In progress. An archive of JEA's artistic efforts since 2002.
LIMITS is a Seattle-based interdisciplinary-performance art hybrid collaboration created by choreographer/dancer Corrie Befort and sound artist/musician Jason E Anderson. The duo draws upon their shared history and involvement with improvisation, film/video art, installation, and activities within the realm of experimental performance. LIMITS uses music venues, art galleries, site-specific and re-purposed locations as platforms to perform scored improvisations intended to generate scenarios that become the basis for new, iterative works of film, installations, audio recordings, and large-scale performances. Employing conceptual, abstract, and narrative methodologies, their efforts investigate psychological experiences of time, perception and memory.
Spare Death Icon, 2009-Present
Spare Death Icon recalls b-movie action and horror soundtracks, offset by influences from early 80's underground tape music and atmospheric ambient music. Borrowing from the sequenced music of early John Carpenter films, Anderson employs "dated" synthesizers and drum machines to craft a sound that's been referred to as "zombied darkwave". Anderson uses SDI as his primary vehicle to explore fictional time and non-linear time, weaving themes of time travel and imagined futureworld narratives with repetitive patterns and motionless void space. SDI has released four works to date, each recorded to tape.
Brother Raven, 2008-Present
Brother Raven is a PNW-based duo that creates experimental music through improvisations with synthesizers, tape and effects. Brother Raven has released six audio cassettes and two LPs for labels Gift Tapes, Digitalis, Taped Sounds and Aguirre Records.
Salt Horse, 2006-2015
Salt Horse is a dance, sound, visual-theater performance company created by dancers Beth Graczyk and Corrie Befort and musicians Angelina Baldoz and Jason E Anderson. Salt Horse creates visually rich, sensation-based works that illuminate the quiet, unseen, or hidden aspects of nature and the human experience. The company members rigorously merge improvisation and composition to create arresting narratives that weave between the literal and the abstract.
Initially, the group began in Seattle as a quartet, which included myself, and arose from the various dance/music performances we produced from 2005-2006. In March of 2014, I joined them for their piece Color Field, and have since particpated in their happenings, including a residency/performance ALLRISE: In Situ and a performance/artist-facilitated experience of Ann Hamilton's the common S E N S E at the Henry Art Gallery. The group currently has members living in Seattle and NYC.
12 Hour Play, 2003-2014
12 Hour Play is a non-stop, twelve-hour performance series that investigates the creative potential of durational music and dance improvisation. Performers collectively navigate their experience of time and space to remain present throughout the entire length of the performance. This process presents the challenges of physical exhaustion and extended mental focus, which push the performers into new artistic territory. 12 Hour Play challenges standard paradigms of duration, improvisation and collaboration, while offering a unique setting for audience members to engage with the performance. The audience may observe the event at any point during the twelve hours, and stay for as long as they like. This flexibility mirrors the performers' process of improvised collaboration. Both performers and audience create their own experience of time and relations between bodies, space and sound.
12 Hour Play is a performance series produced by dancer Beth Graczyk and musician Jason E Anderson. Between the years of 2005-2006 we produced three events, working with a closely knit group of dancers and musicians specializing in improvised performances. 12 Hour Play was initially conceived by Adam Diller and Jason E Anderson in 2003 to present durational music improvisation; together they produced two events.
See Video documentation of September 23, 2006 performance at The Center on Contemporary Art, Seattle WA.
Variable Time Percepts and the Approaching Vanishing Point, 2012
Installation work examining the objective and subjective perception of time.
"The Phantom Words Of Explicit Memory" b/w "I Can't Find My Body", 2013
Second split release with Matt Carlson. My piece was an edited modular synth track that includes an interlude that riffs on the Diana Deutsch's concept of Phantom Words to highlight the notion of Explicit Memory through the repetition of a previously heard musical passage.
Disassociative Synthesis, 2012
First split release with Matt Carlson. Also my first iteration of series of works titled Disintegration Tracks (title etched into LP). "Disintegration Tracks: Phase 1 uses artistic inquiry to explore the relationship between the commonly used and accepted phrase "The whole is greater than the sum of its parts" and its opposing mathematical statement "The whole is equal to the sum of its parts". Using the idea of disintegration as a conceptual framework from which to examine these ideas, the work aims to deconstruct both "the whole" and "the parts" and materialize the inherent link between the two concepts. These recordings utilize phasing and FM synthesis to induce psychoacoustic phenomena, to engulf the listener in an illusory space using dueling sequences and semi-random operations. The work was created on an analog modular, sequenced by an SH-101 and Kawai R-100 drum machine, recorded and edited in Pro Tools under a set of limitations that included no effects, no more than 4 tracks at once, and simple editing. Disintegration Tracks: Phase I is the first iteration of a series of works derived from this initial recording."
Harpoon Pole Vault, 2009-2011
Solo synthesizer project. Performed live solo shows under this name for a couple years and released for works, each recorded to tape, released on tape.
2 Hands on Knobs, 2009-2010
Solo synthesizer experiments recorded to tape. Released four works on cassette.
Progression Series, 2007
Recorded between the years of 2001 and 2005, the series documented early solo work within the spectrum of sound art, improvisation and experimental music. Concept was to release a compilation of recordings that connected disparate tracks to artistic growth in relation to technology. Released on 3 CDRs for Make Jet Silent called TAPE, SAMPLER, and COMPUTER
Collaboration with Cristin Miller performing vocals. I performed using guitar and computer. We played 3 shows together.
Duo with Adam Diller, experimenting with synthesizers, laptops, guitar, drum machines and vocals, while playing with different genres of music that came out as a really odd take on pop music. We released one EP entitled 'from bird to bee to beast' on Make Jet Silent and played two shows.
Black Lodge, 2003-2005
Duo noise project with saxophonist Gregory Reynolds. Created ecstatic musical spaces through amplification. Reynolds would play through effects and I would either process his signal in real time through a computer or play guitar/computer.
White Lodge, 2003-2005
Alter-ego duo project of Black Lodge that explored quieter impovised spaces with saxophonist Gregory Reynolds.
BNSF formed in 2003 and began building music through improvisations. The result was a heavy mix of free jazz, noise and concrete. The group played festivals, galleries, and clubs, parking lots, train yards, under highways, and on busy street corners. These activities also lead to performance/installations at Polestar Music Gallery, On the Boards and a 3-day collaborative installation with students from Nova High School (with help from funding provided by The Mayors Office of Arts and Cultural Affairs, City of Seattle). "Inspired by natural cycles of texture and repetition, BNSF creates music with an organic momentum. Building music from the melodic noise and polyrhythms of industrial activity, BNSF exists between aleatory structure and song form, music and noise. Adam Diller, Jason E Anderson, and Matt Crane met through their involvement withOpen Music Workshop, an offshoot of the recent explosion in Seattle's Improvised Music scene. A sense of purpose was established during the first improvisations of the trio, spurring the formation of BNSF. Meeting at their practice space near a train junction in downtown Seattle, they realized the importance of the environment's influence on their music. Drawing on their surroundings, BNSF took their name from a passing train car. They began experimenting by playing in construction zones, under a highway overpass, through a huge metal tube in a shop yard, and next to unloading freight trains. BNSF (self-titled) was released as Volume 6 of Locust Music's Object Series." (Original bio.)
Short-lived improvised music collaboration with pianist Gust Burns.
Improvised duo with Annie Lewandowski on Accordion. I played guitar and computer.
Series of early four track sound works and visual experiments, distributed as weekly episodes.
Open Music Workshop, 2002-2005
Open Music Workshop was a collective of musicians that worked together to promote experimental and improvised music through workshops and performances. Members included Adam Diller, Gust Burns, Cristin Miller, Annie Lewandowski, Matt Crane, Gregory Reynolds, Tom Swafford and myself. OMW eventually became a Washington State non-profit. I was heavily involved with event promotion, website design and maintenance, live sound, AV and documenting performances. I was awarded a grant in 2004 for presenting a 3-day festival called OMW Presents that showcased some of the music coming out of the collective (Adam Diller wrote the grant).
Switch builds experimental musical spaces from electronic and acoustic sound. Switch uses loosely structured compositions that provide the group's musical direction, while drawing on each individual's own musical creativity. The outcome is often dynamic, repetitive and minimal music that varies in mood, length, and density. Switch was Gregory Reynolds, Cristin Miller, Gust burns, Angelina Baldoz, Annie Lewandowski and Jason E Anderson.
Early project with Shawn Balm, who introduced me to Ableton Live when it first came out after I had just received my first computer. We recorded some improvisations of digitally manipulated samples and played one performance (with Rose Knudsen performing live video).