Very interesting review from the mighty Ed Pinsent of the last Listen to the Voice of Fire. See here: http://www.thesoundprojector.com/2018/03/17/heat-light-and-fire/
Insightful comments regarding the split of noisy to introspective in the program as well as the reckoning of the (over) long AV piece, spell binding but whatever happened to agreed fifteen minutes, some imbalance perhaps.
Ed came all the way up to back of beyond Aberystwyth, well as did many of you, and suffered the regular as clockwork hitches on Arriva Trains Wales. But, what a pleasant fellow and we all enjoyed the Light of Asia on the night before. Great company and surprisingly tasty food.
Ahh, let’s do it all again…
This project is supported by Daiwa Anglo Japanese Foundation and the Great Britain Sasakawa Foundation .
The pitch was to make a new piece of sound work, based on the Japanese ceramics contained in the Aberystwyth University School of Art. And to bring experimental and improvising artists together with Toshimaru Nakamura who makes his Welsh debut here in Aberystwyth in 2018-a few weeks away now!
You can see my trace here in this photo which I snapped, visiting by chance, at Fitzwilliam College, Cambridge before Christmas. The pitch had been made at this point but there was someting very pleasing about seeing this particualar example.
Kyokusul no en i is a song reading festival conducted in Spring (currently held on the first Sunday of March at the Dazaifu shrine), where poets compete in their skills to create an original verse before a Japanese wine-cup which has been placed over-stream passes through its strecth on a narrow river branch. Historically, this festival was believed to have been held by the high-court members of classical China from 300 BC as a festival to wash away the impurities of spirit. It became popular in Japan from around the Heian period (794-1868).
This provided me with a burst of confidence in the project which would see several improvisers collaborating with Toshimaru Nakamura. Each would select an item from the collection and this be the basis of the ‘object score’. Amongs the collaborators are: Rhodri Davies, Greg Bevan (film) Adrew Leslie Hooker, Jenn Kirby, Mary Jacob (poet), Ed Wright, Dafydd Roberts & Toshimaru Nakamura.
With a few weeks now to run each of the collaborators choose an item from the collection to work with/respond to. With a bit of luck-respondents respond speedily (albeit at short notice) collaborator items will form the basis of an exhibition at the Aberystwyth Arts Centre in March.
So the idea now is to begin to capture some words and document some of the process.
I have not decided which pot i will use, but one of the best things already has been becoming aware of just how much we have in the collections and its quality and diversity inspires.
I started -re reading Barthes’ Empire of Signs as a prelude to this project and even though this is not of istelf a research project, finding contexts and texts about this process is something I will try and capture as well-but as I am in haste this may all come afterwards. I come from a point of naievety so you may provide links and text that I should refer to. Especially around creating object and graphic scores, Barthes, improvisation and sonification.
I ran into Datamosh‘s Paul Jones at an improvistion workshop organised by Heike Roms and ran by Angahard Davies. The session came alive when John started occupying the space and boundaries of the room, stones hurled/rolled dangeroulsy around, much scraping too. So it’s with pleasure and trepidation that I present you-next saturday-with a Datamosh performance. Expect the unexpeted…
For Listen to the Voice of Fire DATAMOSH (Guy Mayman & Paul R Jones) will produce an analogue …trance scape through the use of Korg monotron synthesizers, toy drum machines and found cassette tape recordings. The performance includes a portable sculpture, enclosing amplification equipment. The mobility of this sculpture is key as it would be our intention to move the work around the studio/gallery environment. Important reference points for DATAMOSH while devising this proposal are: • Mobile sound systems of the type used in the Notting Hill Carnival • Mikoshi: Japanese mobile shrines where members of the local community become involved in collective ecstatic celebration • Music Concrete and its use in utopian performance, e.g. The Liverpool Mass by Pierre Henry Links: https://www.youtube.com/watch?v=KsC_ak-Enro https://www.youtube.com/watch?v=V_5OxJWnvj8 https://www.youtube.com/watch?v=HbUWazmvCW0 https://www.youtube.com/watch?v=BFJVqrF0qEM http://datamosh8.wixsite.com/datamosh About DATAMOSH As well as experimental sound installations, DATAMOSH have developed gallery exhibitions and several events for festivals, incorporating large scale projections, moving sculptures and choreographed movement. Their collaboration came about when artists Paul R Jones and Guy Mayman discovered a large archive of 35mm slides, audio cassettes and A4 booklets earmarked for destruction at the Art School where they were working. This material was no longer wanted because of a perception it was rendered obsolete by the digital technology. Mayman and Jones are fascinated by the hallucinogenic potential of everyday experiences. Their ongoing project DATAMOSH is a site of excavation and construction, awakening the analogue spectre of the recent past. It re-animates obsolete technology and information, developing a montage of psychedelic sound, improvisation and performance.
Possibly the most intriguing performance next week may go to Steve Moyes. Let us see! Improvisation, using amplified mechanical diverter valve, with live electronic looping and processing. A man after my own heart. “How long is the performance” I asked, “Flexible. Could be anywhere from 10 minutes to one hour”. Steve runs several improvisation and looping activities in Carms., and I’m very pleased that he agreed to perform for us next week.
I first got to hear Andrew’s work at Oscilloscope, it was excoriating-sublime and… nuanced. You are sure to be in for a treat.
Andrew Leslie Hooker. Andrew kindly designed the poster you see for this event too !
Andrew Leslie Hooker was born in England in 1962.�He is a filmmaker and composer of electroacoustic music currently based in North Wales.�
He began his career as a photographer and graphic designer, collaborating with various music, art and fashion publications, record labels, theatre and dance companies.�
He has exhibited paintings, photographic works and experimental films in various galleries throughout Europe and the United States and was included (as filmmaker) in the 49th Venice Biennale.�
At the present time, having recently completed an MMus (with distinction) in electroacoustic composition at Bangor University of North Wales, he is now continuing his studies as a PhD research student at the University of Huddersfield whilst contemporaneously working on various music, dance and extended cinema projects.�
His film works and compositions are published by Entr’acte (London/Antwerp) and Dinzu Artefacts (Los Angeles)
Past collaborators include: Gavin Bryars, Manuel Zurria, Philip Jeck John Duncan, Jon Wozencroft, Cosey Fanni Tutti, Von Archives Aleksander Gabrys, Seijiro Murayama 3/4HadBeenEliminated Giuseppe Ielasi, Penny Rimbaud, Eve Libertine and Graham Dunning
For some of Andrew’s releases and projects look here:
Thank you Andrew Leslie Hooker for answering the Facebook challenge and providing this striking poster, it may need updating with a few details but I wanted to share it with you as-it looks cool-and I need to get on and confirm details. I am really thrilled at all the submissions from you characters and I think this November event will be astounding. Greg Bevan is assembling a video montage of experimental videos to be screened alongside performers-updates will come.
My indecisiveness tries to get the better of me, and yet I resist it and dip toes if not fully plunge. April 3rd Taflwn Sain, let us see noisemakers, sonic alchemists, improvisers, modular freaks & electroacousticians, let us eat cake….