01 ::: petra kapš (OR poiesis) ::: late night creaky lullaby for cricket / 26 ::: 02:55
02 ::: kim walker ::: mormaerdom ::: 08:31
03 ::: mathieu ruhlmann ::: pathetic germination ::: 07:26
04 ::: sawako ::: hokuhoku no aki ::: 05:06
05 ::: david velez ::: silent toll ::: 09:02
06 ::: petra kapš (OR poiesis) ::: yard window / swifts ::: 03:08
07 ::: éric la casa ::: short cuts from a grammar for listening ::: 05:07
08 ::: tessa elieff (tattered kaylor) ::: booroomba to borough ::: 08:46
09 ::: chris whitehead ::: phragmocone ::: 07:31
10 ::: sawako ::: plum hill ::: 05:21
11 ::: artificial memory trace ::: blue and red dusk ::: 10:54
12 ::: petra kapš (OR poiesis) ::: late night creaky lullaby for cricket / 23 ::: 04:12
september 3 2013 / 23:48
times of “hüzün” and tearing cricket song
photograph: all the mornings of the … 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 ‘Tecnología Primitiva’ (Primitive Technology) that took place in the desert of Boyacá, 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: http://lux.org.uk/collection/works/grammar-listening-part-2
the map and the ground
by éric 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. … 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 – 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 – a precise environment whose aesthetic expression becomes almost cartographic.
originally published in 8 Metaphors (because the moving image is not a book), Ed. Isla Leaver-Yap, LUX, London, 2011
la carte et le terrain
par éric la casa, décembre 2010
Lorsque l’on cherche à explorer des territoires aussi vastes et denses que peuvent l’être Paris ou Glasgow, la carte topographique permet d’aplanir toutes les strates de leurs réalités, en un seul dessin, aussi précis dans ses mesures que schématique dans son expressivité. C’est pourquoi cette représentation bi-dimensionnelle est souvent l’outil premier pour prendre contact avec un terrain. D’un seul regard, on se saisit de la géographie d’un pays, et extrapole sur ses possibles. A partir de ce que cette esquisse déclenche dans notre conscience, on se construit les images d’un espace multiple à l’intérieur duquel on commence à cheminer et à développer une attention spécifique. Cette examen réflexif de la carte, de la stricte observance des données scientifiques à l’abandon à des interprétations non géographiques, oriente la pensée vers une série d’hypothèses qui vont stimuler l’arrivée sur le terrain, et parfois déterminer son projet in-situ (en cas, par exemple, d’une spécificité géographique forte). La vision ordonnée de la carte libère chacun des complexités du réel, et établit un périmètre d’observation clair, à partir duquel un dialogue interdisciplinaire est possible. Soudain, la présence d’une zone militaire abandonnée, d’une vallée en aval d’un barrage, d’un quartier des affaires sur une dalle de béton, ou d’un ancien chemin de halage sont autant d’espaces possibles où chacun y voit la promesse d’une rencontre unique, spécifique, ou tout simplement intéressante, acoustiquement, visuellement, etc… Une fois sur place, les promesses de la carte sont passées au crible d’un arpentage non-méthodologique, c’est-à-dire de la dérive du corps au gré de trajectoires non préméditées. Sans protocole ni boussole, chacun erre comme un animal, les sens en éveil, jusqu’à parvenir à la position exacte où microphones et/ou caméra valident et enregistrent un espace / temps remarquable. Ce remarquable est donc lié à la conjonction de stratégies de déplacement (comme, par exemple, de passer et de repasser par les constantes du paysage), de fluctuations climatiques (et de son cortège de conséquences) et de tout ce qui résiste à l’entendement et dont les sens, en alerte, se saisissent. Le résultat est une accumulation de captations, comme l’épreuve d’un milieu, dont la mise en relation, selon des règles divers (dont la composition géolocalisée qui tient compte exclusivement des mesures d’un site, et non le mixage simultané d’éléments de sites différents) dessine à son tour une représentation du monde, d’un environnement précis dont l’expression esthétique voisine la cartographie.
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At the turn of the year into 2013 I completed a commission for Kunstradio titled, ‘Taken to Booroomba’. This piece’s work-process commenced with the creation of a composition using only source material recordings of Austrian artist – Uli Khuen’s interactive sculpture, ‘ROBOT’. 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, ‘Booroomba to Borough’, I have forced a new interaction on the initial composition post-record and in-studio, with a field recording of London’s Borough Markets (June 2013). Whilst unlike, ‘Taken to Booroomba’, 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 I’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 – neither moving nor interacting – 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 ‘saw’ 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, ‘just for a little while’. 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 … 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.