Jorge Boehringer is a composer, sound artist, performer, writer and educator. His work explores interactions between process, form, and perception. Utilizing a protean platform for experimentation and presentation, Boehringer creates works that take the form of installations, performances, recordings, texts, three-dimensional objects, and visual phenomena. Often modeled after environmental processes and structures, Boehringer’s work offers an experience of reality presented as a textural field. “Multiple systems of events, appearing and disappearing, and evolving at their own rates… apprehended from a single point of attention to immersion in the multiplicity, and back.“
Boehringer’s works often harness materials involved in their own processes of growth or entropy. Such continua are framed and allowed to play out across the form of the works. Morphological processes such as folding, aggregation, growth, decay, mutation, and interruption form the middle-ground structures of his work and connect the materials to the form of the overall piece itself. Boehringer is fond of situations in which the parts of things -to the extent that there are parts- often have a great deal of independence. Lately, a lot of his music has possessed multiple internal clocks, which then speed up or run down, at their own rates.
Recent works include Descent from the High Arches and the Bog Chorus (2016) a 22 minute quartet for wood blocks and sine waves; Unnatural Habitats, (2016) a 30 minute composition for computer and performer;In Warmer Seasons (2016) a 10 minute composition for tracensemble (soprano, flute, and guitar); Unnatural Processes (2015) a 22 minute composition for RHEA (computer-controlled robot piano) and human performer; three new sound installations for Discrete Positions (2015) a group show at UnnaWay Gallery, Huddersfield, and Fish Poems, a solo exhibition of four new interactive audiovisual installations at Titanik Galerie, Finland.
Boehringer often performs solo works as Core of the Coalman. This solo project is at once an open sketchbook, and a collection of compositions perpetually in a state of evolution. Core of the Coalman can be characterized as continuity and discontinuity for viola, voice, and circuits on the border between stability and chaos. At times explosive in texture, Core of the Coalman emphasizes the physicality of sound in its synesthetic relationships between ear, mind, and environment, with the aim of hearing oneself hearing.
Boehringer recieved a masters degree from Mills College in Oakland, California. At Mills, he worked in the Center for Contemporary Music and studied with Pauline Oliveros, Alvin Curran, and Fred Frith,. He also participated in extended workshops and research with Marianne Amacher, Paul Demarinis, Gordon Mumma, and Allan Kaprow. He is currently a postgraduate researcher working at the Center for Research in New Music at the University of Huddersfield, where his PhD is being supervised by Bryn Harrison, and he currently studies with Harrison and Peter Ablinger.
(photo below courtesy of Tiffany Black)
(a selection of ensemble compositions,
singing, breathing, and making sounds
in imitation of the wind
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