Sunday, December 19, 2010


Friends, lovers, and friends' lovers! Join us for 2 solid weeks of rock and roll as Son Cats take over the California coast and the foggy forests & alleyways of Oregon.

This tour celebrates the upcoming release of the Cats' debut 7" on For Arbors / For Satellites. This sweet piece of vinyl was recorded by Alex Wilson and mixed by the band using Wilson's Tascam 488 8-track machine.

"O'Dell/1971" was mastered straight to vinyl by Roger Seibel at SAE Mastering. The digital download (which is available on the Son Cats bandcamp page) was mastered by Carl Saff at Saff Mastering. The cover, designed by Jasmine Dreame Wagner, was printed at Pinball Publishing in Portland, OR.

You'll be able to get your paws on it soon!



1/11 - Little Red Lion - Eureka, CA (w/ Schmieshmar Aggdornaut)
1/12 - Revolution Cafe - Oakland, CA
1/13 - The Lodge - San Luis Obispo, CA (w/ Sea of Horses, Judd Kaufman)
1/14 - Biko Garage - Santa Barbara, CA (w/ Coastlines, Ramona Cordova, Lougow)
1/15 - 5 Stars Bar - Los Angeles, CA (w/ Backseat Bingo, Gardeners, King Cat)
1/16 - House Show (mssge for addy) - Las Vegas, NV (w/ Dreaming of Lions)
1/17 - Pehrspace - Los Angeles, CA (w/ BYODeath, Shane Shane, Melted Cassettes, Bene Tleilax)
1/18 - Hemlock Tavern - San Francisco, CA (w/ The Shants, Cave Country)
1/19 - Copland - Oakland, CA (w/ Cenotaph, Mortar & Pestle)
1/20 - Cafe Flo - Chico, CA
1/21 - The Hh - Portland, OR (w/ Marmints, Northeast Northwest)
1/22 - House Show - Portland, OR (w/ Purrbot)
1/23 - Sam Bonds Garage - Eugene, OR


More information:

Venue addresses and more info after the break:

Saturday, December 11, 2010

Poems, People, Places

Tonight at Detritus in New Haven, CT, I'm going to be sharing some poems with Nancy Kuhl and Mark Horosky at a reading curated by Jason Labbe. Shaki Presents will be spinning some rare and stunning tracks on the turntables before and after the words. If not for the poems, then come for the handmade books, zines, and printed matter that Detritus collects, curates, and distributes.

I'll be bringing some copies of Humble Humdrum Cotton Frock, The Young Sun Press, and Tom Tom Magazine with me, along with a letterpressed broadside I worked on with Mindy Beloff at Studio on the Square / Intima Press and a poster from the poem series I worked on at Kultuuritehas Polymer when I was in residency in August (with thanks to the Foundation for Contemporary Arts.)

Sunday, November 21, 2010

Humble Humdrum Cotton Frock (Interview with Edwin R. Perry)


Humble Humdrum Cotton Frock: A Twilight Teeter Into Organic Esoterics is a hand-bound, silkscreened poetry journal edited by Edwin Perry and Cat Reis of Plumberries Press. The latest issue, which came out this spring, features poems by Jake Acosta, Macallister Armstrong, Ali Boyd, Kathryn Cesarz, Nick Demske, Shannon Marie Kerrigan, Lisa Loew, J.S. Makkos, Monadnoc, Peter Murphy, Brenton Harper-Murray, Julie Strand, Carmen Tracey, the editors themselves (Edwin R. Perry & Catherine Annabella Reis,) and me and Alex, too (Jasmine Dreame Wagner and Alex Reed Wilson.)

Edwin and Cat have been active in the midwestern DIY scene for a while now, making irreverent folk-pop, psychedelic bubblegum, and lo-fi sugar punk music as Perpetual Dusk at Curtsy Caverns, Plum Wife and Plum Union, as well as hosting shows at Chicago's The Radish Patch and Ball Hall. Edwin and his poems recently shared a few tour dates with World History on their way across the midwest.

Four Quick Questions With Edwin R. Perry

JDW: How did Humdrum and Plumberries press first come about?

ERP: Humdrum was a product of imitation and a wealth of raw materials. Both of which were sourced from J.S. Makkos in Cleveland who works under the guise of the Language Foundry. It was a love of process... of making stacks of things, etc., of course it spawned between both myself and Catherine Ries.

JDW: Do you think of your writing as part of your music, or do your songs & writings have separate drives and sources?

ERP: I've been doing a lot of readings lately, and have found that when the room is really poorly lit, I have to bury my face in the paper to actually read... which is no fun for anyone... I have reverted to reciting some lyrics as poems, changing the pace and so on, quite a bit of course. But in general, I tend to keep endeavors sort of separate from one another. It is generally to acknowledge whomever I work with on said project as a definitive partner. I'm really into teams.

JDW: What kinds of things or experiences do you hope to find in a poem?

ERP: All kinds, from confusion to unadulterated empathy... generally all back-lit by a bit of euphoria. I tend to like strange things, shorter things which are allowed to resonate.

JDW: Have you read any other great handmade books that you could recommend?

ERP: Check out Language Foundry, Flying Guillotine, Melodeon, Dancing Girl, and Interbirth.


For more information, check out the Plumberries Press website, and if you're in or near Wisconsin, Illinois, or Michigan, keep your eyes peeled for Edwin's readings and music. He tours around quite often, and isn't one to miss:

Plumberries Press

Friday, November 19, 2010

World History & Cabinet of Natural Curiosities Shows

World History and Cabinet of Natural Curiosities will be playing two shows together in Connecticut this week.

Friday, November 19th
World History, Cabinet of Natural Curiosities, An Historic
@ Neverending Books
810 State Street, New Haven
Golden Microphone Music Series
7 PM / $5 / All-ages

Tuesday, November 23rd
World History, Cabinet of Natural Curiosities
@ Cafe Nine
250 State Street, New Haven
9 PM / $Free / 21+

Tuesday, October 19, 2010

Son Cats Winter Tour 2011

We're going to play some shows!

(More info soon.)

Friday, October 15, 2010

Interview with Germaine Baca-Has (Arrington de Dionyso's Malaikat Dan Singa/Old Time Relijun) in Tom Tom Magazine

Back in June, Son Cats played a few dates around New England. One of the most memorable nights was a show with Arrington de Dionyso's Malaikat Dan Singa at the 119 Gallery in Lowell, MA. The show was tight. Hermit Thrushes and Ladderlegs totally killed it. When Malaikat Dan Singa started playing their groovy jazz-inflected Indonesian pop, everyone in the crowd was either dancing or hypnotized. Arrington, the frontman, is an incredible performer. Between his throat-singing, microphone-manipulating, and switching between instruments, he held a completely captivated audience. It was, however, difficult for me to look away from the drummer, Germaine Baca-Has. She's amazing!

I was lucky enough to be able to interview Germaine for Tom Tom Magazine, a sweet drumming magazine out of Brooklyn that focuses on female drummers. It's almost too good to be true. Great musicians, photography, everything. If you haven't checked it out already, please do so. Issue No. 4 is where it's at.

Check it out:


Sunday, September 19, 2010

Politics and the Third Dimension

Just saying...

These glasses are a prototype for some 3D glasses that actually extend into the 4th dimension. In your face James Cameron.

Tuesday, August 3, 2010

C. Ryder Cooley & The Aesthetics of Empathic Hybridity

Carolyn Ryder Cooley is an inter-disciplinary artist working in a variety of mediums, including painting & drawing, installation, video, music, and aerial performance. My first introduction to Ryder's work was her songwriting and accordion & saw-playing for Fall Harbor. I was lucky enough to find myself sharing a show with her in Troy, New York, at the 51 3rd Street ArtSpace deep in the summer of 2009. Though Fall Harbor usually performs as a duo (Ryder and Todd Chandler, video artist/filmmaker/bass player for Dark Dark Dark) Ryder was alone that evening. The lights were dim and she haunted every soul in the room with her throaty vocals and accordion, sometimes accompanied by looped samples she'd crafted of bird calls and rustles of wind through the trees.

Since then, I've had the lucky pleasure of being able to share a few more nights of music with Ryder, and the honor of visiting her studio in Hudson, New York. The room was packed tight with drawings and paintings, some finished, some in a kind of primordial-soup phase, papers shuffled about, pens and pots of paint in jumbled places that had a secret order they kept to themselves. Ryder handed me things, giving me things, cards that she'd drawn, cut, and folded by hand, prints of video stills, she kept filling my arms with beautiful works that she'd made. In this way, she's like a mother animal, nurturing, sharing, generous with her craft, her time, her music, and her listening. Which makes a lot of sense once you begin to enter the haunted dream worlds that she creates: post-apocalyptic narratives populated by hybrid animals and semi-human forms that exist in an empathic future where, in order to survive, one must take dangerous leaps of faith and nourish the animal first.

There is pain in Ryder's work, something most obvious in past performances where she and her collaborators would embed feathers in her skin to allow Ryder to become the creatures she envisions. Her aerial work is demanding and sometimes dangerous, suspending herself hundreds of feet above running water from the edge of a bridge to serenade the nesting pigeons with her accordion. Recently, she walked 20 miles from Hudson to Cairo, New York, hefting the taxidermied head of a deer, documenting and collecting the roadside dead for a group burial at the end of the map, a Faulknarian journey along the twisting roads of industrial upstate New York.

Like those roads, Ryder's work is dark and winding. Experiencing her world is like finding a message in a dark glass bottle at the far edge of the farthest tidal pool. Hidden by kelp and barnacles, snug between broken mollusk shells, you pinch the treasure from where it's been lodged for a hundred years. Whoever lobbed that message is long gone, you couldn't even be a figment of that man or woman's imagination, all the wires and asphalt buzzing behind you, behind the parking lot at the seashore. You pull out the cork, press your eye against the opening to see what's inside, then slowly fish the message from the neck of the glass, unravel the paper, and begin to read...

Six Questions With C. Ryder Cooley

JDW: As a multi-media artist who has worked extensively in painting, drawing, sound, performance, and songwriting, is there any one artistic mode that you are most strongly drawn to? Is there one mode that supports the others - for example, do you begin drawing and work towards performance or songwriting as a branch sprouts from a tree? Or do you work within a spiderweb of equal but connecting strands?

CRC: My parents were English teachers and my father is a writer, so my background is language driven. Narrative is the thread that connects and collects all of my work into one vision. I used to be drawn to written words, but as I started making music, drawing and performing, these visceral forms took over, which was a relief because I think in pictures and I write phonetically. Over the years I’ve also become interested in live interactions and exchanges. In the 90’s I made a lot of zines, which were eventually performed, making way for embodied manifestos and investigations into presence/absence as experienced in fleeting time and intimate, feminine spaces. All of my work retains threads of narrative; I bring text to images and I draw on discarded book pages. It’s all a departure from the writers, thinkers, poets & hippies who I grew up around.

JDW: Your work is often concerned with environmental issues and animal themes. Why do you think images of animals in distress or in hybrid states are so emotionally compelling to the contemporary human viewer?

CRC: This is a question I ask myself all the time!

What is it about animals and hybridity? They are everywhere, in the mainstream and the margins. Is it a response to genetic modifications, cloning and animation/technology? Perhaps it is a form of post-essentialism. We’re finally in the age of Frankenstein, Mary Shelly was way ahead of her time, science fiction isn’t fiction any more, we’re in the future. Have you ever read Shelly’s other other novel, The Last Man? It relates to topics of Extinction.

Ultimately I think that we ourselves are distressed, hybridized cyborg-ish mutants. Many people share a longing to escape humanity and to project themselves into other bodies, places, genders and identities. Humanity seems to be devolving. We’ve reached a saturation point and now we’re wallowing in the residue of pollutions and diseases. It’s our reckoning time. The United States is a first world distopia. Now we are facing the repercussions of our parasitical lifestyles. There’s a need for new utopian visions. Artists and activists are envisioning new lifestyles. These blueprints may not be entirely applicable, but it’s a spark in the right direction.

JDW: What role do you think animals play in our contemporary, post-industrial, global narrative? How do these roles (or these ideas) surface in your aerial choreography?

CRC: Animals are a connection/reference point for us. They remind us that there is life beyond our media-driven, manipulated experience. Animals need environments to live in, they need trees for nesting and plants and other creatures for food. They don’t have a shopping mall to go to for groceries, or air conditioners, and they can’t drive cars. We observe animals, we use and abuse them in laboratories. Animals exhibit evidence of the effects of industry and pollution. I don’t have any pets myself, but I take care of a lot of pets. Caring for a dog in NYC is a big reminder of how important it is to go outside, to run and play. If the dog doesn’t go to the park, she is instantly depressed. The dog doesn’t have virtual reality to escape to, she can’t distract herself with travel plans, there’s no doggie gym or yoga, and if she runs into the street, she gets hit by a car, a reminder of how dangerous our streets are! When a dog eats garbage on the sidewalk, we’re reminded of how much trash we generate and how dirty our fabricated landscapes have become. Animals are a great reality check.

Animals hold a space of innocence. I’m drawn to the innocent, my work is very sincere.

During outdoor performances I enjoy interacting with animals, and when there is an aerial element, I feel like I’m joining the creatures of sky, bridge and tree. Spiders, squirrels, bats, birds, insects, fish… they make great audiences and collaborators and they are amazing performers. The animals are my muses, as they have been for so many people through the ages. Animals have inspired us for centuries.

Death plays a big role in all of my work. Right now I’m working on a series of drawings, performances and songs focused on extinction. There seems to be a growing concern about human-caused extinction. Stay tuned for ANIMALIA 2, featuring extinct animals such as the Dodo, the Passenger Pigeon and the Pyranean Ibex! This music and aerial-driven show is scheduled to debut in the spring of 2011.

JDW: The aerial performance component of your installations is physically challenging. How do you prepare for this kind of performance? Do you believe that art should challenge the human body as well as the mind?

CRC: As I mentioned earlier, my background is narrative-driven. It’s certainly been a challenge to learn how to work with my body. I’m shy and I can be quite the masochist, but you can’t trash your body and do aerials, at least not at my age. I’m an introverted performer. Sometimes the shyness gives me an edge, and other times it backfires. I never know if I’m going to pull the performance off or not. This keeps everything very real, very honest. In this age of high production/fabrication, I like to push the precarious elements, the vulnerability and emotion. My work is old fashioned, everything is handmade.

I tend to reject things that come naturally and embrace difficult things, like trapeze. It was hard learning to go upside down and hold my body weight from a bar. I haven’t studied aerials (too expensive!). Most of what I know I’ve figured out on my own or through friends and collaborations. The aerial work is about flight, pushing through limitations and defying gravity. This work is often site-specific. It began with a 6 hour installation-performance in a chair that was suspended over a stairwell. This evolved into explorations in trapeze, harness and rope work. I like to interact with architecture, environment and vertical spaces. I have an obsession with bridges, and I love vaulted ceilings, beams, corners, stairwells and passageways. I love looking up. I work with circus metaphors as a way of seducing and confusing viewers, not quite giving them what they expect. Body and mind are symbiotic to me. If you tap into one you’re inevitably touching on the other. I’ve been drawn to working with bodies in response to my fairly disembodied youth. Ultimately I think that it all about energy, will and desire.

JDW: What, in your day to day life, grounds you as a person and as an artist? Where do you consider yourself truly at home or at rest?

CRC: I’m at home when I have a good studio to work in, a place to hang my trapeze and to draw/paint/write songs. It needs to be a place to collaborate, make noise and create. I recently moved out of an incredible studio at Contemporary Artist Center in Troy, NY and now my only work space is the stuffy attic in my small apartment, so I’m feeling a bit ungrounded. If anyone knows of an affordable/work-trade studio in the NY Hudson Valley let me know! I’m lucky to have a living space right now. I’ve been working with a non-profit called Time and Space ltd. in exchange for housing. I prefer the barter system. Before this I was traveling from place to place, making art and music but unable to pay rent. I went to a lot of artist residencies!

JDW: As a viewer steps away from your aerial performance or multimedia installation (or both) for the first time, what do you hope he or she has gained?

CRC: My work is cinematic, and sometimes haunting. I like to inspire people to use their imaginations. If viewers step away feeling transported, as though they’ve been on a journey, then the work is successful. Sometimes there is a political message in my work (ecological, anti-war, gender-queer). I never intend to beat viewers over the head. These messages are more poetic and speak to the subconscious. Sometimes I perform with taxidermy deer. Deer are apparently considered pests to homeowners and car drivers because they graze in the garden and run across the road at dusk. After shows people have told me that the deer performance made them see deer in a new light, which makes me very happy. Anything people can take away, even if it’s unconscious, is great. Ultimately I hope everyone can have their own unique experience that they will remember.

Tuesday, July 20, 2010

Cabinet Summer Mini-Tour

Tuesday, July 20th @ 119 Gallery, Lowell, MA, w/ Summer Blondes, The Sinbusters
Thursday, July 22nd @ Roots & Tendrils, Belfast, ME, w/ Gem Club, Manners
Friday, July 23rd @ Mayo Street Arts Center, Portland, ME, w/ Arborea, Kelly Nesbitt
Saturday, July 24th @ 119 Gallery, Lowell, MA, for the LOWELL FOLK FESTIVAL

Carl Saff is mastering some songs for Son Cats! Very exciting.

Saturday, June 26, 2010

Cabinet of Natural Curiosities @ Folklore Festival, 119 Gallery, Lowell, MA, 6/18/2010 -- Photos!

Thanks much to the folks at 119 Gallery for the excellent night of food and music! (And these photos.) Driving up to Lowell was awesome as usual, great bands, and a huge table of vegan dinner made by chefs Stephanie and Olivia. Above and beyond great.

For more pics, visit our flickr page:
For Arbors / For Satellites on Flickr


Sunday, June 20, 2010

New SON CATS Song!

Here it is! Check it.

Heavy neon. More coming soon.

- Cats

Monday, June 14, 2010

FOLKLORE FEST @ 119 GALLERY, Lowell, MA! June 18th/19th

FOLKLORE FEST is a two day music, craft, art and food festival
held June 18th and 19th at 119 GALLERY in Lowell, Massachusetts.

Each show will be sliding scale $3-$5.
The 119Gallery is a non-profit, all volunteer-run space.
All money goes to the Gallery for rent for the two days.
The rest of the money will go to the touring bands to cover travel expenses.
119 GALLERY is @ 119 Chelmsford St., Lowell, MA.
BYOB if you are 21+

Also we will have tables for merch, art, crafts, zines and any other things
you may want to sell or give out. Contact Stephanie about setting up a table
for zine / art / craft items etc: stephanielak(at)

FOLKLORE FEST on Facebook!

If anyone wants to bring food and make it a vegan potluck-
style thing that would be great, anything helps!

6:30pm Busy Arms (MA)
Jessie Williams and the Boozehounds (CA)
St. Claire (MA)
Cabinet of Natural Curiosities (NY, NE)
The Bill Murray Experience (NY)
Brown Bird (RI)
The Crop Circles (CA)
Jake and the Infernal Machine
@ The Bartlett Middle School Fields, Lowell, MA! (Wannalancit St & Oliver St, Lowell, MA)
(across the Pawtucket Canal from Walker Street Kitchen)
with the bands and friends... all Welcome... food and FUN!
FREE to attend and participate!
NOON - 2pm

SATURDAY JUNE 19th (3pm - midnight)
Back to the 119gallery!!
Wooden Dinosaur (VT)
Matt Fox (MA)
Big Wilson River (NJ)
Hello Shark (GA)
The Thin Heir (MA)
Boy Without God (NY)
Tallahassee (PA, RI, MA)
The Points North (MA)
8pm - 9pm
Lonesome Lake, Redwing Blackbird and Tell Stories
The Accident That Led Me To The World (MA)
The Woodrow Wilsons (MA)
Sway (MA)
Ladderlegs (MA)
Hermit Thrushes (PA)
The Dope Girls (CT)



Saturday, June 12, 2010

Fall Harbor, Alexander Turnquist, Cabinet of Natural Curiosities @ The Spotty Dog, Hudson, NY, 5/15/2010

Hey all,

A few weeks ago, Fall Harbor, Alexander Turnquist, and Cabinet of Natural Curiosities played a show together at The Spotty Dog in Hudson, New York. Ryder brought candles for atmosphere. The show was a wonderful experience -- beautiful music, a quiet, attentive crowd, good local pizza and beer, and cool, crisp weather. I met so many new faces from around Hudson and purchased a few books from the bookshop (which actually has a great poetry selection.)

Here's some pictures:

Fall Harbor

Alexander Turnquist

There are more pictures on our Flickr page.

Monday, May 3, 2010

Cabinet of Natural Curiosities & Son Cats shows in May


May 15th @ The Spotty Dog, Hudson, NY
Cabinet of Natural Curiosities
Fall Harbor
Alexander Turnquist
8 PM / $5

(Poster by C. Ryder Cooley)

May 22nd @ Rebel Sound Records, Pittsfield, MA
8-Inch Betsy (Chicago, IL)
Spooky Qs (Lexington, KY)
The Jesse Minute (Providence, RI)
Son Cats (are awesome)
A.J. Shanti (Brooklyn, NY)
7 PM / $5

May 23rd @ 119 Gallery, Lowell, MA
Malakait Don Singa (K Recs, Olympia, WA)
Viva Viva (Boston, MA)
Hermit Thrushes (Philly, PA)
Avi Jacob (Providence, RI)
Ladderlegs (Boston, MA)
Son Cats (are awesome)
6 PM / $5

(Poster by Stephanie Lak)

Wednesday, April 14, 2010


South China @ Old Hannah House, Willimantic, CT

Old Hannah (Tyler Bussey and friends) @ Old Hannah House, Willimantic, CT

Alex @ Flanders Nature Center, Woodbury/Middlebury, CT

Sean Hill @ Hickory Stick Bookshop, Washington Depot, CT

Yusef Koumanyaka, Sean Hill, Camille Dungy, Evie Shockley @ Poets House, New York, NY

The Sweet Divines with Billy Prince of The Precisions @ Southpaw, Brooklyn, NY


Thursday, March 18, 2010

Kathy Wasik Presents "Zero" and "Learning To Fall"


Kathy Wasik is fascinated with the small. Her new work, entitled "Zero," is an exploration of the mathematical concept of zero as an intellectual, personal and emotional journey. A graduate of Vassar with a degree in mathematics, Kathy's movement vocabulary is intricate, fluid and expansive. The worlds that she creates, including the world of "Zero," are self-referencing and at times, neurotic.

The set design created for "Zero" is Kathy's representation of emotional zero space: a four-walled structure, each wall comprised of two antique wooden ladders. She characterizes chaotic space by incorporating jarring sonic, visual and physical aberrations such as wind-up toys and a singing alarm clock. Kathy's piece "Learning to Fall," performed by Cara Liguori, expresses the the dancer's internal search for stamina and weight through the layering of delicate actions accompanied by an improvisational score.

Performances will take place at Triskelion Arts in the Aldous Theater, Thursday, April 1st through Saturday, April 3rd at 8pm. Tickets are $15 and are available online at Brown Paper Tickets and at the door. Students and seniors are eligible for a 20% discount ($12 tickets). Triskelion Arts is located at 118 N. 11th St. (3rd Floor) in Brooklyn, NY.

Photo credit: Mary Ivy Martin

Five Questions With Kathy Wasik

This is your debut performance as dancer, choreographer and producer. Does this inaugural performance have any meaning in regards to the theme of the work presented? Zero being, maybe, the beginning of something? An exploration of your origins?

That's an interesting question. I can certainly draw a parallel between some aspects of Zero and my experience of wearing, for the first time simultaneously, the four hats of dancer, choreographer, producer, and publicist (I should say that I'm getting lots of help from friends and family in this endeavor!). Zero is very much a search for my own origin. I have struggled with perfectionism all my life and some of that neurosis is evident in the piece. Similarly, perfectionism has played a large role in the steps leading up to producing this show. I've been working on this piece for several years now, afraid to present something that might not be beyond reproach. I've finally worked up the courage to put on a show and I'm loving the experience so far. Who knows what the future will bring? Vassar College has already asked me to perform the piece again at the end of September. Beyond that, I have a feeling you'll be seeing more of Kathy Wasik as a choreographer. This stuff is pretty addictive.

How has your experience touring internationally shaped your work?

I began development of Learning to Fall, the piece to be performed on the same program as Zero, last fall during a tour with Aviva Geismar/Drastic Action. Aviva's dancers, along with the other company with which we were touring, were invited to create dances for the Galerie Hans Mayer in Düsseldorf, Germany. Traveling had made me think about home -- specifically the home I grew up in. I was a very shy child and I'm still fairly timid. I wanted to create a piece about the ebb and flow of my quest to achieve greater openness. For a corner of a room in the gallery, I developed what is now called Learning to Fall, a highly structured improvisation that involves opening and closing the body through subtle movements. The dancer becomes increasingly vulnerable, but after each new step towards greater openness, she reverses the minute steps she took to reach that more open place, only to return to her original position. Learning to Fall will be performed by the lovely Cara Liguori, who I've performed alongside many times, both in Aviva Geismar's work and in Cara's work for Propel-her Dance Collective.

How do you relate the abstract concepts of mathematics to such a corporeal art form such as dance?

Well, both forms are abstract. They also both possess a certain creativity and intuition. I have a BA in Mathematics and I continue to have an interest in the subject. I find math and dance to be incredible systems for describing the world in which we live. Zero, along with probably all mathematical concepts, can be represented physically. In Zero, there is a parent phrase of movement that gets increasingly smaller as the piece goes on. Beyond that, the world of Zero includes zero space – a four-walled structure, with each wall comprised of two antique wooden ladders – as well as chaotic space, characterized by entertaining aberrations that include wind-up toys and a singing alarm clock.

When dancing or writing, do you consider a system of movements to be a logical system within itself? Do you consider a hypothesis or a formal truth and seek movement to prove to disprove or disprove it?

I would say that Zero's overall structure – both the path the movement takes and the dichotomy between nothingness and chaos – is logical. And certainly some of the movement motifs, particularly those that illustrate the perfectionism I mentioned earlier, are somewhat logical. That said, I think it's really the existence of those motifs, as opposed to the motifs themselves, that's logical. For example, throughout the piece, you'll see my pulling imaginary strings out of my costume. There's something neurotically perfectionist about that movement, but I can't really say where it came from. Interestingly, there is a parallel between the brand of intuition that generated those movements and the intuition involved in mathematics. Artistically, I can just feel when something is right, just as I can feel when I've discovered the solution to a math problem. I have certain things I'm trying to convey (or even prove) throughout the piece, but as with all art, the messages I impart to an audience will be up to interpretation.

Would you consider your work to be more theoretical or organic? (Not that there has to be a divide between the two.)

Zero and Learning to Fall are both conceptual and intuitive. I began both pieces with a particular concept in mind, from which I developed certain structures logically and others viscerally. In both pieces, this line is illustrated by the simultaneous precision and casualness of the movement.

What questions, concepts or other works have inspired you and how do you see yourself exploring them in Zero and in the future?

I first started thinking about zero after reading Charles Seife's Zero, a brief history of the number. I became fascinated with Western civilization's fear of void and the emotional and spiritual implications of that fear. My piece became about a stripping of personal facades. People seem lost in a world of false representations of themselves, thanks in large part to the overabundance of virtual worlds. How can one return to a zero point – one devoid of such technological confusion? Aesthetically, I hope to strike a balance between formal and experimental. In that quest, I've found great inspiration in the work of choreographers Meg Stuart and John Jasperse. As for the future, I'm not thinking much beyond the present. I guess an effort to remain in the present moment is another focus of Zero.


Kathy Wasik attended the Joffrey Ballet School, then went on to receive her BA in mathematics from Vassar College in 2004. She has worked with Drastic Action/Aviva Geismar, Tommy Noonan, and Regina Nejman Company. She currently resides in Brooklyn.

Monday, March 8, 2010

Cabinet of Natural Curiosities - "Owllullaby" Video

Remember all that snow we had a week or so ago?

Cabinet of Natural Curiosities - "Owllullaby" from For Arbors / For Satellites on Vimeo.

Watch and be warmed.

Thursday, March 4, 2010

Upcoming Events


3/4 @ The Space, Hamden, CT, w/ Arborea, Alexander Turnquist, Ponybird
3/8 @ Cake Shop, New York, NY, w/
Arborea, Spider, The Wailing Wall
3/31 @ Hickory Stick Bookshop, Washington, CT, w/ Sean Hill
4/2 @ Sycamore, Brooklyn, NY, w/
South China, Mary Halvorson & Jessica Pavone
4/10 @ Acoustic Cafe, Bridgeport, CT
4/23 @ The Sock Hop, Lowell, MA
4/24 @ Rebel Sound Records, Pittsfield, MA, w/
5/15 @ Spotty Dog Books & Ale, Hudson, NY, w/ Fall Harbor


5/22 @ Rebel Sound Records, Pittsfield, MA, w/ 8-Inch Betsy,
Spooky Qs
5/23 @ 119 Gallery, Lowell, MA, w/ Viva Viva, Malaikat Dan Singa, Avi Jacob


4/3, Sean Hill Reading with Camille T. Dungy, Yusef Komunyakaa & Evie Shockley
Black Nature: A Panel and Poetry Reading
Saturday panel at 2:30 p.m., reading at 4 p.m.
Poets House
10 River Terrace
New York, NY

4/1-4/3, Kathy Wasik Presents ZERO
Dance performance by Cara Liguori and Kathy Wasik.
Thursday, Friday and Saturday, 4/1-4/3, 8 p.m.
Triskelion Arts
118 N. 11th St., 3rd Floor
Brooklyn, NY

Wednesday, March 3, 2010

Alex at Woodbury Ski & Racquet

...back when the weather was dryer/better. It's covered with (mostly fake) snow now. There were shenanigans there a couple months back when the owner pointed a snow machine in the wrong direction and covered the road with ice. The skatepark is pretty much falling apart. This summer there were broken bottles in the half-pipe. But the weird wave-shaped thing is still intact and Alex (and pretty much everyone) likes the place, to a point.
Time to eat some ice cream.

Thursday, February 18, 2010


Hi. It's Alex 'ere. Jasmine is gone off and abound in Spain, so I'm here to say some neat stuff. It snowed a bunch here, about a metric ton per foot, but now the snow is melting and it's falling off the roof and making all these crashing noises and scaring the crap outta me.

Yesterday I watched a really awesome movie on Howlin' Wolf

pretty awesome. The movie says that dude was a pretty normal guy, despite his menacing stage presence.

Anywho, I don't have much more... oh except this! If this is playing near you, go see it! It's about Skateboarding's relationship to space. Should be cool for skaters and non-skaters alike.

I know it's playing at some film festivals around. I wanna see it real bad. Here's more info about it here.

Now go do something fun. Or else.


Tuesday, February 9, 2010

Orion Rigel Dommisse @ Casa Del Popolo, Montreal, Quebec, 2/24

February 24th, 2010

Orion Rigel Dommisse
w/ Migrating Birds

@ Casa Del Popolo
4873 St. Laurent
Montreal, QC

Presented by Suoni per II Popolo, What A Mess ! Records, and CKUT Radio.

Poster illustration & design by Jasmine Dreame Wagner.

Cabinet of Natural Curiosities Tasty Fanzine Review

Cabinet of Natural Curiosities debut full-length, "Searchlight Needles," reviewed in Tasty Fanzine:

"...a collection of quite lovely folks-ish guitar songs, which are combined with some abstracted electronica as backing and which are quite delicate, haunting, and occasionally and unexpectedly confrontational in their own right." (READ MORE)

Big thanks to our friends across the pond!

Monday, February 1, 2010

Birthday Success! +Pianos

It was my birthday!

Alex made amazing hand-rolled sushi. Divine, especially with wicked hot wasabi.

And for dessert, the most delicious coconut cream cake ever. Whipped cream instead of frosting, not too sweet, and covered with sugary coconut. Delish!

Also, here's us in the COOL COVERS tumblr blog... aaand...

We're playing at Pianos tomorrow, 9 PM sharp!

Take care,

Saturday, January 23, 2010

Cabinet of Natural Curiosities Digital 7" and Review on Ampeater

Hello friends,

Cabinet of Natural Curiosities' digital 7" record is available for free download thanks to Ampeater, accompanied by a glowing article that makes us blush. Please read and listen!

Cabinet of Natural Curiosities on The Ampeater Review:

Thanks much to Ben Heller and Rick Andrews for the kind words and support. Our full album, "Searchlight Needles," will be available to purchase from Ampeater as a digital LP as well as in its hardcopy handmade CD format very soon (if not as we speak.) It was recorded, for the most part, in a living room in Missoula, Montana, and a concrete cell in Williamsburg, Brooklyn, by Jasmine herself and mastered by Paul Gold of Salt Mastering.

Additionally, Cabinet has finished recording a new EP on our Tascam 424mkII and 488 cassette 4-track and 8-track machines and is looking forward to releasing it, along with a CD-R on Perhaps Transparent Records, sometime this spring or early summer, depending how long the artwork takes.

Thanks to all of you for your support and friendship.

Sunday, January 3, 2010

Podcasts and Playlists

Happy New Year!

Thanks much to the podcasters and radio djs that featured us on your shows over the past few months. It's been a great year.

Check these out:

Irene Trudel on WFMU, October 12, 2009

Irene Trudel on WFMU, December 28, 2009

Jeremy Wade Morris AKA Midnight Poutine in Montreal

DaKradha's AKA Blalock's Indie/Rock Playlist, available here, too: DaKradha's Playlist, or here: Blalock's Indie/Rock Playlist, or the Blalock group page on


Happy 2010.