Research Presentation: University of Brighton: July 2015

Abstract

In late 2014 a collection of various media was passed on to me by veteran sound practitioner Z’EV. This assemblage of auditory media artefacts (cassettes, CD’s, vinyl, CD-R), print materials (catalogues, magazines, posters) and various ephemera offers a unique insight into the aesthetic, technological and social-economic habitus of avant-garde “abstract” music in the period 1977-2014. Rare releases by such practitioners as Brion Gysin and Genesis P-Orridge, Carl Stone, Naut Humon, La Fura dels Baus and Diamanda Galás exist along ultra-obscure singular items (e.g. unreleased CD-R’s, rehearsal recordings) derived from the informal and shifting milieu associated with the nomadism of the touring musician / composer / sound artist.

This archive offers a unique potential both as a focus for research and as potential pedagogic material suitable for students of various disciplines.

This presentation will introduce some elements of the collection and sketch an initial theoretical framework for thinking through, existing in, and listening to, this diverse material. Key paradigms include media and sensory archaeology, entanglement theory and material studies, contemporary historiography and critical readings around notions of the archive and counter-archive.

Abstract Music in Europe and America 1977-2014: Webcast

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.


A bricolage of shellac records found in Cologne in early 2012 forms the basis for a sonic ethnography of geographically bound historicised listening. There is an accompanying article published in Off-Topic #4 written in collaboration with George Brock-Nannestad and Dirk Specht. This work was undertaken during a research fellowship at the Kunsthochschule für Medien Köln. Many thanks to Anthony Moore, Cathy Lane and Martin Rumori for making this work possible.

1.) Karl Reich: Volkslieder. (Dreistimmung, harmonisch umsungen von Nachtigall-Edelkanarien der Zucht)
ELECTROLA E.G. 855 8-49269. Germany.
2.) Adalbert Lutter mit seinen Tanzorchester: Rhythmus der Freunde (There’s a New World).
Telefunken Bestell.Nr 6359 22016. Brown shellac. 1937. Germany.
3.) Die Goldene Sieben und ihr Orchester: Gefährliches Spiel (Tonfilm).
ELECTROLA E.G. 3923 ORA 1923 / ORA 1924. 1937. Germany.
4.) Grosses Tanzorchester: Für ein paar Stunden hast du mich glücklich gemacht.
TELEFUNKEN A 2190 21968. Germany.
5.) Zarah Leander & Werner Müller mit dem RIAS Tanzorchester, Berlin: Eine Frau in meinen Jahren.
POLYDOR. 48871 B. Germany.
6.) Harry Roy & his Orchestra: The Merry-Go-Round Broke Down.
ODEON. 0-31198b. 1937. England.
7.) Eugen Wolff v. Hotel Eden, Berlin: Es geht ein Singen.
ODEON. 0-31154b Be. 11654. 1937. Germany.
8.) Cyrus Bassiak (Serge Rezvani) et Jeanne Moreau: Le Tourbillon.
DISQUES PYRAL. 1962. France.
9.) Orchester Ludwig Ruth (Refrain gesang: Elena Lauri): Ach, Ich Hab Soviel Rhythmus.
ELECTROLA. E.G.3807. ORA 1596. 1937. Germany.
10.) De Groot und Edward O’Henry: Ave Maria.
ELECTROLA. E.G. 2012 30-3824. Germany.
11.) Jaqueline François mit Joe Boyer u.s. Orchestor: Mélancolie.
BRUNSWICK. 82451 A. 1956. France.
12.) Dizzy Gillespie & his Orchestra: Cubana Bop.
ELECTROLA. EG 7779 D7 VB 2934. Germany.
13.) Willy Breuser und die Kölsche Rabaue: Och wat wor dat fröher schön doch en Colonia.
KRISTALL. Bestell.Nr 9113 C 9718,1. Germany.
14.) Staats and Dom Chor (unter Lietung von Professor Hugo Rüdel): Licht von Herrn.
ELECTROLA. E.G. 223. 8-44750. Germany.
15.) Harry Roy & his Orchestra: I’m gonna kiss myself Goodbye.
ODEON. 0-31198a. 1937. England.
16.) Bassiak et Jeanne Moreau: Le Tourbillon.
Dialogue overdub. DISQUES PYRAL. France.

InCounter at the Bussey Building

A programme of video works and live sound performances exploring process and structure.

sainswn (wales/england)

new sonic realities based in the dynamics and experience of movement in, between and through place and non-place. entities and environments. trajectories and tracings. mediation and event. themes of immersion, transit, non-human intelligences, infrasonic and ultrasonic forces. the work is entirely based upon notions of listening as composition. reception as construction. perception as the primary generative.

Incounter website


78rpms, popular music, hungarian, greek, Caribbean, american, british, arabic, jewish, calypso, jazz, soundtrack, country, ballad, rembetika, blues, childrens’

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

dusty, unclean, dirty, unmixed, unmastered, surface noise, decay, reactivation

original shellac discs
collected Jafo, Tel-Aviv, Israel. Autumn 2010

by sainsŵn and 612 D.J’s

for Mathilda

Year: 2009
Location: Cecil Sharpe House, London
Worktype: Sound Sculpture
Materials: 4 vintage cassette machines (dissassembled), ardiuno, ultrasonic sensor, D.C. motors, audio tapes, band mashup, fan, L.E.D, writing, speakers, 2 x cassette walkmen.




Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.


Year : 2008
Location : Germany
Worktype : Sound Installation
Materials : appropriated sculpture, digital recording, mp3 player, male to female conversation (failed)




Year : 2008
Location : Bad Ems, Germany
Worktype : Sculpture.
Materials: industrial glue, solar cell, sugar, instant coffee, canvas, string, antique book excepts, steel sieve, cake tin, black spray paint, harmonica parts, mp3 player.






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

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

7000dhs (2006) Flute ou Chien

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

7000dhs (2006) Le vegetable le moins cher

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

7000dhs (2006) Ritual

7000dhs (2006) Le vrai gnaui blues

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

7000dhs (2006) Taforalght 1

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

7000dhs (2006) Taforalght 2

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

7000dhs (2006) Marrakash

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

7000dhs (2006) Tous les Portes sont fermees

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

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






Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.


Year: 2004
Location: Morocco
Worktype: Outdoor Radiophonic Installation
Materials: 10W Fm Radio Transmitter. 10 Stereo Fm Radios. Found Objects, Human Voice (Moroccan Arabic, French, Spanish)