The New Anxiety
The 300+ year technologies built to capture, understand and connect the world - from maps through geostationary satellites to contemporary algorithms and big data collection - have been exposed as weapons-grade systems that pluralise reality and destabilise the present. How does living in this new anxious world feel, and how deep do these systems take root?
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Annea Lockwood (2019), 7'
performed by Darren Gallacher
"This is a nocturnal piece, evocative of the rich soundscapes of the Amazon forests. It was commissioned by composer-percussionist Stuart Smith for his anthology of new works for snare drum, The Noble Snare. Experimenting with a borrowed drum, I became aware of sonorities available from almost every part of the instrument, a much wider range than I’d associated with it previously. They suggested delicacy, close focus, a sensual world reminiscent of certain vocal sounds, thus, a duet for hands and voice." (Annea Lockwood)
You, Copiphora gorgonensis
MICHAELBRAILEY & Callum Coomber (2020), 60'
"'You, Copiphora gorgonensis' is an hour-long meditative experience for online audience focusing on interspecies relationships, psychoacoustics and presence.
"Over five stages, participants undergo a metamorphosis into Copiphora gorgonensis, a grasshopper-like insect that - despite 650 million years of evolutionary divergence - miraculously shares our human inner ear structure. Listening, insectoid body-modding and time travel are used to position the interconnected sounding present within the vastness of space and evolutionary time." (MICHAELBRAILEY & Callum Coomber)
Angela Chan in conversation with Struggles for Sovreignty: Land, Water, Farming, Food (SFS)
20th July, 20:00 BST
Sparking discussion on intersectional, intercontinental ecological activism through collective engagements, Angela Chan (curator, researcher, artist working on climate change issues) and ‘Struggles for Sovereignty: Land, Water, Farming, Food (SFS)' (a Yogyakarta-based a collective platform focusing on the intersections of social and ecological justice) will share their intentions and projects towards international solidarities with each other.
Struggles for Sovereignty
Institut Mosintuwu, Poso, Sulawesi
PEREMPUAN AMAN (Association of Indigenous Women of The Archipelago)
Riar Rizaldi, Kasiterit
Angela YT Chan
soramimi [new work - a VIRTUALLYREALITY commission]
FUJI|||||||||||TA (2021), 17'
recorded by FUJI|||||||||||TA
video edit : Tatsunori Kasai
graphic design : Junpei Inoue
apecial thanks : Yusuke Nakano
location : FUJITA's house and its neighborhood
""soramimi" means "mishearing" in English.
It means that you hear a sound that is not actually being made.
My days are filled with soramimi.
But it is rarely found." (FUJI|||||||||||TA)
Cellar Song for Five Voices
Emmett Williams (1968/2021), duration variable
conceived by VIRTUALLYREALITY (MICHAELBRAILEY & Callum Coomber)
made with Laura Ibáñez
performed by SHOAL
In the 1960s, somewhat oracularly, Emmett Williams compiled a poem-come-dataset of systematically shuffled phrases that filtered prescient themes of ecology and nonlocality through the skies and subterranea, bluebirds and blackbirds, life and extinction.
This new adaptation conceived by VIRTUALLYREALITY, performed by SHOAL and coded by Laura Ibáñez feeds this dataset through artificial intelligence and variable autoencoders to create new iterations of the original poem and its performers. Text, deep-learned performers and their voices are systematically outputted at various epochs of the training process, generating a nexus of uncanny identities that reckon with AI’s growing role as key problem-solvers of ongoing ecological collapse.
Rowland Hill, 'Do you think you're better off alone' (2020), 50'
9th July, 20:00 BST
"Eurodance music emerged in the immediate aftermath of the Berlin Wall and is characterised by a lyrical preoccupation with the word ‘freedom’, an emotively charged minor key, references to severe weather, and beats that suggest states of both euphoria and emergency. It is a fantasy genre of irrational optimism and desperate, unanswerable questioning.
Do you think you’re better off alone? considers the cognitive dissonance of 90s Eurodance as a reflection of the 'split between the decade’s self understanding — how it was imagined and anticipated — and the material ways in which it was actually experienced.’* Through a series of ‘close listenings’, Rowland offers ways to interpret Eurodance's artefacts as both expressions of their time and portents of our present political crises.
*Gavin Jacobson, The 1990s: An age without qualities, New Statesman." (Rowland Hill)
Transultural Music Technologies: Khyam Allami in conversation with Sam Salem and Sarah Badr (FRKTL)
5th July, 20:00 BST
The workstations of electronic music have tended to be coded in the benefit of Western music tuning systems. As counteraction, Khyam Allami presents his browser-based DAWs Leimma and Apotome, transcultural music technologies to spark conversation with composer and co-director of ensemble Distractfold Sam Salem and multidisciplinary artist Sarah Badr (FRKTL).
Lonely Room in My Head [new work - a VIRTUALLYREALITY commission]
Nexcyia (2021), 5'
"Lonely Room in My Head focuses on the notion of alienation and otherness in the African American
experience, re-appropriating the lived everyday experiences of Nexcyia’s family and merging them with
In sonifying hope and warmth, Nexcyia plays with time and space to keep memories of the past alive and imagine the future." (Nexcyia)
Michael Beil (2017), 12'
performed and recorded at home by Silvia Lucas.
"In a world minted by media even the total absence of an instrument in a classical concert doesn’t lead to any irritation in the audience. In Key Jack a pianist is multiplied while fake-playing together and interacting with their alter egos. Meanwhile the playback of piano-sounds and the faked movements of playing let the spectators lose sight of the fact that there’s no piano." (Michael Beil)
Óscar Escudero & Belenish Moreno-Gil (2019), 8'
performed by Darren Gallacher.
"[HOC] is a portrait of frustration. Its materialisation finds meaning in one action, which is always omitted. Therefore, its origin, is (re)constructed as a memory, longing or, in any case, as an implicit stratum of the rest of the events happening concentrically. Even the title itself (hoc, a demonstrative pronoun in Latin) refers to what, in its absence, becomes something stubbornly known and reknown (“this”), which subordinates everything.
"The multiple voices interacting in the narrative of [HOC] build a sort of unfaced reference to that single fact, trying to locate its spatiotemporal coordinates. Consequently, this search transcends the aim for the execution itself; through that obsessive “non-mention”, the action literally takes place as an absence, gradually unveiling itself due to its causes and consequences. Together with [OST] and [POV] , this piece completes [Flat Time Trilogy], which constitutes an approximation to the boundaries of the human body, but also as an eternal virtual representation: as a metaphor.
"The video projection of this piece is personalized by the performer via the recording of several fragments, which are treated and indexed into the final project. They fix the identity and the here-and-now of every performance. Together with the score, some instructions and video examples are provided to be followed during the recording process, which is assisted by BELOS Editions." (Óscar Escudero & Belenish Moreno-Gil)