Concert 1: Organ Solo
Jean-Luc Guionnet
Each organ is unique. The project is to find out what makes it unique.
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Each organ is unique. The project is to find out what makes it unique.
The queer archiving of traumatic cultural memory from one of the leading voices working with queer archives.
A recently reanimated Ascension, with mighty Leeds drum hero Paul Hession bringing a dense polyrhythmic torrent into play with Jaworzyn’s reinvigorated piercing guitar.
In many ways, this Episode is our attempt to engage with Fred’s incredible writing: with his proposal that all black performance (culture, politics, sexuality, identity, and blackness itself) is improvisation.
A conversation between influential figures thinking through Blackness and Indigeneity, asking: what if we took seriously the possibility that this world, as we know it, may be coming to an end? We dread the loss of this world, but have we begun to imagine the one to come?
There are core ways in which our listening to the radio differs from other kinds of listening. What happens when we pay attention to how we pay attention?
The program of composed music including Feldman’s Instruments III, Ligeti’s piece for 100 Metronomes Poeme Sympathetique, and Rebonds B by Iannis Xenakis.
When one calls a strike, who hears the call, who attunes and listens to it? How to listen to the call of a strike? What prevents one from hearing this call or stops one from listening to it?
60 cycle hums, jagged static cracklings, and clipped electron pinpricks, mutating them into sublime, post-techno grooves
A guitar solo of frugal wringing, of notes in the dark, an attitude of making everything count.
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.
Dworkin asks: What would a non-expressive poetry look like? A poetry of intellect rather than emotion?