
Sound Cuts
Guy Sherwin
Noise music for the eyes. A 6 screen 16mm projection performance of intense audio and visual stimulus.
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.
Noise music for the eyes. A 6 screen 16mm projection performance of intense audio and visual stimulus.
In this session we’ll explore the use of herbs to support psycho-emotional health*, especially focusing on considering ‘nervines’; herbs that support rest, relaxation, that soothe, ground, vitalise and nourish. We’ll also be looking at personal constitutions and plant energetics. And we’ll briefly touch on the use of entheogens (psychoactive substances such as magic mushrooms) as medicine.
What does it mean to listen with the mind as well as the ears? A solo performance from the great avant-garde pianist.
Sarah Washington uses electronics and wind-up radios, running out of charge to repsond to the festivals’ Self Cancellation provocation.
Trans-temporal drag, sexuality and the re-staging of illegible moments in history.
An occasion for commotion, and a chorus of motions. Choreography rotating your revolutions and then some.
Akio Suzuki and John Butcher performing by the Stones of Stenness, instead of the Ring of Brodgar, because of bad weather.
Ken presents his Nervous Magic Lantern, wherein film itself is forsaken for an investigation of hypnotic and trancelike crystaline forms. Eric La Casa works with recordings of everyday occurrences: the background hum of place.
What is happening when systems of repression try to grasp communities’ ways of being, living or surviving, applying laws of sexuality, gender or race to cast them as criminal?
For day two of Ultra-red’s project, the investigation will take up protocols for listening to the sound of freedom composed and facilitated by the Vogue’ology collective.
Hartmut is going to talk a little about his work at large and the politics of how his films are constructed. And we’ll screen one of his best films: B-52.
A guitar solo of frugal wringing, of notes in the dark, an attitude of making everything count.