
4 Waters: Deep Implicancy
Arjuna Neuman Denise Ferreira da Silva
What would a world and an ethics look like free from the destructive consequences of the Western mind?
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.
What would a world and an ethics look like free from the destructive consequences of the Western mind?
Out holler/ howl of English pukenoise posterboys exploded by incessant insect chatter of Northern fug dweller.
UK conceptual/ drone/ noise artist, who is seriously posing what might seem to be unanswerable questions of music.
A chat with Eugene Thacker. Can we rethink the world as unthinkable, and without us?
One of the most influential groups in improvised music, with the collective understanding that comes from listening keenly to each other for decades
Guitar solo where inscrutable, minute electric sounds are excavated by palms that smother and strangle, that wring sound from the fretboard, from behind the bridge.
4 days of performances, discussions, workshops, screenings with mutant dancers, prison abolitionist poets, transfeminist revolutionaries, haunted noise, science fiction, sex worker resistance, crip erotics, radical pornography and militant fiction.
A guitar solo of frugal wringing, of notes in the dark, an attitude of making everything count.
A discussion about what is at stake in the performance of realness and the practice of passing, and how they are both acts of survival and resistance.
How does this practice, that simultaneously resists and honours the distinctions between these genres, materials and senses, determine the inhabitation of another: a convergence of aesthetic and social experimentation?
A dense materialist experience at the limits of contemporary computer music, drawing on Korean Shamanism and Communism; striving to create a strange new vibration to the world that seems to contain the seed of everything.
What might Carter and Parker’s collaboration tell us about our own performances of responsibility and liberty, whether individual, social or musical?