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Jorge Boehringer

Sound Artist, Noise Fanatic, Amp Worshiper,

Music Composer, Environmental Artist,

(for installations and ensembles or soloists

(with or without electronics [and/or computers])

and/or self as solo performer

(viola, guitar, objects, percussion, voice, electronics));

writer, researcher, educator;


{morphological: pattern formation & recognition

(plant, animal, water, weather, mineral)},

{phenomenological: (visible & invisible,

temporality, real and unreal situations and circumstances)},

{environments (ecology, interactivity)},

{(pre-) history (& post-)};

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Information, Written in The Third Person:

An interdisciplinary artist, composer, performer, and researcher  based in Newcastle Upon Tyne, UK, Jorge Boehringer channels his eclectic and experimental practice into installed listening environments, ensemble music, spatial audio, performances, texts, and visual artwork.  He uses sound and listening to explore attention, instability, and temporality, within ecological environments and everyday life.  Boehringer performs regularly as a soloist in the noise project Core of the Coalman, a open sketchbook in continuous development articulated by and within instruments and media old and new.  He also releases computer music under the nome de plume On Growth and Form and performs in the duo Kneeling Coats with composer and musician Eleanor Cully, who is also his partner in everything else.  They like to go hiking a lot and are getting better at cooking all the time.  Meanwhile, he has completed a PhD at the University of Huddersfield, supervised by Bryn Harrison, and working alongside Peter Ablinger.  He previously studied at the Center for Contemporary Music at Mills College in Oakland, California with Pauline Oliveros, Alvin Curran, and Fred Frith.  He was also able to participate in workshops and residencies with Maryanne Amacher, Paul Demarinis, Allan Kaprow, and Gordon Mumma.  In 2018, 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.  He is presently a full-time researcher in Sonification Design and Aesthetics at Newcastle University:

More! More!

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. 

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Sound Artist











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