Total Music Meeting
David Keenan
Discussion with David Keenan: an author, critic and musician based in Glasgow, Scotland. He is best known for the reviews and features he has contributed to The Wire.
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.
Discussion with David Keenan: an author, critic and musician based in Glasgow, Scotland. He is best known for the reviews and features he has contributed to The Wire.
Our favourite Lancashire-born autodictact asks what’s political about the tension between the individual and the collective in free jazz.
The program of composed music including Feldman’s Instruments III, Ligeti’s piece for 100 Metronomes Poeme Sympathetique, and Rebonds B by Iannis Xenakis.
Live in person at Performance Space New York and live-streamed everywhere! Watching Storyboard P dance feels like glimpsing into another world.
A programme of discontinuity between narration, text and image. Including Manual Saiz’s employment of John Malkovich’s Spanish dubbing double and Peter Rose’s absurdly hilarious concrete poetry subtitling chaos.
Sometimes delicate, sometimes harsh and jarring, Yagi’s koto solos are as much inspired by Nancarrow or Cage as they are traditional.
The production of moving image (film) by the mechanically, unfalteringly repetitive manipulation of mass-produced materials (film), in order to explore three different allegorical representations (films) of repetitive human actions and labour under capital.
Investigate film as language, via the language of film reduced to the basic units of film and language. A film as text in which each frame is a single word.
Dual projections of pulsating shards of film, treated in crystallized salts and dyes merge with the whirring of projectors, distilled into particles of sound.
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.
Sonic ‘observations’ of the world, through micro recordings on a tiny scale and transformed into something musically compelling.
A voice that can vault from an elegantly whispered insinuation to asphyxiated and murderous barks or squalls in a heartbeat.