Category Archives: residencies

residencies with artists in our studio


davey williams + ladonna smith “thumbing to Miami” | photo: janice hathaway


AUDIOTHEQUE [MAY.30-JUN.5, 2016] a residency in collaboration with ArtCenter/South Florida

The Birmingham based LaDonna Smith and Davey Williams are no strangers to South Florida. They have been guests—together and individually—of the Subtropics Festival multiple times since the 90s.

LaDonna Smith (born 1951) is an American avant garde musician from Alabama (U.S.). She is a violinist, violist, and pianist. Since 1974 she has been performing free improvisational music with musicians such as Davey WilliamsGunther ChristmannAnne LebaronDerek BaileyEugene ChadbourneMisha FeiginMichael EvansDavid SaitJack WrightJohn RussellSergey LetovToshi MakiharaAndrew Dewar and many other of the world’s major improvisers. As a performer, she has toured the USA, Canada, Europe, including Russia and Siberia, China and Japan. Her music is documented on dozens of CD and LP recordings, including the obscure Say Daybew Records – of Fred Lane & the Debonaires. An active organizer, she produced numerous concerts in Alabama and the Southeast, including the Birmingham Improv Festival. She is an educator and serves on the Board of Directors of I.S.I.M., the International Society of Improvised Music.

In 1976, LaDonna Smith co-founded TransMuseq Records, in collaboration with Davey Williams. In 1980, the improvisor magazine began as an extension of I.N.the Improvisor’s Network, a grass-roots organization that attempted to connect improvising musicians across the USA, founded at that time in New York City. LaDonna is currently editor-in-chief and publisher of the improvisor (the international journal of free improvisation), which now exists on the web at “”

Davey Williams began on guitar at age 12. He played in rock bands in high school, and studied with blues musician Johnny Shines from the late 1960s until 1971. Early in the 1970s Williams played in the University of Alabama B Jazz Ensemble and the Salt & Pepper Soul Band. He also started working with LaDonna Smith around this time, and founded a musical ensemble/recording project called Transmuseq. He toured the U.S. and Europe in 1978. Early in the 1980s he worked in a blues band called Trains in Trouble, then joined Curlew in 1986, who released several albums on Cuneiform Records through the 1990s.

In the 1980s he also worked with Col. Bruce Hampton and OK, Nurse, and in the early 1990s played in a punk rock band called Fuzzy Sons. Concomitantly with Fuzzy Sons, Williams played in an improvisational three-piece called Say What?, and worked with Jim Staley and Ikue Mori. Williams has appeared live at some 1,500 concerts worldwide.

Williams co-founded The Improviser, a journal of experimental music, in 1981. He has also worked as a music critic for the Birmingham News and published freelance criticism elsewhere.

Their week-long residency at Audiotheque will feature a Listening Club episode about a slippery sound called, Portamento; a highlight Duo Concert performance; and a concert with South Florida musicians product of a musician’s workshop organized in partnership with ArtCenter/South Florida.



LISTENING CLUB | S3.E11 | $5  donations at the door

Curated by L.Smith + D. Williams
presented at Audiotheque, ArtCenter, Miami Beach

The program will consist of the widest range of examples of portamenti which we can assemble.  This will include musical instruments and voices of an immense variety from across the globe, all connected by the sliding sound.  This will expand in the course of the program to include pretty much the whole sonic spectrum: animals, sounds in nature, extra-planetary phenomena (electromagnetic waves, etc.), terrestrial phenomena (the Doppler Effect, for example), etc.  These musicosonic examples will be interspersed with narrative/discussion.  This aspect (‘the talking’) should, like the sonic examples, be quite wide-ranging, encompassing aspects of context, physics, physiological effects, ‘pataphysics’, employment opportunities in portamento, etc.


Feature Concert | $10 donations at the door
presented at Audiotheque, ArtCenter, Miami Beach

LaDonna Smith and Davey Williams will be playing a duo concert with LaDonna on violin, viola and vocalisms, and D.W. on electric guitar.  Central to their modus operandus so to speak is free improvisation, using what they know to discover what they don’t know, and hopefully never thought of before, with the aim of ‘instant composing’ a cohesive musico-sonic program.  This cohesion can be based in aural interactions of the instruments on the one hand, and may also appear as “by-products” of less obvious connections occurring between the players, the environment, and unpredicted influences outside the ‘physical’ (audible) realms of musical interaction.  Or, most ideally, some other type of interactions of a truly unpredictable nature.  Making the unknown apparent, letting the known appear to be unknowable.

SUN, JUN.06.2016
An Improvisational Workshop led by LaDonna Smith and Davey Williams takes place at Audiotheque

Similar to workshops we have conducted in the past (most recently in Jyderup, Denmark), we would assemble a group for a series of conducted improvising sessions over a period of days, with the aim to evolve into an actual ‘instant composing’  ensemble.  The musicians to participate would be invited from within the new music community/communities in the Miami area, in conjunction with Subtropics.  These sessions will not focus on a given repertoire but on rehearsing group listening, articulated interactions, orchestration awareness, language integration/transformation, etc., working with component aspects of free improvising to cultivate a singularity of awareness and actions.  In effect we have an ensemble rehearsing everything but what we are going to play.


SUN JUN.06, 2016.7PM | FREE
presented at Audiotheque in collaboration with ArtCenter, Miami Beach

This concert features the resulting interactions between our guest resident artists and Miami based musicians.


This Residency with L.Smith and D.Williams is possible in part with in-kind support from ArtCenter South Florida

Most of these programs can be heard LIVE anywhere in the world on with host Stephen Malagodi

The Listening Club is a series of curated listening sessions produced by SFCA [isaw+subtropics]. It makes use of Audiotheque state-of-the-arts sound system to exposes general audiences to listening experiences that aim to foster a deeper understanding and enjoyment of sound.

924 Lincoln Road, 2nd Floor, Miami Beach
Located at ArtCenter/South Florida and described by visitors as “the best sounding, most intimate space for new music in Miami”, Audiotheque is both, a production studio for development of new work in music and sound art as well as a host space for lectures, workshops, residencies and intimate performances by innovative artists.  It is an intimate 40+ seat space featuring state-of-the-art equipment that supports some of the most adventurous, unfiltered, high-quality sound experiences available anywhere. All Audiotheque activities are documented and most public events stream live to audiences worldwide


operated by SFCA [isaw+subtropics] at
ArtCenter South Florida
924 Lincoln Road, 201
Miami Beach, FL 33139


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claudia ariano, graphic design

stephen malagodi, webcasts

maria del valle, natalia zuluaga,
anais alvarez, cherese crockett
and the staff at artcenter south florida

luis colina, intern
new world school of the arts

and to all the participating artists and audiences that support and join our efforts in building a strong and vibrant community for the advancement of experimental music and other forms of alternative sound art in south florida

and remember…

do unto us as you would have us do unto you

sfca [isaw+subtropics]


SFCA [] is the leading proponent of experimental music and sound art in the Southeast

Our 2015-16 season of events is possible with funding from City of Miami Beach’s Cultural Affairs Program and Cultural Arts Council; with the support of the Miami-Dade County Department of Cultural Affairs and the Cultural Affairs Council, the Miami-Dade County Mayor and Board of County Commissioners. It is sponsored in part by the State of Florida, Department of State, Division of Cultural Affairs and the Florida Council on Arts and Culture; and by the Blank Family Foundation would like to acknowledge the ongoing support of Sennheiser, leaders in superior sound technology

QUESTIONS AND PRESS CONTACT: ArtCenter, 305-674-8278


iSAW summer residency with Carla Forte and Alexey Taran at Audiotheque studios to complete sound editing and restoration work on the feature-length documentary film, The Holders.


The documentary exposes the reality of the treatment of animals. Over 27,000 pets are brought to Miami-Dade County Animal Services each year.


Every week, hundreds of cats and dogs are abandoned at the Miami-Dade County Animal Services. Some are brought in by their own owners; others are found wandering the streets of the city. This documentary hopes to inspire the public’s consciousness to, bear the responsibility of respecting animal life and to offering them the protection they need.

The documentary feature The Holders exposes the reality of the treatment of animals. Over 27,000 pets are brought to Animal Services each year. The documentary also seeks to investigate why there are so many animals and what we can do to help solve the issue.

This educational documentary challenges the Miami community, the United States, and ultimately the world, to become advocates for the rights of cats and dogs.

Our hope is to promote desperately needed change by raising awareness around responsible pet ownership, promote adoption, and improve the living conditions of animals presently in Miami Dade County Animal Services.



Carla Forte is a Venezuelan performer, writer and director living in Miami. Forte is the Co-Founder and Executive Director of Bistoury Physical Theater and Film. She has performed in and directed Video-Art works like Interrupta, Imaginarium Life, Assassins for One Night, and Obbe, featured at important venues and festivals such as: Pool 14 Internationale TanzFilmPlattform Berlin. 21st Quinzena de Danca de Almada, Portugal (2013); La Biennale di Venezia Marathon of the Unexpected (2012); Non-Verbal Theatre Festival San Vicente, Croatia (2009). Adrienne Arsht Center, Miami (2009); A Desert for Dancing, México (2007).

Her cinematographic work includes short films Imaginarium and Reset, selected for Cannes Film Festival’s Court Metrage – Short Film Corner in 2012 and 2013, respectively, as well as the feature Urban Stories, Winner of Best Script, Best Cinematography and Best Feature at Bootleg Film Festival, Toronto (2012); and Honorable Mention at both Los Angeles Movies Awards (2011) and Lucerne International Film Festival, Switzerland (2012).


Alexey Taran a 2007 Guggenheim Fellow, choreographer and media artist, has led Bistoury a Physical Theater & Films since its creation in 2005. His work has had a dynamic impact on contemporary dance, film and theatre. Born in Cuba, he received training in Ballet at Havana’s National School of Art, which offered him the opportunity to be able to break down rigid structures of composition and narration, bringing him closer to an open work influenced by other art media.

His stage and film work with Bistoury has achieved constant recognition and important awards. For example the short film “Imaginarium” was selected for the “Cannes Court Métrage, Short Film Corner, Festival de Cannes” 2012 in France. The multidisciplinary performance “Bolo” was realized thanks to the Guggenheim Fellowship in 2007. In 1996 and 1998, his plays were recognized with awards by the Recontres Choregraphiques in France, and in Germany by Internationales Sommer Theater Festival Hamburg; Künstlerhaus Mousonturm, Frankfurt; Haus der Kulturem der Welt, Berlin and Tanz and Theater International, Hannover. In 2011, 2014 and for 2015 Taran was awarded with the Dance Miami Choreographers Fellowship Program.


Bruce Posner in residence at Audiotheque sponsored by iSAW

I spent my residency working on the review of computer files for two film projects: Moana With Sound and Masterworks of the American Avant-garde Experimental Film 1920-1970. Both are digital film restoration projects that I am completing online, hence the need of a high-quality computer such as offered by the subtropics residency. Each project involved the download of Quicktime movie files and Youtube files. Then the detailed anaylsis of the files for picture quality, audio fidelity and general quality control matters. These reviews were essential for a good result and to maintain the high artistic value of the restored films and soundtracks.

Moana With Sound is a feature-length documentary film made in Samoa in 1924-25 by Robert and Frances Hubbard Flaherty. Although this is a silent film, the version I have restored was re-made with actual sounds recorded by the filmmakers’ daughter Monica Flaherty 50 years later in 1975 on the exact same locations. The result is an exquisite aural sound-scape that is in dead-synchronization with the original silent film images.

Robert Flaherty's "Moana."

Robert Flaherty’s “Moana.”

For more, see

Masterworks of the American Avant-garde Experimental Film 1920-1970 is a 30-film compilation scheduled for 2-disc Blu-ray release by Flicker Alley later this year. It will contain all new 1080 HD transfers of 30 artist’s film made between 1920 and 1970. One of the highlights, and the film I focused on during the residency, was Le Ballet Mécanique by Fernand Léger and Dudley Murphy with the original music composed by George Antheil in 1925. I have been working on this film since 2000 in collaboration with Paul Lehrman and have released different versions in film and video for use in live concerts performed by many percussion ensembles and full orchestras around the world. This is one of the landmark pieces of film and music from the 20th century and a must see if you have yet to experience it.

ballet mécanique

The residency was quite intensive and involved many days between May and August 2014. Much was accomplished including a private preview screening of Moana With Sound held at the Coral Gables Art Cinema to review a first-draft theatrical DCP file of the nearly finished restoration, and all of my computer files for those films and other film restoration projects were backed up and archived at subtropics.

Bruce Posner


orlando j garcia and kathleen wilson recording at Audiotheque

iSAW Summer Recording Residency at Audiotheuqe

Orlando J. Garcia: Entre Michigan y Jefferson

Entre Michigan y Jefferson (Between Michigan and Jefferson) was written for the Fonema Consort ensemble and its director Pablo Chin during the summer of 2014. The samples utilized in the electronic part for the work were realized during an iSAW recording residency at Audiotheque located on Lincoln Road in Miami Beach, Florida with the assistance of the director of the studio Gustavo Matamoros.

The title of the work references the location of the studio between Michigan and Jefferson streets as does the text heard in the work.  The original text in Spanish, lo que se oye afuera no se oye adentro, lo que se oye adentro no se oye afuera, translates to what is heard outside is not heard inside, what is heard inside is not heard outside.  

The electronic part consists of flute, percussion, and vocal samples created with the assistance of flutist Elissa Lakofsky and soprano Kathleen Wilson at the studio. The remainder of the work was completed during a residency at the Millay Colony in August of the same summer. The slow evolution of material as well as the counterpoint between timbre, density, texture, register, and pacing are important aesthetic concerns.

Orlando Jacinto Garcia

isaw residency | black-shift-red/absolute-zero:
toward dew of repentance

february 15-29, 2008
iSAW – resident artist (iAR-02-08)
12355 NE 13 Avenue, North Miami

lecture: progressive rock – enrique jardines (tba)
i sound studio: recording, editing, mastering, multi-media

collaborative residency: towards Dew of Repentance
BlackShiftRed (Adam Rush, Aislinn Quinn, and Enrique Jardines)
Absolute Zero (Enrique Jardines, Aislinn Quinn, Phil Miller, and Mark Fletcher)

installation view

Dew of Repentance - installation view

this collaborative interactive residency brings together the members of BlackShiftRed and Absolute Zero to develop material and performance strategies for two works-in-progress: Noicon and Dew of Repentance

Noicon begins its journey with bits of music taken from Absolute Zero’s recording sessions with Pip Pyle for the CD “Crashing Icons”, adds further music bits from current Absolute Zero musicians, and ends up, via Black Shift Red members, interactively generating compositional elements to create a DVD of video/music pieces that mirror the original core within each of the Crashing Icons pieces.

Dew of Repentance is a complex work based on community-input via cellphone and web text, as well as interactive video, music, digitized puppetry and performance. It explores the concept of a city’s aggregated regret and empowerment. The piece was partially commissioned by the Adrienne Arsht Center for the Performing Arts.

The materials developed during this residency will be used by BlackShiftRed composer/multimedia performance artists Aislinn Quinn and Adam Rush in a presentation of the Dew concept and compositional approach.

this residency is made possible through grants from the department of cultural affairs of miami dade county and the division of cultural affairs of the state of florida

(12/07) jason freeman:
sound microscope & flock

residency: flock / sound microscope
JASON FREEMAN, composer, web artist

flock logo

miamian JASON FREEMAN is a composer whose music creates new connections among composers, performers, and listeners, using extended notation and new technology to experiment with the ways in which music is created, performed, and heard. his works range from traditional concert performances to mass-audience participation environments to online collaborative music tools to software art

his creative residency at isaw includes a project he calls sound microscope, a web applet accessible from isaw’s main page that will help users explore the complex inner structures of sounds. a simple visual interface (think google maps, but for sound) that will let you zoom in and out and move up and down to isolate and magnify tiny moments in time and tiny slices in frequency of a short sound file

isaw is also acting as producer of flock, jason’s made-in-miami commission for the carnival center for the performing arts

this residency is made possible through partnerships with carnival center for the performing arts and georgia institute of technology. iSAW is funded by the department of cultural affairs of miami dade county and the division of cultural affairs of the state of florida


december 1-10, 2007
iSAW – resident artist (iAR-12-07)

1. lecture: interactivity in flock
2. performances: flock
3. on-line project: sound microscope

isaw residency | jason freeman:
sound microscope

sound microscope
a virtual space project by composer, intermedia artist JASON FREEMAN

jason freeman’s creative residency at isaw consists of a project he calls sound microscope, a web applet designed for isaw’s main page that will help users explore the complex inner structures of sounds. a simple visual interface (think google maps, but for sound) that will let you zoom in and out and move up and down to isolate and magnify tiny moments in time and tiny slices in frequency of a short sound file

after some preliminary planning at isaw’s [i] soundstudio, jason will return to georgia and work on the design of his sound microscope, scheduled for its final web release as an element of this website on September 28, 2008. a workshop will follow at a later date (tba)


this residency is made possible through partnerships with carnival center for the performing arts and georgia institute of technology. isaw is funded by the department of cultural affairs of miami-dade county and the division of cultural affairs of the state of florida

(11/07) laura kuhn:
cage: miami footprint

research and restoration residency: cage: miami footprint
LAURA KUHN, director of the john cage trust

Photo by Betty Freeman

LAURA KUHN, comes to miami for a research and
restoration residency at the interdisciplinary sound arts workshop.
Together with isaw’s director, who will assist her with mastering and
restoration work, they will be assembling john cage’s miami footprint
from materials in isaw’s experimental music archive to be shared
with the trust.

This residency is made possible through partnerships with
Carnival Center for the Performing Arts, The John Cage Trust and
Barron Sherrer of Cinema Vortex. iSAW is funded by The Department
of Cultural Affairs of Miami Dade County and The Division of Cultural
Affairs of The State of Florida.

(10/07) david dunn:
micro listening

Residency: Micro-Listening
DAVID DUNN, composer

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walrus under water, audio format: mp3

DAVID DUNN, author of Why Do Whales and Children Sing? will collaborate with iSAW on a series of sound – based tools to illustrate concepts of science in the classroom. He will conduct a microphone building workshop titled Micro Listening for artists, musicians, biologists and sound enthusiasts, as well as lecture and discuss ideas regarding symbiotic collaborations between artists and scientists. David Dunn is President of Art and Science Laboratory in Santa Fe, NM. He has been praised enthusiastically for his recordings, live compositions, and intelligent commentary, and is the recipient of the 2007 Henry Cowell Music Award.

This residency is made possible through partnerships with Carnival Center for the Performing Arts, the South Beach Music Institute, Miami Science Museum, and Books & Books in Coral Gables. iSAW is funded by the Department of Cultural Affairs of Miami-Dade County and the Division of Cultural Affairs of the State of Florida

October 1-15, 2007
iSAW – resident artist David Dunn (iAR 10-07)

1. lecture: Listening at the Edges
2. workshop: Micro Listening Project
3. lecture / performance / book-signing: Why do Whales and Children Sing?


Miami Science Museum Auditorium
Listening at the Edges: The Necessity for Double Description
as part of the Understanding Sound lecture series
in partnership with Carnival Center for the Performing Arts

For over three decades there has been an ongoing discourse that has addressed the role that the sonic arts can play in increasing our collective awareness to environmental issues through sensitizing us to the soundscape. A variety of approaches and strategies have used experimental music practices and audio recording technologies to document, compose preserve, study, manipulate, intensify, and otherwise attempt to bring issues of the natural environment into foreground awareness through sound. This lecture demonstrates one approach to bringing art practice and scientific knowledge together towards applied environmental problem solving. It illustrates one of the many ways that the sonic arts can move beyond documentary and sensory heightening strategies alone towards participation in both scientific research and subsequent interventions to growing environmental dilemmas.


10/06/07 & 10/07/07
South Beach Music Institute
Micro Listening Workshop
DAVID DUNN, composer

The Micro Listening Project is an interdisciplinary art and science strategy for increasing the monitoring of our environment through sound. It hopes to provide new inexpensive technologies that can facilitate an increase in our collective environmental sensitivity and discovery of unknown natural and human made phenomena, providing novel tools for sound artist, and contributing towards practical environmental problem solving.

The project focuses upon the design of inexpensive but highly effective audio transducer systems for bioacoustic and sound art monitoring of otherwise hidden aspects of our auditory environment that are not audible through the use of conventional microphones. In addition to these technological advancements for listening, the project seeks to document a wide diversity of sound worlds for both demonstration of the transducers and general aesthetic revelation of our environment. Precise instruments on how to use and construct these devices will be part of this workshop. The devices are designed to allow as wide a distribution of their use as possible by both amateurs and professionals

early hydrophone by david dunn


Books & Books, Coral Gables
Why do Children and Whales Sing?
Lecture / Performance / Book Signing

For over 30 years, david dunn has been recording the natural world as a sound artist, composer, and bio-acoustician. this has led him to explore a wide range of diverse phenomena including many that are only accessible through the use of unique technologies that he has developed. he will present and talk about a full range of his recent work including underwater hydrophone recordings, vibration sensor recordings from the interior of trees and frequency expanded ultrasonic soundscapes that reveal the mysterious world of communication beyond our normal hearing. the talk will range from the natural history and ecological significance of the sounds to personal anecdotes about the experience of making the recordings.

about the book:

95 pages + cd
Published by Earth/ea

I have been listening to and thinking about soundscapes for many years and yet this book is full of revelations to me. each recorded segment is full of vitality, full of “presence.” But it is david’s commentary which transform it from a purely aural pleasure into something multi-dimensional, encouraging me to reintegrate myself into his “complex chain of connection,” an invaluable gift. There is a welcome intellectual clarity, even rigor here, and a generosity of heart towards the listener/reader which welcomes one into listening, into reflecting. Connection becomes possible.

– Annea Lockwood