"Memories of Memories of Memories of Memories" is part of the title of a chapter that has just been published in Bernd Herzogenrath's edited volume "Sonic Thinking: A Media Philosophical Approach". The chapter is another meditation on the field work and studio work for my Silent Mountain project - and how field and studio is a polarisation that needs to be rethought. You can read more about the book here.
I have three sentences cited in this amazing new book on contemporary Portuguese photography edited by Delfim Sardo Photography: A User's Manual. The extract of my writing comes from a longer piece originally written about Carlos Lobo.
"A Crossing Bell" was reworked for the "What Has To Be Done" group show at the Today Art Museum, Beijing. Rather than the Essex vernacular architecture-inspired original at the Estuary Festival, for the Today Art Museum in 2017, the work takes on another local meaning, this time using a temple bell sourced in Beijing with red painted wood and columns and cross-bars I remember from when I once visited the Lama / Yonge Temple.
“Ancient Chinese acoustics long ago recognised that there was sound beyond human hearing. Touching bells when sound had disappeared still yielded tactile perception of vibrations,” Don Ihde Listening And Voice.
“[T]he emotional power of the tocsin in such circumstances transcended that of any other source of information,” Alain Corbin Village Bells.
“Into The Outside”, a film collaboration between myself and Chiara Caterina, made in Southern Italy as part of the Liminaria Residency programme, has been short-listed for the Swedenborg Film Festival prize. The title of the film echoes a quotation from Georges Bataille - "Here darkness is not the absence of light (of sound) but absorption into the outside” - and announces its exploration of the nocturnal that is also evoked in a blog post I wrote while on the residency: "Night insects draw to my headtorch and to Guiliano’s LED light. Bubbles, scrapes and chinks for my hydrophone trawl; a crab clicks over a flat rock. Water creatures in the depths under the bridge – Raffeale captures their energies in a way I could not. Birdsong strange in the moon’s soft grey; Chiara submerges one camera and aims another to the far shore. Franco talks of the purposes of night. Five foxes on the way home; at the farm, one screams for 10 minutes then – my recorder now on – nientefor the half an hour til I fall asleep standing up”.
The festival is on 26th of November, 2016.
Rupert Cox and my film "Cave Mouth and the Giant Voice" was shown at the film club Inter at Stereo Cafe Bar, Glasgow. Inter bills itself as "INTER- is a new event series presenting experimental sound work for loudspeakers.
“between” “among” “in the midst of” “mutually” “reciprocally” “together” “during”
These nights are about creating a focused, public listening context for deep experiments in / with sound. We aim to support work and practices which might not fit easily into other performance contexts. We hope these events can help to draw together practices across electroacoustic composition, studio production and field-recording (amongst others) and be part of the exchange between sound and music methods taking place across Glasgow, and much further afield…"
A Crossing Bell was an installation for the Estuary Festival 2016 Points of Departure exhibition. Originally commissioned as a response to the Gravesend-Tilbury foot ferry, the work was eventually located at the point where passengers are about to join the boat or have just arrived from it, the bell hanging in a structure designed to echo elements of Essex coastal architecture and constructed from planks that once were part of Southend Pier.
Photos: Benedict Johnson benedictjohnson.com
From the exhibition interpretation text: "Installed near the Tilbury ferry within a custom-built wooden shelter that offers views over the wide river, the engraved bell is there to be rung by passengers and festival-goers as they offer their prayers for a crossing (their own or someone else’s, a friend’s or a stranger’s, a crossing here at the Thames or one that lies further afield). The aspiration is that the bell transform the short journey on the openness of the swift-flowing river and suggest other crossings, other times and other places; its un-amplified peals finding their place amongst engine noise, the cries of white feathered gulls, voices and the soundings of the Thames itself".
The edited collection of essays Beyond Text? features Rupert Cox's and my short essay Air Pressure: A Sound Film, written as we were developing the work created from our experiences on the farm in the middle of Narita airport towards the exhbition. The book, with many intriguing contributions, also includes a DVD which has an early single-screen draft of our filmic response. It is great to see the front cover featuring a still from our film that was shot out over the Egg House roof to the perimeter wall beyond which the airport has been shut down by an electrical storm (that is giving the sky that mauve cast).
A really nice Sounds Remote publication produced by Soundcamp. I contributed a series of 23 texts each of which were written during last year's event as I sat at home listening to the dawn chorus tracking from latitude to latitude, the sounds of the stream from Soundcamp mingling with those in my house.
Saturday 1737 - 1816
Source have just produced an issue devoted to exploring the relationships between photography and sound. Alongside the magazine, Source have developed parallel content in the form of interviews (with Cheryl Tipp amongst others) and films. I feature briefly in the first of the two films, which focuses on Jez riley French and also includes contributions from philosopher Dawn M. Wilson. You can watch the film here, from Thursday 17th March.
'Night Time', the film Chiara Caterina and I made during the Liminaria residency earlier this year - a film which is a prototype for 'Into The Outside' - was shown at an exhibition in the Museo degli Orologi da Torre in San Marco dei Cavoti, Southern Italy. The other artists from the residency were Hong-Kai Wang, Enrico Coniglio and Alejandro Cornejo Monitbeller.
Posts written by Angus Carlyle