"Radio Not" is a short (1000 words) text that functions as the introduction to Alana Pagnutti's Reception: The Radio-Works of Robert Rauschenberg and John Cage.
The introduction takes a broad account of the kinds of practices John Cage adopted in his engagements with radio (whether as medium, as device or as critical problematic to be approached in the same way a Palaeolithic person might depict a mammoth on a cave wall to ward off its evil). Cage's more conventional radio works are related to the programmes he produced for a local station as a teenager; several works by and on Cage are addressed as are Marshall McLuhan and Jean Baudrillard (rarely referenced with respect to Cage).
The introduction deploys a number of textual strategies to govern its production. These strategies are not revealed to the reader. Some relate to 'constraints' on writing that Cage himself used - such as mesostics - others function differently, controlling, for example, the number of words in a paragraph, the number of letters in each word in a paragraph, the sequence of words of different lengths.
In her endorsement of the book, the executive director of the John Cage Trust (and editor of "Selected Letters of John Cage") described my text as "a gift" and, elsewhere, the John Cage trust called the text "beautiful".
The book was launched at London's Cafe Oto on July 10th, 2017, where alongside the UK premiere of John Cage's "Water Walk" (1959), I gave a talk.
"In Bocca Al Lupo", is another perspective on my project "In The Shadow of the Silent Mountain:" a new text from a trip to the summit of Monte Cervialto in 2016, writing from the album booklet describing a journey to the peak of Monte Polveracchio in 2014, and a rendition of a 2013 account of a wintery walk on Monte Accelica. This rendition 'musicalises' the rivers, snow and wolf prints by turning an audio recording into a score and the text into a lyric."In Bocca Al Lupo" was published by The Learned Pig as part of their Wolf Crossing editorial season.
A chapter written by myself and Rupert Cox has been published in the Modern Conflict and the Senses volume edited by Nicholas J. Saunders and Paul Cornish. There are some very interesting looking articles in the rest of the book. Our text is about our research work in Okinawa that is being conducted under the rubric of "Zawawa" (a local onomatopoeic word that describes the sound of sugar can leaves rustling in the wind, a word with strong associations of the war that frequently appears in popular song). In particular we are focusing on our film "The Cave Mouth and The Giant Voice."
"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.
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
Field Signals is part of Chiara Caterina and my on-going collaboration "In The Shadow of the Silent Mountains". Here it is published in Uniformagazine No. 2. The Field Signals enable silent communication during environmental sound recording and are parlty adapted from a NATO signalling system and the Neapolitan gestures collected by Bruno Munari. You can read more about the magazine here.
"An ABC of Exotica: Recording Corvids Badly (2006 - 2013)" is an essay in Less Apparent Horizon, a collection of twelve openings of the space between words and sound published by Mullzimmer. My text narrates attempts to record members of the crow family over the years and the images are of tokens retained from each site. The plan is for "An ABC of Exotica" to eventually expand to include all the birds I have 'recorded badly'.
The Cave Mouth and the Giant Voice is a new installation by Rupert Cox and Angus Carlyle that participates in the Staging Disorder exhibition at London College of Communication, curated by Esther Teichmann and Christopher Stewart and running from the 26th of January until 12th of March. Presented as a ten minute single screen and multichannel work, it explores the memory of Okinawan islander Yogi-San of his experiences sheltering from the 1945 US Naval bombardment - the 'typhoon of steel'. The words onscreen combine Yogi-San's testimony - a full transcript of which is available in the exhibition guide - with a pared down commentary.
A short text piece that is part of the work-in-progress for Sea Songs. You can read the text here. The text is effectively a commentary ('audio description') on early rushes for the film that were presented at the Utopgraphies 0.2 symposium at Chelsea College of Art.