
William Basinski
William Basinski
Improvising using nothing so much as the passage of time as his instrument, Basinski creates works of great melancholic depth and fragile beauty.
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.
Improvising using nothing so much as the passage of time as his instrument, Basinski creates works of great melancholic depth and fragile beauty.
William cradles, hammers, and rains down blows, plucking and using 2 bows to attack the strings above and below the bridge, all in the service of a fiery and passionate creativity.
Multiple images, glimpses of old films, abstract images in the midst of an electro-acoustic sound field of tape loops & analogue synthesizers
Minimal details and otherworldly glistening drones, rich with sustained metallic timbres that breathe with the scrapped pulse of bowed metal.
A sound diffusion piece by Glasgow University’s Musica Electronica, and a further selection of electroacoustic performances.
A new interpretation of Kosugi’s Catch-Wave, producing a cloud of fluctuating, hypnotic drones, in front of a backdrop of projected waves.
Solo performance by Diamanda Galás one of the great artists of the last forty years. Hers is an emotional expressionism of demonic shrieks, operatic falsettos, glottal clicks and diabolical growls.
In Our Hands is a ten week programme of workshops facilitated by Lisa Fannen, Omikemi and Clay. The sessions explore radical approaches to health and collective care in the context of movement for liberation and social justice.
Usurper luddite twins’ disabled instruments play a game of pick-up-sticks with the deconstructed horn of a young Derby opponent.
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.
Sachiko’s very simple, pure sine tones and structures. Otomo on double pianos. Filament’s music isn’t composed and it isn’t improvised: it’s a hybrid of the two.
An improvisation that may or may not involve (typical) improvisation.