
JILAT
JLIAT / James Whitehead
UK conceptual/ drone/ noise artist, who is seriously posing what might seem to be unanswerable questions of music.
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UK conceptual/ drone/ noise artist, who is seriously posing what might seem to be unanswerable questions of music.
Formed as a means to realise William Bennett’s goal of “a sound that could bludgeon an audience into submission”
What would a world and an ethics look like free from the destructive consequences of the Western mind?
Mashed up queer fantasy of worker’s revolts, biblical demons and present-day hells, and dubbed out cyborg-electro.
Sound and image slipping out of synch and into discord, the programme includes (in London at least) a very special version of Hollis Frampton’s masterful (nostalgia) with a live narration by Michael Snow.
US percussionist, poet, sound artist and instrument maker performing on self-made instruments constructed from industrial materials such as stainless steel, titanium, PVC plastics and various kinds of pipe.
A delicate and detailed walk through the urban and rural landscape around Dundee; a poetic focus on the details found. A performance for 16mm projection and live amplified objects (maybe pine cones, maybe a coke bottle).
Edinburgh. Sinewave manipulating Giant Tank-ette goes head-to-head with Decaer Pinga’s first lady of noise.
This performance brings together film, text and speech and temporarily constructs a filmic space to think through questions of resistance, and the choice and consequence of action vs. inaction: what does it mean to choose to not take part?
How do communities formed under the duress of violent othering and the joy of solidarity – such as ballroom culture, Black diasporas, Zapatistas – reform bonds of kinship?
Joan La Barbara presents works exploring the colour spectrum of a single pitch resonating in her skull, an evocation of bird song and circular singing.
Julius Eastman’s Evil Nigger for 4 pianos performed by Joe Kubera, Kate Thompson, David Murray, Alan Fearon and Simon Passmore.