N30: Live at the WTO
Christopher DeLaurenti
N30 is a massive, dynamic, immersive multi-channel presentation of front-line field recordings from the protest against the WTO in Seattle
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.
N30 is a massive, dynamic, immersive multi-channel presentation of front-line field recordings from the protest against the WTO in Seattle
A celebration of risk taking and adventure from some of the boldest pioneers of the past 40 years, melding avant garde and underground forms of music and moving image to create new experiments and experiences in sight and sound.
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.
Wave Formations is a 5 screen work in which each screen runs through a series of fades and then stroboscopic flashes of colour, to create a series of visual harmonics.
Renouncing the bind of the written word, Chopin’s sound poetry is a magical evocation of the pure powers of the voices, stripped bare of language.
How can we imagine bodies not as an end in themselves, but as a medium through which we can become one another’s means?
Three short performances involving social exchange (jumpers, hats, glasses…) and singing (ballads)
A multi-media harp and spoken word tribute to the incalculable, the in-deducible, the suspicious static noise that accompanies the voice of truth, and the attempted aberrations in the domain of emergence.
A kind of an informal overview of INSTAL.
Our favourite Lancashire-born autodictact asks what’s political about the tension between the individual and the collective in free jazz.
Post consideration and post rationalisation… How do we think about experimental music and film after the performance?
What would have happened in 1963 if someone from the voguing ball scene going on in Harlem had travelled downtown to perform alongside the early postmoderns at Judson Church?