Harvestworks is a not-for-profit arts organization located in New York City . It was founded in 1977 by artists supporting the creation and presentation of art works achieved through the use of new technologies. The Harvestworks TEAM Lab (Technology, Engineering, Art and Music) supports the creation of art works achieved through the use of new and evolving technologies.
27-540: Founded in 1977 by Gregory Kramer and Gerald Lindahl, Harvestworks has helped many generations of artists to create new work by providing an environment for experimentation with project consultants, technicians, instructors and innovative practitioners in all branches of the electronic arts . Harvestworks has presented many experimental music concerts and is the sponsor of the Tellus Audio Cassette Magazine project. The Interactive Technology Project offers
54-412: A Roland Super Jupiter, an E-mu Emulator II , a Yamaha TX816 rack, Apple IIe and Macintosh computers, an Otari eight-track recorder, and a few video recorders, as well as the services of a staff engineer.” Studio PASS changed its name in the early 80s. It is now the sound studio available to independent producers, musicians and artists in residence at Harvestworks. Originally, Studio PASS was located in
81-509: A double issue curated by Claudia Gould , Joseph Nechvatal and Carol Parkinson. The magazine featured Louise Lawler , Richard Prince , Perry Hoberman , David Wojnarowicz , Barbara Barg , Barbara Ess and Rhys Chatham amongst others. In 1987, Harvestworks had its first major show, the Soundwave Exhibition, curated by Gerald Lindahl and Bill and Mary Buchen and exhibited in the former City Gallery at 2 Columbus Circle . In 1992,
108-483: A keyboard controller that would respond to human touch. In 1993, Moog reduced his involvement in the project, stating that "I've given them to Eaton and to one other artist, Gregory Kramer, an experimental composer [...]". Moog continued working with Kramer until his death in 2005,< and Kramer continues to work on the project with a team of engineers. As a member of the Santa Fe Institute , Kramer organized
135-434: A laboratory-like setting for the development of interactive computer environments, installations and instruments that foster new modes of perception and performance. In 2014, Harvestworks in collaboration with Vox Novus created the first 60x60 5.1 Surround Sound Mix presented by curator Hans Tammen. 60x60 presented previously only in stereo audio, this collaboration was the first mix to utilize 5.1 surround sound . At
162-611: A new timbral and gestural language for music, and to expose a wider portion of the population to electronic music. To this end, the ensemble toured the Northeastern part of the United States for 6 consecutive years. Performances featured music composed by Kramer and other members of the ensemble, as well as contemporary American composers such as John Cage and Christian Wolff. In 2022, the Electronic Art Ensemble reunited and
189-465: A number of events and projects over the years. In 1983, the Tellus Audio Cassette Magazine was created. The 5th and 6th issues of the magazine in 1984 were compiled into a double issue curated by Claudia Gould , Joseph Nechvatal and Carol Parkinson. The magazine featured Louise Lawler , Richard Prince , Perry Hoberman , David Wojnarowicz , Barbara Barg , Barbara Ess and Rhys Chatham amongst others. In 1987, Harvestworks had its first major show,
216-498: A pioneer synthesizer ensemble later renamed Electronic Art Ensemble, in which Kramer was a musician and composer. His pioneering work extended to developing synthesizer and related equipment. Kramer also co-founded the not-for-profit arts organization Harvestworks in New York City. He is recognized as the founding figure of the intensely cross-disciplinary field of data sonification . Since 1980, Kramer teaches Buddhist meditation. He
243-697: Is a not-for-profit arts organization located in New York City . It was founded in 1977 by artists supporting the creation and presentation of art works achieved through the use of new technologies. The Harvestworks TEAM Lab (Technology, Engineering, Art and Music) supports the creation of art works achieved through the use of new and evolving technologies. Founded in 1977 by Gregory Kramer and Gerald Lindahl, Harvestworks has helped many generations of artists to create new work by providing an environment for experimentation with project consultants, technicians, instructors and innovative practitioners in all branches of
270-495: Is a biennial new media electronic arts festival produced by Harvestworks centered on Governor’s Island . It started in 2007 and has operated in multiple locations across New York City, often at the same time. Gregory Kramer Gregory Paul Kramer (born 14 October 1952, in Los Angeles , California ), is an American composer, researcher, inventor, meditation teacher and author. In 1975 he co-founded Electronic Musicmobile,
297-592: Is again actively composing and recording. Kramer scored numerous films, video, and dance performances. He scored the Emmy Award winning Henry Hudson’s River: A Biography, and Metro: Manhattan Chowder by the same production company, which won the Cine Golden Eagle and other awards. Kramer was an Assistant Professor of Composition in the Music Department of NYU, from 1975 to 1979. In 1976, Kramer co-founded
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#1733092445760324-401: Is credited as developer of Insight Dialogue , an interpersonal meditation practice. Kramer is the author of several books in diverse fields, as well as (co-)author of scientific papers in the field of data sonification. From 1975, Kramer was a founding member of Electronic Musicmobile, an electronic music touring ensemble. Kramer and two other players performed using only synthesizers; Kramer
351-542: The Flatiron District in Manhattan at 16 west 22 St. It moved to its current home along with the rest of Harvestworks at 596 Broadway in 1987. The board of directors has included people such as Bob Moog and Suzanne Ciani . Harvestworks has sponsored a number of events and projects over the years. In 1983, the Tellus Audio Cassette Magazine was created. The 5th and 6th issues of the magazine in 1984 were compiled into
378-526: The Public Access Synthesizer Studio (PASS) in New York City, where anyone could use various contemporary synthesizers for $ 3 per hour. The studio also hosted seminars and performances on synthesizers and electronic music and featured a design file and tape library. In 1977, to support PASS and its various programs, Kramer co-founded Harvestworks , a not-for-profit arts organization located in New York City dedicated to providing access to
405-427: The electronic arts . Harvestworks has presented many experimental music concerts and is the sponsor of the Tellus Audio Cassette Magazine project. The Interactive Technology Project offers a laboratory-like setting for the development of interactive computer environments, installations and instruments that foster new modes of perception and performance. In 2014, Harvestworks in collaboration with Vox Novus created
432-701: The Buddha as they manifest in our current society, and for which he functions as a meditation teacher, author, and director. In 2020, the Metta Foundation supported the formation of the Insight Dialogue Community, in which Kramer remains involved as a Founding Teacher. His meditation practice since 1974 has included studies with a number of esteemed monastics, including Anagarika Dhammadinna, Ven. Balangoda Ananda Maitreya Mahanayaka Thero , Achan Sobin S. Namto and Ven. Punnaji Mahathera. Kramer graduated from
459-778: The California Institute of the Arts (BFA, Music Composition, 1972) and New York University (MA, Music Composition, 1977). He holds a Ph.D. in Learning and Change in Human Systems from the California Institute of Integral Studies . He is married and the father of three grown sons. He lives in Orcas, Washington where he remains focused on writing, training teachers, and living a contemplative life. Harvestworks#Studio PASS Harvestworks
486-571: The MIDI XLV, and with it helped launch the recording technique of signal process automation. Through Clarity, Kramer also conceived of and designed the Lexicon MRC ( MIDI Remote Control). This product was the first MIDI remote control and fader box, now a major product category in music technology. The MRC won the 1989 TEC Award for Technical Excellence (Ancillary Equipment). Kramer collaborated closely with Robert Moog , who since 1970 had been working on
513-471: The Soundwave Exhibition, curated by Gerald Lindahl and Bill and Mary Buchen and exhibited in the former City Gallery at 2 Columbus Circle . In 1992, the first usergroup for the programming language MAX was established at Harvestworks, and an exhibition called “The Interactive Show: New Audio/Video Installation Works” was presented at the Threadwaxing Space. NYEAF (New York Electronic Arts Festival)
540-503: The first 60x60 5.1 Surround Sound Mix presented by curator Hans Tammen. 60x60 presented previously only in stereo audio, this collaboration was the first mix to utilize 5.1 surround sound . At the inception of Harvestworks, the Public Access Synthesizer Studio (PASS) provided access to electronic synthesizer instruments, and continues as part of Harvestworks' TEAM Lab. In 1986, the studio included “a Fairlight ,
567-543: The first International Conference on Auditory Display in 1992. He subsequently established and became the first president of the International Community for Auditory Display (ICAD), a non-profit corporation dedicated to supporting the development of auditory display research and community formation. Kramer edited the Proceedings, which was the first book on auditory display and data sonification and remains possibly
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#1733092445760594-456: The first usergroup for the programming language MAX was established at Harvestworks, and an exhibition called “The Interactive Show: New Audio/Video Installation Works” was presented at the Threadwaxing Space. NYEAF (New York Electronic Arts Festival) is a biennial new media electronic arts festival produced by Harvestworks centered on Governor’s Island . It started in 2007 and has operated in multiple locations across New York City, often at
621-400: The inception of Harvestworks, the Public Access Synthesizer Studio (PASS) provided access to electronic synthesizer instruments, and continues as part of Harvestworks' TEAM Lab. In 1986, the studio included “a Fairlight , a Roland Super Jupiter, an E-mu Emulator II , a Yamaha TX816 rack, Apple IIe and Macintosh computers, an Otari eight-track recorder, and a few video recorders, as well as
648-504: The knowledge and tools of music technology through education programs, publications, artist assistance, and music and sound art presentation projects. He remains as the Chair Emeritus of Harvestworks. In 1973, Kramer founded and since managed Electron Farm, a company that built and sold Buchla 100 synthesizers and custom synthesizer modules in New York City. Through his company Clarity, founded in 1981, Kramer conceived and developed
675-464: The most oft-cited publication in the field. Kramer has been teaching meditation worldwide since 1980. He teaches vipassana meditation, dharma contemplation, and Insight Dialogue at retreats, and in universities worldwide. In 1995 he co-founded the Metta Foundation in Portland, Oregon, a non-profit corporation dedicated to supporting the growth and development of insight meditation and the teachings of
702-493: The services of a staff engineer.” Studio PASS changed its name in the early 80s. It is now the sound studio available to independent producers, musicians and artists in residence at Harvestworks. Originally, Studio PASS was located in the Flatiron District in Manhattan at 16 west 22 St. It moved to its current home along with the rest of Harvestworks at 596 Broadway in 1987. The board of directors has included people such as Bob Moog and Suzanne Ciani . Harvestworks has sponsored
729-406: Was the musical director and primary composer. In 1979, the personnel stabilized and the group was renamed Electronic Art Ensemble. Its line-up included Stephen Horelick, Clive Smith and Russel Dorwart. From then on, the group also used instruments other than synthesizers, modifying their sounds electronically. The aims of Electronic Musicmobile, and later the Electronic Art Ensemble, were to explore
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