In ancient Greek, the name of Athens was [ha atna], related t? [h atn] and its dialectal variant[h at´n], the Attic and Ionic names respectively of the goddess Athena, the goddess of war and wisdom. The city’s name may have been in the plural, like those of (Thêbai) and (Mukênai), because it consisted of several parts. In the 19th century, was formally re-adopted as the city’s name. Since the official abandonment of Katharevousa Greek in the 1970s, however, the popular form (Athína) has become the city’s official name, though the plural may be kept for several purposes in literature.

fuk the polees

the destruction of athens

Pangrati, Ambelokipi, Exarcheia, Ano Patissia, Kato Patissia, Ilissia, Ano and Kato Petralona, Mets, Koukaki and Kypseli,

one of the longest of any city in Europe or the world; it has been 1981 885,737 – – continuously inhabited for at least 3,000 years
980s it became 1896 123,000[17] evident that smog from a conglomeration of historic gas factory distinct towns and villages that major waste management Greco-Roman, Neo-Classical, to modern efforts undertaken in the last decade gradually expanded and merged into people of all ages who will sing, dance and drink till dawn a single large metropolis; 1991 772,072 – 3,444,358[19] most of this expansion occurred during the second half of the 20th century factories Panathinaikos Football 1908 Super League Greece Apostolos Nikolaidis Stadium
Olympiacos Football 1925 Super League Greece Georgios Karaiskakis Stadium
AEK Football 1924 Super League Greece Athens Olympic Stadium
Panionios Football 1890 Super League Greece Nea Smyrni Stadium
Atromitos Football 1950 Super League Greece Peristeri Stadium
Egaleo FC Football 1930 B Ethniki Egaleo Stadium
Panathinaikos BC Basketball 1908 A1 Ethniki Athens Olympic Stadium
AEK Athens Basketball 1924 A1 Ethniki Galatsi Center
Panionios Basketball 1890 A1 Ethniki Helliniko Arena
Maroussi BCE Basketball 1970 A1 Ethniki Maroussi Arena
Spartakos Glyfadas Baseball 1990 National Baseball League Helliniko Baseball Center
Maroussi 2004 Baseball 1990 National Baseball League Helliniko Baseball Center
Athinaikos Handball 1927 National Handball League Helliniko Arena
Athens Rugby Rugby 1990 National Rugby League Athens Olympic Stadium
Starbucks Rugby Rugby 1983 National Rugby League Athens Olympic Stadium and an ever demotika diamerismata increasing fleet of automobiles, as well as a the Athenian 2001 745,514[20] climate is very dry the Attica 1971 867,023[18] – – region experienced a number of brush fires, including one that burned a 1921 (Post-Population exchange) 718,000[17] significant portion parking facilities, cocktail drinks and umbrellas of a large forested national park in Mount Parnitha – considered Omonia Square (Greek:critical to maintaining better air in Athens all year round. Damage to the 1833 4,000[17] – –
1870 44,500[17] – –
– –
1921 (Pre-Population exchange) 473,000[17] – –
– –

1991 772,072 – 3,444,358[19]
3,130,841[20] 3,761,810[park has led to worries over a stalling in the tap rebetadika water is rebetadika safe, and of very good quality. improvement of air rebetadika quality rebetadika in the city.compared with most of Syntagma mediterranean Europe lack of Syntagma adequate free Syntagma Snowfalls rebetadika occur everydue to overcongestion, had evolved into the PsirriPsirriPsirriPsirri city’s most important challenges.
anti-pollution measures Attiki Odos ring road a much more functional city. bound Syntagma by Mount Aegaleo in the west, Mount Parnitha in the north, Mount Penteli in the northeast, Mount Hymettus in the east, and the Saronic Gulf in the southwest he carved details on the five Plaka, Monastiraki, and Thission caryatids of the Erechtheum have seriously degenerated, Ekali, Nea Erythrea, Agios Stefanos, Drosia, Kryoneri, Attica, Kifissia, Maroussi, Pefki, Vrilissia, Melissia, Pendeli, Halandri, Psychiko and Filothei while the face of the horseman on the Parthenon’s west side is all but obliterated.

Welcome to the ICMC 07. This is the entrance to the Huset venue where the film program, installations and informal evening concerts were presented.

ICMC Poster Session: Co-presenters demo’ing their own projects. The nature of the shared space was good in as much as it allowed you to engage with the other people’s work, the negative aspects were due to the bleed of sound from one table to another, and the lack of relevance of one work to another. A classic sound art conundrum.


The poster presentations are great forums for demostrating your ideas, and opening up your work to an informed and tech savvy group of international practitioners. We hear sound artist Ellen Moffat adding a few comments about the proceedings.

Cathy Lane introducing the Sound Art and Design Department of LCC in the session of studio reports. LCC came across very well in comparison to the other schools being presented (including Sound and Media Studios at London Metropolitan University, SCRIME at University of Bordeaux, CNMAT at Berkeley, CCRMA at Stanford, and Hanyang University, Korea (presented by Richard Dudas) .

Cathy introduces the specialist areas of the School of Sound Art & Design at the London College of Communication and explains the context.

Cathy discussing the department’s interest in Sound and the Environment with particular regard to field recording and phonography practices.

Cathy outlines CRiSAP’s future plans.



Occasional Solo Outings | Solo Expanded Guitar | Acoustic | Electric | Electronic |

| Heroes | Antiheros | Zeros |
john fahey, robert johnson, christian fennesz, godspeed you black emporer, animal collective, ry cooder , woody guthrie, leadbelly, richard thompson, nick drake, skip spence, 6 organs of admittance, sunburned hand of the man, boris, sunn o)), pauline oliveros, hidegarde westekamp, halim el dabh, nas al ghiwane, yellow swans, lee ranaldo, glenn branca, django reinhardt, scott joplin, sir richard bishop, james blackshaw, bert jansch, tom rush, karen dalton, explosions in the sky, lemchaheb, jil jilala, low, modest mouse, blind lemon jefferson, mississippi john hurt, buster keaton, brothers quay, david lynch, jan svankmier, lumiere brothers, henry miller, ben okri, marquis de sade

Some Past Gigs

August 8th 2007 @ Songbird, Visions Bar, Dalston

August 18th 2007 @ Plac.Art.X, Regensburg, Germany

February 22nd 2008 @ Scaledown, Soho, London

A presentation at the Art of Immersive Soundscapes Conference, University of Regina, Saskatchewan, Canada.

I also participated in the Creative Forum studying with some of Canada’s most innovative composers, acoustic designers and audio artists:

Darren Copeland (Toronto): Independent audio artist and Director of New Adventures in Sound Art, Toronto.
Dr. Christos Hatzis (University of Toronto): Distinguished multi-award-winning composer, whose music utilizes multimedia and sound art.
Stephen Heimbecker (Montreal): independent audio artist, with exhibited installations in Europe and North America.
Ellen Moffat (Saskatoon): Independent audio artist, with sound installation presentations across Canada.
Gordon Monahan (Berlin): Independent audio artist, with exhibitions and performances across Europe and North America.
Barry Truax (Simon Fraser University): Internationally celebrated pioneer and teacher in audio art, technology, and electroacoustic composition.
Dr. Ellen Waterman (University of Guelph): Creative sound artist, music performer and improviser.
Hildegard Westerkamp (Vancouver), Independent audio artist, former faculty member at Simon Fraser University, with exhibitions world-wide.







Open Form Festival of Indeterminate Music
March 10th – 13th March 2007
Realisation of Cornelius Cardew’s ‘Treatise’ (page 47)
By Adam Asnan & J_Milo Taylor
London College of Communication

At the time of writing Treatise, Cardew was also exploring the possibilities outlined by free improvisation as typified by the group AMM who were in the process of moving towards ‘sound’ rather than ‘music’. This double articulation of Cardew’s practice, spontaneous improvisation embodied in real-time human interaction, coupled with a rejection of this in favor of notation has informed our approach to the work.

My vector into Treatise is situated in our practices as a sound artists, rather than improvising musicians, although we both improvise regularly as part of David Toop’s Laptop Orchestra. An early concept to transform the score into a map for ‘prepared’ guitar was quickly rejected but the concept of transformation was kept, and carried through to this current iteration of our response. While we were developing our work, it quickly became clear that Adam’s strategy was to be a highly formalized deconstruction of Cardew’s graphic score. It was less an interpretation, more of an extreme re-mapping of the possibilities imagined by the composer.

This in turn, prompted me towards a more direct intervention, into the work, my own practice and into reality. I re-imagined my role and decided to embark upon a process of de/re-constructing the score, and transforming it into a sculptural sound object; this object would be definitively derived from the score, limit my choices in performance, whilst facilitating these choices. Score as object, or score as instrument, a kind of physical embodiment of an originally abstract intention.

P-47 Misery Box: Sample 1

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P-47 Misery Box: Sample 2

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P-47 Misery Box: Sample 3

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P-47 Misery Box: Sample 4

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It is my feeling, that although respectful of Cardew’s intentions, we are also aware of our own situatedness, and the possibilities of articulating an alternative discourse removed from the rarefied ambience of the music academy. Our work, while a radical de/construction of the score, would, we hope, sit well with Cardew’s broader social and political aims.

The piece was presented in the Royal Academy of Music, Oslo in a workshop led by Christian Wolff.






This work of dedicated to the Cardew’s memory, with the hope he would have enjoyed our response and to Siri, Lena, Else and everyone who have been so welcoming to us during our time in Oslo. Takk.

For BBC Radio 4 Drama. Directed by John Dryden.

Belmont Cinema bar, Aberdeen

Male voice,”I gave all that up”.

“Crap money”

The conference ended. People went off to get their flights. As an aside, a screening of the HERNoise film was announced. Few of the conference people made it down to the Belmont cinema.

playback > > Gentle exploratory sax improvisations.

Young men who were assisting in the conference, as technicians, welcoming participants etc are hanging out and chatting. A duo plays, reverbed out guitars with analog synth textures; a ten minute improvisation.

Male voice,” I wrote a song last week. From start to finish”.

playback > > Atonal punk guitars.

Male voice, “…Transylvania conquerors…”

“…live…” (Scottish accent).

This is not sound art. An independent cinema bar room. I go outside to smoke and chat to a fireman. Some talk about a collaboration with a member of the Canadian collective ‘Godspeed, You Black Emperor’.

Before coming here to the Belmont, I has an extended conversation with Jonty Harrison, which meant I missed the film screening. He feels ostracised by music, in the academic sense, and as if acousmatic music is being misappropriated by new media, pushing it into places he does not want it to go.

Male voice,”Do you know Angels of Light?”

After talking to Harrison, a short conversation with Dugal McKinnon who gave the presentation on vinyl. He does not own any, nor has he ever listened to music on vinyl. He comes from a background in ‘ants on a page’ composition.

Here, now, a single bearded, intense young man, on his knees, upon the floor, is creating a low distorted drone, somehow with a harmonica. The same model of Behringer desks that were present in the ‘academy’ during the conference are being used her, but attached to a string of guitar pedals. Delay, reverb, distortion. No granular synthesis here. A beautiful listening experience, a long way from the completed objects of Stollery, Harrison et al. Yet…

With a mouth harp, the tones pulse and build.

I think of tall trees, or a view over water. Breath as source, non-linguistics modulated by circuitry. The audience sits close – to performer, to each other. Active, eyes open. A small JVC camera records the action. There are framed pictures on the wall. A mono line of kazoo maintains spaced out beauty.

Neither high art or low.

But in-between. Less a blurring, more a contingent demarcation of personal experience.

Buzzzzz. Ice machine turns itself on.

The performer riffs against this. He is active in his spatial listening.

The magic has been broken.

I consider the body as the site of both oppression and agency. I feel totally alone in this town, yet sound has continued to connect me to a rich experiential sequence of intersecting aesthetic moments, punctuated by long periods of utter banality.

The acoustic, unamplified voice of the performer, a few moments ago an awkward disruption of the circuit-based abstracted beauty, now takes on its own meaning.

The entire audience is male.

“Walking through the sights” (sung)

In fact there are two women, both with partners.

“Walking through the skies on my bike”. (sung)

“Cheers. Thanks”.
Applause.

“Sigh”. From behind me.

The people here are active listeners. Well lit. Serious. Joking. Present. Young and old.

This is not academic music, is it? Is this then low? Fuck you.

Active state, undissipated. For this instant.
I feel no pain. For this instant.

Beating tones eternal. Electricity. Shifting slabs and delicate colours. I sense 600 years of change from summer to autumn, winter to spring.

In its way, this performance modifies what might be possible to hear, and see, in such a place as this. It sounds like part of here. It does not sound like apart from here. It does not sound like apart from hear.
The manager is counting coins from behind the bar.

Low grade Celestion speakers with appropriate sound streaming through them in situ.

Still the bar manager, oblivious, continues to count the silver.

Electricity from the performer, studied engagement. My view of him is blocked by a pillar, which in some ways, I am grateful for.

Just sound, no gesture, no source, no human, just sound.

Lecture Theatre, MacRobert Building. University of Abderdeen

This presentation concerns Streaming Media and Network Radio. Of particular interest to me is the selection of two of my case studies as examples, namely Negativeland and Sam Auinger (other artists selected by Byrne are Katherin Roggla, Bruce Russell and x.y)

playback > > Background level of unknown track

Byrne begins his tracing of the topic with the over-familiar citation of Marinetti’s Futurist Manifesto for Radio, La Radio from 1933. This vision is criticised for its rather utopian scope, and the discussion moves on to a consideration of broadcast as a medium and the essential tension between the visionaries of radio, such as Marinetti, and the political reality facing such artists when working in such a capital intensive domain. Early on in the radio’s history, studios and stations became rapidly centralised, moving away from the participatory, many-to-many networks imagined by Marinetti, to become fetishised centres for the dissemination of dominant discourse to societies being organised to maximise consumption and production. Artists who chose to work in this medium worked under highly restricted parameters, including such standardisations as program length, volume, subject taboos, the use of silence, restricted playlists.

E.g.s

Orson Wells – War of the Worlds.
Artaud – Pour en finir avec le jugement de dieu (1947)

Of relevance to my work, is the means by which the differences by which radio art and sound art can be distinguished. Key works in this area are Radical Radio by R.M. Schaefer (1987), and ‘Towards a Definition of Radio Art (19xx).

“Radio Art is not Sound Art, nor is it Music. It is Radio”.

“Sound Art and Music are not Radio Art just because they are broadcast on Radio”.

How can these efforts to delineate radio art practice be used to articulate similar efforts in sound art?

Keywords: Kunstradio, Austria, New American Radio.

n.b Both of these work within state infrastructure. What is the significance of this?

e.g. Negativeland – Over the Edge – KPFA, Berkeley, California.

Byrne goes on to consider how web streaming has suggested new strategies and possibilities for the medium of audio broadcast. There are questions; is internet streaming Radio Art? Is it a new form? It certainly is not radio. Let us consider the similarities and differences between the two.

This can be much expanded using Shaefer, and the Micro Radio Manifesto, Italy.

Traditional Radio
Web Broadcast
Single site
Multi-site streams
Regulated
Unregulated
Monologue
Dialogue / Trialogue
Diatope
Polytope
1 hour format
Long duration
Assimilated
Isolated
Owned
Shared
Promoting
Communing
Speakered
Screened
Through Air
Through Wires
Populist
Specialist

Questions – site of reception of both? Listening environments

Keywords

‘Radio Polyphony’ – The Thing, New York
RadioNetz, Berlin
Reboot.fm
WPS1
RadioDays
post.thing.net
Locus Sonus – audio art research group
Art Dirt Redux
Bitforms – podcast
Whitney Biennial mashup.

There is much of interest in this section, and it moves some way to explain the frustration and annoyance I felt at Hanson’s presentation. His view that the studio as object of discourse as relevant and of interest, reveals itself as an ill-informed and obsolete view of sound practice. Issues of portability, and the very examples of artists demystifying their workspaces that he presented, indicate an alternative position.

dematerialisation
influence of Fluxus, land art, Kubisch working in situ.
Sound art for mobile phones – who presented this – get paper  from Bill
Community initiatives

While the artist studio as a trope may well be in evidence in the works he presented, their relevance, and interest is limited in scope, and represents an historically entrenched position, showing little understanding of current practice.

BBC Radio 4 Drama. Directed by John Dryden.






Year: 2005-2006
Location : Morocco
Worktype : Laptop Improvisation Group
Materials: Tape Machine, PureData, Electric Guitar, MaxMSP, Ableton, FX, Field Recordings
Info : Laptop Performances, Tour of Morocco

Work Details
For the summer months of 2005 and 2006 I took part in a number of interdisciplinary art festivals in Morocco. These recordings, made in Marrakech, are examples of context-responsive electro-acoustic improvisations made by an ensemble of 4 players assembled for the project. A strategy based upon genetic algorithms, that is to say, a collaborative process of selection and modification of sounds was developed, prior to performance, in order to create cohesion and a group identity in, at times, quite difficult circumstances.

7000dhs (2006) Step 1 Export

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7000dhs (2006) Flute ou Chien

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7000dhs (2006) Le vegetable le moins cher

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7000dhs (2006) Ritual

7000dhs (2006) Le vrai gnaui blues

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7000dhs (2006) Taforalght 1

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7000dhs (2006) Taforalght 2

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7000dhs (2006) Marrakash

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7000dhs (2006) Tous les Portes sont fermees

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Genetic Algorithms: Rules of Evolution

1 each directory represents the gene pool for that 15 min section of performance. contribute as many specimens as you see fit (15 max?) =a lot of genetic material to become familiar with

naming conventions: ritual001-01.wav

means ritual sound file 001 – first generation

after a generation of evolution it would become
ritual001-02.wav

a further evolutionary step would result in
ritual001-03.wav

and so on
ritual001-04.wav
ritual001-05.wav
….

3 it would be interesting for each dna strand (sound file) to go thru a minimum of 4 steps

i.e to pass thru each of the ‘fitness selectors’ following the original entry into the gene pool.

adam
cate
ed
joel
milo

4 process
once you have downloaded the all the material, have a listen and assess the sample’s fitness for selection or rejection.

material selected is to be subjected to one of two processess

genetic splicing – dna from two selected samples is exchanged
mutation – dna is subjected to audio processing, and mutated into the next generation

nb/ neither of these processes should be applied to the entire strand, only sections of the strand may be processed, leaving some of the previous generation’s dna intact.

upload the next generation, with their new tag – e.g ritual001-01.wav, after modification, will be renamed, ritual001-02.wav

kill the parents (we should leave the originals online, but they are now unfit, and should be rejected)

by the end of this first stage of the process we should end up with a number of files:

ritualxxx-05.wav
ritualxxx-05.wav
ritualxxx-05.wav
ritualxxx-05.wav
ritualxxx-05.wav
ritualxxx-05.wav
ritualxxx-05.wav

these will serve as our genetic base for the improvisations in marrakesh

http://www.myspace.com/7000dirhams