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Luke Martin is an experimental composer, performer, and poet currently living in Boston, MA. His work focuses on the concepts of silence, blandness, and community and is primarily interested in exploring limits of perception.
Some (current) artistic concerns include: composition as engagement in process(es); composition as perception / attention; being in the world; consideration of performance / composition from a point of silence or doing nothing; critiquing the self-desire to do something (more); listening; field recording; composition as fundamentally social; sound as always happening; sound as incidental / by-product of (other) processes; how we engage in pre-determined or taken-for-granted processes constantly; also, constant creation of (new) processes or compositions by everyone/thing everywhere; layering of communal activity located on the edges or outside of perception; meeting / communicating / seeing / listening / being in a fog; silence as fog; silence as being in the world; position of relationality between subject and object; being bored or engaging with boredom as being in the world / being creative; potential.
Recently inspired by David Dunn's notations for listening and Lasse Thoresen's spectromorphological analysis of electronic music and sound, Luke is developing a notation for the performance and analysis of silence (i.e., incidental sounds, contingency), which is put into practice in several of his more recent pieces. This is one of the (more formal) methods with which he is researching and trying to understand silence. The most recent version (#11) of silence notation can be found here.
Luke has been influenced by the work of Samuel Beckett, John Cage, Joseph Beuys, Morton Feldman, Peter Ablinger, Deleuze and Guattari, the Wandelweiser Group, Gertrude Stein, and others. Luke performs (and has performed) with various groups on no-input mixer, guitar, objects, and other various odds-and-ends including sinecure (Andy Young, Ben Levinson, Isaac Aronson), Variant State (Michael Rosenstein, Howard Martin, Jesse Collins, Chris Johnson), DogStar Orchestra (large ensemble of experimental musicians / festival of experimental music in LA), Ordinary Affects (experimental music ensemble; Morgan Evans-Weiler, Laura Cetilia, James Falzone), The Readers Chorus LA (a reading group led by Sara Roberts and Jordan Biren), and others. He has an M.F.A. in music composition from California Institute of the Arts, where he studied with Michael Pisaro, and a B.A. in English and Music from Colby College (magna cum laude, honors in music composition/theory).
Having recently relocated from Los Angeles to Boston in the summer of 2016, Luke spends his time composing, performing, writing, and working as the grant writer for Monday Evening Concerts (Los Angeles, CA) and The Center for Advanced Musical Studies at Chosen Vale (Hanover, NH), in addition to being the operational assistant for Boston-based experimental music organization Non-Event (Boston, MA) and an associate producer at the Ojai Music Festival (Ojai, CA). He co-directs, with Aaron Foster Bresley, an experimental music festival in Boston (in collaboration with Non-Event and Washington Street Art Center): the co-incidence festival. Beginning in June 2017, he will produce 'vespers', a bi-weekly series of experimental music at Blue Bag Records in Cambridge.
residues (FWD:rcrds) - January 8, 2016.
so softly that it came, a wild dim chatter, meaningless (Edition Wandelweiser Records) - December 7, 2016.
[TBD], forthcoming duo project with Morgan Evans-Weiler (Erstwhile AEU)
Currently working on: poetry/noise double cassette project; solo trumpet project; field recording project.
Luke is from Massachusetts, has spent and continues to spend time in Maine with family and friends, lived in L.A. studying and making music for the past couple years, and is currently residing in Boston, MA. He loves to play cribbage and is a sucker for superhero movies and mint chocolate chip ice cream.