I do not make artworks or music inside of genre, but rather I make things to investigate particular research interests while operating in response to the context for my work. I am more interested in surprise and discovery than perfection. My work is often, though not always, electronic. Often the overall form of my work is arrived at through the interactions of materials in processes of growth or entropy. Form on one order of magnitude emerges out of complex interactions between elements on others order of magnitude.
I enjoy noise: as a sound, an experience, and as a way of conceiving possibilities of experience. I enjoy chance and embrace uncertainty. I prefer multiplicity to monads and celebrate this in my work. I am fond of situations in which the parts have a great deal of independence. A lot of my work contains multiple reference points, sometimes in conflict with one another.
Recent works include Holy Week, a piece of spatialized electronic music premiered at the Electric Spring Festival on the massive HISS sound system; The Forager’s Breakfast, a “stimulated object” involving living moss and a sounding environment first revealed in a recent exhibition “Space as an Instrument”; In Warmer Seasons, piece for autonomous soprano, flute, and guitar, premiered by tracensemble; Island In Natural Colours, an environmental sound installation whose a cousin of which Small Island in Ideal Colours II, was recently premiered at the Huddersfield Contemporary Music Festival (hcmf//) on a 25.4 sound system at the University of Huddersfield’s Spatialisation and Interactive Research Lab (SPIRAL); Cartesian Birds, an flock of audio-visual organisms; Unnatural Processes, a 22 minute composition for RHEA (computer-controlled robot piano) and human performer; and Fans of Beethoven, an environmental sound situation the occupied a border state between an installed and a concert work. In addition, I often perform solo using viola, voice, circuits, computer, and other instruments. I call this Core of the Coalman. I have a large body of work released as recordings under this name.
Statements About Myself
I am an artist, composer, performer, researcher, educator, and writer. I am interested how things form, how they change over time, and how we experience them. Exploring these themes, I create sound installations, performances, musical scores, recordings, texts, three-dimensional objects, drawings, and other situations. The creation and presentation of artworks alters both ourselves and our environments. Therefore, I create experimental processes which allow me to navigate, test and map the infrathin region defining my interactive relationship to my environment.
I am also very interested in prehistory and prehistoric art, natural history, and ecosystems. The world, for me, is constituted by "multiple systems of events, appearing and disappearing, evolving at their own rates." My main research interests are situated at an intersection between philosophical phenomenology, psycho-acoustics, and action. Therefore, I add another clause to my description of the world above, to account for our experience of it: "… apprehended interactively, and from an individual frame of reference."
I have a master's degree from Mills College in Oakland, California. At Mills, I worked in the Center for Contemporary Music and studied with Pauline Oliveros, Alvin Curran, and Fred Frith. I also participated in workshops with Marianne Amacher, Paul Demarinis, and Allan Kaprow, and did a research project with Gordon Mumma. I taught Experimental and Interactive Art at a small university in Prague, Czech Republic for many years. I am currently a researcher and lecturer at the Centre for Research in New Music at the University of Huddersfield, where I recently completed a PhD entitled “Situated Sound and Compositional Circumstance” under the supervision of Bryn Harrison, while occasionally listening to the advice of Peter Ablinger on his periodic visits. I am also grateful to have worked with Alex Harker and Aaron Cassidy during my studies at Huddersfield.
Statements About Myself Written in The Third Person
(In Which I Speak About Myself As Though I am Other to Myself, as is Frequently Requested for Formal Occasions, but For Reasons I Cannot As Yet Fathom )
Jorge Boehringer is an interdisiciplinary artist, composer, performer and researcher currently based in Huddersfield, UK. Boehringer channels his eclectic and experimental practice into installation works, ensemble music, performances, texts, and visual artwork that explore attention, instability, and the texture and apprehension of temporality, environments and everyday life. Boehringer performs regularly as Core of the Coalman, a solo project in continuous development that he refers to as an open sketchbook, as well as in the duo Kneeling Coats, with composer and musician Eleanor Cully, and in numerous other configurations. He has recently completed a PhD at the University of Huddersfield, supervised by Bryn Harrison, and previously studied in the Center for Centemporary Music at Mills College in Oakland, California with Pauline Oliveros, Alvin Curran, and Fred Frith. Recently, he and artist-musician Chris Ruffoni have launched the collective curatorial effort New Weird Huddersfield (NWH), a curatorial project aiming to psychologically increase the local noise floor through the production of concerts and exhibitions in the alluvial region between Manchester and Leeds.
Here is A "Biographical Statement" That I Have a Great Deal Of Sympathy With, In That I Continue to Recognise Myself in It Despite Its Being Slightly Outdated and Written In Third Person
Jorge Boehringer is an composer, artist, musician, and researcher exploring large scale landscapes and microscopic layers of process and form, and how they interact with perceptual experience. Utilizing a protean platform for experimentation and presentation, Boehringer creates performances, recordings, music, installations, texts, three-dimensional objects, and visual phenomena. Inspired by, and at times modeled after observed environmental processes and structures Boehringer’s work offers an experience of reality presented as a textural field. “Multiple systems of events, appearing and disappearing, and evolving at their own rates…” is a phase Boehringer uses to describe both the material world and our experiences of it. Structures and processes which, when apprehended from diverse frames of reference or differing orders of magnitude, offer the experience of multiple states of complexity, constituting the presence a world before us. Boehringer focuses his research on the unfolding of perceptual experience through composed opportunities for encounter within sound and visual environments on variable scales. The scale of these works range from the vast and immersive to small and/or singular concentrated environments, in both cases each resides with visitors at the cusp of becoming and imagination, offering an opportunity to explore shifts in one’s awareness of one’s awareness. Continuous sound of long duration, changing densities across time and space, repetition and layering, and on the other hand, chaotic aperiodicity are used by Boehringer to provoke a phenomenological ripple in the moment of experience of his works. Simplicity and complexity wink and one another, and trade places. Boehringer is also known on occasion to make drawings of alien-cyborg bunny rabbits, sculptures out of tape and light bulbs, and write songs either about animals, or with mystical and sometimes rhyming texts. Boehringer often performs solo works as Core of the Coalman, a continuous solo project at once an open sketchbook, and a collection of compositions in a state of perpetual evolution. Core of the Coalman can be characterized as continuity and discontinuity for viola, voice, and circuits on the border between stability and chaos. By turns focused and explosive in texture, Core of the Coalman emphasizes the physicality of sound in its synesthetic relationships between ear, mind, and environment, with the aim of hearing oneself listening.