Michael Zbyszynski

Michael Ferriell Zbyszyński is a composer, sound artist, performer, and teacher in the field of contemporary electroacoustic music. Currently, he is the Director of Electronic Music at San Francisco State University, contributes to Make Magazine, and plays with Respectable Citizen.

Dr. Zbyszyński plays flute, saxophones, clarinet, Yamaha WX-7 (MIDI wind controller), and things made from coffee cans and PVC. His 2006 piece News Cycle #2, created in collaboration with video artist Anthony Discenza, was jointly commissioned by the Getty Center and the Montalvo Arts Center, where they were in residence in 2008. In 2004, Zbyszyński finished a  permanent sound installation at Edgemar in Santa Monica, CA, in collaboration with Hugh Livingston. He has appeared, collaborated, or worked with Roscoe Mitchell, Myra Melford, Frank Gratkowski, HPX Multimedia, the Capacitor Performance Group, the Merce Cunningham Dance Company (the American premier of John Cage´s Ocean 1-95), Frances-Marie Uitti, and David Wessel, as a soloist with the Berkeley Symphony Orchestra, Composers Inc., UC Berkeley Symphony, Cultural Labyrinth, Berkeley New Music Project, and Common Sense Composer´s Collective, and at the Other Minds Festival, the Oregon Bach Festival, the Montréal Jazz Festival, the Center for New Music and Audio Technologies, Cal Arts, UC Santa Barbara, UC San Diego, University of Washington, Reed College,Portland State University, and The Western Front Lodge (Vancouver). He has recorded and mixed sound for diverse artists, including Debashish Bhattachaya, Amelia Cuni, Fred Frith, DJ Spooky, and Bertram Turetzky. He can be heard on the ARTSHIP Record Label and is included in the Rhizome Artbase.

Dr. Zbyszyński teaches workshops on interactivity programming and sensor design in the San Francisco Bay Area, and has consulted on performances by the San Francisco Contemporary Music Players and the Berkeley Symphony Orchestra. He has taught composition at Berklee College of Music and Northeasten University, and was a Faculty Fellow in Music Technology at the University of California, Irvine. In fall 2000, Dr. Zbyszyński earned his Ph.D. in music composition from the University of California, Berkeley, having earned his M.A. in 1996. His doctoral dissertation, Labirynt for saxophone and orchestra, draws on minimalist, spectral, and sonorist musical styles; his primary advisor was Jorge Liderman. In 1998 he was awarded a Fulbright Grant to study at the Akademia Muzyczna w Krakówie, Poland with Zbigniew Bujarski. While in Poland, he composed the string orchestra piece Beneath a Liquid Paper Sky, which was premiered by the Penderecki Festival Orchestra, under the baton of Pawel Przytocki, at the Teatr Wielki in Warsaw. This concert was part of the 40^th anniversary celebration of the Polish-American Fulbright Commission, and subsequently aired on TV Polonia 1. In 1992, he received a B.A. in music from New York University, where he studied composition with Louis Karchin and improvisation with Joe Lovano. He participated in the Composers´ Symposium at the 1996 Oregon Bach Festival (studies with John Harbison and Robert Kyr) and the 1998 Académie d´été at Paris´s Institut de Recherche et Coordination Acoustique/Musique (IRCAM: studies with Philippe Manoury, Kaija Saariaho, and

Salvatore Sciarrino).

He sometimes refers to himself in the third person.

Respectable Citizen started playing about 7:15. Michael Zbysznski on saxophones and electronics, Bruce Bennett on keyboards and their downstream modulation, and Byron Diel laying down one of the most absorbing 45 minutes of trap set drumming I’ve heard.

Like Stockhausen’s improvisatory group, Respectable Citizen starts with traditional musical instruments, feeding their output into a set of software and hardware modules to modulate and shape the sound. Unlike Stockhausen’s group, the musical source for R.C. is improvisatory jazz. However, after laying out some modal Coltrane-like sax riffs that established a musical base for the music, Michael set off in any manner of directions. Of the three musicians in the trio, he was the most continually balanced between music and noise, melody and raw sound, allowing your ears to get into a scale and feel how it provides identify to the notes and rhythms, then electronically modifying the output outside of that established acoustic space so that one saw it, fleetingly, from the perspective of a new sound and rule-set. In this way Michael traveled from acoustic gravity to acoustic gravity, compressing the distance of each journey through his ability to play within a perceivable rule set and immediately jump to another rule set, related by those sonic attributes that defined the edge between them (scale, rhythm, pitch, timbre etc.).

Bruce Bennett played his keyboard and other hand-based interfaces as if he had an axe–carving out rich, full sounds, doing high-definition shaping of timbre and volume that created sound shapes of particular clarity and presence. These worked particularly well in juxtaposition with Michael’s musical riffing and Byron’s shifting percussion patterns. Since between sax and drums rhythms and polyrhythms were already established, Bruce provides sounds and shapes that masterfully moved between being objects set against those rhythms, and a dark acoustic backdrop that surrounded them. It seemed to me what what Bruce provided was a forceful and ever-modulating sound set that morphed between being foreground object and background, providing the spatial basis for the trio’s musical cyclorama.

Usually I don’t like electronic music that has a single percussion track that is sustained throughout a piece. It seems to me mindless, the sort of composition exemplified by paintings of Elvis or matadors on black velvet. It’s not that it doesn’t’ have an effect, it’s that the chief problem of establishing background from foreground is already solved. and set This is one reason why dance music is usually snubbed by non-dance music musicians; solving nothing, it becomes the sugar in our water that rots our teeth as our invested years run out.

However, Byron Diel’s playing avoided that. His trap set playing technique was such that he was constantly modulating between time signatures, length of measures, and polyrhythmic juxtapositions, so that what seemed to be firmament was actually a shifting ground beneath you. While Byron occasionally slowed and sped up tempos, most of his playing did work against a steady tempo, but a steady tempo suspended above a continually re-parsed phrasing.

So what Respectable Citizen presented last night was a set of three musicians, each exploring different musical compositional strategies in parallel, in such a way that each complemented the other, and never became muddied or repetitious. At the California Art Institute/Sunnyvale, the majority of students in the audience were there from a sound design class offered from their Digital Film major. I can’t think of a better presentation of profound and intricate sound design, and I applaud Digital Film Director Christina Ri and Sound Design Instructor Andy Puls for their foresight in having the class attend the performance.

Following Respectable Citizen was “Toaster”, otherwise known as composer/performer Todd Elliot. Todd played a trio of pieces, moving from an ambient droning piece triggered through a MIDI-based instrument called an eigenharp tau, through a sequenced pattern piece, to a very nicely cinematic piece using movie soundtrack and acoustic piano samples (with the note samples either recorded from a distance in a live room, or processed to seem so).

Todd’s performance was recorded and is available on this website, so I’ll recommend listening to it first hand, rather than reading a long description by me. But I’ll recommend the first, ambient piece, which provided a nice example of woven sound textures that move in and out of focus. What sounds static to the unobservant is a constantly modulating set of sounds without sudden attack or decay, but with a gentle undulation not unlike a flag in a breeze, or cross-patterns of ripples on a pond. Similar to early Eno or Riley, it provides a fine and subtle texture for close listening.

Toward the end of Todd’s performance came a couple minutes that were quite unlike the others. The sounds slipped out from the triggered lockstep of the second piece, and the individual sounds away from the sharp definition of the filmic soundtrack spoken word samples. The few sounds slipping by became something of an emulsion, for what was for me a very compelling musical environment. I don’t know how this holds up in the recorded version, but in the acoustics of the room last night, it was a great way to end the performance.

Our next 2nd Friday will be on October 14th. Bring your ears and your heart.

Robert Edgar
September 10, 2011
www.robertedgar.com

or smoke signals from burning ancient, malfunctioning CPUs

really,
whatever works for you

6 September 2007

By PENELOPE GREEN
Winnie Lam was thinking about food when she made her Chocolate Sundae Toppings footstool, fashioned from a few bags of cotton pompoms hot-glued to an Ikea stool. “It came from staring into a bowl of ice cream one day,” said Ms. Lam, 31, who lives in Mountain View, Calif., and is a product manager at Google. “I’m a chocolate lover, but I’d rather look at it than eat it.”
Alex Csiky, a 43-year-old guitar maker in Windsor, Ontario, was focused, as he always is, on blowing a raspberry at the guitar-making industry while at the same time making a great sound when he built his sleek blond electric guitar from an Ikea pine tabletop.
Meanwhile, Christine Domanic, 28, an artist who was living at the time in Philadelphia, found the inspiration for her rolling bench in the sex ads in the back of city magazines. Her endearing Wiener Bench — a wooden bench festooned with fat pink crocheted tubes — was made from an old Ikea side table, the yarn from 60 used sweaters and the stuffing from a sofa left on her street on trash day.
Ms. Lam, Mr. Csiky and Ms. Domanic have never met but they are nonetheless related, connected by a global (and totally unofficial) collective known as the Ikea Hackers. Do-it-yourselfers and technogeeks, tinkerers, artists, crafters and product and furniture designers, the hackers are united only by their perspective, which looks upon an Ikea Billy bookcase or Lack table and sees not a finished object but raw material: a clean palette yearning to be embellished or repurposed. They make a subset of an expanding global D.I.Y. movement, itself a huge tent of philosophies and manifestoes including but not confined to anticonsumerism, antiglobalism, environmentalism and all-purpose iconoclasm.
“I think there is a movement around looking at all the products that are available — this global stream of stuff — and realizing you can tinker with them and rebuild them,” said Michael F. Zbyszynski, 36, the assistant director of music composition and pedagogy at the Center for New Music and Audio Technologies at the University of California, Berkeley, whose own hack is a speaker array made from red plastic Ikea salad bowls, and who has made other musical objects from PVC plastic and coffee cans that “live in the zone of the hack,” he said.
“It’s all about not accepting what’s presented for sale as it is,” Mr. Zbyszynski said, “about not just doing a ‘paint by numbers’ of your life.”
The hackers have lately gained a salonnière in Mei Mei Yap, a 37-year-old Malaysian copywriter who lives in Kuala Lumpur and works for an advertising agency there. Ms. Yap, who calls herself Jules, for the Ikea chair she loves, and who has no affiliation with the mammoth Swedish furniture maker that makes it, is not, she said by phone from her apartment, particularly handy, but with her year-old blog, ikeahacker.blogspot.com, she has created a forum for those who are very handy indeed. With a keen eye and an open heart, Ms. Yap has built an encyclopedia of hacks by trawling craft and design Web sites and by inviting personal submissions.
Ms. Yap said she lives with a family of rapidly reproducing guppies and lots of Ikea furniture, but hardly any hacks. “Well, there are maybe three,” she said, describing a tower of wall cabinets, a side table made into a mobile home office unit, and a bathroom cabinet she added doors to. “But they don’t even qualify for my site.”
She presents hacks that are kitschy-useful, like Sara Madole’s bright green rolling cat litter box (Ikea hackers seem to be overwhelmingly cat people), which Ms. Madole, a 27-year-old law school graduate who lives in Houston, said she built from two Ikea Snack boxes. Ms. Yap also collects hacks that are meta in both concept and design, like the Nata Vintage chair — made by Anatomic Factory, a design collective in Florence, Italy — a Duchampian object that marries a walking cane with an Ikea chair.
“Nata vintage” — meaning, roughly, born vintage — “stems from a reflection on the eternal return of the ‘old’ as a recurrent tendency of the market,” Marco Popolo, one of the object’s designers, explained by e-mail. “Therefore let us make a provocation: what better way to sell a vintage chair than to borrow a walking stick (stereotype of the old) to replace a leg of a classic, stereotyped Ikea chair?”
Mr. Popolo wrote that he has been following Ms. Yap’s blog, which he called a “very interesting big container rich with ingenious and original ideas,” since its inception, drawn to the fact that it’s about “stuff made by common people” — as opposed to designers — who are trying to customize their lives. “This is a very contemporary phenomenon,” he said.
More prosaically, Ms. Yap said: “I think Ikea just makes it easy to D.I.Y. because it already has a system in place of mixing and matching this frame with that cabinet and those knobs. Hacking just takes it a little further, repurposing it to fit your needs. And maybe the geek-nerd in us hackers feels a buzz having outsmarted the Ikea system by creating something of our own.”
Some of the most ingenious hacks are as simple as a $6.99 Ikea desk lamp reimagined as a wall sconce, or stainless steel shelving reworked as a coffee table. The word hack is filched, as Shoshana Berger, editor in chief of ReadyMade magazine put it, from computer parlance, as in, “hacking into the mainframe.”
“The idea is you’re getting in through the backdoor,” Ms. Berger said, “and reinventing what’s there.”
In the 1990s, when Ms. Berger was a “cool hunter” at Y&R, the branding, marketing and advertising agency, “we used to call this ‘post-purchase product alteration, ’ ” she said, noting that Ikea hackers’ predecessors can be found in fashion, with the deconstruction movement fomented by the Belgians in the late ’80s, and in architecture.
“There is a long history of hacking industrial artifacts or found objects and turning them into high design,” she said, drawing a straight line from Buckminster Fuller to Lot-Ek, the Manhattan architectural firm that has played with cargo containers, industrial sinks and truck tanks. “But to my knowledge Ikea is the only company that is appealing to the do-it-yourselfer.”
Why Ikea, the 60-year-old megabrand whose perky Swedish style has homogenized living rooms from Europe to Malaysia (it now has 265 stores in 35 countries), should be so hackable has everything to do with its price point and, perhaps, its benign-seeming blondness.
There are hackers who have upended and truly subverted the happy Ikea message, like Guy Ben-Ner, an Israeli video artist who made a treehouse of Ikea furniture and an instructional video featuring a man who is a combination Robinson Crusoe, Jewish settler and Ikea salesman. The piece, which he showed at the 2005 Venice Biennial, was all about “the illusion of creating” that comes from the sort of D.I.Y. that regular Ikea shoppers practice, along with an attendant illusion of individuality. The Ikea-D.I.Y. promise is that “we shall all have, eventually, the same ‘private’ homes,” Mr. Ben-Ner said.
But most of the hackers Ms. Yap has collected aren’t perpetrating truly subversive acts. They are more focused on the pleasures of reinvention, and on modifying Ikea’s wares to suit their homes and personalities.
Mona Liss, director of public relations for Ikea in the United States, took her first look at Ms. Yap’s blog a few weeks ago, pointed there by this reporter. “I could spend all day looking at this,” she said, and then opined that what compels an Ikea hacker to hack, in addition to what she called Ikea’s clean palette, “is this invisible aura of Ikea, something in our DNA that is inviting and unspoken.”
“Being an Ikea worker,” she continued with animation, “I can tell you we’re a culture that’s asked to challenge conformity, to speak outside the box.”
Or outside the flat pack, as the company’s special packaging is called.
Ikea hacking reminded Ann Mack, 31, director of trend-spotting at JWT, the blue-chip advertising agency once known as J. Walter Thompson, of the way ad campaigns are spoofed on YouTube. “Customization is so huge for a demographic that’s skewing younger and younger,” she said. “They don’t want to be told by ‘the man’ what they should consume and how exactly they should consume it. That’s boring. They can make their own playlist. They can take a product and make it truly their own.”
In any case ReadyMade, Ms. Berger’s magazine, which she started in December 2001 and comes out every other month, was designed for hackers of all stripes. It’s a hybrid, part Martha Stewart, part Mrs. Beeton, for a reader who listens to the Silver Jews, reworks ads to display on YouTube and might turn rubbings of manhole covers into backlighted mandalas or repurpose an Ikea Billy shelf into a bed, following instructions that ran in the magazine in 2005 in an article called “Ikea Your Way.”
The magazine itself was a D.I.Y. project until last fall, when it was bought by the Meredith Corporation. Its success — it now has a circulation of 250,000 — has resulted in large part from the mind-set of a generation that came of age in the late 1980s and early ’90s with self-authoring tools, Ms. Berger said, “like editing their own movies and photos on their computers, blogging, creating their own Web sites.”
“They feel very capable and resourceful,” she said.
The rise of the computer culture, as resourceful as it is, means that “we are no longer a tactile culture,” Ms. Berger continued, “so there is this yearning for things that are hands-on and handmade.”
ReadyMade is part of a universe of D.I.Y. media and forums where Ikea hacks appear and are then found by Ms. Yap, who links her blog to them. It’s a universe that includes Make magazine (more science than design-geeky, for the handmade-robot set) and Web sites like instructables.com, which was created by M.I.T. Media Lab alumni as a forum for its users to share knowledge about how to make or do practically anything, including, as a glance at the home page the other day revealed, a quick banana nut bread and “hacking a toilet for free water.” Mr. Zbyszynski’s speaker array, with its goofy “Lost in Space” aesthetic, first appeared there.
The do-it-yourselfer’s agora is the two-year-old Etsy (etsy.com), run out of a 7,000-square-foot warehouse in Brooklyn by Robert Kalin, 27. He founded the site — an online community of 400,000 members, including crafters, designers and, inevitably, Ikea hackers — as an old-fashioned bazaar to sell handmade objects and promote “human-to-human contact,” as he described it. In July, Mr. Kalin said, Etsy sold its millionth item. “I don’t know if it’s anachronistic or ambitious,” he said, “but I just want to make everything I own.”
Mr. Kalin said that to him and his fellows at Etsy, Ikea is a natural resource. “We don’t look to a forest for wood,” he said. “We don’t want to use ‘new’ wood. We look at a Dumpster or an Ikea store as a place to go harvest ‘raw’ materials. It’s a very urban phenomenon: we have the resources we need and we have become expert at repurposing them, like taking these broken Ikea chairs and making them into a table.”
Mr. Kalin is big on “upcycling,” a process whose name was coined by William McDonough, an architect, and Michael Braungart, a chemist, in their 2002 book, “Cradle to Cradle: Remaking the Way We Make Things.” They used the term to describe the process of taking something that’s essentially waste and moving it up the consumer-goods chain. “I love upcycling,” Mr. Kalin said. “I love this idea of bringing something from lower down and elevating it.”
Etsy held an upcycling contest last spring, inviting its users to make something of value out of materials that would otherwise end up on the trash heap. Christine Domanic’s Wiener Bench won first place. Last month, Ms. Domanic joined the Etsy staff as a marketplace coordinator, helping Mr. Kalin restructure the site. She has donated her bench to the Etsy lab.
“Anyone can come and see it,” she said. “It’s really comfortable and fun to scoot around the floor on.”