
Overheard (Performance Part 1) and Festival Introduction
Resonance Radio Orchestra
The first performative part in a game of chance and endurance as actor Tam Dean Burn constantly broadcasts for 24hrs.
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The first performative part in a game of chance and endurance as actor Tam Dean Burn constantly broadcasts for 24hrs.
Robin Hayward – exploring the micro-sounds of a tuba, filling slowly with sand.
Conceived of as a dual publication, video cassette and booklet, to be presented as an installation. The content of the videotape is the artist watching television.
Guitar and voice. Keening, droning and mourning. Be ready to release and bring your dis-ease.
Post consideration and post rationalisation… How do we think about experimental music and film after the performance?
A double bill of A (imageless) film of nothing but a sound recording and its transcription and a found film of news interviews about Malcolm X’s assasination, where the filmmaker decided to add nothing to it, except our attention.
From really simple, open instructions, An Unrhymed Chord creates a kind of half-way point between composition and improvisation.
If life is assaulted by power, where do we find spaces for living? A conversation with Peter Pál Pelbart.
How do people both inside and outside of prison work together to dismantle the criminal justice system and build a society based on collective care?
A sound diffusion piece by Glasgow University’s Musica Electronica, and a further selection of electroacoustic performances.
A saxophone. Handheld fans. Shrill squeaks. Splutters, gargling. An incredible diversity of sounds, intensely focused by an inventive musician.
Taking a scalpel to the relationship between performer and audience: cutting something out to see what’s left, a drastic subtraction and shift of emphasis.