Loris with David Lacey

Daniel Jones, Patrick Farmer and Sarah Hughes with David Lacey.

Recorded in August 2011 at Oxford Brookes University by Patrick Farmer.

Drawing by Sarah Hughes.

AIF (12:19)

Kenneth Wilson & Lucy Duncombe.

 

We'd like to re-link visitors of this site to glasgow based artists, Kenneth Wilson and Lucy Duncombe, recently uploaded recordings. 

Please visit HERE to listen to the two pieces they have made available.


I would like to say more, over time, but the apt choice now seems to say nothing beyond the recommendation. 

Jesse Goin - All I do is Bring Things into Evidence

Exercise, from George Brecht's Water Yam

This essay has been written to introduce the Water Yam project that we are running from May to December 2012.

Jesse Goin connects the spirit of the Water Yam project to both what he was listening to as he wrote it [Cornelius Cardew's The Great Learning], as well as the music found at Compost & Height.

Jesse Goin - All I do is bring things into evidence, PDF

Jesse goin: www.crowwithnomouth-jesse.blogspot.co.uk

The Water Yam project can be found here

Kostis Kilymis - I stayed in this room for a year [inconclusive results 2010-2011]

Download: Kostis Kilymis - I stayed in this room for a year [inconclusive results 2010-2011] (15', 2011)

An examination of a lived space and location. Constructed using HD video, location recordings and speaker feedback. Third part of a triptych that also includes the 'syndromes - temporary perspectives' cd [organized music from thessaloniki, 2010], and 'perspectives' installation [athens & oxford, 2011].

Ideally viewed at fullscreen mode, we suggest that you download the file and watch this from the comfort of your hard drive.

Video shot and edited by Al

www.kostiskilymis.com

David Papapostolou | Quartets

Whilst thinking about the place I was at when I worked on these pieces, it struck me that I had completely forgotten about one side of the train of thought; let's call it the B side. Nevertheless that side seemed to have permeated the other (the C side) to such an extent that the two now seem inextricably linked.

Like many of the musicians I know, I seem to be equally fascinated by these two composers: Bach and Cage. Both were undeniably dedicated to and rigorous about musical experimentation and in doing so these two nevertheless showed a lot of playfulness as well. 

One story that stayed with me about Bach was the way he played around with all the possible permutations he could come up with to write counterpoints, that is the way the different voices interact together laterally as it were: "copying and pasting" lines, reversing, palindromes, mirror images,...

Obviously, while experimenting with these figures Bach kept a masterful harmonic control on his material while Cage would, two hundred and fifty years later, run in the opposite direction: drop harmonies and control all together. Cage's music based on chance opened new avenues to engage with the musical material: the constructive accident, the sound event that just happens to be there without any intention from the composer; at least not directly - the accident is intentional, not the result.

This is where I started: how could I, using the most simple material (sine waves and white noise) create diversity, based on accident and chance? Part of the answer was: work fast and don’t look back!

Composed and assembled in June 2010, London.


Quartets  .aiff

David R J Stent | The Depiction of Dissemination

Joseph Wright of Derby’s A Philosopher Lecturing on the Orrery in which a lamp is put in place of the sun (1766) in relation to the opening scene of Béla Tarr’s Werckmeister Harmonies (2000)

Essay first published to accompany New Perspectives on Joseph Wright conference, hosted by DMARC (Digital and Material Art Research Centre), The University of Derby, January 2012

The Depiction Of Dissemination A3 pdf

John Grzinich - listening people/sounding places