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Jorge Boehringer
Birth name
Jorge Boehringer
Also known as
Core of the Coalman
Born
March 17, 1975 (1975-03-17) (age34)
Origin
Syracuse, New YorkUnited States
Genre(s)
Electronic musicAvant-Garde MusicNoiseExperimentalContemporary MusicContemporary classical musicAmbientElectroacoustic musicPopComposersNoise Music
Occupation(s)
Composer, Artist
Instrument(s)
Viola, Various Instruments, VoiceElectronic musical instruments
Years active
1993 present
Label(s)
BOCResipiscentCustodian Color ZooDolor Del EstamagoDeath Bomb ArcZumInsect
Associated acts
Core of the CoalmanJorge BoehringerCaroliner RainbowCommode Minstrels in BullfacePaul BakerChe ChenGrouperLiz AlbeeCore Ogg the Coalman
Website
http://www.myspace.com/opakptak
Members
Jorge Boehringer
Formermembers
Jorge Boehringer
Notableinstrument(s)
Viola,Voice, Electronic Instruments, Volterra Infrasound Mirrorimage Reprocessor, Synthesizers, Keyboards, Cross-Modulation Feedback Systems, Percussion Instruments,Feedback Driven Yodel-Triggers
Jorge Boehringer is an electro-acoustic musician, composer, sound designer, and installation artist from the United States. He was born in New York in 1975, grew up in Texas, and in 1998 moved Oakland, California. He currently resides in Prague, Czech Republic.
Boehringer music is characterized as much by the multi-media tools and instruments that he uses to generate sounds as by the variety of inter-disciplinary compositional approaches he takes to arrange them. The textural surface of Boehringer music consists of an original vocabulary of electro-acoustic sound created from a combination of acoustic viola, electronic sources, or other "acoustic" sound sources. These sounds are then combined in a variety of ways using electronic processors of both analogue and digital origin. Boehringer then arranges these surfaces into an overall architecture using a variety of structural processes which often, but equally often do not, bear a direct relation to those processes used to generate the sounds themselves. Boehringer discusses his compositional approach and it's relationship to his ongoing study of physical phenomena and human perception, in several interviews and articles. In reference to a large ensemble piece composed in 2001, for example, he states:
"Games involving proportions between human scales of time and experience and those which can be observed within my environment tend to be useful in trying to understand the environment and consequently my sense of presence. These games tend to follow an ever-reductive pattern, in which I simplify the structures I am working with...[so that they] can then be transformed freely. Data, unlike rock mass, is extremely plastic even to the hand of thought alone, and, in addition, makes itself available to various algebras, conceptual transformations, and comparisons freely. Systems which are overtly periodic are somewhat self-simplifying (they repeat, more or less) and thus, when compared to more chaotic systems, lend themselves to such quantification readily."
The novel aural effects, temporal distortions, and open approach to staging in Boehringer work as often invites comparison with visual artists as with musicians. The visual aspect of his work is, in fact, often an interplay between phenomenological aspects of sound or what is presented visually, with open questions regarding the meaning of the presentation itself. For instance, in "Rawing With the Hound of One's Own Acheing," a work borrowing its title from Robert Morris' "Box With the Sound of Its Own Making," Boehringer "amplified drawing one of his dense, wave-like images..."describes author Che Chen in Osirhan Osirhan issue 1, resulting in an installation of both the recorded sound of the drawing and the resultant drawing itself in an Oakland gallery. Boehringer's approach to working with non art-based themes in his artwork and writing result in a dialogue similar to that found in the writing of artist Robert Smithson. His 2003 installation work Shelter, for example, is described as "an auditory earthwork" in which "recordings of radio beacons, insect announcements, warning chimes, foghorns, and other beacons where broadcast from various hilltops..."[in San Francisco]"A sonic metaphor of a crystal lattice, allowing breathing space for a population under stress from an increasingly militant political environment."[ibid]
Boehringer creates work for live performance as well as the recorded medium, film and video, and gallery presentation. He has composed music for the American Conservatory Theater(SF), cellist Loren Dempster, EnsembleInc (NYC), The Sf Sound Ensemble, the Mills College Contemporary Performance Ensemble, and for many other ensembles, dance groups, film productions, and individuals. He has released recordings...(and so on)

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