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.
A series of reality dramas happening over the course of the weekend.
In this workshop we will imagine ourselves as time travellers from a glorious and chaotic neurodivergent-led future.
The second of two short film programmes featuring works that blur the boundaries between music and film from artists who cross and redefine those long held divisions. This programme highlights contemporary works.
A space to reflect on our own experiences with the police and explore more community and care-based ways of dealing with violence and difficulties in our lives.
Experience a sense of being in the world, in a specific space and time. Including Jeanne Liotta’s recordings of the ionosphere and Walter Ruttmann’s radical 35mm precursor to musique concrète.
“Mackey composes realist-mythic layering of lyrical prose unlike anything being written today.” — New York Times. “Our greatest living epic poet…Mackey’s poetry and criticism have reinvented modernism for our time.”— LitHub
Duo performance by two great French musique concrète improvisers using feedback, contact mics, tape, an old Revox tape machine, a vintage synth…
The final iteration of Arika’s INSTAL festivals, the 2010 edition was an experimental festival of experimental music – 3 days of events at the Tramway that explored un-average ideas about sound and music.
To Rococo Rot member Robert Lippok performing for the first time in the UK with his solo project.
A day of presentations and discussions on the theme of audio visual perception in the context of experimental music, film and art.
Dworkin asks: What would a non-expressive poetry look like? A poetry of intellect rather than emotion?