R. Luke DuBois

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Roger Luke DuBois (born September 10, 1975 in Morristown, New Jersey, U.S.) is an American composer, performer, conceptual video artist, programmer, record producer and pedagogue based in New York City.

DuBois holds both a bachelor's and a doctorate in music composition from Columbia University (studying primarily with Fred Lerdahl and Jonathan Kramer), and is a staff researcher at Columbia's Computer Music Center. He has taught interactive music and video performance at a number of institutions, most recently Columbia, Princeton University, the School of Visual Arts, and the music technology and interactive telecommunications programs at New York University. As a graduate student at Columbia he was a contributor to Real-Time Cmix and currently works for Cycling'74 on Max/MSP/Jitter.

DuBois has collaborated with a wide range of artists and musicians, including Elliott Sharp, Paul D. Miller, Todd Reynolds, Toni Dove, Chris Mann, Michael Joaquin Grey, Matthew Ritchie, Eric Singer, and Leroy Jenkins. He was a founding member of the Freight Elevator Quartet, and has produced records for Bang on a Can composer Michael Gordon on the Nonesuch label. His music integrates real-time performer-computer interaction with algorithmic methodologies repurposed from other fields, most notably formal grammars such as L-systems. His current research into issues of musical time revolve around a technique called time-lapse phonography, as used in his piece Billboard[1].

As a conceptual artist, DuBois takes on various topics in American culture and places them under a computational microscope attempting to raise issues relevant to information theory, perception of time, canonicity, and gaze. For example, his trio of pieces on gestalt media, Academy, Billboard, and Play, look at three iconic cultural "canons" in American popular culture (the Academy Awards, the Billboard Hot 100, and Playboy magazine's Playmate of the Month)[2]. His piece Hindsight is Always 20/20, based on a statistical analysis of presidential State of the Union addresses, uses computational means as a lens into the politics of political rhetoric[3]. Fashionably Late For The Relationship, his feature-length collaboration with his partner, performance artist Lián Amaris Sifuentes, uses the radical time-compression of a 72-hour film of a performance to deconstruct obsession[4]. His work is represented by bitforms gallery in New York City, and has been screened worldwide, including at the 2007 Sundance Film Festival.

Prior to becoming a well-known laptop musician, DuBois did most of his improvisation and performance on Buchla and Serge modular synthesizers.

[edit] Discography

  • The Freight Elevator Quartet (Electronic Music Foundation, 1997)
  • The Freight Elevator Quartet's Jungle Album (Electronic Music Foundation, 1998)
  • DJ Spooky vs. the Freight Elevator Quartet: File Under Futurism (Caipirinha/Sire, 1999)
  • This Is Jungle Sky, Vol 6: Funk (Compilation, Liquid Sky Music, 1999)
  • File Under Futurism EP (with DJ Spooky and A Guy Called Gerald) (Caipirinha/Sire, 1999)
  • Open Ends (Compilation, Museum Music, 2000)
  • The Freight Elevator Quartet Becoming Transparent (Caipirinha/Sire, 2000)
  • Exasperation EP (with JMD, Kit Clayton, Datach'i) (Caipirinha/Sire, 2000)
  • State of the Union 2.001 (Compilation, Electronic Music Foundation, 2001)
  • Radiolaria (Elliott Sharp, zOaR Music, 2001)
  • The Freight Elevator Quartet Fix it in Post (Cycling'74 Music, 2001)
  • Decasia (Michael Gordon, Cantaloupe Music, 2002)
  • Light Is Calling (Michael Gordon, Nonesuch, 2004)
  • Messiah Remix (Cantaloupe Music, 2004)
  • Timelapse (Cantaloupe Music, 2006)

[edit] References

  1. ^ Alexander Gelfand (2007). The Sounds of Science. The Walrus. Retrieved on January 23, 2008.
  2. ^ Interview (2006). Sundance Features. The Reeler. Retrieved on January 23, 2008.
  3. ^ The UnConvention Blog (2008). Hindsight is Always 20/20. The UnConvention. Retrieved on January 23, 2008.
  4. ^ Campbell Robertson (2007). She’s Got a Date and Only 72 Hours to Prepare. The New York Times. Retrieved on January 23, 2008.

[edit] External links