Overheard (Suspension of Belief Sketch 4)
Resonance Radio Orchestra
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?
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.
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?
Sci-fi. After the club. Underground. Counter-narrative. Narrated movement. Cultural resistance. Wu Tsang and boychild’s collaborative performance series, will continue its evolution at Episode 9 with the addition of TOTAL FREEDOM.
A somehow hyper-modern, ancient and folkloric lip-synced, made-up, fashioned performance.
In 2008 we toured our Kill Your Timid Notion festival of experimental sound and image to London, Bristol and Glasgow, bringing audiences a taste of the previous 5 festival editions.
In the Foyer at the Tramway we will screen a documentary from the Sex Workers’ Festival of Resistance 2017 and La Llamada by Eduardo Restrepo Castaño.
For this one off performance Vibracathedral Orchestra are joined by Matthew Bower and John Godbert from mighty UK heavy/drone/psych free-noise behemoths Skullfower, Sunroof! and Total.
Writing that shows us that, even in struggle, there is light to be let in.
What happens when you are engaged in a deep and extended artistic practice that intersects between literature and music, notation and improvisation, sight and sound?
Rather than asking the state for services, what kinds of change are made possible when we prioritise people supporting each other?
Felix Hess is a unique crosser of the boundaries between science and art. He wrote his doctorial thesis on the aerodynamics of the boomerang
Umeda is a Japanese artist who is as fascinated in setting up interesting situations to observe, as he is in creating performances.
How do you know what you want? Should freedom be doing what you ought, not doing what you want? How might a philosopher and artist turn this thinking into an enabling condition in the context of noise and improvisation?