I appear as the voice of Time itself as well as reading passages from Darwin, Hardy, Russell, Carroll, Boltzmann, Gould for the podcast celebrating the launch of "Chronisis" by Tilford, Negarestani and Mackay.
With Mark Peter Wright, I presented our "Decoys" project as part of CRiSAP's contribution to the "Into The Wild" event. It was great to revisit this work and get a sense that there is so much more still to explore. I'd completely forgotten this description of the project that captures succinctly what we were excited by:
We wanted to create a work that would somehow propel the immediate and futurological aspects of life on a damaged planet. There is a sense of environmental toxicity, debris, heat and movements of the human or more-than-human.
A while ago, I was interviewed for the "Listening Across Disciplines II" project that is funded by the AHRC and has Dr. Salomé Voegelin, Professor of Sound (UAL) as its the principal investigator and Dr. Anna Barney, Professor in Biomedical Acoustic Engineering (University of Southampton) as a co-investigator. The interview was conducted by Mark Peter Wright and edited with other interviewees, Syma Tariq, Matt Parker and Ximena Alarcon. The interview took place in a challenging acoustic environment and, as with the "Uncanny Landscapes" podcast, this seemed to connect to what was being discussed. I spent a while talking about what was for a long time my favourite recording "NR_CROW.aiff."
It was very enjoyable to be interviewed by Justin Hopper for the "Uncanny Landscapes" podcast. I was mainly talking about the trilogy of books that relate to my on foot explorations of the local area: A Downland Index, Night Blooms and the forthcoming Mirrors. The technical glitches ghosting our Skype conversation seemed to add their own voice to the themes of health, marking life through technology, and the intimacies of distance / the remoteness of the near. The podcast is available on a number of platforms, including podbean, which you can listen to here.
Fun - if slightly nerve-wracking - to be involved in one the reading sessions for Irene Revell and Anna Barham's A Year With Stein project.
On New Year’s Eve of 1974/5 Stein’s 925 page novel was read aloud in a ‘marathon’ 48-hour reading at Artists Space in New York, organised by Alison Knowles, Annea Lockwood, Ruth Anderson and Jean Rigg, starting a tradition that has continued into the present. After a ‘mini-marathon’ in London last Summer as part of Longplayer Day we proposed to slow down the format and are committing to read the book over the whole of 2020, in 4-hour chunks roughly every four weeks on a weekend afternoon.
Chairing a Q&A at Tyneside Cinema on February 13th, 2020 with Siân Hutchings who led a performance to introduce her new film 'Quietly Beneath.'
Photographs: Adam Pugh
"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.
Screening of Rupert Cox, Kozo Hiramatsu and my film, Zawawa at the Salon for Alternative Social Science Strategies at Museum of European and Mediterranean Civilisations (Mucem), January 10th, 2020.
Durant le bombardement d’Okinawa, en 1945, les habitants ont cherché refuge dans les grottes et les champs de canne à sucre. Ils ont forgé des souvenirs qui habitent aujourd’hui les sons de ces lieux. Un paysagiste, un acousticien et un anthropologue ont travaillé ensemble pendant dix ans pour écouter, enregistrer ces sons et leur donner sens, à travers les récits d’individus qui expriment, comme tant d’autres à Okinawa, l’expérience d’une vie suspendue entre les guerres américaines, le passé, le présent et le futur.
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.