The Strangeness of Dub
Dhanveer Brar Edward George
Dub is strange. A conversation with Edward George and Dhanveer Brar.
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.
Dub is strange. A conversation with Edward George and Dhanveer Brar.
Repetitive, mesmerizing rhythmic workouts, to pieces of stark and rigorous introspection, where notes picked and slid in isolation, scatter like mercury around the listener.
The queer archiving of traumatic cultural memory from one of the leading voices working with queer archives.
With Taku we’ll carry out some simple proposals for doing almost nothing, for re-thinking sound with whatever comes to hand.
One of the most startling cinematic debuts on record, The Flicker is more a hallucination than a film, an out of body experience and riotous celebration of visual harmonics frequencies. An experiment in perception, come with your mind and eyes open.
A cast of pioneering spirits over an expanded three day festival including Jandek (one year on from his first ever show at INSTAL 04), JO-JO, Tetuzi Akiyama,Tom Bruno, Pauline Oliveros, a legendary Hijokaiden performance and Henri Chopin.
Glasgow. Power electronic klutz behaviour by Kovorox sound head-honcho. Bruised bodies and broken microphones.
A chorister attempting to sing Vivaldi, with live accompaniment, while trampolining for 20 minutes.
Sound as it is endured by space and the body: 15 participants lie face down and pound the floor with a microphone one thousand times, each person choosing their own rhythm and intensity.
Mashed up queer fantasy of worker’s revolts, biblical demons and present-day hells, and dubbed out cyborg-electro.
Transfeminist, communist, revolutionary poetry that refuses to flinch. Nat Raha presents new work in the nine.
Hartmut is going to talk a little about his work at large and the politics of how his films are constructed. And we’ll screen one of his best films: B-52.