Access Provision: Live ASL interpretation will be provided during the conversation.
 
Organized by S.J Norman (Wiradjuri) and Joseph M. Pierce (Cherokee Nation Citizen) Knowledge of Wounds (KoW) is an autonomous gathering space, a ceremony, a fire, a calling to vibrate in good relations across Indigenous time and space. In this iteration of ongoing programming at Performance Space New York, KoW presents a solo, improvisational noise performance by composer Raven Chacon (Diné), followed by a conversation with scholar and sound artist Hayden Ryan (Yuin).
 
Raven Chacon is a composer, performer and installation artist from Fort Defiance, Navajo Nation. As a solo artist, Chacon has exhibited, performed, or had works performed at LACMA, The Renaissance Society, San Francisco Electronic Music Festival, REDCAT, Vancouver Art Gallery, Haus der Kulturen der Welt, Borealis Festival, SITE Santa Fe, Chaco Canyon, Ende Tymes Festival, and The Kennedy Center. As a member of Postcommodity from 2009-2018, he co-created artworks presented at the Whitney Biennial, documenta 14, Carnegie International 57, as well as the 2-mile long land art installation Repellent Fence.
 
Chacon has appeared on more than eighty releases on various national and international labels. Since 2004, he has mentored over 300 high school Native composers in the writing of new string quartets for the Native American Composer Apprenticeship Project (NACAP).
 
Chacon is the recipient of numerous awards, including the 2022 Pulitzer Prize in Music for his composition Voiceless Mass, and is a 2023 MacArthur Fellow.
 
Hayden Ryan is a Yuin sound artist and scholar from the South East Coast of New South Wales, Australia. He is currently studying a Master of Music in Music Technology at New York University, focusing on the integration of immersive and generative audio technologies with Indigenous sonic and spatial relationships. His research explores both the indigenisation and decolonisation of audio technologies, and normative listening frameworks that are present within settler listening settings.
 
Hayden describes his research through these immersive and generative techniques, while confronting First Nations Australian socio-cultural and political issues through signal processing, algorithmic and data composition, and spatialisation. He is currently completing his Master’s thesis, and writing an article proposal on Decolonizing Indigenous Sound Archiving Through Higher Order Ambisonics, for the Audio Engineering Society convention in Madrid, Spain.