Underwater audio cinema. 4-channel site-responsive hörspiel commissioned by Newtoy Productions.

Live performance in Clissold Pool, Stoke Newington, February 2009.

Worktype: Multimedia Performance
Location: Serpentine Gallery, London

The Sound Moneyfesto was launched by Lee Scrivner at the Manifesto Marathon 2008 at the Serpentine Gallery in London. The mp3 above is his demo of one of four compositions performed by the ensemble.

It used music, satire, and word play to comment on the 2008 banking crisis (specifically the failures of Fannie Mae and Freddie Mac) and the idea of sound money.

The Sound Moneyfesto was launched in concert with manifestos from Marina Abramovic, Brian Eno, Gilbert & George, Yoko Ono and Vivienne Westwood.



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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.




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.

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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.

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.






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


Locations: Node.london Festival, E:vent Gallery. Shoreditch, Ev*a Fringe Festival, Limerick
Worktype: Circuit-bent puppetry performance
Info: with theatre designer/puppeteer Barbara Fuchs and artist/circuit bender Spax (Joel Cahen).

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Year: 2005
Location: Arnos Grove, London.England
Worktype: Community and Schools Sound / Recyling Project
Materials: junk drum percussion, pot drums, shakers, flutes, voices, costume, sculptures, song, children, parent, staff and locals.

Work Details
Commissioned by Enfield Arts Unit, Enfield Council, North London. A week-long series of workshops in three different primary schools. Working with sculptors and costume designers, a procession performance was devised, based around a simple composed canon, able to be performed by children between the ages of 6 and 11. The event was structured around a tale from Mexican folklore, itself presented to the students as a soundpiece. This extract splices the narrative with the canon, as originally conceived, and the final realization by the school children as performed in a public park.

Proposal
Imagine 3 processions of costumed and masked primary pupils winding their way towards each other. Each procession contains representations one of the following elemental forces – SUN, WIND, or RAIN – each procession will be accompanied by pupils playing self-made instruments from recycled materials.

They converge in a park, within which pupils have created a sculpture trail along which the processions move. Their destination? A central meeting place, based around 3 larger dome sculptures also created by the students.

The three elemental processions gather around the central domes and create a celebratory and joyful storm of music, costume and sculpture.

The event ends in the early evening as dusk falls, with floating candle lanterns being floated along a little stream. As they disperse their beautiful light along the waterway, the pupils, parents, artists, teachers and community groups melt away into the night.

It is our intention to allow pupils, staff and parents from neighbouring schools to work together on an inclusive arts project which benefits the whole community of the Arnos Grove area. Using sound, light, costumes and masks, and instrument- making to transform a public space into a magical wonderland

The artists involved have a great deal of experience in facilitating workshops, working with young people and creating inclusive public events.

Schools Involved
Our Lady Of Lourdes Primary
Garfield Primary
Bowes Primary

Workshops – Skills taught / Topics covered

Following close collaboration on a number of projects, we can offer the following to the participating schools:

mask making
costume making
needlework
recycled instrument design
percussion workshop
sculpture – interacting with sound / light
wire making skills
environmental awareness
citizenship skills

Artists Involved / Project Roles

This group of artists have worked together on a wide range of projects – with schools and communities both in the U.K. and abroad. We are highly motivated, professional and responsible.

SUBORG

J Milo Taylor – Lead Artist / Instrument Making / Co-ordinator

Suborg’s role will be the instrument making and percussion workshops, and to provide co-ordination and administrative support to the project. Working with primary pupils, instruments will be constructed from recycled materials, teaching the pupils the art of creative thinking, positive problem solving and the fundamentals of rhythm.

LIGHT AND COLOUR WORKSHOP

Tammara Mattingly – Lead Artist / Sculpture / Co-ordinator
Zoë White – Sculpture / Workshop Facilitator

The Light and Colour Workshop has great experience in facilitating workshops and installations with schools and community groups throughout the North London area. They are driven to share their joy in their work and to inspire vulnerable and excluded members of the community with an Edmonton-based Arts/learning studio. Their work combines light and sculpture to create beautiful objects accessible to all.

Tammara’s role as lead artist will be one of co-ordination of festival and facilitating the sculpture workshops. Zoë White will be working in conjunction with Tamarra– the sculptural side of their work will be in two strands:

1) Parent/teacher workshop
Introduction to sculptural skills / individual pieces.
Participants will be learning new skills and how to work with new materials (e.g. coloured wires, theatrical gels, tin cans, plastic bottles). Each participant will create their own small sculpture that interacts with one of the central elements. These will become the objects that line the sculptural trail and lead the procession to the central meeting area.

2) Collaborative work on central domes. The focus point of the procession will be three domes based around the elemental themes:

Sun dome – using material such as coloured gels, coloured wire. Imagine a sundial – i.e. the dome as an object that will cast shadows, projects coloured light and movement of light – ever-changing as the earth moves around the sun.

Wind dome – using material with reflective surfaces the smallest breeze will cause this structure to shimmer in the wind. The reflective flickering light marking the movement of the winds circulating within our environment.

Rain dome – by using water and cascading containers water will flow along the outside of this sculpture. Places where the water may rest or be channelled to create a flowing sound that will be calming and magical.

Pupils’ work will be incorporated around a durable and robust aluminium preconstructed frame. (Dimensions 1.5m high, 3m diameter, and 1.5m radius). Each dome can be split into two halves, creating special spaces for pupils to gather for story-telling, future workshops etc.

These structures will be permanent and portable; after the event, the domes will be moved from the public park and one installed in the grounds of each participating school, thus improving each schools environment, and giving them a permanent record of their activities during the project.

OPALA GROUP

Opala Group was founded in 2000 in London by 5 Central Saint Martins College of Art and Design graduates.

Opala works in three distinct areas:

Theatre Performance Development . We create plays, and make theatre workshops for children and grown-ups. This summer we took part in a unique and fantastic week long festival in Morocco, in which Suborg also played a part. We ran mask and costume making workshops and a street procession for the children of the town.

The Bridging Cultures Initiative facilitates cultural exchange through projects of various artistic content (exhibitions, festivals, play readings etc).

The Film Room is dedicated to promoting young film-makers. Evan Manifattori is a very talented and original film-maker with many outstanding short films to his name. We propose to film the workshops and the actual event, and to provide the involved parties with a high quality document of the project.

COSTUME AND MASK MAKING WORKSHOPS

Ada Gadomski – Costume Design / Mask Making / Procession Leader
Barbara Fuchs – Costume Design / Mask Making / Procession Leader
Magdalena Canals Halewijn – Costume Design / Mask Making / Procession Leader

We have worked on a number of projects involving children throughout the years, both in the UK and abroad (Morocco, Spain, Yugoslavia, Austria). The workshops are designed to develop creativity and imagination through 3D expression of universal themes such as animals, seasons, fairy tale characters, elements etc.

We work with recycled materials that raise the awareness of environmental issues and help challenge the creativity in children by using known materials in unusual ways, e.g. cardboard boxes, plastic, packaging, wire etc.

Children will also learn about basic artistic techniques and materials through use of paint, brushes, glue, card, paper, scissors, staplers, painting on fabric, finger sawing, costume construction, etc.

At the end of a session each child will have created a mask and a costume of sun, wind or rain, to be worn during the procession. They will also carry flags and banners with the same elemental representations.

At the end of procession and the floating lantern ritual, children can keep their outfits and take them home, or the schools may decide to exhibit them on site.

Project documentation. Evan Manifattori – Film director. Camera.

We also propose to film one session from each school, and provide examples of work done during each of the workshops. The event will also be filmed and edited into a 15-25 minute documentary DVD of the event,

This work will be carried out to the highest standards and provide all the participating schools and community groups with an enduring record of their participation.

KVO





Year: 2005
Location: Shoeneweider, Berlin, Germany
Worktype: Electronic Improvisation / Sound Installation
Info: Collaboration with kawaii, Julian Ronsfeldt and Leo Konigsberg.
KVO – Ascent to Pi

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KVO – As Industrial Cold is Distant Female

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KVO – House Becomes Island

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KVO – Sticking Plastic to Finger

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