Guy Dickinson is a photographer whose work I have very much enjoyed responding to. "Wood for Trees" was written to accompany his project "Peripheral". First published online by Kozu Books , it has now been re-published in the journal "Echtrai".
A more ambitious project is the collaboration "Anthologia: A Dictionary of Flowers," a landscape format 172 page A4 book of Dickinson's photographs with an introduction by Brian Lavelle and a composite text by me that respond to the images: "Through a Yellow Glass the Eye is Gladdened" includes a series of quotations, an SF story, a list of yellow flowers and a proposal series of 50 new paint names.
I am pleased to have a chapter published in Jane Grant, John Mathias and David Prior's "The Oxford Handbook of Sound Art." There are some fantastic contributors to the volume which it is a real honour to be included alongside.
The long hiatus that opened up between writing the original draft and the final publication has the woozy effect of reframing my words in different ways, some I am pleasantly surprised by, some that I would probably resolve differently today. The publication is eye-wateringly expensive - one destining the volume for academic libraries. I hope that a paperback version is planned.
Very pleased to have my poem "The Smell of Apples" published in the latest issue of "14" magazine, alongside some amazing authors. The text from "The Smell of Apples" is created from 9 translations of Ovid's horrible book "The Metamorphoses" with which I am involved in a long term and slow attempt to detoxify. You can order the magazine here. There was a launch for the magazine online.
“It is still raining in my bathroom” was uploaded 85 years after Mme Savoye wrote to architect Le Corbusier to complain (again) about the poor construction quality of Les Heures Claires / The Villa Savoye. She wrote “It’s raining in the hall, it’s raining on the ramp and the wall of the garage is absolutely soaked. What’s more, it’s still raining in my bathroom, which floods in bad weather, as the water comes in through the skylight. The gardener’s walls are also wet through.”
The video comprises three elements:
Eugénie Savoye’s 1936 letter was reported by Jacques Sbriglio in The Villa Savoye (1997 / 2008) p. 107 that references the Fondation Le Corbusier archives FLC H1-12-157.
I am delighted to have contributed two texts to Simon James' project "Electro Smog". "Electro Smog" is based around a series of electro-magnetic field recordings Simon made in the Shenzen electronics markets from which he has been able to generate mesmeric arrays of pulses, rhythms, tones and drones. One text is an interview with Simon about the project, the other a SF story written in response to Simon's work but constituting part of this slow Miasma of Decay project that I have been doing for a while. The hand-bound booklet is bi-lingual English / Chinese and, in keeping with the ecological themes of "Electro Smog," the audio tracks are packaged in recycled USB sticks (that can be customised by accompanying stickers).
You can order the album on bandcamp.
A nice review in The Wire of Cathy Lane and my book Sound arts now. It says a "fantastic book" and other nice things but there are also challenges by writer Brian Morton around such things as: the balance between interviewer and interviewee, a question if analysis is with-held in favour of exposition, whether 'sound arts' is larval, academic or otherwise institutional, how the choices of subject were made and how the reader accesses the art works or compositions discussed, especially when they are not documented in photographs in this uniformbooks publication.
A nice review of Cathy Lane's and my book "Sound arts now" by Greg Thomas in the June issue of Art Monthly. I like the summary that appears in the first paragraph: "A collection of meandering but geographically and socially contextualised discussions - almost like qualitative research materials - takes us from Brighton to Beirut and beyond, in many cases via Skype or Zoom, to establish some of the contemporary geographies, sociologies and economics of sound arts while looking beyond a network of 'white men from the Global North'".
"Falls Silent. Falls Silent." uses every transcription comment from Svetlana Alexievich's oral history "Chernobyl Prayer". In her book, published in 1997 and translated into English in 2016, the transcription comments are rendered in italics in parentheses and allow the interviewees' words to be read in an emotional context.
The time it takes for all the comments to appear on screen is four minutes and three seconds, which is the interval between Reactor 4 exploding and the fire brigade arriving at the power station, the fire crews fighting to douse the flames without protection. This video was released at 21:23:04 UTC on 25th of April, thirty five years after the explosion whose devastating effects continue.
Text copyright © Svetlana Alexievich, 1997, 2013 Translation copyright © Anna Gunin and Arch Tait, 2016
I used a somewhat similar approach to text on screen was used in one of my films with Chiara Caterina "Il Vertice" and in two films with Rupert Cox, "The Cave Mouth and the Giant Voice" (2015), and "Zawawa" (2018). Some of this approach to captions and subtitles was explored in a 2014 Points of Listening event and had live versions in presentations for the Iklectik launch of Salome Voegelin's "Political Possibility of Sound" (2019) and the OTO night "Animal Sounds" (2019).
This mixed media contribution investigates the multiple modes of inscription possible within a practice-based investigation of the Sonic Anthropocene. Drawing upon critical contexts from Geology, Geography and Anthropology, and the relations between writing, bodies and earthly matters, the authors suggest a re-writing occurs in mediated acts such as field recording (phonography). Microphonic translations from the field not only re-inscribe sites, plural; they
Delighted that "Sound arts now" is published, this is my third collaboration with Cathy Lane is available through uniformbooks. All information here. Cover photo is of Elsa M'bala and was taken by Simone Gilges.