01Â ::: petra kapÅ¡ (OR poiesis)Â ::: late night creaky lullaby for cricket / 26Â :::Â 02:55
02Â :::Â kim walkerÂ ::: mormaerdom :::Â 08:31
03Â :::Â mathieu ruhlmannÂ ::: pathetic germination :::Â 07:26
04Â :::Â sawakoÂ ::: hokuhoku no akiÂ :::Â 05:06
05Â :::Â david velezÂ ::: silent toll :::Â 09:02
06Â :::Â petra kapÅ¡ (OR poiesis)Â ::: yard window / swiftsÂ ::: 03:08
07Â :::Â Ã©ric la casaÂ ::: short cuts from a grammar for listening :::Â 05:07
08Â :::Â tessa elieff (tattered kaylor)Â ::: booroomba to borough :::Â 08:46
09Â :::Â chris whiteheadÂ ::: phragmocone :::Â 07:31
10Â :::Â sawakoÂ ::: plum hill :::Â 05:21
11Â :::Â artificial memory traceÂ ::: blue and red dusk :::Â 10:54
12Â :::Â petra kapÅ¡ (OR poiesis)Â Â ::: late night creaky lullaby for cricket / 23Â ::: 04:12
september 3 2013 / 23:48
times of â€œhÃ¼zÃ¼nâ€ and tearing cricket song
photograph:Â all the mornings of the …Â september 30 2013 06:59
Voices are like intermediary portals, while moving through them, they are not only being condensed by time and space, but also driven by the zero gravity of the traveling body.
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A composition of field recordings gathered in Moray, Scotland.
Mormaerdom comes from the name of the ancient and royal kingdom of Moray which was centered along the River Spey in the North East of Scotland. Mormaerdom was an important seat during the High Medieval period in Scotland. Today, the local authority area of Moray stretches from the Cairgorms National Park, to Forres and along the North East fishing coast. The towns of Elgin and Keith are the commercial and administrative settlements for the area. Of further interest is the Glenmorangie Research Project from the National Museum of Scotland.
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(for Valerie Joy)
Amplified Medical Equipment + Debris
photograph : medical slide of skin of dermestes beetle larva
mixed : September 2013
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midnight recording at Hokuhoku Street, Matsudai Niigata Japan, in the autumn of 2013.
Matsudai is the country side of Japan where is one of the villages of Echigo-Tsumari Art Field. (http://www.echigo-tsumari.jp/eng/about/) i am making the sound track / field recording archive of the area for Yama-No-Ie, the cafe and dormitory, in Matsudai (http://yama-no-ie.jp/) as the long-term project for years.
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In July of this year I was invited to participate in the Art Residence ‘TecnologÃa Primitiva’ (Primitive Technology) that took place in the desert of BoyacÃ¡, Colombia in an area called Marte (Mars) because of its visual resemblance with the red planet. The premise of the residence was to explore this arid location trying to make it a fertile one in creative terms by working under very austere conditions such as absence of electric power.
For this residence my idea was to intervene into the incidental sounds of the area in the least intrusive way possible so I mounted a bell and a stick that were acoustically activated by the wind simultaneously with the trees, bushes and the sound of the wind itself. The bell montage was left in the desert indefinitely and it is now part of the landscape and acoustic atmosphere of Marte even though most of the time nobody will be there to listen.
The residence project resulted in an exhibition where I presented the sound of the bell projected inside a bell that I mounted as listening device. The piece played on the exhibition is ‘Silent toll’ that is now part of the Framework Seasonal series.
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july 8 2013 / 19:39
photograph: all the mornings of the … june 5 2013 07:26
Memory and delusional inner voices give evidence of different, long-durational boreholes of the sound that reach into the depths where ears have been submerged into watery softness.
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composed March 2010
from A Grammar For Listening Part 2 soundtrack
a Luke Fowler 16mm film (2009)
Copyright Eric La Casa
Photo of the film/installation (in Glasgow) : Ruth Clark 2009
special thanks to Luke Fowler, and The Modern Institute / Toby Webster Ltd
writing on the work, by Luke Fowler: Â http://lux.org.uk/collection/works/grammar-listening-part-2
the map and the groundÂ
by Ã©ric la casa, december 2010, translated by owen martell
When seeking to explore territories as vast and dense as Paris or Glasgow, a topographic map allows for all layers and their realities to be smoothed out into one drawing, as precise in its measurements as it is schematic. That is why two-dimensional representation is often the first tool used to make contact with a terrain. With a single glance, we are seized of the geography of a country and extrapolate its possibilities. Based on that which is triggered in our consciousness by this sketch, we construct multiple images of a space in which we begin to make our way and onto which we bring our attention to bear. This reflexive examination of the map, be it a strict adherence to scientific data or a surrendering of oneself to non-geographic interpretations, directs the mind towards a series of hypotheses that stimulate one’s arrival on the ground, sometimes determining the nature of the in-situ project (for example, when one encounters terrains that have very specific features). The map’s ordered vision releases one from the complexities of the real and establishes a clear scope for observation, from which interdisciplinary dialogue becomes possible. Suddenly, an abandoned military area, a valley downstream of a dam, a business district built on a concrete slab or an old towpath become spaces where one sees the promise of a unique encounter or, more simply, of interesting encounters, whether sonic, visual, etc. â€¦ Once there, the map’s promises are surveyed unmethodologically, that is to say, by the body as it drifts along unpremeditated trajectories. With neither a method nor a compass, one wanders like an animal, senses awakened, before arriving at an exact position where microphones and/or cameras can validate and record a particular space / time. This ‘particularity’ is linked to strategies of movement (one’s relation to the landscape’s constants, for example), climatic fluctuations (and their attendant consequences) and everything that resists understanding â€“ which ones alerted senses attempt to grasp. The result is an accumulation of recordings; an environment put to the test, where networks and relationships operate according to various rules (location-based composition which takes into account measurements from one site only, rather than simultaneous mixes of elements from different sites). This forms a representation of the world â€“ a precise environment whose aesthetic expression becomes almost cartographic.
originally published inÂ 8 Metaphors (because the moving image is not a book), Ed. Isla Leaver-Yap, LUX, London, 2011
la carte et le terrain
par Ã©ric la casa, dÃ©cembre 2010
Lorsque l’on cherche Ã explorer des territoires aussi vastes et denses que peuvent l’Ãªtre Paris ou Glasgow, la carte topographique permet d’aplanir toutes les strates de leurs rÃ©alitÃ©s, en un seul dessin, aussi prÃ©cis dans ses mesures que schÃ©matique dans son expressivitÃ©. C’est pourquoi cette reprÃ©sentation bi-dimensionnelle est souvent l’outil premier pour prendre contact avec un terrain. D’un seul regard, on se saisit de la gÃ©ographie d’un pays, et extrapole sur ses possibles. A partir de ce que cette esquisse dÃ©clenche dans notre conscience, on se construit les images d’un espace multiple Ã l’intÃ©rieur duquel on commence Ã cheminer et Ã dÃ©velopper une attention spÃ©cifique. Cette examen rÃ©flexif de la carte, de la stricte observance des donnÃ©es scientifiques Ã l’abandon Ã des interprÃ©tations non gÃ©ographiques, oriente la pensÃ©e vers une sÃ©rie d’hypothÃ¨ses qui vont stimuler l’arrivÃ©e sur le terrain, et parfois dÃ©terminer son projet in-situ (en cas, par exemple, d’une spÃ©cificitÃ© gÃ©ographique forte). La vision ordonnÃ©e de la carte libÃ¨re chacun des complexitÃ©s du rÃ©el, et Ã©tablit un pÃ©rimÃ¨tre d’observation clair, Ã partir duquel un dialogue interdisciplinaire est possible. Soudain, la prÃ©sence d’une zone militaire abandonnÃ©e, d’une vallÃ©e en aval d’un barrage, d’un quartier des affaires sur une dalle de bÃ©ton, ou d’un ancien chemin de halage sont autant d’espaces possibles oÃ¹ chacun y voit la promesse d’une rencontre unique, spÃ©cifique, ou tout simplement intÃ©ressante, acoustiquement, visuellement, etc… Une fois sur place, les promesses de la carte sont passÃ©es au crible d’un arpentage non-mÃ©thodologique, c’est-Ã -dire de la dÃ©rive du corps au grÃ© de trajectoires non prÃ©mÃ©ditÃ©es. Sans protocole ni boussole, chacun erre comme un animal, les sens en Ã©veil, jusqu’Ã parvenir Ã la position exacte oÃ¹ microphones et/ou camÃ©ra valident et enregistrent un espace / temps remarquable. Ce remarquable est donc liÃ© Ã la conjonction de stratÃ©gies de dÃ©placement (comme, par exemple, de passer et de repasser par les constantes du paysage), de fluctuations climatiques (et de son cortÃ¨ge de consÃ©quences) et de tout ce qui rÃ©siste Ã l’entendement et dont les sens, en alerte, se saisissent. Le rÃ©sultat est une accumulation de captations, comme l’Ã©preuve d’un milieu, dont la mise en relation, selon des rÃ¨gles divers (dont la composition gÃ©olocalisÃ©e qui tient compte exclusivement des mesures d’un site, et non le mixage simultanÃ© d’Ã©lÃ©ments de sites diffÃ©rents) dessine Ã son tour une reprÃ©sentation du monde, d’un environnement prÃ©cis dont l’expression esthÃ©tique voisine la cartographie.
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At the turn of the year into 2013 I completed a commission for Kunstradio titled, â€˜Taken to Booroombaâ€™. This pieceâ€™s work-process commenced with the creation of a composition using only source material recordings of Austrian artist – Uli Khuenâ€™s interactive sculpture, â€˜ROBOTâ€™. This composition was created specifically to be played back at Booroomba Rocks (Namadji Park, Australian Capital Territory) and rerecorded interacting with one of the thunderstorms that commonly occur in this environment.
For the piece, â€˜Booroomba to Boroughâ€™, I have forced a new interaction on the initial composition post-record and in-studio, with a field recording of Londonâ€™s Borough Markets (June 2013). Whilst unlike, â€˜Taken to Booroombaâ€™, I was not able to return to the market and playback the original composition within this environment, using the two source materials I have generated the sense of saturated experience one has on mediating such a heavy dose of social interaction and observation.
My personal experience of the day was one of sensory overload. Jetlagged and fatigued Iâ€™d reached a mindset that lay between a feverish energy that only fuelled my inspiration and a Zen like calm that enabled me to complete my work. I remember the colors being so bright I had to squint a little and high/mid frequencies never sounding so crisp. The waves of low rumble from trains passing overhead were a manmade musical rhythm natural to its sonic environment. Their relentless cycle was as soothing as it was maddening in its infinite loop. Each recording I stood like stone, holding a clearly visible microphone amongst the crowd for a good half hour â€“ neither moving nor interacting â€“ somehow invisible to the people that moved around me. Blind to my presence they were unabashed and talked openly about their families, their neighbors and the weight they wanted to lose before Christmas.
There was one local stallholder who eventually â€˜sawâ€™ me and the work I was doing. He approached with questions that had undertones of mistrust and suspicion. We spoke of his stall, my intent and the sounds of the market. Struggling to convey my sonic passions with words I asked him to listen, â€˜just for a little whileâ€™. He closed his eyes and waited with a troubled brow. A train passed, then another, he heard the rhythm, he smiled with his eyes still closed, his forehead lifted and he chuckled. I left the market with both the recordings and a mental list from a local, of where I might be interested to find what I seek outside of London city. It seems that the sounds had told him much more than I was able, all I had to do was ask him to listen.
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Recorded September 2013 in Whitby, North Yorkshire.
Sand, metal, glass and a chemical reaction.
They were once explained as thunderbolts thrown down from heaven during thunderstorms.
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me playing Hamon, an iron instrument, in the park at Umegaoka (Plum Hill), Setagaya Tokyo Japan, in the winter of 2011.
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Recorded by Slavek Kwi on Yuma river, Amazon, Brazil – 9/12/2008
Special thanks to Mamori ArtLab and Francisco Lopez for kind support.
Created as parallel track with upcoming triple-album ANOURAN LOVE SONGS.
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august 7 2013 / 23:43
cricket is quieter this year â€¦ night walker outside, fridge inside
photograph: all the mornings of the … august 14 2013 07:07
Words enter me through the silence, things through the violence of the sound.