
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?
An introduction to gender and embodiment for cisgender folk (i.e. those whose experience aligns with their assigned gender). This will look at the ways our embodied experiences are shaped by our gender, and explore what it means to support trans siblings in practice. This session will be led by Tripod.
Underground movement legend boychild hosts this workshop—on improvisation, cosmetics, movement and lip-sync.
Glasgow. Power electronic klutz behaviour by Kovorox sound head-honcho. Bruised bodies and broken microphones.
In which Storyboard P and members of Project X pick a song, freestyle to it, chat with us about what dancing means to them, then pick another song, freestyle, chat, repeat…
How do poetry and maths stitch together pictures of our fractured situation from its wreckage and relics, from the debris of hope and the well of residues that make us what we are?
Heat-mapped bodies, found porn films, Korean psyche-folk, creepy police intrusion and self-defence.
Michael Colligan pressing white hot metal into dry ice, causing the metal to sing and scream.
A dense, hard, immersive, chaotic spatial performance in sound: a momentary gap in consciousness, free of order or decision.
Kylie Minoise Vs Nackt Insecten feedback/ vocal physical threat ‘vs’ ecstatic electronic cloudbursts
Inspired by the supernatural horror of H. P. Lovecraft, black metal and a sense of worry as to what constitutes an object, or a world.
How does this practice, that simultaneously resists and honours the distinctions between these genres, materials and senses, determine the inhabitation of another: a convergence of aesthetic and social experimentation?