Salon and Q&A
Kjell Björgeengen William Bennett Zoe Irvine
A day of presentations and discussions on the theme of audio visual perception in the context of experimental music, film and art.
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A day of presentations and discussions on the theme of audio visual perception in the context of experimental music, film and art.
An open conversation hosted by Saidiya Hartman and Fred Moten around ‘fugitivity’ and ‘waywardness’ and what it means to be in flight, excessive or ungovernable.
A system in which film is projected onto copper strips, captured again and then re-projected as video, somehow transforming the original imagery into molasses-slow, molten and incredibly tactile flickers of colour and light.
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.
Live ISDN drone performance resonating between Dundee and an empty Montreal Grain Silo.
Thinking against the monoculturalism of Western thought—of faith, affection, sexuality and gender—which completely lacks any utility to, or descriptive value of Indigenous worldviews.
In true reality television style, this in-depth artist talk will tackle all the hardest-hitting questions and juiciest details about care, creative collaboration, and disability justice.
With a signature spartan sound and long term preoccupation in structural tactics (subtle shifts in density, drawn out stasis) Polwechsel blur the boundaries between individual instruments.
Perhaps the paradigm of America’s covert musical subculture, Sun City Girls operate just over the border of raucous delirium.
Haino exceeds expectation with a 4 hour solo performance on a collection of more than forty instruments from all over the world.
Performances of compositions by Jean-Luc Guionnet and others, with Julia Letitia Scott, Iain Campbell F-W, Neil Davidson, Fritz Welch, Liene Rozite, Emilia Beatriz.
How do you know what you want? Should freedom be doing what you ought, not doing what you want? How might a philosopher and artist turn this thinking into an enabling condition in the context of noise and improvisation?