Catherine Christer Hennix

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Catherine Christer Hennix (C.C. Hennix) (born 1948) is a Swedish-American sound artist, poet, composer, philosopher, mathematician and visual artist associated with drone music. Hennix was affiliated with MIT's AI Lab in the late 1970s and was later employed as research professor of mathematics at SUNY New Paltz.[1]

Biography[edit]

Catherine Christer Hennix was among the pioneers in Sweden experimenting with main-frame computer generated composite sound wave forms in the late 1960s at and in the 1970s she was a key protagonist in the Downtown School along with La Monte Young and Henry Flynt, with whom she has collaborated on numerous occasions.[2] She pursued studies with raga master Pandit Pran Nath[2] and led the just intonation live-electronic ensembles Hilbert Hotel and The Deontic Miracle. She was a professor of mathematics and computer science and assistant to and coauthor with Alexander Esenin-Volpin for which she was given the Centenary Prize Fellow Award by the Clay Mathematics Institute in 2000.[3] Hennix's interest in drone music and the meditative, trance-like state it induces is apparent in her exploration of similar music in many other cultures and traditions.

Bibliography[edit]

  • "Notes on Toposes and Adjoints" (1976)
  • "Notes on Intuitionisitc Modal Music" (1976)
  • "Intensional Logics for Intransitive Experiences” (1979)
  • "Parmenides on Intensional Logics" (1979)
  • "Poetry as Philosophy, Poetry as Notation" (1985)
  • "Philosophy of Concept Art" [co-authored with Flynt] (1989)
  • "Hors-texte '68–'88; Finis Universatum: Philosophy as Art/ Philosophy as Notation, II" (1989)
  • "Grammatica tua sit tibi in periditionem" (1992)
  • "Seminarium över La Sinthome och Mathémkonstent genealogik" (1994)
  • "Beware of the Gödel-Wette Paradox" – [co-authored with Esenin-Volpin] (2001)

List of works[edit]

  • "The Hashigakari Chord" (1973-) [infinitary composite sound wave]
  • "Central Palace Music" (1976-) [two amplified renaissance oboes, amplified sheng, sine waves]
  • "Netori / Hashigakari" (1976-) [amplified renaissance oboe, amplified sheng, sine waves]
  • "Waves of the Blue Sea" (1976-) [two amplified renaissance oboes, sine waves]
  • "The Electric Harpsichord" (1976-) [well-tuned Yamaha keyboard. sine waves]
  • "Five Times Repeated Music" (1976-) [two amplified renaissance oboes, sine waves]
  • "Soliton(e) Star" (2003-) [infinitary composite sound wave]
  • "Blues Dhkir al-Salam (Blues al Maqam)" (2011-)
  • "Rag Infinity/Rag Cosmosis" (2013-) (well-tuned Yamaha keyboard, computer, sine waves]
  • "Blues Alif Lam Mim" (2015-)
  • "For Brass and Computer" (2017) [trumpet, French horn, trombone, microtonal tuba and computer ]

Discography[edit]

  • "Still Life, Q" (Sveriges Radio, 1969)
  • "Still Life, Q" (Fylkingen Records, 2006)
  • "Dharma/Warriors" [with Flynt] (Locust Music, 2008)
  • "The Electric Harpsichord" (Die Schachtel, 2010)
  • "Chora(s)san Time-Court Mirage - Live At The Grimm Museum Volume One" (Important Records, 2012)
  • "The Deontic Miracle - Central Palace Music (From 100 Model Subjects For Hegikan Roku)" (Important Records, 2016)
  • "Chora(s)san Time-Court Mirage - Live At Issue Project Room" (Important Records, 2016)
  • "Live at Krems" (Important Records, 2018)

External links[edit]

References[edit]

  1. ^ "Goethe Talks: Catherine Christer Hennix and Henry Flynt", Issue Project Room, 2013
  2. ^ a b Boon, Marcus. "Shaking the Foundations," The Wire, October 2010
  3. ^ "Catherine Christer Hennix: Live at Issue Project Room", Important Records, 2016