Symposium: ACCESS: SOUND FILE
Dan Norton Dr Cathy Lane Dr Martin Parker Rob Gawthrop Stephen Partridge Tony Conrad Zoe Irvine
ACCESS: SOUND FILE A day-long salon accompanying KYTN focusing on sound art.
Arika have been creating events since 2001. The Archive is space to share the documentation of our work, over 600 events from the past 20 years. Browse the archive by event, artists and collections, explore using theme pairs, or use the index for a comprehensive overview.
ACCESS: SOUND FILE A day-long salon accompanying KYTN focusing on sound art.
Glasgow. Power electronic klutz behaviour by Kovorox sound head-honcho. Bruised bodies and broken microphones.
Blood Stereo & Ludo Mich: linking past and present generations of DIY intuitive expression in a post fluxus ‘big mess’.
5 days of film, music, discussion and study of our collective incompleteness—arrayed against the colonial ordering of how we come to know the world—practicing how we might exist otherwise, right here and now. Can we start to know and practice the world to come?
The queer archiving of traumatic cultural memory from one of the leading voices working with queer archives.
GIO’s bottomless throat, Blood Stereo’s slobber gobbler and the Mouth Of The South tangle tonsils over Steve McCaffrey’s Carnival
Boston duo of saxophonist Bhob Rainey and trumpeter Greg Kelley approach their improvisations with a slew if extended techniques and pregnant silences.
Goodwin’s writing emanates from the social life of poetry, from a condition of entanglement before historically racially-specific forms of representation. Another word for this emanation is breath.
A chorister attempting to sing Vivaldi, with live accompaniment, while trampolining for 20 minutes.
Location: Around and about the old public library in Easterhouse; disinvested in and left to rot by the council but which was shamelessly, hastily and superficially cleaned by them in expectation of our event.
Stripping back the domesticated ‘meaning’ of (everyday, mundane, kitchen) tools to reveal “a lexicon of rage and frustration.” Plus an allegorical use of mundane, everyday things as an examination of how meaning is constructed in film.
Bruno’s liberated improvisational approach stretches beyond the lyrical, tough as nails rhythmic bursts and expressive, swinging attack of his drumming.