MICRO 1
Takehisa Kosugi
MICRO 1 – Wrap a live microphone with a very large sheet of paper. Make a light bundle. Keep the microphone live for another 5 minutes. T. Kosugi – (1961)
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.
MICRO 1 – Wrap a live microphone with a very large sheet of paper. Make a light bundle. Keep the microphone live for another 5 minutes. T. Kosugi – (1961)
Could cruising and random public sex be the basis of an ethically organised society? A discussion with Jackie Wang, Samuel R. Delany and Huw Lemmey.
Akio Suzuki and John Butcher performing in a remote sea cave near Durness.
Journalist and underground music champion Alan Cummings talks to Keiji Haino about his career and his performance the previous evening.
Can we find ideas of queer anarchism, failure and low theory in popular culture?
Life and death dramas unfold in the snowy American North, using three-screen documentary footage and a soundtrack by KYTN favourite, vocalist Daniel Menche.
A chorister attempting to sing Vivaldi, with live accompaniment, while trampolining for 20 minutes.
Paul Sharits one of the great experimental, sometimes called structuralist / materialist, filmmakers of the 20th Century.
The Songspiels take on a mode of musical theatre developed by playwright Bertolt Brecht and composer Kurt Weill in the early twentieth century, presenting political and social concerns through the accessible and (often funny) form of song.
Everyday objects and materials (rubber bands, paper, a sink, microphones) disabused of their inertia and made to speak for themselves in a kind of focusing in on the tiny, repetitive, almost unobserved (sonic/ visual) potential of everyday things put into motion.
Lo-fidelity sheets of parinirvanic mangled tone get driven into oblivion by two longstanding gurus of the Northern England primitivist noise.
Sachiko’s very simple, pure sine tones and structures. Otomo on double pianos. Filament’s music isn’t composed and it isn’t improvised: it’s a hybrid of the two.