pent is an electronic music composer & sound synthesist based in new york city. Her work examines the phenomena of synthetic sound, dissecting and reconstructing how the concept of the “unnatural”  replicates the organic world and vice versa. 

pent’s cultural framework pulls from computer music, noise, dance music tropes, and 20th century classical to create fluxing immersive sound sculptures that defy realities & transverse stream of consciousness narratives. Her exercises as a sound synthesist are largely in the area of additive synthesis & pulsar synthesis, blending each fields techniques into a model of acoustical simulation that draws environmental sounds into physically impossible territories. 

Through these techniques she creates a sonic world that floats between stasis, burst, confusion, distraction, and cohesiveness. 

spatial facilitation, a term of art in physiology, refers to stimuli that contribute to the accurate processing of visual information. That is to say, there are certain things that we see, that help us see more precisely. spatial facilitation is an ongoing project of mapping clearer vision through walking, noticing, the breath, and the saxophone. ANALOG SOLUTIONS FOR ANALOG PROBLEMS.

for spatial facilitation #10 we will visit the exhibition Young, Gifted, and Black at the Santa Cruz Museum of Art and History. We will look for the tethers that bind, and release.

Natacha Diels’ work combines choreographed movement, video animation, instrumental practice, and cynical play to create worlds of curiosity and unease. Recent work includes Papillon and the Dancing Cranes, for construction cranes and giant butterfly (2018/2021), a solo project entitled Somewhere Beautiful (2022), and Beautiful Trouble, an ongoing ‘opera’ for string quartet with the JACK quartet. Forthcoming is a solo album (Carrier Records 2024), a new ‘opera’ for Festival Nueva Opera Buenos Aires (2024), and a work for headphoned audience with La Muse en Circuit for Ensemble Contrechamps (2025). With a focus on collage, collaboration, and the ritual of life as art, Natacha’s compositions have been described as “a tour de force of reckless imagination and confident craft” (Musical America), “a fairy tale for a fractured world” (Music We Care About), and “the liveliest music of the evening” (LA Review of Books). Natacha is a founding member of the composer/performer collective Ensemble Pamplemousse (est. 2003).

This performance is a journey into a strange landscape occupied by sounds and image that are at once familiar and unknown, reassuring and unsettling. The works are divided into three acts— a brief overview of life-to-death (Somewhere Beautiful), an unravelling of cohesion through incessant rigor (Untitled Art Piece), and a directionless journey to a long golden road (The God-Fearing Woodsman).