Before or after finitude?
Arika Catherine Christer Hennix Florian Hecker Robin MacKay
Electronic music, time, thought, the word, and consecutive matters
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.
Electronic music, time, thought, the word, and consecutive matters
Ever wondered about the roadside festoons which are the innards of discarded cassette tapes? All will be revealed in this methodical and insightful documentary by UK luminary John Smith and sound artist cohort Graeme Miller.
Power-electronic klutz behaviour indecipherable blasphemies, cuts, bruises and broken microphones by Kovorox Sound head-honcho Lea Cummings.
Sarah Washington uses electronics and wind-up radios, running out of charge to repsond to the festivals’ Self Cancellation provocation.
Bruno’s liberated improvisational approach stretches beyond the lyrical, tough as nails rhythmic bursts and expressive, swinging attack of his drumming.
Edinburgh. Nigh-inaudible improv jams with disabled instruments from the makers of Giant Tank and Pizza Boy Delivery.
Merzbow takes the junk of sound and transforms it into blistering noise assaults with an incredible spectrum and impact.
Three documentary films exploring diverse realities of sex workers around the world followed by a closing ceremony of the festival.
No Wave, damaged garage jams and crazed instant vocal shrieks.
How can we imagine bodies not as an end in themselves, but as a medium through which we can become one another’s means?
The first of two workshops that highlight correspondence as a way of working. Somewhere between song, speech, and logistical arrangement, these workshops invite participants to consider care as infrastructure.
Captures the creak and rustle of the forest, with an exhilarating tension let loose in unconfined maniacal and bare-knuckle group thinking.