DEBORAH RIDLEY: DECONSTRUCTING PIANO
I propose to record myself taking apart an upright piano over the course of a day, from complete instrument down to separate parts – strings, hammers etc. I will record the event with a digital camcorder, which will be left to film from a static position for the duration of the gallery opening hours. If possible, a television monitor outside the gallery will show the ‘live’ footage. This screen would be the viewer’s only portal to the events occurring inside the gallery, besides the sounds escaping. I already have the piano in my possession, and have measured the goods lift to ensure that it fits.
I propose to record myself taking apart an upright piano over the course of a day, from complete instrument down to separate parts – strings, hammers etc. I will record the event with a digital camcorder, which will be left to film from a static position for the duration of the gallery opening hours. If possible, a television monitor outside the gallery will show the ‘live’ footage. This screen would be the viewer’s only portal to the events occurring inside the gallery, besides the sounds escaping. I already have the piano in my possession, and have measured the goods lift to ensure that it fits.
MATTHEW LEE KNOWLES & ANDY INGAMELLS: SIXTY_SIX_EVENTS
January 21st 2010 00:00 23:59
six_events in 2008 was performed by hundreds in 29 countries across the globe over 6 days
sixty_six_events was over a full 24 hour period and could be performed by anyone, anywhere. You were asked to Read. Respond. Relax. Repeat. And freely interpret and perform any number of the 66 events within the given time. Actions were documented and sent via twitter/facebook/myspace/youtube to info@sixtysixevents.com. For Field Recordings a presentation of the documentation by composers Matthew Lee Knowles & Andy Ingamells will be shown.
January 21st 2010 00:00 23:59
six_events in 2008 was performed by hundreds in 29 countries across the globe over 6 days
sixty_six_events was over a full 24 hour period and could be performed by anyone, anywhere. You were asked to Read. Respond. Relax. Repeat. And freely interpret and perform any number of the 66 events within the given time. Actions were documented and sent via twitter/facebook/myspace/youtube to info@sixtysixevents.com. For Field Recordings a presentation of the documentation by composers Matthew Lee Knowles & Andy Ingamells will be shown.
SHELLEY PARKER & PAUL PURGAS: PROXIMITY
Proximity is a collaboration between sound artist and musician Shelley Parker and DJ/curator Paul Purgas. The project takes the form of a live sound performance using outputs from various microphones suspended from outside the 5 years building alongside a series of contact mics connected to the surface of the gallery walls. The performance will be a continuous mix of live sound from the microphone feeds integrated with effects and signal processing techniques in the style of a live environmental DJ set. The performance continues the duos interest in aspects of DJ culture and the possibilities for tactile and responsive live sound formatting to both engage and interfere with experience and perception. Taking inspiration from classic cut and paste aesthetics, effects processing, spatial dynamics and feedback loops the project reinterprets the gallery and surrounding space as a continuous evolving input. The project reinterprets the performance environs as an active sonic palimpsest operating across scale, tone and texture. The project looks at the role the performer takes in extracting, processing and articulating these spatial details. As in the lineage of the DJ or ‘selector’ the focus here lies on the potential for the performer to remould and deconstruct the spatial sonic blueprint of the gallery vicinity, and re-craft it into an individualistic and heavily stylised re-interpretation.
TEC SPEC: (will be provided by artists) 4 x microphones, 4 x contact mics, 1 x DJ mixing desk, 1 X effects unit, 1 X loop pedal, 2 x monitors.
Biogs:
Paul Purgas trained as an architect and graduated from the Royal College of Art in 2004. Since then he has completed curatorial residencies with Arnolfini and the Crafts Council. He collaborated in 2008 with Spike Island on a series of sound art commissions and co-curated the offsite projects for the 2009 Tate Triennial in partnership with Tate Media. He is currently completing a 12-month curatorial residency with the Tricycle Theatre in London. As of 2005 he has been part of the Bristol based experimental music project Emptyset developed in partnership with Hyperpdub/Tectonic producer James Ginzburg.
Shelley Parker‘s debut as a DJ was at the art inspired club night Nerd with Seb Patane where artists such as Wolfgang Tillmans were invited to come and play DJ sets. She has continued this dual creative interest in the art/club space and has since played at Tate Britain, created a sound installation for the Cold War Modern exhibition at the V&A and performed a live set of field recordings at the De la Warr Pavillion. She currently works as a DJ/producer and runs her own label named Structure..
Proximity is a collaboration between sound artist and musician Shelley Parker and DJ/curator Paul Purgas. The project takes the form of a live sound performance using outputs from various microphones suspended from outside the 5 years building alongside a series of contact mics connected to the surface of the gallery walls. The performance will be a continuous mix of live sound from the microphone feeds integrated with effects and signal processing techniques in the style of a live environmental DJ set. The performance continues the duos interest in aspects of DJ culture and the possibilities for tactile and responsive live sound formatting to both engage and interfere with experience and perception. Taking inspiration from classic cut and paste aesthetics, effects processing, spatial dynamics and feedback loops the project reinterprets the gallery and surrounding space as a continuous evolving input. The project reinterprets the performance environs as an active sonic palimpsest operating across scale, tone and texture. The project looks at the role the performer takes in extracting, processing and articulating these spatial details. As in the lineage of the DJ or ‘selector’ the focus here lies on the potential for the performer to remould and deconstruct the spatial sonic blueprint of the gallery vicinity, and re-craft it into an individualistic and heavily stylised re-interpretation.
TEC SPEC: (will be provided by artists) 4 x microphones, 4 x contact mics, 1 x DJ mixing desk, 1 X effects unit, 1 X loop pedal, 2 x monitors.
Biogs:
Paul Purgas trained as an architect and graduated from the Royal College of Art in 2004. Since then he has completed curatorial residencies with Arnolfini and the Crafts Council. He collaborated in 2008 with Spike Island on a series of sound art commissions and co-curated the offsite projects for the 2009 Tate Triennial in partnership with Tate Media. He is currently completing a 12-month curatorial residency with the Tricycle Theatre in London. As of 2005 he has been part of the Bristol based experimental music project Emptyset developed in partnership with Hyperpdub/Tectonic producer James Ginzburg.
Shelley Parker‘s debut as a DJ was at the art inspired club night Nerd with Seb Patane where artists such as Wolfgang Tillmans were invited to come and play DJ sets. She has continued this dual creative interest in the art/club space and has since played at Tate Britain, created a sound installation for the Cold War Modern exhibition at the V&A and performed a live set of field recordings at the De la Warr Pavillion. She currently works as a DJ/producer and runs her own label named Structure..
MICHAEL SCHULLER: NAVIGATIONAL NOTES
The idea behind Navigational notes is an extension of a body of work that has taken several forms in the course of its development — performance, installation, writing, drawings — and would here be reduced to its most essential form, the information recorded as the result of travel. Starting from the basis of psychogeography, my interest lies in the exploration of the link between our sense of place and our self-identity and how the two inform each other as one or both of these senses shifts dramatically. Practically, the work consists of the act of navigation through the drawing of a map (returning to the ‘field,’ if you will, psychologically rather than physically). Parts of the map can and do have their basis in reality: places visited, remembered, some well known, others less so. The connection between these places is less real — streets and rivers thousands of miles apart might flow into each other, disparate cities might merge — all the result of how memory and experience alter the way one looks at not only their place in the world, but in how the world itself is shaped. Accompanying the drawing of the map is the making of notes aloud, talking about what is being drawn, how it connects; the memories and anecdotes that inform the drawing are in turn infomed by it. As I talk and draw I form what constitutes two maps, one spatial (recorded on paper), one spoken (recorded as audio). Each has the potential, perhaps, to function on its own, but provide even more when presented together as documentation. In that form, without the performer as a guide, the viewer is left to their own devices with the recording and the map, each useful in navigating the other, each the result of an experience navigating through remembered territory. (I think there is a distinction to be made here between the navigation of phsycial and psycological geography, each having its own merits, each equally as expeditionary. To couch it in the header of the project, the recordings and notes one makes in the field of one’s mind can be equally as informative in terms of a sense of identity and understanding as the information recorded literally and physically in the field of a geographic place can be informative of the place as a whole.) The map would be drawn on a single large sheet of paper (its size determined in part by the dimensions of the space; it could be made on the wall or on the floor, preferrably as large as practically possible, up to approx. 50ft.2) with the audio recorded on a handheld device (to simplify setup and enable louder, clearer sound without having to worry about background noise).
The idea behind Navigational notes is an extension of a body of work that has taken several forms in the course of its development — performance, installation, writing, drawings — and would here be reduced to its most essential form, the information recorded as the result of travel. Starting from the basis of psychogeography, my interest lies in the exploration of the link between our sense of place and our self-identity and how the two inform each other as one or both of these senses shifts dramatically. Practically, the work consists of the act of navigation through the drawing of a map (returning to the ‘field,’ if you will, psychologically rather than physically). Parts of the map can and do have their basis in reality: places visited, remembered, some well known, others less so. The connection between these places is less real — streets and rivers thousands of miles apart might flow into each other, disparate cities might merge — all the result of how memory and experience alter the way one looks at not only their place in the world, but in how the world itself is shaped. Accompanying the drawing of the map is the making of notes aloud, talking about what is being drawn, how it connects; the memories and anecdotes that inform the drawing are in turn infomed by it. As I talk and draw I form what constitutes two maps, one spatial (recorded on paper), one spoken (recorded as audio). Each has the potential, perhaps, to function on its own, but provide even more when presented together as documentation. In that form, without the performer as a guide, the viewer is left to their own devices with the recording and the map, each useful in navigating the other, each the result of an experience navigating through remembered territory. (I think there is a distinction to be made here between the navigation of phsycial and psycological geography, each having its own merits, each equally as expeditionary. To couch it in the header of the project, the recordings and notes one makes in the field of one’s mind can be equally as informative in terms of a sense of identity and understanding as the information recorded literally and physically in the field of a geographic place can be informative of the place as a whole.) The map would be drawn on a single large sheet of paper (its size determined in part by the dimensions of the space; it could be made on the wall or on the floor, preferrably as large as practically possible, up to approx. 50ft.2) with the audio recorded on a handheld device (to simplify setup and enable louder, clearer sound without having to worry about background noise).
LADIES OF THE PRESS* (ANA CAVIC & RENEE O’DROBINAK)
Open converstaion with Edward Dorrian
E. Ana and Renée, We need to discuss TEXT/BOOK. Can I book you both in for a recorded conversation? Live Press, Archive Back to School? I’ve attached a pamphlet hinting at what might become... Part Call, part invite... Of course if you know of anyone who wishes to be recorded in the field, point them in the direction... R. Hi Eddy, Yes, yes and YES. I’m seeing Ana today for (yet another) meeting, I’ll speak to her about dates and get back to you this weekend. Renée. A. Hi Eddy* I’m interested! I think this is a good (disciplined) idea and great timing! I haven’t had a reply from Renee yet but think she’ll be up for it too.So, back to school it is then?! Not sure if you meant we need to discuss before the recorded conversation? Let me know, it would have to be from 16 December onwards. The Field. Michelle had a few key things to say, I recall, at one of the last ...Free School...sessions, Alex too. Sally! She was very insightful. E. Well, It’s perfect for us to reassemble the detritus of the three weeks in April - May. Just to reassess with the material laid out before us. Also. Live Press is very much the experience of recording in the field. So we have plenty there for two and a half hours. A joy! We don’t need to prepare beforehand. Anymore than what we know ourselves... Renée replied immediately with Yes. Claire unfortunately won’t be able to. A. Last night was fun! Let’s do it again. Michael said you mentioned something about a Ladies* slide show at Field Recordings? Tell us more... I like what you said about the stage. You’re so right, some shots look like they were taken at a film set or dress rehearsal. E. Re: The film. Gosh how happy I look... Regarding the liveliness of the Press from the dead hand of the document. The gaps in-between. The memento mori. I don’t have a plan as how to advance... I enjoy.. enjoyed the lovely drama. Everyone does. Sweeping along with the... lost in... performance. The act of writing to time. How ecstatic? Like a studio. I don’t know. Perhaps a conversation with scissors? Like a series of edits... On the stage a table. Three chairs? A chamber piece. Would... A set of instructions? A small number of props. Agreed. And recorded over the two hours? Mmmm.. too impractical...
Open converstaion with Edward Dorrian
E. Ana and Renée, We need to discuss TEXT/BOOK. Can I book you both in for a recorded conversation? Live Press, Archive Back to School? I’ve attached a pamphlet hinting at what might become... Part Call, part invite... Of course if you know of anyone who wishes to be recorded in the field, point them in the direction... R. Hi Eddy, Yes, yes and YES. I’m seeing Ana today for (yet another) meeting, I’ll speak to her about dates and get back to you this weekend. Renée. A. Hi Eddy* I’m interested! I think this is a good (disciplined) idea and great timing! I haven’t had a reply from Renee yet but think she’ll be up for it too.So, back to school it is then?! Not sure if you meant we need to discuss before the recorded conversation? Let me know, it would have to be from 16 December onwards. The Field. Michelle had a few key things to say, I recall, at one of the last ...Free School...sessions, Alex too. Sally! She was very insightful. E. Well, It’s perfect for us to reassemble the detritus of the three weeks in April - May. Just to reassess with the material laid out before us. Also. Live Press is very much the experience of recording in the field. So we have plenty there for two and a half hours. A joy! We don’t need to prepare beforehand. Anymore than what we know ourselves... Renée replied immediately with Yes. Claire unfortunately won’t be able to. A. Last night was fun! Let’s do it again. Michael said you mentioned something about a Ladies* slide show at Field Recordings? Tell us more... I like what you said about the stage. You’re so right, some shots look like they were taken at a film set or dress rehearsal. E. Re: The film. Gosh how happy I look... Regarding the liveliness of the Press from the dead hand of the document. The gaps in-between. The memento mori. I don’t have a plan as how to advance... I enjoy.. enjoyed the lovely drama. Everyone does. Sweeping along with the... lost in... performance. The act of writing to time. How ecstatic? Like a studio. I don’t know. Perhaps a conversation with scissors? Like a series of edits... On the stage a table. Three chairs? A chamber piece. Would... A set of instructions? A small number of props. Agreed. And recorded over the two hours? Mmmm.. too impractical...
SEBASTIAN CRAIG: 3.29 MILES PUBLIC
Quite a few years ago I was invited to make a work for a show at ATC in Chicago entitled ‘Geo-phono-box’ . As the title suggests the artworks were sound works aiming to represent a sense-of-place.
My contribution was 3.29miles public, a short set of field-recorded clips collected from a selection of public-access buildings forming a line of potential indoor sheltering places on a rambling, walkable route across central London.
I propose to re-present this work, attempt to recall the destinations visited (I no longer have them listed) and to discuss in an informal way the general themes it attempted to raise, which were somewhere in the direction of: what type of building is open to the public, who grants access and what is unacceptable for the public to do there? This is by no means a lecture on the topic.
Quite a few years ago I was invited to make a work for a show at ATC in Chicago entitled ‘Geo-phono-box’ . As the title suggests the artworks were sound works aiming to represent a sense-of-place.
My contribution was 3.29miles public, a short set of field-recorded clips collected from a selection of public-access buildings forming a line of potential indoor sheltering places on a rambling, walkable route across central London.
I propose to re-present this work, attempt to recall the destinations visited (I no longer have them listed) and to discuss in an informal way the general themes it attempted to raise, which were somewhere in the direction of: what type of building is open to the public, who grants access and what is unacceptable for the public to do there? This is by no means a lecture on the topic.