A this article appears in Playing with words: The Spoken Word in Artistic Practice Edited by Cathy Lane

A collection of responses from over 40 leading contemporary composers and artists who were invited to represent aspects of their creative practice with words, and in particular, the spoken word, for the printed page.

The book concentrates on the kinds of creative play to be found in different sound based genres such as electroacoustic music composition, text sound composition, and sound poetry while reflecting artistic practices in disciplines of such as digital arts, electronic, concrete and experimental poetry, performance art and fine art.

The contributors have chosen to represent their work in a variety of different ways which include writing, graphics, poetry, photographs and through interview.

Playing with Words is designed by Colin Sackett and published by CRiSAP in collaboration with RGAP.



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Year: 2007
Location: Bargehouse Gallery, Oxo Tower, South Bank, London,England
Worktype: Puppet Performance / Immersive Environment
Materials: trumpet, loops, electric guitar, puppets, lights, candles, bare feet, voice, chocolate, oranges, slide projection, multichannel audio.
Info: with Barbara Fuchs

Work Details
A sound composition created for a multi-channel performance/installation which took place over three weeks in the Bargehouse Gallery. Visitors were asked to remove their shoes, and led into a darkened environment by candle light. The single female performer guided visitors through a multisensory immersive environment.

Initial Proposal
A micro-theatrical performance / installation that combines elements of puppetry, sound art, theatre and music. The artists create an intimate environment stimulating the audiences’ senses of smell, taste, touch, sound and sight. Leading the attention of the spectator towards small details. Talking suitcases, taste tests, feeling between your toes,

Taking a small audience through an experience and back to its beginning. The fragmented story conjures dreamlike images and situations that enthrall and the audience is magically drawn into the scene.

The piece deals with the themes of refinding childhood, and asking basic questions, inspiring the imagination of the audience. Taking them through a close, intimate, almost personal experience. Coming close, leading the audience around not just by touch, but also sound, smell and taste. A gentle path where they can focus on small things, and perhaps refind a long-forgotten part of themselves.

Being small in a big world. Being safe. Being able to be like a child, just to look and feel and letting experiences occur close to you, not having to act from your own account, just letting things happen.The small details and magical things.

The audience feels their bodies, their ears, their skin, all of their senses again. The piece aims to draw attention to all of their senses. To challenge their imaginations, they are given something to taste and they imagine something, they can smell something and imagine something. It makes them go inward somehow. Finding your senses again. A safe, womb-space. Warm and quiet and dark.

Very personal experience, everyone in the audience will have a personal experience. Leaving the performance with something in their mouth, each one different. A taste with a lable attached to it – and orange with ‘what does this sound like’. Noise and heat and power, an force and fire, the sun, heat again, running, fighting, shouting, strength. (B.Fuchs)

Performance time: 20min show. Audience of 2- 10.

CHArt Twenty Third Annual Conference
Birkbeck, University of London, 43 Gordon Square, London, WC1H 0PD

Museums, galleries, archives, libraries and media organisations such as publishers and film and broadcast companies, have traditionally mediated and controlled access to cultural resources and knowledge. What is the future of such ‘top-down’ institutions in the age of ‘bottom-up’ access to knowledge and cultural artifacts through Web 2:0 technologies. Will such institutions respond to this threat to their cultural hegemony by resistance or adaptation? How can a museum or a gallery or, for that matter, a broadcasting company, appeal to an audience which has unprecedented access to cultural resources? How can institutions predicated on a cultural economy of scarcity compete in an emerging state of cultural abundance? The twenty-third CHArt conference will reflect upon these issues.

http://www.chart.ac.uk/chart2007/07programme.html

Essay Shortlisted for the 3D Visualisation in the Arts Network Student Award 2007




An audio-visual redestructive performance by 7000dirhams (J Milo Taylor and Joel Cahen)

Year: 2007
Location: Greece
Worktype: Intermedia Performance
Materials: Super 8 projectors, slide projector, gasmasks, burning film, digital processing, text to speech, found records, cassettes, modified found slides.
Info: Destroy Athens Biennial

7000DH – Fukdapolis – Opening Theme (2007)

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7000DH – Fukdapolis – Second Theme (2007)

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Overview

The performance focuses on the regenerative aspect of destruction, understood as a process of mutation rather than a form of obliteration. It identifies cultural kitsch as a destructive element within a dematerializing process that creates a noise pool nurturing new patterns of identity and cultural production.

For this performance 7000dirhams has collated a small archive of this kitschified detritus in the form of archetypal melodies, folk and popular music, touristic memorabilia, live radio feeds, to create a rich sludge of source material.

The materials themselves (Super 8mm, souvenir slides and audio recordings), are cut into, burnt, degraded, looped and spliced with a savagery comparable to that embodied by their impoverished representations of a dynamic and living reality.

As such, the work attempts to address the gulf between the image of Athens as presented to the outside world, with that of the everyday, as experienced by Athenians themselves. It therefore presents an environment of plowed structures and splintered forms of Greek culture as filtered by the eyes and ears of two hapless fools from London.

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1st Athens Biennial – ‘Destroy Athens’. Public Opening: September 10, 2007. Technopolis, Gazi

Exhibition & Live entrance: 10 euros. 9pm.
Destroy Athens – Live is a reflection on processes of music & sound production within a visual arts ‘Biennial’ setting. Resisting the notion of ‘art-bands’, Destroy Athens – Live aims instead to describe a phenomenon: that of practitioners operating within different genres (media artists, musicians, film-makes, writers, designers, comic book & soft-toy makers, circuit benders etc) engaging in collaborations, collectives & media experiments that have diverse musical outputs.

From experimental politicised avant-pop commentary, to hip-hop jazz electronica improvisations, to real-time deconstruction & amplification of media, these acts all maintain a commitment to immediacy & non-virtuosity.
The Live part of the public opening engages the Biennial’s theme & purpose (‘Destroy Athens’), by treating Athens as a signal source to be sampled, tweaked with, looped, filtered, commented on and jammed along to. Through the use of on-site found & recorded sound & image, real-time local radio broadcasting interventions, and sonic-surgical media operations, the performers offer a response to context as they find it. Such a grounding for free & open improvisation is a platform for testing their own ignorance of so many aspects of the signal source – cultural, linguistic, historical, while drawing parallels with their own experiences as inhabitants of London, a multi-branded city.

[vimeogallery]

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Artists: Antifamily, Infinite Livez vs DJ Tendraw, 7000 Dirhams
Curator: Chloe Vaitsou

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.



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

Year:  2007-2009
Location: England
Worktype: Grimprovisation Duo
Materials:  noise, distortion, loops, voice, self devised instruments, radio, electric guitars, fx

I had arrived a day early for the Art of Immersive Soundscapes Forum. 8 hours by Greyhound from Winnipeg airport across flat rolling endless prairie. The Empire Hotel. The cheapest place in town. Next door to the liquor store. The room was $25 a night. It hadn’t been changed in 25 years. Everything run down, and battered. A Friday night. Alone in the prairies. I locked myself into my room. I scanned the FM radio frequency to search for company.















Tula Centre for Contemporary Art, Russia April 2007
Moscow Book Arts Fair June 2007

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.