Category Archives: coming soon

upcoming events



dedicated to Luis Olazabal on his birthday! come celebrate

SUNDAY | APRIL 20, 2014 | 1PM – sunset
Miami Beach Botanical Garden
2000 Convention Center Drive

Frozen Music will organize version 4 of its outdoor sound installation piece titled, Picnic. The piece will feature an electronic sound environment that behaves as natural as the calls of birds, insects and amphibians found in remote areas of the everglades. these sounds will surround the audience from four discrete cardinal points.

Visitors are invited to bring their own blankets and food baskets and to setup picnics right on the lawn, and to exchange with each other while experiencing this extended duration piece from 1PM until sundown.

Frozen Music is an ensemble that performs electronic sound installations that blend into, and interact with, the natural environment in outdoor spaces. It features sound artists David Dunn, Rene Barge and Gustavo Matamoros. More information about Frozen Music, visit: frozen music

Luis Olazabal has been a tireless supporter of and Frozen Music, documenting our events with fabulous photography for many years.  Thank you Luis for all your great work!  To learn more about Luis Olazabal, visit:

This performance is a partnership between Miami Beach Botanical Garden and SFCA [] and it is possible with the support of Miami-Dade Cultural Affairs Council, Culture Builds Florida, and the Cultural Arts Department of the City of Miami Beach

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SAM ASHLEY_LUCK TV photo: marina thies

how do you discover mysticism?

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the notion of “experience” as metaphor?

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Excepts from Sam Ashley’s Audiotheque interview

924 lincoln road
miami beach

live webcast: spectacular system hosted by steve malagodi

In residence at Audiotheque in April, modern-day witch-doctor Sam Ashley offers simple windows onto things that occur in-between the “real world” and that which transcends it. His pieces are mostly about luck, hallucination and coincidence. Usually they include direct presentations of magic events, objects or phenomena.

Sam will stage, Luck, a program consisting of two works:
“In The Land of the Head Hunters” and “I Saw a Documentary About Insects”

“In The Land of the Head Hunters” is a parabolic true story of money and manifest destiny, of capitalism and cannibalism (a natural combination), set in the American Wild West. Or just a metaphor for “reality” (we start out with high hopes but end up eating each other)

It’s also one musical manifestation of the work-in-process study of “luck” and the connection between that and the true nature of manifest reality (or perhaps it’s a look into the question of why our modern languages have so few words for what witch doctors do), a research project that began in the early 1990s called “I’d Rather Be Lucky Than Good” that has also included “The Las Vegas Roulette Experiments” and the trance retreats that I’ve been doing in the Mojave desert on average once a year for the last 12 years or so, known as “The ‘How About a Papaya’ Experiments.”

“I Saw a Documentary About Insects” is a music/performance demonstration of the workings of shamanic healing and related matters.

Sam Ashley will be in residence at Audiotheque from April 15-23, 2014.

More about Sam Ashley:
sam’s bio
“a fish clinging to water”, a film by Tim Perkis about Sam Ashley

This residency and its public events are possible with support from:

knight foundation | miami-dade county | city of miami beach | culture build florida

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924 lincoln road
miami beach

concrete to abstract
listening club session curated by alba triana

examining how identifiable themes gradually transformed into non-discernable sonorities in western music

ALBA 2-wWhen it comes to music,

what makes it concrete?

what makes it abstract?

what do concrete/abstract mean in terms of experience and perception?

how did concrete turn into abstract?

was it an abrupt change, a rupture with an exhausted tradition?

or maybe, a smooth and organic transformation; an expansion, typical of human (natural) endeavors?

Years ago, I asked myself these questions. In this session, we’ll listen to a selection of pieces, from Western music history, which helped me elaborate my own answers. I’ll be commenting on them, in parallel with a series of paintings, as they were also essential to find my responses. Answering these questions was personally important not only to understand the past, but mainly, to establish a perspective to approach the multiple musical branches that evolved from the abstract works of the early 20th century.

I hope you like it!

Alba Triana

more info and rsvp: CONCRETE TO ABSTRACT

live webcast: spectacular system hosted by steve malagodi

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