Used Sound
Jean-Luc Guionnet Ray Brassier Seijiro Murayama
A full-blooded, emotional attempt to reinvigorate improvisation from a musically inclined philosopher and two philosophically inclined improvisers.
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.
A full-blooded, emotional attempt to reinvigorate improvisation from a musically inclined philosopher and two philosophically inclined improvisers.
This session focuses in on the defiant mutual aid practices of early and DIY feminist movements in the UK, that attempted to shift and radicalise care and kinship away from the domain of the nuclear family.
Edinburgh. Nigh-inaudible improv jams with disabled instruments from the makers of Giant Tank and Pizza Boy Delivery.
What might Carter and Parker’s collaboration tell us about our own performances of responsibility and liberty, whether individual, social or musical?
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.
A dense, hard, immersive, chaotic spatial performance in sound: a momentary gap in consciousness, free of order or decision.
The films in the programme take the essential and fundamental building blocks of cinema (combining sound and image through time) screw about with them, interrogate them and cast them anew.
The Tower performance at KYTN throws into that mix the 70’s fluxus light shows and films of Jeff Perkins and other filmic interventions tuned to their unique frequency.
Paul Sharits’ Shutter Interface is a multi screen installation born of an intent to reveal the material substance of cinema in its purest form: spatially.
Glasgow. Low-end drone guitarage army in praise of the open chord.
Haino exceeds expectation with a 4 hour solo performance on a collection of more than forty instruments from all over the world.
What kind of listening and acknowledging do we offer each other? What is it to listen to an ‘elsewhere’, and do we ever do anything else when we listen to music?