Dispatches from the Intersection of Hurting & Joy
Camisha L. Jones
Writing that shows us that, even in struggle, there is light to be let in.
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.
Writing that shows us that, even in struggle, there is light to be let in.
Tormented and drawn-out high-pitched yelps and drones, all interleaved with periods of torpid silence.
Jean-Luc Guionnet will be giving a talk as part of the music department’s ongoing series of colloquia.
Three (thankfully short) chats wherein we try and get at what’s eating us with regards to experimental music, and what we think might be worth salvaging.
Two figureheads of the minimalist electronica pulse, Ikeda and Nicolai have been responsible for some of the most innovative and ground-breaking music of the last decade, redefining experimental electronica.
A festival hewn from passions for experimental music, film and visual art and for a passion in figuring out how they can relate to, cross-fertilise and inspire and each other.
Duo performance by two great French musique concrète improvisers using feedback, contact mics, tape, an old Revox tape machine, a vintage synth…
NVA asked Arika to curate and programme the sound aspects of their 2007 Half-Life production in Kilmartin Glen. Arika worked with Toshiya Tsunoda, Lee Patterson, Rhodri Davies and Angharad Davies.
Series of short sets by Acid Mothers Temple / Ruins offshoots Zubi Zuva X, Akaten & Zoffy.
Discussion with David Keenan: an author, critic and musician based in Glasgow, Scotland. He is best known for the reviews and features he has contributed to The Wire.
A kind of performed installation of searing noise and silence, where we’re not sure who the performer is, when it starts or ends or even who it’s for.
The Songspiels take on a mode of musical theatre developed by playwright Bertolt Brecht and composer Kurt Weill in the early twentieth century, presenting political and social concerns through the accessible and (often funny) form of song.