Sparklers and Table Top Set
Lee Patterson
Sonic ‘observations’ of the world, through micro recordings on a tiny scale and transformed into something musically compelling.
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Sonic ‘observations’ of the world, through micro recordings on a tiny scale and transformed into something musically compelling.
Chip will read some of his great literary pornography, which pushes sexuality to the point of extremity and exhaustion.
A programme looking at landscape, filmic or architectural spaces and at how the fixed stare of a camera frame only captures so much reality; here we focus on how filmmakers structure our relationship with that reality and at how they relate it to or interpret it through sound.
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?
This programme is a celebration of Charlemagne Palestine; passionate, extravagant, visceral. Including two sections from Ritual dans le Vide, an extension of his ‘running camera’ works of the 70’s and Pip Chodorov’s vibrant workout of a live version of Strumming Music.
Boston duo of saxophonist Bhob Rainey and trumpeter Greg Kelley approach their improvisations with a slew if extended techniques and pregnant silences.
Moor Mother is a musician, Philadelphian housing activist and black quantum futurist.
Watching films and chatting with Karrabing members about those films: as they attend to the memory and practice of the ancestral present and the ancestral catastrophe that Karrabing and their more-than-human world find themselves facing.
Do ideas emerging from particle physics help to re-think of blackness as a mode of life in which it’s possible to practice difference without separation?
Quasi-theatrical multiple-projector pieces play with the relationship between performers, art and audiences.
A silent performance of (musical) reverberation.
Blood Stereo & Ludo Mich: linking past and present generations of DIY intuitive expression in a post fluxus ‘big mess’.