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.
Two readings from A Downland Index, one at the literary cabaret Speaky Spokey in Brighton and one at the Photographers' Gallery in London, there to support the launch of Justin Hopper's book The Old Weird Albion.
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.
"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.
Mark Peter Wright and I contributed to this event at the Wellcome Trust that was curated by poet, film programmer and geographer Amy Cutler. The event was part of a weekend at the museum devoted to "Remaking Nature". Our performed lecture navigated the themes of Foley, decoys, agency, non-human rights and camouflage, deploying sound, spoken word and costume. As the names on the poster above promise there were some excellent contributions across the long afternoon.
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.
Really looking forward to this event at the South Bank Club in Bristol on Saturday,
A talk about all the usual subjects - folds and ridges on ears, chains of vibrating molecules, oystercatchers at dusk - at the National Gallery as part of their programme of events around the Soundscapes exhibition. Also speaking was composer James Burrell who spoke openly and inspiringly about the processes involved in creating soundtracks. A member of the audience gave a fascinating account of his acoustic response to the Camino De Santiago
Rupert Cox presenting our film "The Cave Mouth and the Giant Voice" at the Sound Studies: Art, Experience, Politics conference at CRASSH.