thu 31

1. visión conjunta  2. Vertsuejaune  3. envelop   4. dingus  5. morpheme  6. Microspia  7. Texaco  8. Colostrum visión conjunta from nonmajestic˜˜˜existential∞theism  Vertsuejaune from hedonistic nihilism  envelop from mindstrope & B Side to &’ Single  dingus from fugitive iteration  morpheme from AuToDeFé  Microspia from Spont  Texaco from Distance Music  Colostrum from touch marks

Title: Radio Concrete - A Mad(wo)man's Tale - Studio Loos   Description:                 New sound artwork composed during a blitz session in Studio Loos (Den Haag) by Leonie Roessler and Hagai Izenberg in November 2022.     A Mad Woman's Tale explores the surreal and often chaotic nature of daily life. Drawing on a range of everyday sounds, including a washing machine, a sewing instructional audio, and live radio sampling, the work invites the audience to immerse themselves in a world of familiar noises, creating their own interpretation of the piece.   Short Bio:                     Leonie Roessler is a composer and performer raised in Germany and the US, now based in The Hague, Netherlands. Leonie captures her environment with field recordings, which she uses for radio pieces, sound installations, and instrumental compositions. She runs the radio branch of Studio LOOS in The Hague. Her works have been released through Musica Dispersa (Spain/UK), and Noise á Noise (Iran) and have been physically archived in the British Library.

Radio Parazit–in English, “Parasite Radio”–contains and broadcasts my explorations around ‘Diasporic Imaginaries.’ Through a series of experimental radio broadcasts, I think and share out loud about experiences, thoughts, and hopes with material derived from personal stories rendered in artistic and acoustic explorations. My voice, however, is not singular. Instead, I suggest a singular perspective of a constellation of voices I have encountered over the years. These voices have shaped my own and have shortened the distance between the subjects and places that build my own diasporic experience in this world.

A series of 4 episodes connecting to ideas around Diaspora, the Indigenous, the Planet, and Symbiosis.

-    Diáspora
-    Parásito
-    Tensión Lunar
-    Otrxs Mutualismxs
 
Biography:

Nicolás Kisic Aguirre is an architect and trans-disciplinary sound artist who creates machines that explore and illuminate the social and political nature of sound in public space. In 2018, he graduated from the MIT program in Art, Culture and Technology. Informed by his background in architecture and a lifelong fascination with machines, Kisic Aguirre designs and builds sound instruments that explore the connection between public space, power, technology, and sound. His critical and aesthetic practice is open-source, collaborative, and deeply engaged with the public. Nicolás is currently a Ph.D. student in the DXArts program at the University of Washington Seattle.

http://www.nka.pe
internet@nka.pe

The mountain sleeps; dreams stone. Festooned with power lines and communications towers, striated by long-ago meltwater and creeks that have since evaporated, blown bald by the prevailing winds. Some day, come earthrise or landfall, the mountain will walk out into the sea. Until then, micro-movements in the sediment and rock are its uneasy speech, while the antennae atop its massive breathing shoulders continue to call and respond.

The piece is inspired by coastal mountains that have been implicated in human long distance communications and listening, whether occupied by overland telephone and telegraph cables, military monitoring stations, radio and acoustic beacons for ships and airplanes, or 5G cell towers. Morse Mountain considers the ephemeral human occupations of signal space as they overlay mineral durations; fireflies buzzing around ancient beings that have merely paused to rest.

Anna Friz and Absolute Value of Noise (Peter Courtemanche) are Canadian sound and radio artists. Anna Friz creates self-reflexive radio for broadcast, installation and performance. Her compositions reflect upon public media culture, environment and infrastructure (human and extra-human, acoustic, and electro-magnetic), time perception, and speculative fiction. Absolute Value of Noise creates radio and outdoor installations. He likes to work with "gadgetry" - custom turntables, lamp filaments, wire coils, high voltage ionizers, magnetic transceivers, and "little electronic brains" that observe and respond to local phenomena. His outdoor works are a comment on bio-diversity, extinction, and fragility.

http://absolutevalueofnoise.ca/
http://nicelittlestatic.com/

Oleksiy Radynski in conversation with Svitlana Matviyenko
Sonic Intervention by Sasha Dolgiy

In the interwar period, the Soviet geologist and philosopher Vladimir Vernadsky diagnosed the transformation of the scientific thought into a geological force that affects material processes on a planetary scale and one able to transform the planetary biosphere ‘according to the interests of freely thinking humanity as an organic whole’, and sublate it into the Noosphere - a highly networked sphere of unified human knowledge. Vernadsky claimed that the transition to the Noosphere went utterly unnoticed and unreflected by humanity itself, which led to devastating consequences in the form of two world wars. He passed away just before the Hiroshima bombing, a challenge to his cautious optimism regarding the Noosphere’s future. With cyberwar, this future has arrived and its shifting battlefield is now in Ukraine where the nexus of cyber and nuclear emerged as the symptomatic trace of the runaway Noosphere.

Svitlana Matviyenko is an Assistant Professor of Critical Media Analysis in the School of Communication and Associate Director of the Digital Democracies Institute, Vancouver. Her research and teaching are focused on information and cyberwar, political economy of information, media and environment, and infrastructure studies.

Sasha Dolgiy is an artist, musician and innovator. In 2012-2018, he was an organiser of ЭFIR, a legendary artist run space in Kyiv. His work has been represented at a number of venues in Ukraine and internationally, including documenta 14.
 
https://www.goethe.de/ins/it/en/sta/mai/ver/tri.html
 
 
The Red Forest is a loose knit assemblage based on affinities and  overlapping practices that grounds together research, art, political  imagination, and social actions striving for transformative justice  and ecological reparations. In 2021 they initiated a pan-continental  research focusing on the intersections between contemporary  extractivism and datification processes. Red Forest assembles and  organizes their work with infrastructures of collective reciprocity  and interdependency as actual potentiality. Their research contributes  to the theoretical framework of Energetic Materialism to conceptualize  urgent cultural and social processes in the defense of life and the  construction of pluriversal futures in dignified flux.    
 
Red Forest is mobilized by David Muñoz-Alcántara, Diana McCarty, Mijke  van der Drift and Oleksiy Radynski, after their collective practices  super collided during a 2019-2020 BAK Fellowship in Utrecht. It  unfolds as a growing constellation of artists, activists, researchers,  media producers, filmmakers, philosophers, educators and time  travelers realizing interdisciplinary projects. In 2021, their ongoing  research on Extractivism, Datafication, and Transformative Justice was  supported by the Kone Foundation in Finland led to: producing an  experimental social and durational performance series in Kyiv and  Berlin titled Sambatas Stagings, supported by Goethe-Institut  Co-Production Fund Kyiv and Haus der Kulturen der Welt, Berlin and in  2022, they convened Red Forest Radiograms - Nomadic Cosmologies &  Fugitive Power - as the German Pavilion of the the 23rd Triennale  Milano. In 2023, their KONE supported research is on "Energy-Matters  in the context of war. Neo-extractivism, fossil fascism, and the  post-national question”. They are currently producing "On the Loss of  Energy. Radiogram from the remnants of collisions", an experimental  audio piece for the 2023 Helsinki Biennale.

1) Juliana Capes - One to another one to one (2:39) 2) Tuomas Ollikainen Saario - The Flame of Water (15:57) 3) Mat Ward  - When all this blows over I am heading to Madrid to seek mentorship in the traditional art of pet Flamenco (6:25) 4) Cecilie Fang Jensen & Lois Soleil - <"(((<3 Wet words and Tinder bios <"(((<3 (19:21) 5) Anne Marie Deacy - Sketches Of Portumna (3:00)
6) Kim Buikema - A Little Bit of Space (0:59) 7) Freya Johnson Ross - between the lines (8:43)
8) Dream Diary - OST #1: A3 (1:00)

1) Juliana Capes - One to another one to one

 “GOWO MANGO" an album of song sketches by visual artist and describer Juliana Capes,  commissioned as expanded audio description by artist Laura Aldridge,  as part of an audio interpretation of her recent monograph THINGS THAT SOAK YOU.

Capes's descriptions of Aldridge's sculptures have morphed through conversation into sketches of songs, through exploration of Laura's working methods of expanded collage, shared enthusiasm about musical influences and love of mash up and the encouragement burgeoning friendship and collaboration.

Juliana Capes has worked in the field of integrated and expanded visual description within her own practise and those of others since 2015.

Juliana Capes is a multi disciplinary visual artist.  Her current artwork is influenced by her experiences of working as a visual describer in Scottish galleries and museums, the unrelenting beauty of the world and by the processes of feeling, seeing and believing.  She has recently shown work at Fruitmarket Gallery, Edinburgh, Edinburgh Art Festival, Alchemy Film Festival, CCA , Glasgow and Campleline Gallery.        http://www.julianacapes.co.uk

2) Tuomas Ollikainen - Saario: The Flame of Water

Based on the works of Jane Bennett and Finnish philosopher Tere Vaden, Saario, deals with the conflict between human agency and the forces of non-human entities, particularly with water. Saario is a location in Eastern Finland, where one of the first water power plants in Finland was build in 1908. During the year 2022, Ollikainen visited Saario multiple times, recording in different seasons and in different weather conditions, to create a soundtrack alongside photos and texts of an installation which was exhibited in Art Center Ahjo in Joensuu, Finland in April 2023. 
Tuomas Ollikainen (b. 1982) is a sculptor and sound artist, living and working in Joensuu, Finland.
http://www.tuomasollikainen.com

3) Mat Ward  - When all this blows over I am heading to Madrid to seek mentorship in the traditional art of pet Flamenco

Then She Reaches for the Gun was formed in 2021 to bring together some of Ward’s disparate collaborative projects through experimental sound collage. Ward invites people (not just musicians) to send him files which he arranges ‘as suggested by the work’ including field recordings, spoken word, noise and pet sounds as well as instrumental grabs. Both the aesthetic and the compositional methods extensively use what Frank Zappa called Xenocrony - the mixing together of separately recorded and rhythmically opposing musical phrases to create polyrhythmic and polytempi compositions that defy easy classification. A lot of it is also funny as fuck.     https://www.matward.net/

4) Cecilie Fang Jensen and Lois Soleil - <"(((<3 Wet words and Tinder bios <"(((<3

A ritual bringing people together to extend the understanding of how love can be portrayed, putting care at the center of a multiplicity of relationship(s). Drawing from hydro feminist thinking as all bodies are bodies of water; a body of water gives to another. And in that sharing, a question of care, responsibility and interdependence arises. Sound emerges through touch and movement of the hydrophones, looper, and a poetry reading collecting Tinder bios, as a means of questioning the relationship between love, desire, dating and technology and denouncing everyday sexism online.

Cecilie Fang is an anti-disciplinary artist from Denmark and China. She researches power through topics of language, ecology, materiality, and senses. Having a background within academics and art, she is interested in bridging theory with emotion. Growing up between what binary is considered East and West, she aims to bridge two philosophies to look critically at binary power structures. She is currently at ERG in Bruxelles, yet finishing her studies at the Royal Academy of Art The Hague in 2024. She has been performing live at IKLECTIK, London, On Air - On Site in the Hague and The Grey Space in the Middle, The Hague.

Loïs Soleil is a Franco-Scottish artist inspired by net.art, pop culture and cultural studies. Her mediums are performance, installation, digital art, poetry and sound. Her work is autobiographically direct, raw and emotionally vulnerable in its "hyper intimacy". 
Currently living in Brussels, Loïs Soleil has followed international Fine Art studies at Leeds University, Ensba Lyon and l’École de recherche graphique (erg). Her work has been exhibited in several spaces and event such as Cultuurcentrum Grimbergen, VIDEOFORMES, n0dine, Centre Wallonie-Bruxelles, (Pas si) fragile, Marres Huis voor Hedendaagse Cultuur, Domestic by Word of Warning.

5) Anne Marie Deacy - Sketches Of Portumna

A short extract from an hour long transmission piece eavesdropping into the heard, discreet and sometimes could be considered inconsequential sounds of a forest in the west of Ireland. Stitched in are selected audio documents from multiple experimental field recording Days, random and intentional, they range from the stride of a daily jogger, gushed of rain in wind, the stretch of a tree trunk while bubbling transpiration, the crackling static of photosynthesis, to territory battles of creatures sharing space with the pulsating sounds of technology, with wi-fi, Bluetooth, radio and microwave signals propagating the air.

https://www.annemariedeacy.com/    

6) Kim Buikema - A Little Bit of Space

We’re all looking for some space - a little bit of time to catch our breath. Nature can help us find that space, but what if you can’t find nature? “A Little Bit of Space” is an attempt to give listeners a moment of nature and respite, wherever they are. As the piece progresses, the sounds of effects, processing, and loops become subtly more apparent, to remind us of the fragility of nature and our relationship to it.

https://kimbuikema.wixsite.com/kimberly-buikema

7) Freya Johnson Ross - between the lines

‘between the lines’ explores ideas of mis-reading and subtext as defiance. In the slippery space of interpretation there is room to resist – be it dominant interpretations, boredom, or expectations. Drawing on Sara Ahmed’s notion of queer use, using dialogue and multiple personas this reading illuminates how as humans we engage in role play and dissimulation, re-interpret, willfully mis-interpret, and experience misunderstanding in both oral and written text. How can things be used in ways that were not intended, or by those for whom they were not intended? What happens when we focus on the subtext instead of the words?

Freya Johnson Ross is an artist and researcher whose practice is focused on sound, multimedia installation and interdisciplinary listening - and how this relates to methodologies for knowledge production. She is interested in the politics of listening, the ethics of making and using personal and institutional archives, and exploring the relationship of translation between sound and text. . http://www.freyajohnsonross.com

8) Dream Diary - OST #1: A3

In the shelter, on the Isle of Skye on the west coast of Scotland, Sandra, Muriel and Dan think about identity, anxiety, anonymity, medication, wood pigeons and ghost cars. Listening to themselves, each other, and the sounds around them, they wonder about how they might like to be heard.
 
The Shelter was co-created by Am Fasgadh - a drop in centre run by the Skye & Lochalsh Mental Health Association - and sound artist Hector MacInnes, as part of his residency with the Highland Culture Collective.
 
Sandra, Muriel and Dan are a diverse trio that regularly attend group listening and radio-making workshops at Am Fasgadh, a mental health drop-in centre. The Shelter is their first radio piece, although they are now working on further content.
 
Hector MacInnes is a sound artist from the Isle of Skye who works on a range of socially engaged, research-based and collaborative projects. He in 2021-23 he was an artist in residence with the Culture Collective, and is a PhD student at Creative Research into Sounds Arts Practice.
 
website: http://www.hectormacinnes.com

We are all aware that the future of our civilization is not bright, but that doesn't mean we are not living in an exciting epoch. 'Against Civilization' is inspired by the everyday life in the last several years, living in realized dystopian visions and darkest predictions. The sound of this piece is a soundtrack for our daily dystopian reality.

'Against Civilization' is a longer piece, presenting the dark side of the mystical long form experimentations and field recordings of the sound art naturalist Toni Dimitrov. Through this piece the artist is trying to explore the potential for change of the society, resulting in a mature, expressive and complex piece.

Biography:

Toni Dimitrov a multimedia artist, cultural producer, radio host, curator, label owner, mountain climber and nature lover, that connects all these things with the love of music, sound art and field recordings. Working in the field of sound art and experimenting with electronic music for more than 20 years, and have even longer experience in the radio.Have been curving his way into the new experimental/sound art scene with his solo engagement, bands and collaborations, radio art and art installations.Curating the labels post global and élan vital recordings. He participated at the sound art exhibition Audiosphere Sound Experimentation 1980–2020 at Museo Reina Sofía in Madrid, curated by Francesco Lopez. His recent professional engagements are on projects related to political analysis of media. At the moment he is a director of the cultural center ‘Cultural and Information Center– Skopje’.

elanvital.bandcamp.com

soundcloud.com/sound_00

Set across an imagined festival grounds, and slipping into tents, lecture halls, recording boothes, you and grass are caught in a crisis of performance co-acting with the apparatus of the event and its affective architecture(s). Noise bleeds, graze, and dwells where memory is like loose debris trailing on your trouser leg.

1) Marianna Maruyama, Saskia McCracken, Hessel Veldman, Kamilė Rimkutė & Ruben Verkuylen - Wurm in Worm (12:47)

 
2) Valerio Tricoli - Stromkirche or Terminale (17:25)
 
 
1) Marianna Maruyama, Saskia McCracken, Hessel Veldman, Kamilė Rimkutė & Ruben Verkuylen - Wurm in Worm

Composers: Hessel Veldman, Kamilė Rimkutė & Ruben Verkuylen.

Voice and words: Marianna Maruyama from her poem “Dentists get few love letters” (2021).

Opening words (soundbites) by Saskia McCracken from her short story “Sister/Worm” from the second edition of TOLKA; a journal of formally promiscuous non-fiction. http://www.tolkajournal.org

Produced and broadcast at Radio Worm, Rotterdam (2022).

Bios
Hessel Veldman is a musician, composer and producer based in I J muiden, the Netherlands. https://hesselveldman.bandcamp.com/

Marianna Maruyama is an artist and writer based in The Hague whose multi-modal work includes live performances, installations, and sculpture. https://www.thehagueartists.nl/cv/79749

Saskia McCracken is a poet, short story and nonfiction writer, and editor based in Glasgow. https://saskiamccracken.wordpress.com/about/
 
Kamilė Rimkutė is a sound artist and composer based in The Hague and Vilnius, who also performs using the moniker Caline with C. https://soundcloud.com/caline-with-c
 
 
2) Valerio Tricoli - Stromkirche or Terminale  
 
From the album 'Clonic Earth'

That’s what the bucket is for is the beginnings of a radiophonic fiction by Alison Scott, Becky Šik and Rosie Roberts. The work generates and dissolves an amorphous identity who sifts through data and is transfixed and subsumed by facts, stories and observations. The collaboration is informed by an improvisational ‘scrapbook’ approach to science fiction-making. A fragmentary narrative emerges from intuitive responses to both immediate environments and a rangey lot of matter the trio collected surrounding the theme of orbits. The result is a giddy selection of moving people, places and objects created through spinning, looping and reading in each other's presence, expressed through music, narration, field recordings, and transcription.  
 
It seemed astonishing to them that the most enduring mysteries of modern times could be reduced to a recorded analysis of stolen paperwork. If they were trying to say - what goes around, comes around - I was trying to make it real.  
 
Biographies:  
 
Rosie Roberts is an artist, writer and editor in Glasgow generally working collaboratively through ideas of synchronicity, time, locality and affect. She also works as a tour guide and in a shop.  
 
Alison Scott is an artist, writer and art-worker often working with other artists on projects. Recent work has drawn on encounters with weather, land, and the idea of the commons. She is based in Angus.   
 
Becky Šik is an artist filmmaker based in Glasgow whose work spans moving image, installation, sound, music, writing and publishing, often working collaboratively. Becky’s recent work explores the echo, electromagnetic phenomena and technologies as a way of understanding the body’s relationship to constructs of time and state.

Colony weaves together recordings of bees with interviews that explore our co-existence with these insects as well as our compulsion to understand them through a human lens. Voices include a blind beekeeper; a social practice artist who created an installation of hives in the shape of the notorious Pruit Igoe housing complex; an architect designing a bee sanctuary in Tanzania; an author of a book about being raised among bees; and a Michigan beekeeper working in the field. All reverb applied in the work was recorded live in the cold war era surveillance radar station in Port Austin Michigan.

John Roach is a Queens, NY based artist and educator whose work is concerned with the often slippery role of sound in how we perceive the world. His most recent projects have explored the ability of sound to construct immersive portraits of places, and how the careful assembly of spatialized field recordings, sound design elements, and voices can connect a listener to unexpected impressions of a landscape or soundscape.

https://johnroach.net
https://www.instagram.com/johnroachart/

1 - Dixie Treichel - Get Me Out of Here    (5:31)
2 - Ruaridh Law - Three Tells: I Like To Remember Things My Own Way (14:12)
3 - farmer wadams - Thumber (4:20)
4 - Tess Davidson - A Wandering Mind (4:37)
5 - Ollie Hawker - Behind closed eyes (21:09)
6 - Justin Boyd and Jim Lavilla Havelin - Death of the Ghazals (1:19)
7 - Female Laptop Orchestra - Women are from Mars (7:21)

1 - Dixie Treichel - Get Me Out of Here    

They live trapped between dimensions, sometimes in ecstasy, sometimes in agony. Trying to escape they relish when others join them. “Get Me Out of Here” is an experimental sound and radio art composition drifting through the spectrum of anticipation. (sonic treats when listening with headphones).

“Get Me Out of Here” was aired on Ears Have Eyes, a monthly sound art radio program on CJSW 90.9 FM in Calgary/Mohkinstsis, Canada. It was created for their Haunting Me, Haunting You themed show.

Dixie Treichel is a composer, sound artist, sound designer and radio broadcaster.
She is a sonic explorer who likes creating with any and all sounds, generating rich sonic textures that invite the listener on a journey into the unknown. Her works have been heard internationally on radio, in art galleries, sound art festivals, new music concerts, theaters and streaming festivals.

2 - Ruaridh Law - Three Tells: I Like To Remember Things My Own Way    

Over the last three years, Ayrshire-based artist Ruaridh Law has been producing films for Repeater Books' online platform which place the human voice - and the stories it tells - at the centre. Here, shorn of images, are three of these stories, touching on obsession, childhood, spiralling thoughts, and human relationships.

Ruaridh Law is a sound artist & musician based in Ayrshire, Scotland.
Over 25 years he's performed in groups, collaborations and solo across a wide range of spaces, as writer, DJ, perfomer and artist.

Latterly, works have ranged from intimate audio performance, to large-scale outdoor works combining sound walks, improvised performance and experimental storytelling. These have manifested themselves in a tarot deck that generates music, sequential stories told over film and radio, right-wing propaganda twisted into more worthwhile content and a walk through a forest and its imagined mythologies in the dead of night - as well as countless music releases.

Link: http://ruaridhTVO.com

3 - farmer wadams - Thumber

My first attempt at making 'music', in bed, slightly delirious and full of covid. Samples, all recorded on my phone, are a ruler pinging off a desk and finger tapping, my dogs and local birdlife.

I have worked in animation for the past 25 years - currently Creative Director at Wild Child Animation, Stirling. I started out in club visuals and live AV performances, as part of a collective called Pointless Creations, and have always wanted to go back and make music of my own. Struggling to find time to learn music software, I decided to use Resolve, video editing software with which I was already familiar. So earlier this year I made my first track ill in bed with covid, which reflects the semi-delirious state I was in at the time.

"These are like the soundscape to Fourtet’s mind if he were locked away in a Scandinavian prison fir war crimes." Comment from a listener on Soundcloud

https://soundcloud.com/farmerwadams

4 - Tess Davidson - A Wandering Mind

This is a soundscape of a mind wandering: of the recesses of thought, the ebb and flow of ideas and people, and the swirling limitless avenues to explore.

Tess Davidson is an audio artist and writer from the North of Ireland now based in London. She has produced for the BBC and RTÉ. She’s often found dancing somewhere and having grown up by the sea, she carries its energy with her wherever she goes.

Twitter: @tess_davidson
Instagram: @tessie_davidson

5 - Ollie Hawker - Behind closed eyes

Behind closed eyes is a piece for flute, clarinet, bassoon and upright saw (a homemade instrument similar to a singing saw, built by Neil Gauld). This recording was performed by Tilly Coulton, Michael Burslem, Rachel Simmons and Ollie Hawker.

Behind closed eyes is: an idea of perfection that is never fully realised and that's ok; a dream in which your eyes are half-closed and you can sort of see but not really and you stumble around trying to steady yourself for hours; sometimes a series of random events that sometimes come together to form something cohesive and sometimes don't.

Ollie Hawker is a Glasgow-based composer interested in ideas of digital nostalgia and the internet as folk culture. He uses both acoustic and electronic means to explore fragility and imperfection, and his work reflects the combination of earnest sincerity and ironic absurdism that characterises much of his generation's online discourse and in turn mediates their experience of the world.

Ollie holds a Masters degree in Composition from the Royal Conservatoire of Scotland. Recent projects have seen him work with Psappha, Köng Duo, Megumi Masaki and Inland Ocean.

6 - Justin Boyd and Jim Lavilla Havelin - Death of the Ghazals

A collaboration between gifted poet Jim Lavilla-Havelin (Past Poet Laureate of the city of San Antonio) and sound artist Justin Boyd. This piece entitled Death of the Ghazal is one in a suite of six poems written in the Ghazal format.

Justin Boyd is a sound artist and educator working in San Antonio, TX. He graduated from the University of Texas in San Antonio with a BFA in Ceramics and finished his MFA in Integrated Media at The California Institute of the Arts. He is an Assistant Professor of New Media and Sculpture at the University of Texas at San Antonio and continues his long-standing radio show each week on KRTU 91.7 FM.

http://justintaylorboyd.com/
https://justin-boyd.bandcamp.com/
https://www.instagram.com/jutboyd/?hl=en
https://en.wikipedia.org/wiki/James_Lavilla-Havelin

7 - Female Laptop Orchestra - Women are from Mars

In 2021, the Fair_Play network (Austria) and Tsuku Boshi Records (France) invited Female Laptop Orchestra (FLO) to produce music for their upcoming EP, Ghost Structures, as part of the ]FairTsuku[ project, presenting female and non-binary composers from various backgrounds.

Between September 2021 and September 2022, FLO members: Nela Brown (Croatia), Maria Mannone (Italy), Magdalena Chudy (Poland), Ariane Stolfi (Brazil), Sonia Wilkie (Australia) and Ada Methea Hoel (Norway), connected over the network from their respective locations to record four tracks for the EP, showing that even in times of great uncertainty, creativity knows no boundaries when afforded by technology!

Female Laptop Orchestra project, founded in 2014 by Nela Brown, connects female musicians, composers, artists, dancers, poets, engineers and scientists globally, through co-located and distributed collaborative music creation. Each performance is site-specific, mixing location-based field recordings, live coding, acoustic instruments, voice, sound synthesis, Web Audio API’s and VR environments with audiovisual streams arriving from different global locations. From stereo to immersive 3D audio (and everything in between), FLO is pushing the boundaries of technology and experimentation within the context of telematic ensemble improvisation.

https://femalelaptoporchestra.wordpress.com/

HIERRO (20:07)

El Hierro is the smallest and most distant of the seven main Canary Islands. Exploring its contrasting landscapes and sonic environments, the composition wanders through reverberating deep ravines, the interiors of wind-bent juniper trees, human-animal interactions, energetic trade winds blowing in deserted beaches, and the late-night wails of shearwaters nesting in the cliffs.
 
CANARIAS SOUNDWALK explores the sonic ecologies of the Canary Islands archipelago, presenting seven compositions for headphone listening created with environmental sound materials from each of the seven main islands: El Hierro, La Gomera, La Palma, Tenerife, Gran Canaria, Fuerteventura, and Lanzarote.

The project investigates the vitality of more-than-human entities and realities, aiming to promote less anthropocentric ways of being and thinking. Through different listening strategies and audio technologies, the work concentrates on what usually remains hidden or unnoticed, on the limits and thresholds of perception and attention. The project focuses on the voices and audible presence of animal and plant species, air, soil, water, weather, and landscape formations. Furthermore, it acknowledges the affective power of sounds themselves. This project embraces listening as a creative act, a form of attention, and a tool to investigate the world. It attempts to cultivate intimate sensory encounters favouring affectivity over signification and representation.

The project was originally commissioned by the Cultural Office of the Embassy of Spain in the US as a permanent public invisible artwork available at multiple locations in Washington, DC. Additional support from the Arts Council of Northern Ireland (ACNI), the Swedish Arts Grants Committee (Konstnärsnämnden) and the Visby International Centre for Composers (VICC). Fieldwork and production assistance: Palma E. Christian Martínez. Special thanks to Garajonay National Park, Teide National Park, and Timanfaya National Park.

http://pablosanz.info
https://pablosanz.bandcamp.com
https://soundcloud.com/pablosanz
https://www.instagram.com/pabloooosanz/
https://www.facebook.com/pablooosanz

'Whosoever is delighted in solitude, is either a wild beast or a god.' 
Aristotle    

We all experience solitude in our lives; sometimes it is welcome, sometimes it is not.   It is always a challenge to take on and something we have to learn to deal with. Solitude can be powerful, painful, funny, challenging, tragic or calming and coping strategies  vary depending on our age, our gender, our experiences or our beliefs.

Built into the walls of a church, the anchorite’s choice was a life of self inflicted seclusion.  Inspired by this history Heller has created an audio play following the arc of solitude through a life, from birth to death contrasting modern experiences of solitude and loneliness with those from the past.    

Concept, script, realisation and voice: Gabriele Heller  
 
Music:
Pretend by The Brandt Brauer Frick Ensemble,    
Ashkhares mi panjara ye (The world is a window) by Gevorg Dabagian,    
I can do it solo by Gabriele Heller,    
Redwood Ramble Misremembered by Glenn Jones,    
St Anger by Metallica,    
Night by Stephan Micus,    
O Solitude by Henry Purcell sung by Andreas Scholl,    
Woke up in the desert by Marcin Wasilewski,  

The script includes short passages from: The Cloud of Unknowing, I don’t want to be inside me anymore by Birger Sellin, Solitude by Lord Byron, cover photo by Luidger Röckrath.
 
Gabriele Heller is a German born artist working across theatre, music, live art and sound. She is the director of theatre-between, member of Tuesday’s Childe theatre collective and bandleader of various jazz ensembles. 

Gabriele holds an MA in German Literature and Theatre studies and is a founding member of the fast food theater, Munich. Gabriele worked as an assistant audio director for the Bavarian Radio Broadcast and as a tutor in Northumbria and Newcastle University. In 2011 she co-directed the Festival Robert Walser in Newcastle. Since 2001 Gabriele lives and works in Newcastle upon Tyne, UK.

Robert ‘Chi’ Machiri born in 1978, in Zimbabwe. Machiri is a ‘sound worker’, a DJ and hoarder of things inspired by his biographical recollection of music and interest in sonic objects. His work exists at the juncture of two streams of practice, curatorial projects and art production presented through an embodied critique; a process of learning and unlearning that interweaves sound, music and image-making. His most notable project PUNGWE is an ‘anti-disciplinary’ project that circles African soundings with related contemporary arts discourses and spaces.

Robert Machiri is currently stationed in Berlin indefinitely, having completed fellowships successively from fall 2021 for 2 months at Akademie Schloss Solitude, Stuttgart (in cooperation with Donaueschingen Global Festival) and then the DAAD Artist in Berlin programme which ended November 2022.

https://listeningatpungwe.wordpress.com

A radio music theater inspired by Louise Bourgeois' installation Red Room (child) and Red Room (parents) about truth and lies, about lust and abuse, about love and power for voices, chamber ensemble, recorder trio, Revox tape machine, radios, cassette player and electronics in seven tableaus/acts. Color is stronger than language. It's a subliminal communication. Red is an affirmation at any cost - regardless of the dangers in fighting - of contradictions, of aggressions. It symbolizes the intensity of the emotions involved. (Louise Bourgeois) In the universe of the Red Rooms there is a radio station, Radio Roja. kunstradio.at/06 11 22 But also, hidden, perhaps underground, there are cages, many, many.... In "Red Rooms - Cages" the sound worlds of these three cages are in the foreground: sounds and noises, singing and roaring, panic, poetry, air, noise ... a kind of song of dark passion and misery. Cage 1 - Ulf (Wolf) Cage 2 - Beel Blanchette & Beel Rouge (Little Red Riding Hood) Cage 3 - Hope S, Hope E und Hope I (Grandmother) The three main characters - Little Red Riding Hood, Wolf and Grandmother - (in this case a family, mother, son and daughter/granddaughter) each appear in different versions that represent different components and points of view of these protagonists. That is, we hear the members of the family literally living in cages and expressing their urges and feelings. Through this, perhaps, it becomes clear how claustrophobic a family can be structured and the impact this has on the souls and reality of the people, so everything that can only happen in terms of bad things happens there. So there is both a double Little Red Riding Hood - the "red" and the "white", its two sides called "Beel Blanchette" and "Beel Rouge" - and the grandmother in three variants: "Hope S", "Hope E" and "Hope I", the grandmother in trio in the sense of a seemingly perfect being, but also a kind of chimera, multi-headed monster, as well as a special form of the three monkeys that do not want to see, do not want to hear and do not want to speak. The wolf as the third character - "Ulf" - in comparison seems the most at peace with himself, because he is probably the most primitive of all. He is also the only one who does not experience conflict. However, at some point in the course of the piece, one might think that everyone who inhabits these cages or who is involved in the action, including the instrumentalists, is handling like lonely wolves or forming a kind of wolf pack. Musically, the piece is essentially built up by repetition, because these tableaux are also a kind of reappearance or loop that cannot be easily escaped. Corresponding to this are musical loops and quotations from early music and rock, which Castelló sometimes uses more hidden, other times more prominent. The artist also makes an attempt to combine the worlds of composed music and improvisation, both of which have equal importance in Red Rooms. Angélica Castelló: idea, concept, composition, musical direction Miguel Ángel Gaspar: concept, direction, movement Ximena Escalante: dramaturgy Ximena Escalante, Angélica Castelló, Miguel Ángel Gaspar: libretto Theresa Dlouhy, Isabelle Duthoit: Little Red Riding Hood (voice) Romain Bischoff: Wolf (voice) Raphaela Danksagmüller, Thomas List, Maja Osojnik: Grandmother (recorders, voices) Jérôme Noetinger: Other Wolf 1 (Revox, tapes, electronics) Victor Lowrie: viola Manuel Schager: cello Maximilian Ölz: double bass Reinhold Brunner: bass clarinet Alvaro Collao León: saxophone Stefan Obmann: trombone Berndt Thurner: percussion Lyrics and quotes: Ximena Escalante, Salvador Novo, Louise Bourgeois, Vilem Flusser, Angélica Castelló Translation: Miguel Angel, Angelica Castelló, Claudia Mader Thanks to Eva Laquiéze-Waniek Production i5haus with the kind support of Stadt Wien Kultur, BMKÖS, Sistema Nacional de Creadores de Arte (FONCA) Mexico, SKE of Austro Mechana in co-production with Wien Modern, PHACE, Musica Strasbourg, La Muse en Circuit and ORF Ö1 Kunstradio, and in cooperation Schauspielhaus Wien.

Ash trees are disappearing from the landscape like the eroding sounds on tape cassettes. This is a story about a birthday candle, an old tape cassette recorder and trees that fissure as they age. Before the Ashes Lose Their Leaves is a letter reflecting on ash dieback, bicultural heritage and motherhood. Fuelled by a desire to pass on the sounds and stories of the now, before it is too late, a mother records a letter to her daughter. Tread gently past the world tree Yggdrasil, into the glow of hospital lamps and under the fence into the neighbour’s garden.

Hannah Fredsgaard-Jones is a Danish composer, vocalist, songwriter and sound artist living in Oxford. Her practice spans writing and performing with her indie folk outfit Asthmatic Harp, composing for choirs, devising sound walks and leading workshops. Recent commissions include a composition for ‘Voices of Exmoor' as part of the Adopt a Music Creator Scheme, a site-specific sound walk about Ash Trees supported by Oxford Contemporary Music and an early years sound piece for Tiny Ideas Festival. She is a music leader for YWMP, an audio editor for The Economist and a current member of the UKNA Creative Thinktank.

https://hannahfredsgaardjones.co.uk/
https://www.instagram.com/fredsgaardjones/

A song of sorts about sinkholes willed into being through repetition and erosion. As in oozing hollows, shifting bedrock and underground exploits.

1) Patric Simmerud - Tiden går inte längre (Time is no longer) (2012) (5:00)

 2) Elina Bry – Heartache (3:01)


1) Patric Simmerud - Tiden går inte längre (Time is no longer) (2012) (5:00)

TGIL is part of an installation focusing on sexual abuse of children. The installation had its premiere 2015 in Stockholm, Sweden, and includes texts, electroacoustic music, video, live music and lectures. The aim with the project is to focus on the problem from different angles (art, research and information) to remind visitors that this is going on all the time everywhere, but also to encourage visitors to not stick their heads in the sand when confronted with the problem. The text is in Swedish and read by Anne Pajunen. The narrative shifts between The Teller and The Told.

Patric Simmerud (°1963) is a composer and sound artist based in Stockholm, Sweden. Classically trained and with wide influences, my work as a composer range from contemporary art music - including electroacoustic and radiophonic pieces, chamber music and music for full orchestra - to soundscapes and music for film. As a sound artist, I have explored various artistic disciplines such as installation, performance, videoart. My work has been internationally performed and included in various art exhibitions. In addition, I lead the music and score engraving company MakeMyDayMusic.

patric@simmerud.com
http://www.simmerud.com
http://www.makemydaymusic.com
http://www.linkedin.com/in/simmerud
http://www.soundcloud.com/simmerud 
 
2) Elina Bry – Heartache 
 
Using my inner rhythm as a tempo, my body as a tool, I reflect on myself and my capacity to stay in balance with myself. Apogee of a heart anomaly. Elina Bry is a Glasgow based multidisciplinary and collaborator who considered herself as French/Finnish both equally. Communication is an essential part of her practice as each medium and language has its own strength. She sees language as a medium and by recognizing different self’s in her three languages, she makes the most of them. She is currently exploring the weakness of her body as a medium, considering the inner as a tool, and is finally coming out of the closet as a musician. 

An acousmatic composition.

A note from Valerio Tricoli:

Among the alleys of Palermo – the city where I was born – fragility, poignancy and beauty intersect in a unique way. The ruins of civilization, stabbed in the bowels of an earth that burns mysteriously, stand as asynchronous reminders of a history of art, and violence.

They are also the ruins of someone’s adolescence, and of love stories stolen in soundproof rooms, while someone died of cancer just beyond the wall.

On the shoreline, overshadowed by the hollowed-out rock of Palaeolithic caverns, the dried, elongated, black seaweed are fragments of magnetic tape, talking to those who are malicious enough to hear.

At funerals one cries, it is certain, in Palermo one cries much more, despite everything. So that emotions can more intensely dig indelible furrows in the mind, and be elevated to the purest philosophy, and the explosions become discourse.

I made this track in the spring of 2023, manipulating the sounds, music, voices, directly on analogue tape.

Valerio Tricoli (Palermo, 1977) is a composer and performer of electro-acoustic music, currently residing in Munich.

Since the mid ’00 is main instruments for live presentations is the Revox B77 reel-to-reel tape recorder, used as a completely analogue device for live sampling and real-time transformation / editing / mixing of prerecorded (field or studio recordings) and made-on-the-spot sound sources, the latter usually being vocalizations (including speech and singing), acoustic and electronic instruments, objects, and – in the case of group sets – whatever is produced by the fellow musicians.

On a formal level his sets focus on the impromptu creation of a narrative which takes into account the multiple relations intervening between reality, virtuality and memory during the acoustic event: sounds are always hovering between the “here and now” of the concert situation and the shady domain of memory – distant but at the same time present like in a deja-vu experience. Privileging fracture over continuity and by the use of a dynamic range that could often jump suddenly from near-silence to extreme blasts of sounds, an almost tactile feeling of brooding tension is often attained.

His electro-acoustic studio compositions are aligned to the tradition of Musique Concrète and explore themes of the internal – represented both by the psychological and the physical – and of the occult, which together with the large use of spoken text makes them often deeply existential works, self-investigations of the psychological, emotional and irrational horror within.

https://valeriotricoli.bandcamp.com/music

You can call me horse is a collage of spoken word and soundscapes. It speculates on the origin story of Chiron, an immortal god from Greek mythology that's part horse and part human, a teacher of medicine in spite of his chronic pain. Astrologers have speculated about the symbolic significance of the asteroid Chiron in natal charts as indicating woundedness and deep healing. This piece was developed in collaboration with fellow Chiron devotee Sammy Paloma who did the sound design, and Maggie the mare from Ealing Riding School. It was initially commissioned for the Visions Listening programme by Serafine 1369 as part of YOYI! Care Repair Heal, Gropius Bau 2022.

Words and concept by Daniella Valz Gen
Soundscape by Sammy Paloma

Daniella Valz Gen is a poet, artist and oracle. Their work explores the interstices between languages, cultures and value systems with an emphasis on embodiment and ritual.

Sammy Paloma is an artist, poet and witch living between Bristol and Shetland, UK. She paints, hand pokes tattoos, sings an approximate falsetto, writes poems, and makes computer games.

https://daniellavalzgen.net
https://sammypaloma.com

IG
@daniella_vg
@sammypaloma_

Tickets are pay what you can from:
https://www.cca-glasgow.com/programme/live-to-air-e-bry-maruyama-mccracken-veldman-j-higgins

Elina Bry - Les Mots* du Corps ~ *Sanat/Säryt *Words/Aches

Does the body only ache in the language the ache was felt in?

When a person speaks different languages does emotions get stored in the language the emotions were felt or are all the emotions stored within the potluck which is the body.

I reflect on how a body keeps ache in its languages rather than its body parts. We are familiar with the term muscle memory, the body keeps the score, but what happens to people who are multilingual and reflecting and experiencing life in different languages and cultures. Do they have different personas depending on the language they speak? Do they all feel different?

If I cry in Finnish does my French side hurt? If I experience joy in French does my English side feel it too? I’ve never felt a heartbreak in Finnish. Does it mean that one third of my heart is pure?

If only we knew.

*Mots : Sanat, Words

*Maux : Säryt, Aches

Elina Bry is French/Finnish, Glasgow based multidisciplinary artist. They work across video, storytelling and live performance, and is interested at listening to and re-staging the malfunctions of the human body. They are curious about the body as a sentient arena; as a responsive tool and as a protagonist of an everyday drama. By that, they investigate the known, model it and work in collaboration with the instability of their body. It is essential that they don't cause any harm as they want to challenge their body with the everyday, in order to give a stage and witness what is already there.

Jasna Veličković - Bubbling with Braun's Demon

Jasna is a Belgrade-born Dutch composer and performer based in Amsterdam. Her „being in love with the sound“ coupled with an enduring interest in an intricate encounter between music and technology and her strong inclination toward sound experimentation represent the key elements of her artistic development.

Her work gradually evolved into an ongoing research project dubbed „The Art of Coil“: an investigation into the musical capacities of the (electro)magnetic field, both as the source of sound and the compositional material. Her years-long explorations included animating traditional instruments with electromagnetic waves and consequently playing these instruments without touching them, the construction of a new instrument—the Velicon—an electronic system consisting of a changeable configuration of magnets and metal objects animated by coils and, quite recently, the reintroduction of the traditional instruments into the creative process.

Marianna Maruyama, Saskia McCracken and Hessel Veldman - WurM IN WorM: composted

This live-to-air production for Radiophenia brings composer/musician Hessel Veldman and writer/artist Marianna Maruyama to travel from the Netherlands to perform with Glasgow-based writer Saskia McCracken. This freshly composted variation of the first WurM IN WorM piece produced one year ago digs up fragments from the past and moments from the present to savor processes of decay and transformation. It seeks the sensuous in unexpected places - a dentist's office, a worm's burrow - and reveals a stratification of unlikely artifacts and subterranean histories.

Marianna Maruyama will be reading from her poem “Dentists get few love letters” (2021) along with new compositions. Saskia McCracken will be reading from her short story “Sister;Worm” from the second edition of TOLKA; a journal of formally promiscuous non-fiction.

In the gaps between words, Hessel Veldman will be using a new device called the "mole-rat" which detects and sonifies electromagnetic frequencies in the immediate vicinity. He also unearths the recorded voice of Andrew McKenzie from a tape made between 1985 and 1990 when the Radio Art Foundation (Willem de Ridder) in Amsterdam issued several tapes (C90) with all kinds of radiophonic works: The All Chemix Radio Series. The first words in Glasgow are by Andrew, talking about a WurM named Gabriel and lead into a subsequent generation of this radiophonic work - a composted edition of WurM IN WorM featuring writing by Saskia McCracken and Marianna Maruyama's turning of the experience of cavities and caresses.

Composers: Hessel Veldman

Voice and words: Marianna Maruyama from her poem “Dentists get few love letters” (2021), and other writing.

Saskia McCracken from her short story “Sister;Worm” from the second edition of TOLKA; a journal of formally promiscuous non-fiction.

First version produced and broadcast at Radio Worm, Rotterdam (2022) by Hessel Veldman, Kamilė Rimkutė, Ruben Verkuylen.

Contributing recorded voices: Andrew McKenzie, Dr. Thomas Dudckewicz

Jess Higgins - a wall, slightly too thin

 
a wall, slightly too thin is a performance about a fictional monologue and the voice that delivers it. The monologue writes about itself and its hopes for the future in living rooms, kitchens, buffet foods, the bucket of a window cleaner, in the confines of the “well regarded institution”, in throwback fashion and the symbolic passenger seat of a car. The voice, caught up in the monologue’s plot, grapples with the structural politics and flaking relations of the performance itself, and oscillates from the art of persuasion to the craft of vulnerability as it stubbornly pursues its assignment.

Artist & writer based in Glasgow - mostly into: forms & questions of performance ~ the voice & noise ~ listening relations ~ complicities & resistances vis a vis -organisation, capital, labour.

End of the Line is an experimental radio play that juxtaposes found audio sourced from gay phone sex hotlines with electronically manipulated recordings of hold music from pharmacies across the USA.

The hotline is an arguably outmoded telecommunication technology that has sculpted and mediated generations of queer desire. After obtaining a free trial to chat with "local guys" via hotline one lonely December evening, I was granted access to the explicit spoken word bios of men seeking erotic company throughout the United States, some of which seemed to be months-if not years-old. This aural landscape felt both divinatory and predicated on the ideologies of cruising; the faceless ghosts of public sex circulating in a feedback loop. This aura of unfulfilled expectation felt similar to the liminal psychogeographies that occur upon experiencing “hold music”; music created to fill a bureaucratic void and intended to ease the anxieties of waiting.

Recorded directly from my phone, I began to document these voices while compiling snippets of hold music from CVS and Walgreens' pharmacies throughout the nation. There were two predominant hold music compositions featured, but depending on the quality of the connection, the recordings were subject to aleatoric distortion and degeneration. These disparate audio sources delineate simultaneously purgatorial and quasi-cartographical spaces, and when in dialogue with each other, create a unique hauntological topography that addresses archival loss, queer longing, the failures of the medical industrial complex, and the occult properties of "being put on hold."

Bio:
Kamikaze Jones is an interdisciplinary artist whose work explores extended vocal technique, queer hauntologies, and ritualized erotic transcendence. Utilizing counterarchival impulse and experimental research procedures, Jones endeavors to provide both sonic and ceremonial sanctuary for the ghosts of public sex. His work across mediums has been featured by Anthology Film Archives, Black Mountain College Museum, Montez Press Radio, Wave Farm, The Poetry Project, and Onassis USA. He was a founding member of the poetry and performance collective The Anchoress Syndicate, and the host of the podcast "Pure Garbage: An Oral Examination of John Waters." He is the current arts editor of WUSSY Magazine.

https://www.kamikazejones.com

‘Cathode Ghosts’ is an assemblage of synthetic voices in a fractured collage of drifting static. Half caught fragments of time and space reverberate in the void, a scattered spectral world at once omnipresent and yet only ever partially glimpsed.  Daily life has become an immense accumulation of ghosts. The future is no more than a memory, everything that was directly lived is now haunted and what was once proven can now only be imagined. The piece invokes and summons ancient and future phantoms to re-haunt the empty spaces we will leave behind us.

Luke Pendrell is an artist and writer who uses collage to construct narratives that trouble the flimsy fictions we construct to make sense of the world.
A founding member of  award winning digital art collective antirom, his work has been performed, screened and exhibited in amongst others Tate Britain (London), the British Film Institute (London), the Barbican (London), MoMI (NY), Institute of Contemporary Art (London), MoMA (Sydney), Cal Arts (LA) Le Salle de Legion d’honneur (Paris) and the ICC tower Open Sky Gallery (Hong Kong).

https://www.lukependrell.com/

1) Olivier Julien - Temps et Location : Borth (Wales) and Paris(Creteil) (10:00)
2) Nacho Cordoba Delgado - This Tape Machine Destroys Time -z9 - Michal Biel - Smoldzinnski Las (13:06)
3) Michael Maftean - Microteaching Techniques (8:07)
4) Dream Diary - OST #1 - 05 A5 (1:00)
5) Simon LeBoggit - Inside The Bell Dome (9:36)
6) Ariel Mioduser - Tangle (3:30)    
7) Instinct Controlled Sounds - NI Mixer Fi (13:49)


1) Olivier Julien - Temps et Location : Borth (Wales) and Paris(Creteil)

This audio piece functions as a site specific work contrasting intense and emotional periods spent living with my Mum in Wales and my Dad in France. The piece cuts a searching path through field recordings, interviews, samples, radio, performances and poetry to weave together impressions of place. The impressions take form not only as an investigation but bind time and timezones through emotions into an aural diary. The wider landscape that emerges brings with it melancholy, money, aggression, nostalgia, serendipity, humour and expression amongst many others.

Olivier Julien is an artist based in Glasgow working with sound, film and collage. His work is concerned with the processing of large quantities of visual and aural information, contemporary myths of power and the understanding of and engagement with the technological and electronic sublime.

https://soundcloud.com/djjjuli

2) Nacho Cordoba Delgado - This Tape Machine Destroys Time -z9 - Michal Biel - Smoldzinnski Las

TTMDT is a collection series made from January to December 2012. One tape/digital release per month out on MAGIA. The first 6 were created by MAGIA founder Ignacio Córdoba and the rest by close friends and fellow artists Gianluca Elia (IT/DK), Simon Forchhammer (DK), Michał Biel (PL/DK), bjarkebbbb (DK), Louise Vind Nielsen (GE/DK) and the mysterious Shoji Mariah (BR/JP). All the releases focus on tapes, tape machines and machines as destroyers of time, of perception and of the perception of time. Samples, coding, looping, hacking, field recording, plunderphonics and improvisation share the detritus of Time.

3) Michael Maftean - Microteaching Techniques

Working in collaboration with the National Library of Scotland’s Moving Image Archive, Microteaching Techniques was written for the festival of broadcasting, and includes archival material from “College With a Difference,” a film from 1970 that showcases technological advancements in teaching at Dundee College. This piece mixes warm, fuzzy, and lo-fi synth sounds with a jazz/rock/funk style double bass that gives this work a charming juxtaposition and keeps the listener on their toes. Previously composed and recorded works, including a vocal trio and piano act as additional source material giving the piece additional acoustic warmth and depth.

Michael Maftean is an American composer based in Glasgow, Scotland. His work is rooted in hauntology, which relies on the intersection of memories and how we are haunted by the past. His music sonically explores social and cultural cues to evoke nostalgia, while elements of post minimalism energetically loop, snake and propel through the music. Michael is currently pursuing his masters degree at the Royal Conservatoire of Scotland where he is studying acoustic and electronic music composition with Stuart MacRae and Linda Buckley. He is also a composer for Glasgow based film company Blade and Bow films.

https://www.instagram.com/michaelmaftean/
https://soundcloud.com/maftean
https://www.facebook.com/michael.maftean
https://www.youtube.com/steelinbourbon

4) Dream Diary - OST #1:A5

emusick.bandcamp.com/album/ost-1

5) Simon LeBoggit - Inside The Bell Dome

INSIDE THE BELL DOME is an algorithmically composed piece of mesmerising music for bells and chimes, created via a process of chaos, repetition and mutation.

Simon Le Boggit is a multimedia artist whose lifelong love of cascading church bells, and the sound of orchestras tuning up, eventually led to a search for statistical sweet-spots which might allow chaos-edged music to algorithmically self-generate in mesmerising and emotionally moving ways. Simon was born, inflated, and will eventually deflate.

http://quantumsouporchestra.weebly.com
https://www.facebook.com/SimonLeBoggit

6) Ariel Mioduser - Tangle

Three fragmented words: “dichotomic”, “obsessive” and “transgalactic”, tangled in an incessant loop. From time to time the words' meanings emerge, sometimes silence is achieved, but most of the time these concepts float in an unintelligible and noisy way.
The raw material of the sound is largely based on my voice, processed to a point where it is sometimes unrecognizable as a human voice, but still carries the warmth and vibration of the original.

I am a media artist focusing on sound art, animation, and digital painting. Along the years my sound works have evolved from the use of field recordings and electronic instruments to being mainly based on my voice in a broad sense, processed to the point where sometimes it is not recognizable as a human voice, but still carries the warmth and vibration of the original. The visual raw material is the bare pixel as the building block of digital art. In all my works, the visual and the sound combine into one experience.

https://arielmio4.wixsite.com/website
https://arielmioduser.bandcamp.com/album/static-noise
https://soundcloud.com/ariel-mioduser

7) Instinct Controlled Sounds - NI Mixer Fi

A series of live performances where the player performs with the feedback loop, manipulating it for compositional and textural purposes.

Sounds intend to inform , create mood, allow for the listeners' own experience to guide them through the textured spaces

Been recording field recordings, sound textures and the like since the mid 1970s on my D-Cell battery-run Panasonic cassette tape recorder condenser mic. Have continued off and on since then adapting to the ever changing technology.

https://www.youtube.com/@ICS_Productions

A selection of phone recordings of morning and evening walks, radges in the streets and buses of Edinburgh and random noises including the frying of eggs and a few other things. Improv mixed via a digital DJ app with a few crass effects thrown in the mix. Ryan Frame bio: Lo-fi experimental field recording enthusiast from the Scottish central belt. Tracks mainly built around one take Iphone voice recordings. Everyday sounds of the streets, buses, random pub conversations and noise. Borderline sound art.

A selection of phone recordings of morning and evening walks, radges in the streets and buses of Edinburgh and random noises including the frying of eggs and a few other things. Improv mixed via a digital DJ app with a few crass effects thrown in the mix. Ryan Frame bio: Lo-fi experimental field recording enthusiast from the Scottish central belt. Tracks mainly built around one take Iphone voice recordings. Everyday sounds of the streets, buses, random pub conversations and noise. Borderline sound art.