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"Dew Pond #1" was a talk and listening session that was part of "Acoustic Ecologies: Hildegard Westerkamp and Environmental Listening" at the Attenborough Centre of Sussex University on January 31st, 2020. The sheets of paper I am holding in the first image and the participants have in subsequent photographs were letter-pressed by Alex Cooper and used to respond to the listening environment of the dew pond, marked with chalk to create soundmaps, scores, listening diaries. Photographs: Tunde Alabi-Hundeyin Dusk brings a shift of the senses, a change to how the world is known. A similar recalibration can happen when we choose to settle down somewhere and map what our perceptions find there. Pictures of Alex Cooper's letter-pressed Dew Pond sheets and examples of what participants did with them.  Above is the cover for a cassette tape which I had held onto since January 28th, 1996. The cassette contained a track in lieu of a paper for the Haçienda Must Be Rebuilt conference held at Manchester's nightclub, The Haçienda (RIP). The track, "Swarmachines" was attributed to "switch/***collapse/CCRU" and featured my voice, alongside those of Sadie Plant, Mark Fisher and Nick Land. Urbanomic digitised and posted the audio track, the text for which had appeared in Abstract Culture, later in nomadsland (and I believe it was translated into Serbo-Croat, though can find no evidence of this). It was republished in #Accelerate: The Accelerationist Reader, being mentioned in the 2017 Guardian review of accelerationism. The CCRU connections seems to be stirring at the moment with me being asked questions about this period by Simon Hammond for his excellent article in the New Left Review about Mark Fisher.
 September 12th, 2019: at Cafe OTO for "Animal Sounds" - part of their Music and Other Living Creatures Programme, a performance-lecture that dug back to the 90s to find those points where I'd written of encounters with the more-than-human.
March 21st, 2019: at Felix Art Museum, Brussels, talking about "Concealing and Revealing The Field," Igloo White, sound as camouflage, masking, etc. January 24th, 2019: at Iklectik for launch of Salomé Voegelin's The Political Possibility of Sound, another performance-lecture, this time mining my archive for "Thirty Years of Height," finding those moments across three decades where I'd found myself with new friends at different points above ground. A round-up of some recent talks.
"The Near and The Far" at YARMONICS, St. Georges Theatre, Yarmouth, 21st of September. More information. "The Ecology of Sound" at Bold Tendencies, Peckham, part of "The Dominant Eye," 20th of September, organized by Sian Hutchings and Noematic Collective. More information. Dedicated Journal of Sonic Studies site dedicated to project, including interview with me and documentation of various works. "Zawawa: Sounds of Wind in the Sugar Cane," (with Rupert Cox and Kozo Hiramatsu), Socio-Sonic Symposium, City University, 14th of September. "The Nature of Sound", Ace Hotel, London, with Dr. Simon Jones and Antoine Bertin, organized by super/collider, 29th of August. More information. "The Sounds of Wind in the Sugar Cane, The Angry Roars and Sobs of the Dead: Representing Okinawan War Memories" (with Rupert Cox) at "Why Remember? Remains, Ruins, Reconstructions", Sarajevo, 27th - 30th of June. More information. "Hear Lightning and Thunder" at LOMA (Large Objects Moving Air) conference at London College of Communication, 8th of January. More information. The HPNoSS (Hospital Project on Noise, Sound and Sleep) is collaborative project that aims to provide a holistic understanding of sound in the hospital environment and the intimate relationship of noise to sleep, rest, treatment and recovery. The project ran from April to September 2017 and more details are avaiable here; a short video was produced to encapsulate some of our work, including a workshop designed to test a number of noise reduction strategies in a simulated hospital environment.  |
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