing together.

Announcing I Keep My Diamond Necklace in a Pond of Sparkling Water.

I live in a former bungalow colony. Out my window is a pond where Ukrainian-American immigrants once bathed. Next door is a former casino, where there was a trick cigarette machine which entered into a brothel. The view culls up pastoral imaginations – Beethoven’s Sixth, Bruegel’s The Hunters in the Snow, the word "glade."

In the summer, I hear Green frogs and strange, broken sounds of a Bullfrog. I play the Innato multi-chamber flute. It’s as if someone said: carry the clay flute to the edge of the pond. The woods have a spirit, if you can imagine it. The sound of breath across the flute seems to echo this. Later, think of the wind in the tops of trees. "And softly in the reeds drone the dark flutes of autumn" (Georg Trakl).
 
This record was recorded in High Falls, NY, harvested from the surrounding wildlife; there are also creatures I recorded British Columbia; and the booming songs of humpback whales, provided by my father from a trip he took to Rurutu, Polynesia.

The artwork is composed of photographs by Yair Oelbaum, who cuurently has show at Bucholz Gallery. It's the final week, so make the pilgrimage! Mysterious, innefable beauties.

Briefly: this music required a different approach to time – deeper excursions shooting beyond the “miniature trances” of my previous records. It aspires to access and play for the subtle body.

@n0oneh0me 📸
@m_tully for the immaculate design @taylor12k for mastering
@odettahartman for her otherworldly violin playing
@people_teeth for mixing together.

Announcing I Keep My Diamond Necklace in a Pond of Sparkling Water.

I live in a former bungalow colony. Out my window is a pond where Ukrainian-American immigrants once bathed. Next door is a former casino, where there was a trick cigarette machine which entered into a brothel. The view culls up pastoral imaginations – Beethoven’s Sixth, Bruegel’s The Hunters in the Snow, the word "glade."

In the summer, I hear Green frogs and strange, broken sounds of a Bullfrog. I play the Innato multi-chamber flute. It’s as if someone said: carry the clay flute to the edge of the pond. The woods have a spirit, if you can imagine it. The sound of breath across the flute seems to echo this. Later, think of the wind in the tops of trees. "And softly in the reeds drone the dark flutes of autumn" (Georg Trakl).
 
This record was recorded in High Falls, NY, harvested from the surrounding wildlife; there are also creatures I recorded British Columbia; and the booming songs of humpback whales, provided by my father from a trip he took to Rurutu, Polynesia.

The artwork is composed of photographs by Yair Oelbaum, who cuurently has show at Bucholz Gallery. It's the final week, so make the pilgrimage! Mysterious, innefable beauties.

Briefly: this music required a different approach to time – deeper excursions shooting beyond the “miniature trances” of my previous records. It aspires to access and play for the subtle body.

@n0oneh0me 📸
@m_tully for the immaculate design @taylor12k for mastering
@odettahartman for her otherworldly violin playing
@people_teeth for mixing together.

Announcing I Keep My Diamond Necklace in a Pond of Sparkling Water.

I live in a former bungalow colony. Out my window is a pond where Ukrainian-American immigrants once bathed. Next door is a former casino, where there was a trick cigarette machine which entered into a brothel. The view culls up pastoral imaginations – Beethoven’s Sixth, Bruegel’s The Hunters in the Snow, the word "glade."

In the summer, I hear Green frogs and strange, broken sounds of a Bullfrog. I play the Innato multi-chamber flute. It’s as if someone said: carry the clay flute to the edge of the pond. The woods have a spirit, if you can imagine it. The sound of breath across the flute seems to echo this. Later, think of the wind in the tops of trees. "And softly in the reeds drone the dark flutes of autumn" (Georg Trakl).
 
This record was recorded in High Falls, NY, harvested from the surrounding wildlife; there are also creatures I recorded British Columbia; and the booming songs of humpback whales, provided by my father from a trip he took to Rurutu, Polynesia.

The artwork is composed of photographs by Yair Oelbaum, who cuurently has show at Bucholz Gallery. It's the final week, so make the pilgrimage! Mysterious, innefable beauties.

Briefly: this music required a different approach to time – deeper excursions shooting beyond the “miniature trances” of my previous records. It aspires to access and play for the subtle body.

@n0oneh0me 📸
@m_tully for the immaculate design @taylor12k for mastering
@odettahartman for her otherworldly violin playing
@people_teeth for mixing together.

Announcing I Keep My Diamond Necklace in a Pond of Sparkling Water.

I live in a former bungalow colony. Out my window is a pond where Ukrainian-American immigrants once bathed. Next door is a former casino, where there was a trick cigarette machine which entered into a brothel. The view culls up pastoral imaginations – Beethoven’s Sixth, Bruegel’s The Hunters in the Snow, the word "glade."

In the summer, I hear Green frogs and strange, broken sounds of a Bullfrog. I play the Innato multi-chamber flute. It’s as if someone said: carry the clay flute to the edge of the pond. The woods have a spirit, if you can imagine it. The sound of breath across the flute seems to echo this. Later, think of the wind in the tops of trees. "And softly in the reeds drone the dark flutes of autumn" (Georg Trakl).
 
This record was recorded in High Falls, NY, harvested from the surrounding wildlife; there are also creatures I recorded British Columbia; and the booming songs of humpback whales, provided by my father from a trip he took to Rurutu, Polynesia.

The artwork is composed of photographs by Yair Oelbaum, who cuurently has show at Bucholz Gallery. It's the final week, so make the pilgrimage! Mysterious, innefable beauties.

Briefly: this music required a different approach to time – deeper excursions shooting beyond the “miniature trances” of my previous records. It aspires to access and play for the subtle body.

@n0oneh0me 📸
@m_tully for the immaculate design @taylor12k for mastering
@odettahartman for her otherworldly violin playing
@people_teeth for mixing together.

Announcing I Keep My Diamond Necklace in a Pond of Sparkling Water.

I live in a former bungalow colony. Out my window is a pond where Ukrainian-American immigrants once bathed. Next door is a former casino, where there was a trick cigarette machine which entered into a brothel. The view culls up pastoral imaginations – Beethoven’s Sixth, Bruegel’s The Hunters in the Snow, the word "glade."

In the summer, I hear Green frogs and strange, broken sounds of a Bullfrog. I play the Innato multi-chamber flute. It’s as if someone said: carry the clay flute to the edge of the pond. The woods have a spirit, if you can imagine it. The sound of breath across the flute seems to echo this. Later, think of the wind in the tops of trees. "And softly in the reeds drone the dark flutes of autumn" (Georg Trakl).
 
This record was recorded in High Falls, NY, harvested from the surrounding wildlife; there are also creatures I recorded British Columbia; and the booming songs of humpback whales, provided by my father from a trip he took to Rurutu, Polynesia.

The artwork is composed of photographs by Yair Oelbaum, who cuurently has show at Bucholz Gallery. It's the final week, so make the pilgrimage! Mysterious, innefable beauties.

Briefly: this music required a different approach to time – deeper excursions shooting beyond the “miniature trances” of my previous records. It aspires to access and play for the subtle body.

@n0oneh0me 📸
@m_tully for the immaculate design @taylor12k for mastering
@odettahartman for her otherworldly violin playing
@people_teeth for mixing together.

Announcing I Keep My Diamond Necklace in a Pond of Sparkling Water.

I live in a former bungalow colony. Out my window is a pond where Ukrainian-American immigrants once bathed. Next door is a former casino, where there was a trick cigarette machine which entered into a brothel. The view culls up pastoral imaginations – Beethoven’s Sixth, Bruegel’s The Hunters in the Snow, the word "glade."

In the summer, I hear Green frogs and strange, broken sounds of a Bullfrog. I play the Innato multi-chamber flute. It’s as if someone said: carry the clay flute to the edge of the pond. The woods have a spirit, if you can imagine it. The sound of breath across the flute seems to echo this. Later, think of the wind in the tops of trees. "And softly in the reeds drone the dark flutes of autumn" (Georg Trakl).
 
This record was recorded in High Falls, NY, harvested from the surrounding wildlife; there are also creatures I recorded British Columbia; and the booming songs of humpback whales, provided by my father from a trip he took to Rurutu, Polynesia.

The artwork is composed of photographs by Yair Oelbaum, who cuurently has show at Bucholz Gallery. It's the final week, so make the pilgrimage! Mysterious, innefable beauties.

Briefly: this music required a different approach to time – deeper excursions shooting beyond the “miniature trances” of my previous records. It aspires to access and play for the subtle body.

@n0oneh0me 📸
@m_tully for the immaculate design @taylor12k for mastering
@odettahartman for her otherworldly violin playing
@people_teeth for mixing together.

Mixtape "Anglo Raga (Vol. I)"

Streaming on Radio Raheem Milano
2-3pm ET • 6 May

"Anglo Raga" is a term I coined for Western music influenced by Indian musical ideas in the broadest sense. We move beyond familiar touchstones like ‘Within You, Without You’ and map a stranger field of exchange.

Infinite Body - Carve Out The Face Of My God
Camberwell Now - Wheat Futures
lovesliescrushing - virgin blue eyed
Threshold Houseboys Choir - So Young It Knows No Maturing
Christian Marclay - Groove
Rapoon - The Same River Once
Flaming Tunes - Restless Mind
Them - Square Room 
Fred Frith - No Birds
Nico - Janitor of Lunacy, Reims Cathedral, December 13, 1974
Tymon Dogg - Firefishes
Jah Wobble - East
Peter Zummo, Bill Ruyle, Arthur Russell - Song IV

@kyleparkerxxl
@charleshayward_music
@wavertone
@coil_band
#peterchristopherson
#christianmarclay
@rapoon1
#flamingtunes
#them
@ffrith7
@real_jah_wobble
@peterzummo
@wmruyle
@steve.audika
@radioraheem.milano

Mixtape "Passeggiate sublimi di dolore mormorante"

Streaming on Radio Raheem Milano
2-3pm ET • April Fool's Day

SzemzõTibor - Tractatus
Benjamin Britten - Friday Afternoons (Op. 7, Cuckoo)
Irena & Vojtech Havlovi - Unknown
Leven Signs - Sedes Sapientiae
Yōran - Montparnasse
Cora - Come On
duppi - はつねつのみやこ
Kinloch Nelson - Tone Poem
Robbie Basho - Cathedral et fleur de lis (Forli, Italy, 1982)
Idea Fire Company - Cycle 19 (Alt version)
Harley Gaber – The Winds Rise in the North (Part I)

@radioraheem.milano
@szemzo_fodderbasis
#benjaminbritten
#irenavojtechhavlovi
@futura_resistenza
@tompkins_square
#robbiebasho
#ideafirecompany
@harleygaber

@4n_objx 3/29/26 @stereomandrax

Hear more 👉 https://gryphonrue.bandcamp.com

#gryphonrue #electronicmusic #stereomandrax #manhattan #newyork

Shredding with Brandon for the Pintupi artists of the Western Desert of Australia.

Shredding with Brandon for the Pintupi artists of the Western Desert of Australia.

Shredding with Brandon for the Pintupi artists of the Western Desert of Australia.

Shredding with Brandon for the Pintupi artists of the Western Desert of Australia.

Shredding with Brandon for the Pintupi artists of the Western Desert of Australia.

Shredding with Brandon for the Pintupi artists of the Western Desert of Australia.

Introducing Artists as Gardens, a new commission series at Calder Gardens that encourages artists to think of their practice as a garden that changes with the seasons and other natural cycles.

The Artists as Gardens series will launch on Saturday, March 21 with a commissioned concert by musician, composer, and artist Gryphon Rue (@4n_objx). Presented following the spring equinox, the performance unfolds twice—at 5:30pm and again at 7:21pm, at sunset—in the main gallery. Seating is specially arranged throughout the space, with musicians positioned in dialogue with Calder’s works to create an immersive sound environment.

The evening features the world premiere of "Cave Rainbow in Negative Color" (2026), a sound collage for modified tape machine and electronics drawing from field recordings captured locally at Calder Gardens and along the Schuylkill River. The program also includes a new spatialized setting of "Motore Immobile & Ananta" (1978) by Giusto Pio, performed by Gryphon Rue with Julia Den Boer and Odetta Hartman.

Together, these works explore cycles, emergence, memory, and the experience of time—offering a rare opportunity to encounter live contemporary music in direct conversation with Calder’s sculpture.

Choose your time slot and reserve your tickets today ➡ link in bio.

Artists as Gardens: Commission Concert by Gryphon Rue
📅 March 21
🕔 5:30pm & 7:21pm
📍 Calder Gardens

#caldergardens #concert #performance #philly

SUNDAY MARCH 8
Free show with Charmaine Lee & Gryphon Rue!
Foreign & Domestic
4pm
24 Rutgers

Papunya Tula, Meeting Place for all Brothers and Cousins, members of the Pintupi language group and the Papunya Tula Artists collective of the Western Desert of Australia.

Each painting relates to a specific site on the lands inhabited by the Pintupi; each site is associated with a specific Dreaming, or Tjukurrpa. A foundational concept to the cosmology of the Pintupi and wider Aboriginal culture, a Tjukurrpa is both a story and a place, a past and a present, ephemeral and eternal. It is knowledge of how a place came to be, of its ancestors and their descendants, of geology, hydrology, flora and fauna. Custodial rights to a Tjukurrpa - determined by intricate codes of age, gender and genealogy - are equivalent to rights to the land itself. Tjukurrpa is legend become law, law become land, land becoming a people. Tjukurrpa lives in a thick, circular time, a prelapsarian present of ancient stories that arrive where they started.

The Tingarri were the first peoples, mythical ancestors roaming over a featureless and inhospitable country, stopping in particular sites to perform rituals, teaching law and terraforming natural features - clay pans, salt lakes, watering holes, hills and caves - which constitute today’s Country. Tingarri Men were often accompanied by Tingarri Women and novices to whom they imparted the laws and customs of the Country through song cycles, performed and transmitted for tens of thousands of years to the present - their full meanings only revealed to the initiated. Several works in this exhibition depict chapters in the Tingarri Dreaming Cycle. Their work done, the Tingarri disappeared beneath the surface of the earth, where they remain buried to this day.

image: Yalti Napangati, Untitled (Marrapinti Dreaming), 2025

#papunyatula #charmainelee #gryphonrue

SUNDAY MARCH 8
Free show with Charmaine Lee & Gryphon Rue!
Foreign & Domestic
4pm
24 Rutgers

Papunya Tula, Meeting Place for all Brothers and Cousins, members of the Pintupi language group and the Papunya Tula Artists collective of the Western Desert of Australia.

Each painting relates to a specific site on the lands inhabited by the Pintupi; each site is associated with a specific Dreaming, or Tjukurrpa. A foundational concept to the cosmology of the Pintupi and wider Aboriginal culture, a Tjukurrpa is both a story and a place, a past and a present, ephemeral and eternal. It is knowledge of how a place came to be, of its ancestors and their descendants, of geology, hydrology, flora and fauna. Custodial rights to a Tjukurrpa - determined by intricate codes of age, gender and genealogy - are equivalent to rights to the land itself. Tjukurrpa is legend become law, law become land, land becoming a people. Tjukurrpa lives in a thick, circular time, a prelapsarian present of ancient stories that arrive where they started.

The Tingarri were the first peoples, mythical ancestors roaming over a featureless and inhospitable country, stopping in particular sites to perform rituals, teaching law and terraforming natural features - clay pans, salt lakes, watering holes, hills and caves - which constitute today’s Country. Tingarri Men were often accompanied by Tingarri Women and novices to whom they imparted the laws and customs of the Country through song cycles, performed and transmitted for tens of thousands of years to the present - their full meanings only revealed to the initiated. Several works in this exhibition depict chapters in the Tingarri Dreaming Cycle. Their work done, the Tingarri disappeared beneath the surface of the earth, where they remain buried to this day.

image: Yalti Napangati, Untitled (Marrapinti Dreaming), 2025

#papunyatula #charmainelee #gryphonrue

SUNDAY MARCH 8
Free show with Charmaine Lee & Gryphon Rue!
Foreign & Domestic
4pm
24 Rutgers

Papunya Tula, Meeting Place for all Brothers and Cousins, members of the Pintupi language group and the Papunya Tula Artists collective of the Western Desert of Australia.

Each painting relates to a specific site on the lands inhabited by the Pintupi; each site is associated with a specific Dreaming, or Tjukurrpa. A foundational concept to the cosmology of the Pintupi and wider Aboriginal culture, a Tjukurrpa is both a story and a place, a past and a present, ephemeral and eternal. It is knowledge of how a place came to be, of its ancestors and their descendants, of geology, hydrology, flora and fauna. Custodial rights to a Tjukurrpa - determined by intricate codes of age, gender and genealogy - are equivalent to rights to the land itself. Tjukurrpa is legend become law, law become land, land becoming a people. Tjukurrpa lives in a thick, circular time, a prelapsarian present of ancient stories that arrive where they started.

The Tingarri were the first peoples, mythical ancestors roaming over a featureless and inhospitable country, stopping in particular sites to perform rituals, teaching law and terraforming natural features - clay pans, salt lakes, watering holes, hills and caves - which constitute today’s Country. Tingarri Men were often accompanied by Tingarri Women and novices to whom they imparted the laws and customs of the Country through song cycles, performed and transmitted for tens of thousands of years to the present - their full meanings only revealed to the initiated. Several works in this exhibition depict chapters in the Tingarri Dreaming Cycle. Their work done, the Tingarri disappeared beneath the surface of the earth, where they remain buried to this day.

image: Yalti Napangati, Untitled (Marrapinti Dreaming), 2025

#papunyatula #charmainelee #gryphonrue

SUNDAY MARCH 8
Free show with Charmaine Lee & Gryphon Rue!
Foreign & Domestic
4pm
24 Rutgers

Papunya Tula, Meeting Place for all Brothers and Cousins, members of the Pintupi language group and the Papunya Tula Artists collective of the Western Desert of Australia.

Each painting relates to a specific site on the lands inhabited by the Pintupi; each site is associated with a specific Dreaming, or Tjukurrpa. A foundational concept to the cosmology of the Pintupi and wider Aboriginal culture, a Tjukurrpa is both a story and a place, a past and a present, ephemeral and eternal. It is knowledge of how a place came to be, of its ancestors and their descendants, of geology, hydrology, flora and fauna. Custodial rights to a Tjukurrpa - determined by intricate codes of age, gender and genealogy - are equivalent to rights to the land itself. Tjukurrpa is legend become law, law become land, land becoming a people. Tjukurrpa lives in a thick, circular time, a prelapsarian present of ancient stories that arrive where they started.

The Tingarri were the first peoples, mythical ancestors roaming over a featureless and inhospitable country, stopping in particular sites to perform rituals, teaching law and terraforming natural features - clay pans, salt lakes, watering holes, hills and caves - which constitute today’s Country. Tingarri Men were often accompanied by Tingarri Women and novices to whom they imparted the laws and customs of the Country through song cycles, performed and transmitted for tens of thousands of years to the present - their full meanings only revealed to the initiated. Several works in this exhibition depict chapters in the Tingarri Dreaming Cycle. Their work done, the Tingarri disappeared beneath the surface of the earth, where they remain buried to this day.

image: Yalti Napangati, Untitled (Marrapinti Dreaming), 2025

#papunyatula #charmainelee #gryphonrue

Playing with Brandon Lopez at Foreign & Domestic Gallery. Sunday Feb 8, 4pm start. That's where an owl landed to catch her prey. @bantlopez @foreigndomestic 24 Rutgers St.

Playing with Brandon Lopez at Foreign & Domestic Gallery. Sunday Feb 8, 4pm start. That's where an owl landed to catch her prey. @bantlopez @foreigndomestic 24 Rutgers St.

@4n_objx (saw, electronics, bell) & Sean Meehan (snare drum) 1/12/26 @striped_light

Hear more Gryphon 👉 https://gryphonrue.bandcamp.com

Hwar more Sean 👉 https://seanmeehan.bandcamp.com

#gryphonrue #electronics #seanmeehan #snaredrum #stripedlight

MONDAY JAN 12TH
DOORS 7:30 SHOW 8:00PM
$15

C Spencer Yeh & Kwami Winfield
Gryphon Rue & Sean Meehan
Shoko Nagai & David Watson

DM for address, LIC near 39TH Ave stop.

C. Spencer Yeh and Kwami Winfield (violin, voice, trumpet and electronics) have been working as a duo since late 2021 when there was an immediate mutual decision to formalize the duo as an established unit, developing and pursuing a dynamic improvisational collaboration beyond the conceptual and instrumental associations of their respective practices.

Gryphon Rue is an artist, composer, and musician. He shapes abstract pieces from electroacoustic textures and field recordings, blurring the line between the natural and the digitally transformed. Frequently he draws directly from processes found in nature – feedback, cycles, emergence, and systemic interaction – using environmental recordings and processed acoustic instruments to emulate organic patterns and phenomena. He will be performing with Sean Meehan, well known for playing a kit often consisting of a single snare drum and cymbal. Meehan creates sounds that range from the subtle friction of a fork rubbing against a drum, to long tones that can seem electronically generated.

Shoko Nagai improvises and performs with world-renowned musicians on piano, accordion and synths. She composes original scores for films and live performances. As a teenager in Japan, Nagai was trained on Yamaha's electronic organ, the "Electone," to perform popular music. Since moving to the U.S. from Japan she has adapted her mastery of the keyboard to prepared piano, accordions, and other keyboard instruments. he will be performing with David Watson on guitar (and maybe) bagpipes. Recently he's performed at Roulette with Lee Ranaldo and Brian Chase, at Lava with Sean Meehan and Cleek Schrey, and completed recordings with Bill Nace and Judith Hamman.

MONDAY JAN 12TH
DOORS 7:30 SHOW 8:00PM
$15

C Spencer Yeh & Kwami Winfield
Gryphon Rue & Sean Meehan
Shoko Nagai & David Watson

DM for address, LIC near 39TH Ave stop.

C. Spencer Yeh and Kwami Winfield (violin, voice, trumpet and electronics) have been working as a duo since late 2021 when there was an immediate mutual decision to formalize the duo as an established unit, developing and pursuing a dynamic improvisational collaboration beyond the conceptual and instrumental associations of their respective practices.

Gryphon Rue is an artist, composer, and musician. He shapes abstract pieces from electroacoustic textures and field recordings, blurring the line between the natural and the digitally transformed. Frequently he draws directly from processes found in nature – feedback, cycles, emergence, and systemic interaction – using environmental recordings and processed acoustic instruments to emulate organic patterns and phenomena. He will be performing with Sean Meehan, well known for playing a kit often consisting of a single snare drum and cymbal. Meehan creates sounds that range from the subtle friction of a fork rubbing against a drum, to long tones that can seem electronically generated.

Shoko Nagai improvises and performs with world-renowned musicians on piano, accordion and synths. She composes original scores for films and live performances. As a teenager in Japan, Nagai was trained on Yamaha's electronic organ, the "Electone," to perform popular music. Since moving to the U.S. from Japan she has adapted her mastery of the keyboard to prepared piano, accordions, and other keyboard instruments. he will be performing with David Watson on guitar (and maybe) bagpipes. Recently he's performed at Roulette with Lee Ranaldo and Brian Chase, at Lava with Sean Meehan and Cleek Schrey, and completed recordings with Bill Nace and Judith Hamman.

MONDAY JAN 12TH
DOORS 7:30 SHOW 8:00PM
$15

C Spencer Yeh & Kwami Winfield
Gryphon Rue & Sean Meehan
Shoko Nagai & David Watson

DM for address, LIC near 39TH Ave stop.

C. Spencer Yeh and Kwami Winfield (violin, voice, trumpet and electronics) have been working as a duo since late 2021 when there was an immediate mutual decision to formalize the duo as an established unit, developing and pursuing a dynamic improvisational collaboration beyond the conceptual and instrumental associations of their respective practices.

Gryphon Rue is an artist, composer, and musician. He shapes abstract pieces from electroacoustic textures and field recordings, blurring the line between the natural and the digitally transformed. Frequently he draws directly from processes found in nature – feedback, cycles, emergence, and systemic interaction – using environmental recordings and processed acoustic instruments to emulate organic patterns and phenomena. He will be performing with Sean Meehan, well known for playing a kit often consisting of a single snare drum and cymbal. Meehan creates sounds that range from the subtle friction of a fork rubbing against a drum, to long tones that can seem electronically generated.

Shoko Nagai improvises and performs with world-renowned musicians on piano, accordion and synths. She composes original scores for films and live performances. As a teenager in Japan, Nagai was trained on Yamaha's electronic organ, the "Electone," to perform popular music. Since moving to the U.S. from Japan she has adapted her mastery of the keyboard to prepared piano, accordions, and other keyboard instruments. he will be performing with David Watson on guitar (and maybe) bagpipes. Recently he's performed at Roulette with Lee Ranaldo and Brian Chase, at Lava with Sean Meehan and Cleek Schrey, and completed recordings with Bill Nace and Judith Hamman.

MONDAY JAN 12TH
DOORS 7:30 SHOW 8:00PM
$15

C Spencer Yeh & Kwami Winfield
Gryphon Rue & Sean Meehan
Shoko Nagai & David Watson

DM for address, LIC near 39TH Ave stop.

C. Spencer Yeh and Kwami Winfield (violin, voice, trumpet and electronics) have been working as a duo since late 2021 when there was an immediate mutual decision to formalize the duo as an established unit, developing and pursuing a dynamic improvisational collaboration beyond the conceptual and instrumental associations of their respective practices.

Gryphon Rue is an artist, composer, and musician. He shapes abstract pieces from electroacoustic textures and field recordings, blurring the line between the natural and the digitally transformed. Frequently he draws directly from processes found in nature – feedback, cycles, emergence, and systemic interaction – using environmental recordings and processed acoustic instruments to emulate organic patterns and phenomena. He will be performing with Sean Meehan, well known for playing a kit often consisting of a single snare drum and cymbal. Meehan creates sounds that range from the subtle friction of a fork rubbing against a drum, to long tones that can seem electronically generated.

Shoko Nagai improvises and performs with world-renowned musicians on piano, accordion and synths. She composes original scores for films and live performances. As a teenager in Japan, Nagai was trained on Yamaha's electronic organ, the "Electone," to perform popular music. Since moving to the U.S. from Japan she has adapted her mastery of the keyboard to prepared piano, accordions, and other keyboard instruments. he will be performing with David Watson on guitar (and maybe) bagpipes. Recently he's performed at Roulette with Lee Ranaldo and Brian Chase, at Lava with Sean Meehan and Cleek Schrey, and completed recordings with Bill Nace and Judith Hamman.

MONDAY JAN 12TH
DOORS 7:30 SHOW 8:00PM
$15

C Spencer Yeh & Kwami Winfield
Gryphon Rue & Sean Meehan
Shoko Nagai & David Watson

DM for address, LIC near 39TH Ave stop.

C. Spencer Yeh and Kwami Winfield (violin, voice, trumpet and electronics) have been working as a duo since late 2021 when there was an immediate mutual decision to formalize the duo as an established unit, developing and pursuing a dynamic improvisational collaboration beyond the conceptual and instrumental associations of their respective practices.

Gryphon Rue is an artist, composer, and musician. He shapes abstract pieces from electroacoustic textures and field recordings, blurring the line between the natural and the digitally transformed. Frequently he draws directly from processes found in nature – feedback, cycles, emergence, and systemic interaction – using environmental recordings and processed acoustic instruments to emulate organic patterns and phenomena. He will be performing with Sean Meehan, well known for playing a kit often consisting of a single snare drum and cymbal. Meehan creates sounds that range from the subtle friction of a fork rubbing against a drum, to long tones that can seem electronically generated.

Shoko Nagai improvises and performs with world-renowned musicians on piano, accordion and synths. She composes original scores for films and live performances. As a teenager in Japan, Nagai was trained on Yamaha's electronic organ, the "Electone," to perform popular music. Since moving to the U.S. from Japan she has adapted her mastery of the keyboard to prepared piano, accordions, and other keyboard instruments. he will be performing with David Watson on guitar (and maybe) bagpipes. Recently he's performed at Roulette with Lee Ranaldo and Brian Chase, at Lava with Sean Meehan and Cleek Schrey, and completed recordings with Bill Nace and Judith Hamman.

MONDAY JAN 12TH
DOORS 7:30 SHOW 8:00PM
$15

C Spencer Yeh & Kwami Winfield
Gryphon Rue & Sean Meehan
Shoko Nagai & David Watson

DM for address, LIC near 39TH Ave stop.

C. Spencer Yeh and Kwami Winfield (violin, voice, trumpet and electronics) have been working as a duo since late 2021 when there was an immediate mutual decision to formalize the duo as an established unit, developing and pursuing a dynamic improvisational collaboration beyond the conceptual and instrumental associations of their respective practices.

Gryphon Rue is an artist, composer, and musician. He shapes abstract pieces from electroacoustic textures and field recordings, blurring the line between the natural and the digitally transformed. Frequently he draws directly from processes found in nature – feedback, cycles, emergence, and systemic interaction – using environmental recordings and processed acoustic instruments to emulate organic patterns and phenomena. He will be performing with Sean Meehan, well known for playing a kit often consisting of a single snare drum and cymbal. Meehan creates sounds that range from the subtle friction of a fork rubbing against a drum, to long tones that can seem electronically generated.

Shoko Nagai improvises and performs with world-renowned musicians on piano, accordion and synths. She composes original scores for films and live performances. As a teenager in Japan, Nagai was trained on Yamaha's electronic organ, the "Electone," to perform popular music. Since moving to the U.S. from Japan she has adapted her mastery of the keyboard to prepared piano, accordions, and other keyboard instruments. he will be performing with David Watson on guitar (and maybe) bagpipes. Recently he's performed at Roulette with Lee Ranaldo and Brian Chase, at Lava with Sean Meehan and Cleek Schrey, and completed recordings with Bill Nace and Judith Hamman.

MONDAY JAN 12TH
DOORS 7:30 SHOW 8:00PM
$15

C Spencer Yeh & Kwami Winfield
Gryphon Rue & Sean Meehan
Shoko Nagai & David Watson

DM for address, LIC near 39TH Ave stop.

C. Spencer Yeh and Kwami Winfield (violin, voice, trumpet and electronics) have been working as a duo since late 2021 when there was an immediate mutual decision to formalize the duo as an established unit, developing and pursuing a dynamic improvisational collaboration beyond the conceptual and instrumental associations of their respective practices.

Gryphon Rue is an artist, composer, and musician. He shapes abstract pieces from electroacoustic textures and field recordings, blurring the line between the natural and the digitally transformed. Frequently he draws directly from processes found in nature – feedback, cycles, emergence, and systemic interaction – using environmental recordings and processed acoustic instruments to emulate organic patterns and phenomena. He will be performing with Sean Meehan, well known for playing a kit often consisting of a single snare drum and cymbal. Meehan creates sounds that range from the subtle friction of a fork rubbing against a drum, to long tones that can seem electronically generated.

Shoko Nagai improvises and performs with world-renowned musicians on piano, accordion and synths. She composes original scores for films and live performances. As a teenager in Japan, Nagai was trained on Yamaha's electronic organ, the "Electone," to perform popular music. Since moving to the U.S. from Japan she has adapted her mastery of the keyboard to prepared piano, accordions, and other keyboard instruments. he will be performing with David Watson on guitar (and maybe) bagpipes. Recently he's performed at Roulette with Lee Ranaldo and Brian Chase, at Lava with Sean Meehan and Cleek Schrey, and completed recordings with Bill Nace and Judith Hamman.

The Colloquium for Unpopular Culture presents

THE CONDENSATION OF SONIC PATTERN IN BELLINI'S ST. FRANCIS in ECSTASY

Saturday 6 December 2025, 2:45pm
Ear Up (above the Ear Inn Bar), 326 Spring Street
Free and open to the public.

Giovanni Bellini's St. Francis in Ecstasy at the Frick - alternately titled St. Francis in the Desert, St. Francis in the Wilderness, or St. Francis Receiving the Stigmata - presents an ambiguous scenario that has invited interpretation for more than five centuries. Francis, the patron saint of ecology, animals, and the composer of The Canticle of the Sun, stands in Bellini's painting as the embodiment of receptiveness. What role does sound play in Bellini's vision of Francis's animate world? How might we amplify the carrier wave of divine exaltation? And how might we attend to the frozen sound of a silent painting?

SPECIAL THANKS: Rip Hayman & Sukhdev Sandhu

---

THE COLLOQUIUM FOR UNPOPULAR CULTURE (est. 2007): falling and laughing....
@colloquium_unpopular_culture
---

QUERIES: ss162@nyu.edu

The Colloquium for Unpopular Culture presents

THE CONDENSATION OF SONIC PATTERN IN BELLINI'S ST. FRANCIS in ECSTASY

Saturday 6 December 2025, 2:45pm
Ear Up (above the Ear Inn Bar), 326 Spring Street
Free and open to the public.

Giovanni Bellini's St. Francis in Ecstasy at the Frick - alternately titled St. Francis in the Desert, St. Francis in the Wilderness, or St. Francis Receiving the Stigmata - presents an ambiguous scenario that has invited interpretation for more than five centuries. Francis, the patron saint of ecology, animals, and the composer of The Canticle of the Sun, stands in Bellini's painting as the embodiment of receptiveness. What role does sound play in Bellini's vision of Francis's animate world? How might we amplify the carrier wave of divine exaltation? And how might we attend to the frozen sound of a silent painting?

SPECIAL THANKS: Rip Hayman & Sukhdev Sandhu

---

THE COLLOQUIUM FOR UNPOPULAR CULTURE (est. 2007): falling and laughing....
@colloquium_unpopular_culture
---

QUERIES: ss162@nyu.edu

The Colloquium for Unpopular Culture presents

THE CONDENSATION OF SONIC PATTERN IN BELLINI'S ST. FRANCIS in ECSTASY

Saturday 6 December 2025, 2:45pm
Ear Up (above the Ear Inn Bar), 326 Spring Street
Free and open to the public.

Giovanni Bellini's St. Francis in Ecstasy at the Frick - alternately titled St. Francis in the Desert, St. Francis in the Wilderness, or St. Francis Receiving the Stigmata - presents an ambiguous scenario that has invited interpretation for more than five centuries. Francis, the patron saint of ecology, animals, and the composer of The Canticle of the Sun, stands in Bellini's painting as the embodiment of receptiveness. What role does sound play in Bellini's vision of Francis's animate world? How might we amplify the carrier wave of divine exaltation? And how might we attend to the frozen sound of a silent painting?

SPECIAL THANKS: Rip Hayman & Sukhdev Sandhu

---

THE COLLOQUIUM FOR UNPOPULAR CULTURE (est. 2007): falling and laughing....
@colloquium_unpopular_culture
---

QUERIES: ss162@nyu.edu

The Colloquium for Unpopular Culture presents

THE CONDENSATION OF SONIC PATTERN IN BELLINI'S ST. FRANCIS in ECSTASY

Saturday 6 December 2025, 2:45pm
Ear Up (above the Ear Inn Bar), 326 Spring Street
Free and open to the public.

Giovanni Bellini's St. Francis in Ecstasy at the Frick - alternately titled St. Francis in the Desert, St. Francis in the Wilderness, or St. Francis Receiving the Stigmata - presents an ambiguous scenario that has invited interpretation for more than five centuries. Francis, the patron saint of ecology, animals, and the composer of The Canticle of the Sun, stands in Bellini's painting as the embodiment of receptiveness. What role does sound play in Bellini's vision of Francis's animate world? How might we amplify the carrier wave of divine exaltation? And how might we attend to the frozen sound of a silent painting?

SPECIAL THANKS: Rip Hayman & Sukhdev Sandhu

---

THE COLLOQUIUM FOR UNPOPULAR CULTURE (est. 2007): falling and laughing....
@colloquium_unpopular_culture
---

QUERIES: ss162@nyu.edu

The Colloquium for Unpopular Culture presents

THE CONDENSATION OF SONIC PATTERN IN BELLINI'S ST. FRANCIS in ECSTASY

Saturday 6 December 2025, 2:45pm
Ear Up (above the Ear Inn Bar), 326 Spring Street
Free and open to the public.

Giovanni Bellini's St. Francis in Ecstasy at the Frick - alternately titled St. Francis in the Desert, St. Francis in the Wilderness, or St. Francis Receiving the Stigmata - presents an ambiguous scenario that has invited interpretation for more than five centuries. Francis, the patron saint of ecology, animals, and the composer of The Canticle of the Sun, stands in Bellini's painting as the embodiment of receptiveness. What role does sound play in Bellini's vision of Francis's animate world? How might we amplify the carrier wave of divine exaltation? And how might we attend to the frozen sound of a silent painting?

SPECIAL THANKS: Rip Hayman & Sukhdev Sandhu

---

THE COLLOQUIUM FOR UNPOPULAR CULTURE (est. 2007): falling and laughing....
@colloquium_unpopular_culture
---

QUERIES: ss162@nyu.edu