
Based on a True Story – 1986
Rashad Becker
The most sophisticated synthetic music around: timbrally otherwise body music as sonified fictions and auditive sociograms.
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The most sophisticated synthetic music around: timbrally otherwise body music as sonified fictions and auditive sociograms.
The production of moving image (film) by the mechanically, unfalteringly repetitive manipulation of mass-produced materials (film), in order to explore three different allegorical representations (films) of repetitive human actions and labour under capital.
A film performance about Guy then, and Guy now, as a metaphor for the passing of time, which of course all film is inherently about.
A conversation of intergenerational trans-resistance and anti-racist fierceness between two of the most inspiring public speakers we know.
GIO’s bottomless throat, Blood Stereo’s slobber gobbler and the Mouth Of The South tangle tonsils over Steve McCaffrey’s Carnival
A bodiless treatise on narration, bored speakers, audience misbehaviour and police megaphones, but: is anybody listening?
Julius Eastman’s Evil Nigger for 4 pianos performed by Joe Kubera, Kate Thompson, David Murray, Alan Fearon and Simon Passmore.
A chat with Rashad about the communist, conceptual methodology that informs his ground-breaking synthetic music—a form of speculative sonic fiction writing to produce hyperreal non-representational auditive experiences.
Do art forms like black radical poetry, free jazz and improvisation create a space for the performance of freedom? Did they ever? And can they still do so now?
Instead of the one-way monologue of normal performance, what would be the result of an actual collective dialogue? Where would it go?
How can we imagine bodies not as an end in themselves, but as a medium through which we can become one another’s means?
Sparse and miniature free thought workouts involving guitar, vocals and tuba.