Artisanal algorithmicists and computational craftspeople ASSEMBLE! Algorithmic Art Assembly returns to Gray Area for a third edition of the hybrid conference and music festival, March 26–28, 2026.
LINEUP: Carl Lostritto, Catty Dan Zhang, Char Stiles, Chia Amisola, Claire L Evans, Codie, Daniel Temkin, DELI KUVVETI, Gábor Lázár, Kara-Lis Coverdale, Keith Fullerton Whitman, Kindohm, Luisa Mei, Nathan Ho, nnirror, R Tyler, Ruaridh Law, Sebastian Camens, Tom Hall, tsrono, William Fields, Wolff Parkinson White, c_robo_
Join us for three nights of audio, extreme computer music, algorave, and bit-shifted R’n’B hits of tomorrow. Two days of talks will explore process-based artistic approaches from the mathematical to the topological: procedurally generated clouds, internet and ambient art, FM synthesis, esolangs, and much more. Plus two workshops (limited places)! Stay tuned for more announcements.
Roulette’s annual Mixology Festival highlights novel approaches to technology in music and media arts, since 1991, and is supported in-part by The Foundation.
DAY 1 of Roulette’s 2026 Mixology Festival features an evening of conversation and performance around Ted Gordon’s recent book, The Composer’s Black Box (University of California Press, 2025), which examines how human musicians and their electronic musical instruments negotiate agency, creativity, and selfhood through cybernetic pathways of control. Through five historical case studies—chapters on early cybernetic electronic systems developed by Morton Subotnick, Donald Buchla, Pauline Oliveros, Alvin Lucier, and Sun Ra—Gordon’s book develops a concept of “ex-composition” that accounts for experiences of playing with instruments that play themselves, and the consequences those experiences hold for understanding the musical self in an increasingly informational world.
After a panel discussion and Q&A, Gordon will be joined by frequent collaborator Marcia Bassett (electronics), as well as Keith Fullerton Whitman (electronics), and Luke Stewart (bass) for improvised performances that build on the conversation in solo and duo formations.
Ted Gordon author, Buchla Music Easel Marcia Bassett panelist, Buchla Music Easel Keith Fullerton Whitman panelist, electronics Luke Stewart panelist, bass
“How can information systems make music? And when they do what happens to composers? This fascinating book reveals how electronic music cracked open questions of what it meant to be human at the dawn of the digital age. Read it, and you’ll never hear a synthesizer quite the same way again.”—Fred Turner, author of The Democratic Surround: Multimedia and American Liberalism from World War II to the Psychedelic Sixties
“Gordon tells five compelling stories of musical creativity and cybernetics in the Information Age. But this is not a tale of technological determinism. The Composer’s Black Box shows us not how music was shaped by oscillators, circuit boards, and voltage controls but how deeply all of this depended on the imaginations of the people who used these technologies, their diverse notions of agency, and, ultimately, their visions of freedom and control.”—Emily I. Dolan, author of The Orchestral Revolution: Haydn and the Technologies of Timbre
“At last we have a detailed, sophisticated history of the impact cybernetic thinking had on the music of the 1960s, 1970s, and beyond. Gordon’s book represents an important intervention into postwar music history—one that is as urgent as ever, given cybernetics’ role in laying the groundwork for contemporary digital culture.”—Eric Drott, author of Streaming Music, Streaming Capital
A livestream will be available free of charge at 8pm on the day of the performance and archived for future viewing.
Ted Gordon is Assistant Professor of Music at Baruch College and the Graduate Center, City University of New York. He is the author of The Composer’s Black Box: Making Music in Cybernetic America (University of California Press, 2025), as well as several book chapters and articles that explore frictions between experimental music, electronic instruments, and contemporary science & technology. As a musician, he improvises with the Buchla Music Easel and other objects of historical study as a means towards producing a critical, embodied understanding of musical technologies.
Returning to The Lot for the first show of 2026, join KFW & special Guest Asha Sheshadri for 2 hours of new & classic music from across the global spectrum.
Note: The Lot has launched a brand-new, gorgeous site which allows for instantaneous playback of live-streamed shows directly from their archives! Click the image below to be transported there, where you can also check out any of the prior sessionss from the past ~6 months.
SOUND ROOM: Claudio PRC [Open To Close] THE ATRIUM: Woody92, Julia Govor, Profiler UPSTAIRS: Keith Fullerton Whitman [Vinyl Only]
Update: for all intents & purposes, this went super well; here is a “Field Recording” of the entire set from which I’ve used an experimental model (MVSep) to extract & remove the “Crowd” below a certain threshold. Enjoy, and please book me to do this sort of thing more often!
I’ve assembled a new Eurorack-centric instrument around a novel control interface (AtoVproject Faderpunk) that has been programmed to “Scan” through an assortment of Digital FM Synthesis methods & Sample Libraries; this after being asked to perform at Pianos just prior to Christmas, wanting a clean break from the “Playthroughs” performances given in the year prior.
I’ve just posted up a set of Work In Progress recordings made while building & rehearsing (which includes the gig itself as a bonus track); this is how I’ve been using Bandcamp recently & I’ve found that it’s a great way to share ideas without necessarily having to commit to their final form. Seeing as all of this is, essentially, is under the umbrella of “Live” Electronic Music (improvised & captured to two-track stereo in real time, then mastered for listening) being somewhat ephemeral about it makes sense.
Speaking of Bandcamp; I urge you to consider a Subscription ($30/yr grants you instant access to everything posted, along with the historical record); everyone else is encouraged to chip in (or not, no worries either way!) All of this to directly fund the research & development of this practice, as well as carve out the time & energy otherwise spent on far more crass enterprises.
Keith Fullerton Whitman is a composer & performer based in Fort Greene, Brooklyn. Active for 30+ years, his work encapsulates “Live” Electronic Music, Minimalism, & research into Generative & Process/Systems Music in both the Analog & Digital Domains. An extensive discography includes releases on kranky, Planet-µ, Nakid, Editions Mego, PAN, and countless others.
Brahja is a NYC jazz group with a rotating roster. The latest configuration includes Damon Hankoff, Janice Lowe, Georgia Wartel Collins, Malik Washington, and Devin Brahja Waldman. Waldman is a saxophonist, multi-instrumentalist, and music producer who is the co-founder of the groups Brahja, Kadef, EEG Coherence, Apophasis, Infinity Zero, Notable Deaths, and Radical Reversal (a band and initiative with poet Randall Horton which installs music studios inside prisons). Waldman has performed with artists such as Anne Waldman, Malcolm Mooney, William Parker, Abiodun Oyewole, Patti Smith, Thurston Moore, Godspeed You! Black Emperor, Nadah El Shazly, Hamid Drake, Charles Hayward, Heroes Are Gang Leaders, MoE, Land of Kush, Yoshiko Chuma, and many others.
Mark Morgan is a guitarist/ vocalist based in NYC and has performed with Sightings, Silk Purse , To live and shave in LA, Aaron Dilloway, among others.
1. Metgumbnerbone; Taghairm (from “For the Raven“, 2022) 2. Erwan Keravec; Increase the flow rate (from “Whitewater“, 2025) 3. EVOL; House Of Lemur Mix (from “Dunwich Recursed“, 2024) 4. Carl Ritger; Vanitas (from “The Measures“, 2025) 5. Max Duret; The Ice Melt (from “Hydrographer“, 2025) 6. Luke Martin & Morgan Evans-Weiler; washington st (from “New England Interiors“, 2025) 7. Makoto Oshiro + Takahiro Kawaguchi; loco (from “Lemures Loci“, 2025) 8. Aksak Maboul; Lost In The Farmhouse (from “Before Aksak Maboul“, 2025) 9. Yeast Culture; Thingformbert (from “Graft“, 2025) 10. Rupert Hine; Anthony’s Studio (from “THE SHOUT“, 2025) 11. Rupert Hine; Ring Mod FX (from “THE SHOUT“, 2025) 12. Balago; Cara B (from “Ningú“, 2025) 13. Vladimir Ussachevsky; Line of Apogee (Part 5) (from “Film Music (1962, 1967)“, 1990) 14. Gilles Gobeil; La vie se repose (from “Promenades“, 2024) 15. Loscil; Ash Clouds (from “Lake Fire“, 2025) 16. Shirttrax; Good News About Space Trk. 17 Remix 4/2000 (from “OR MD COMP.“, 2003) 17. Gerritt; Frog Inside Hypercube (from “Frog: Remixed and Revisited“, 2003) 18. Bernado Feldman; Still Life (1986) (from “Music from SEAMUS Vol.1“, 1991) 19. Rory Salter; The Forest is a Shipwreck (from “a sky cold as clay“, 2025) 20. john grzinich; if memory should serve us again… (from “Compilation Works Vol. 1“, 2025) 21. Carla Hübner; Plectros II (from “3ª bienal americana de arte“, 1966) 22. Ben Bennett; Cyclic Creep Behaviour (from “Music for Idiophones Vol. 1“, 2024) 23. Oneohtrix Point Never; Fear of Symmetry (from “Tranquilizer“, 2025) 24. The Havels, Irena and Vojtech Havlovi; Four Hands Organ 12 (from “Four Hands“, 2024) 25. José Vicente Asuar; Preludio la noche (from “3ª Bienal Americana De Arte“, 1966) 26. Patrice Soletti & Gilles Gobeil; Associations libres (from “Promenades“, 2024) 27. Klaus Wiese; Ta-H I (from “Uranus (Tibetan Singing Bowls)“, 1996/2025) 28. Diego Bermudez Chamberland; Chronomundo (from “Cartografía Interior“, 2025)
LeaBertucci is an experimental musician whose works revolve around electronic and spatial extensions of instrument and voice. In addition to her longstanding practice performing with woodwinds, she has created compositions for strings, brass, percussion and other instruments, often incorporating electronics and multichannel sound. With an ear toward site-responsiveness and acoustics, her work has expanded toward installation and non-linear presentations of her music, often staged in hyper-resonant spaces.
Her discography spans over a decade, with eight full-length solo albums and a number of collaborative projects. She has released on a number of labels including Astral Spirits, Room40, American Dreams and Dinzu Artefacts. In 2018 and 2019, she released solo albums Metal Aether and Resonant Field on NNA Tapes, and has since founded her own label, Cibachrome Editions, with 2021’s A Visible Length of Light as the inaugural release. Recent collaborations include duos with Lawrence English, Olivia Block, Carlos Giffoni and Ben Vida, among others.
Lea has performed both within the US and internationally with presenters such as The Whitney Museum, The Museum of Modern Art New York, The Metropolitan Museum, Blank Forms, Gagosian Gallery, Pioneer Works, The Kitchen, The Walker Museum, The Art Gallery of New South Wales Sydney, Tempo Reale in Florence, Muziekgebouw Amsterdam, Museo Reina Sofia Madrid, ReWire Festival, Borderline Festival, and Unsound Festival Krakow. In 2018, she was awarded a Jfund for New Music grant from the American Composers’ Forum and a commission for a brass octet from the Levy Gorvy Gallery in New York. Lea has attended artist residencies at the Bemis Center for Contemporary Art, The MacDowell Colony, Headlands Center for the Arts and ISSUE Project Room. She has received commissions from the INA GRM in Paris, Quartetto Maurice in Turin, and ARS Nova Workshop in Philadelphia. She is a 2024 recipient of the Gigahertz Production Prize from the ZKM in Karlsruhe http://www.lea-bertucci.com/ —————-
KaBaird is a performer, sound artist, musician and composer based in New York City. They are known for their live performances which include extended voice and microphone techniques combined with electronics and psychoacoustic interplay of flutes and other woodwinds. They create a present tense sound with a vigorous, ritualistic delivery that seeks extreme release through physical exertion and psychic extension. They have worked/collaborated with many other musicians, artists, filmmakers and choreographers, both in structured compositions and in their dedicated practice of improvisation and interdisciplinary work.
Their solo releases include “Sapropelic Pycnic” (Drag City 2017), “Respires” (RVNG Intl 2019), “Brooding Exercises” (Longform Editions 2021), and “Vivification Exercises” (RVNG Intl 2021). In March 2024, they released their most recent solo record entitled “Bearings: Soundtracks for the Bardos” through Brooklyn imprint RVNG Intl. Recent national and international engagements have included performances at Unsound Festival (Krakow, PL), Lampo (Chicago, IL), Museum of Contemporary Art (Chicago, IL), MoMA PS1 (Queens, NY), Issue Project Room (Brooklyn, NY), The Kitchen (NYC), The Institute of Contemporary Art (Philadelphia, PA), TUSK Festival (Newcastle, UK), Incubate (Tilburg, NL), KRAAK (Brussels, BE), Le Guess Who (Utrecht, NL), and the Festival Of Endless Gratitude (Copenhagen, DK). They have been artist-in-residence at We Jazz Festival (Helsinki, FI), Sonoscopia (Porto, PT), Inkonst (Malmo, SE), Experimental Sound Studio (Chicago, IL), and Pioneer Works (Brooklyn, NY). They have been a recipient of the Foundation of Contemporary Art’s Emergency Grant, a Jerome Foundation Artist-In-Residence at Roulette Intermedium, and is currently a Jerome Hill Artist Fellow through 2023-25.
They are one of the core members of Spires That In The Sunset Rise, founded in Chicago in 2001. https://www.kabaird.com/
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Keith Fullerton Whitman is a Composer & Performer based in Fort Greene, Brooklyn. Initially active in more trangressive forms of improvised & electronic music, his work over the past two decades has dealt largely in the creation of & delineation of control to algorithmic & generativesystems. https://keithfullertonwhitman.com/
1. Joshua Bonnetta; Winter (from “The Pines“, 2025) 2. Aleksandra Słyż; Tonarium II (from “Tonarium Live“, 2025) 3. Oksana Linde; Mundos flotantes (from “Travesías“, 2025) 4. Harley Gaber; I Saw My Mother Ascending Mount Fuji (from “I Saw My Mother Ascending Mount Fuji“, 2010) 5. Catherine Lamb x Ghost Ensemble; VI. (from “interius/exterius“, 2025) 6. Corneliu Cezar; Rota (from “Ansamblul Hyperion“, 2025) 7. Enrique Ramírez & Matthias Puech; Le Crépuscule Des Forficules (from “From the Other Side of a Landscape“, 2025) 8. Arcane Device; Penetrating Black Ice (from “Fetish“, 1990) 9. Rashad Becker; Zero Hour (from “The Incident“, 2025) 10. Mads Emil Dreyer, Sistro Duo; Figure Pieces, VIII (from “Figure Pieces“, 2025) 11. Cole Pulice; In a Hidden Nook Between Worlds II (from “Land’s End Eternal“, 2025) 12. Halim El-Dabh; Alcibiadis’ Monologue to Socrates (from “Crossing into the Electric Magnetic“, 2001) 13. Ernst Karel; Fern Room 3 (from “Fern Room“, 2023) 14. Hans Kulk, Waclaw Zimpel; Sri Crickets (from “Breath of Brahma & Sri Crickets“, 2022) 15. Max Eastley; Monochord (from “Installation Recordings (1973-2008)“, 2010) 16. Laura Cocks; A thread held between your fingers (from “FATHM“, 2025) 17. William Tyler; A Dream, A Flood (from “Time Indefinite“, 2025) 18. Jules Reidy & Sam Dunscombe; Gracelords (from “Edge Games“, 2025)
Second Hour (Deconstructions)
1. Theo Burt; Snap! ‘Rhythm Is a Dancer’ divided into eighth-beats and reordered so that each piece is followed by the piece most similar to it from those remaining (from “Automatics Group Remixes – Archive 2012 to 2016“, 2023) 2. Barker; Reframing (from “Stochastic Drift“, 2025) 3. Konk Pack; Odile Meets Kipper (from “Big Deep“, 1999) 4. Calum Gunn; Longevity (from “Burnt Motto“, 2024) 5. Jean-Marc Montera; Micriosystem Area Project (from “Smiles From Jupiter“, 2000) 6. Heith; Come, Sweet (feat. James K) (from “Escape Lounge“, 2025) 7. Anton Bruhin, Wanja Gwerder; Täktli (from “Maultrommel, Mundharmonika, Kamm“, 1979) 8. Amelia Cuni; Solo for Voice 58: Raga 18 (from “Solo for Voice 58: 18 Microtonal Ragas“, 2007) 9. Diseno Corbusier; Plegaria (from “El Alma de la Estrella“, 1986) 10. Didem Coşkunseven; A Strange Place (from “A Strange Place“, 2025) 11. Chad M. Clark; Tables for Light (from “Moun Dons (DT-003)”, 2021) 12. Walter Maioli, John Zandijk; Track 1 (from “Star Rover“, 2025) 13. Kurt Weisman; Ghost Pipes (from “Ghost Pipes“, 2025) 14. Masahiko Satoh; Multi-Spheroid Part 1 (from “Multi-Spheroid – Solo Piano 3“, 1977) 15. MATS LINDSTRÖM; LOW FIDELITY I (from “LOW FIDELITY“, 2025) 16. Chuquimamani-Condori & Requisit; Red Road (from “Red Road“, 2023) 17. Dexter Wansel; Rhodes Piano One (from “Keyboard Riffs For DJ’s Volume 2“, 1993) 18. Elkotsh; Mwlid Ala’sar (from “rhlt jdi“, 2025) 19. N.M.O.; La musica inizia quando la ascolti o quando la fai? (from “Nuova Musica Ostinata“, 2019) 20. Mattin, Asha Sheshadri; Slices of Life (from “Slices of Life“, 2023) 21. Evan Pincus; Varispeed (from “Scenes and Movements for Tenor Guitar“, 2025) 22. Topdown Dialectic; 10 (from “/\\09“, 2015) 23. Ferial Confine; Part 4 (from “The Full Use Of Nothing“, 1985) 24. Zazou, Bikaye and CY1; M’Pasi Ya M’Pamba (from “Noir Et Blanc“, “1983) 25. This Heat; Paper Hats (from “1979-10-20 – Prince of Wales Conference Centre, London, England“, 1979) 26. Tête de Chou; – B – … and thereafter… 1. a minor prang occurs at 5-22-9, 2. cool air yields to the last strings, 3. and the fifth floor awaits silence, 4. as inundation draws the curtains. (from “Tête De Chou“, 2025) 27. Pete Cosey (Miles Davis); Gondwana (Outro) (from “Pangaea [SRCS 9130~1]“, 1996) 28. Pete Cosey (Miles Davis); Interlude / Theme From Jack Johnson (Outro) (from “Agharta [SRCS 9129]“, 1996)
Overjoyed to have been asked to be a Resident on The Lot Radio; while I was active as a DJ in the late 90s/early 2000s (mainly as a part of the myriad “DJ Hekla;” seek out the mix we did on RKK back then) it’s been fairly sporadic in the interim aside from a few one-offs & guest-slots. Expect 2 hours of Electroacoustics & Deconstructions every 4 weeks; I’ll be keeping meticulous record of what’s being played & will repeat the YouTube™ captures of each show here w/ annotated tracklist. Here’s the first:
Keith Fullerton Whitman. 