Total Music Meeting
David Keenan
Discussion with David Keenan: an author, critic and musician based in Glasgow, Scotland. He is best known for the reviews and features he has contributed to The Wire.
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.
Discussion with David Keenan: an author, critic and musician based in Glasgow, Scotland. He is best known for the reviews and features he has contributed to The Wire.
A 100 strong Feral Choir of people who’ve never improvised with their voices before, conducted by composer Phil Minton.
Thinking against the monoculturalism of Western thought—of faith, affection, sexuality and gender—which completely lacks any utility to, or descriptive value of Indigenous worldviews.
Ecstatic, intensely joyous experimental club music: like “the sound of our water ceremonies…40 bands playing their melodies at once to recreate the cacophony of the first aurora and the call of the morning star Venus”.
4 days of workshops, discussions and artists presentations exploring the radical act of caring for each other while working to change the world.
Solo performance on bass clarinet, jaw harp & voice by Arrington De Dionyso.
The ongoing development of [b]reach, an abolitionist black queer retelling of Marge Piercy’s incredible feminist utopian novel Woman on the Edge of Time.
Individual experience separated by physical boundaries (of space, time or ability) suggested as communities of collective experience by (perhaps voyeuristic) artists.
Originally billed as a duo of Ingar Zach and Derek Bailey, John Butcher stood in for Bailey at the last minute.
Jarrod Fowler and Christof Migone kick things off with performances involving edible plants, a saw, dandruff, and Christof responding to the prompt: “as far as you can for as long as you can.”
Three (thankfully short) chats wherein we try and get at what’s eating us with regards to experimental music, and what we think might be worth salvaging.
Dworkin asks: What would a non-expressive poetry look like? A poetry of intellect rather than emotion?