
What is the Sound of Freedom?
Ultra-red George Lewis
For day one of Ultra-red’s project, the investigation will take up protocols for listening to the sound of freedom composed and facilitated by George E. Lewis.
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.
For day one of Ultra-red’s project, the investigation will take up protocols for listening to the sound of freedom composed and facilitated by George E. Lewis.
Introducing and setting intentions for a crip grief transformation and witness altar. A place to sit and breathe, remember our dead, wash our hands and leave offerings to and for loved ones we’ve lost – and for ourselves.
Brain boiling duo improvisation by great Japanese no input mixing desk pioneer Toshi Nakamura and french organ philosopher Jean-Luc Guionnet.
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.
French improviser, composer, writer & musical thinker of dry humour and elegant clarity. Sly conjurer of music from the unconsidered processes of music making.
Copying without Copying is 3 evenings of events that are about what happens when we speak, or when we hear someone speak on our behalf, when we share a collective moment of hearing and maybe understanding.
Low-end drone guitarage army since 1997: nobody has done more on this occasion by a gaggle of sludge-lovers from the Scottish underground.
Performance of a Sudoko based graphic score giving rise to a process of self cancellation.
Conceptual choreography as critique, in Ligia’s film of Caribbean plots and scandals, and the possibilities of anti-colonial revenge, rest and repair.
A talk entitled ‘The Conquest of the Universe’: which delves into the connections between the underground filmmakers and musicians in New York in the early 1960s
Los Glissandinos work with clarinet and sine tones beating and thrumming in your middle ear, all beautifully paced and serene, but with just enough steely menace broiling under the surface to keep you on edge.