::: events :::
two upcoming appearances in israel in early june, full details coming soon:
::: jun 8 ::: jerusalem, il ::: presentation/performance @ the distillery :::
::: jun 9 ::: tel aviv, il ::: presentation/performance @ hanut 31 gallery :::
(see below for 2014 event details)
thursday, 20 march
132 Kingsland Road
For our night of site-related, if not site-specific sounds, we feature a range of perspectives on the subject:
We have American Estonia- based artist murmer, fresh from his collaboration with Felicty Ford at Audiograft Festival, will be performing via a model of site-specific exploration and interaction. All sounds, whether live or pre-recorded, amplified or acoustic, emanate from the performance space itself.
We also have a collaborative project between Steve Beresford, Blanca Regina, Jack Goldstein and a solo performance by Matthias Kispert, who is interested in the city and the relationship between its sounds and everyday life.
Iris Garrelfs’ audio-visual piece Twine was made during a residency at the Institute of Contemporary Art in Celje, Slovenia – a slow, quiet and atmospheric portrait of a specific location at a specific time.
thursday, 13 march
holywell music room
audiograft is an annual festival of contemporary experimental music and sound art curated by the sonic art research unit (SARU) at oxford brookes university. the festival aims to engage the widest possible audience from oxford and beyond with the challenging contemporary practices that are the focus of the research unit.
in live performance patrick & felicity’s shared interest in field recording has developed into an attempt to integrate and resonate found sounds, found objects, specific spaces, and moments in time, in order to create a direct and visceral link with an audience and location. For this evening they will give a site-specific performance making use of the unique acoustic of the space.
saturday & sunday, 8-9 june
oxnam village hall
oxnam, near jedburgh
A weekend of workshops, social listening and field trips investigating common ground between textiles and sound, with visiting artists Felicity Ford (Reading) and Patrick McGinley (Rapina, Estonia)
Saturday 8 June
Materials Provided: one small pillow speaker, pure wool stuffing, pure wool yarn. Participants should bring: your own knitting needles, circulars or DPNs, sizes 3.5mm and 4mm. Maximum participants: 10. Booking essential, to make sure there are enough materials for all! This workshop is for people with some experience of knitting. Participants will know how to knit in the round, and how to cast stitches on and off. At the end of the workshop you will have a very wee 100% wool covered and stuffed pillow which you can bring with you anywhere or keep in your actual pillow at home, for listening to woolly sounds. You will need your own iPod, mp3 player or similar device to plug the woolly speaker into, and all workshop participants will be given a specially-created mix of wool-themed field recordings to play back through their speaker pillow!
For this workshop, as a basis for the afternoon field recording session, we will begin from the beginning, avoiding technology and concentrating on our most important tools: our ears. We will explore listening as an active endeavour, examining our perception via both pre-recorded and natural soundscapes, through listening exercises, soundwalks, and discussion. We will actively examine our hearing and how it works, attempting to consciously experiment with the perception and filtering that our brain typically uses unconsciously. Most of all: we will listen.
13.00 – 14.00: lunchbreak – good cafes and restaurants in Jedburgh, or bring a packed lunch
Materials Provided: dyestuffs, yarn to dye, tags for labelling results of experiments. Participants should bring: an apron, notebook, and pen. Maximum participants: 10. Booking essential, to make sure there are enough materials for all! In this workshop we will experiment with dyeing a range of primary shades, using madder, indigo, and onion skins. At the end of the workshop you will have a small collection of mini skeins in different shades, plus notes on how to repeat those shades if you want to have a go at home. While we are dyeing wool, workshop participants working with Patrick McGinley will be recording and collecting some of the sounds produced by the dyeing process.
Following on from the morning ephemeral listening session, we will use both ears and microphones to explore the sounds and textures being produced in the course of Felicity Ford’s natural dyeing workshop. We will provide a variety of microphones to try out, including contact microphones and hydrophones, as we put our newly warmed-up ears to the test through the mechanical, chemical, textural, and human sounds of the wool dyeing process. Feel free to bring your own recorders, microphones, and headphones if you have them.
All workshops cost £10.00 which includes the cost of all materials. To book please contact .
A social listening event in a relaxed setting with curated sound works, performances and
contributions from guest artists. Cost: £10.00
Sunday 9 June
A rare opportunity to work in the field with sound artists Patrick McGinley and Felicity Ford, supported by James Wyness. Meet at the Glebe Car Park, Jedburgh (just off the A68 overlooking the Abbey and the river, across from the swimming pool) at 1030am. Bring a packed lunch. Cost: £10.00
t: 01835 863061
radio and social change, with colin black & patrick mcginley, june 4th @ 12:00
SARU presents The Sound Diaries Symposium 2013 which boldly asks “How are we using field recordings to change the world?”
3rd – 4th June 2013
Oxford Brookes University
Headington Hill Campus
Over two days contributors from around the world will address how field recording practices have multiplied and diversified in response to increasingly affordable recording gear, developments in software, changes in how field recordings can be shared online, and evolving cultural theory. As field recording intersects with other disciplines – radio-making; composition; social sculpture; ethnography and the preservation of heritage, so do new frameworks for sharing sounds emerge. At the Sound Diaries 2013 symposium a diverse range of speakers including representatives from Sound & Music, The British Library, The Pitt Rivers Museum and Radio 4′s recently commissioned “Noise: A Human History” series will share different perspectives on contemporary field recording practices within these terms.
Themed panels include: Social relations explored through sonic praxis; Field recordings and education; Listening to the past; Can we really change the world with field recording?; The global picture; Radio and social change; Composition and field recording; and Mapping the field.
Colin Black, Efthymios Chatzigiannis, Peter Cusack, John Drever, José Luis Crespo Fajardo & Atilio Doreste, Patrick Farmer, Felicity Ford, Michael Gallagher & James Wyness, David Hendy, Ernst Karel, Christopher De Laurenti, Noel Lobley, Patrick McGinley, Udo Noll, Sybella Perry, Judith Robinson, Doug Rouxel, Cheryl Tipp, Claudia Wegener, Paul Whitty and Mark Peter Wright.
If you would like to attend either or both days of the symposium please email:
- 09:15 – 10:00 WELCOME, REGISTRATIONS, TEA & COFFEE
- 10:00 – 11:30 PANEL ONE: SOCIAL RELATIONS EXPLORED THROUGH SONIC PRAXIS
John Drever, Christopher De Laurenti, José Luis Crespo Fajardo & Atilio Doreste
- 11:30 – 12:00 TEA BREAK AND Q&A
12:00 – 13:00 PANEL TWO: SONIC PEDAGOGY, FIELD RECORDINGS AND EDUCATION
Felicity Ford, Judith Robinson
- 13:00 – 13:30 LUNCH
13:30 – 15:00 PANEL THREE: LISTENING TO THE PAST
Cheryl Tipp, David Hendy, Sybella Perry
- 15:00 – 15:30 TEA BREAK AND Q&A
- 15:30 – 17:00 PANEL FOUR: INTERROGATING FIELD RECORDING, “CAN WE REALLY CHANGE THE WORLD WITH FIELD RECORDING?”
- Michael Gallagher & James Wyness, Mark Peter Wright, Patrick Farmer
- 09:15 – 10:00 WELCOME, REGISTRATIONS, TEA & COFFEE
- 10:00 – 11:30 PANEL FIVE: THE GLOBAL PICTURE
Claudia Wegener, Noel Lobley, Ernst Karel
- 11:30 – 12:00 TEA BREAK AND Q&A
- 12:00 – 13:00 PANEL SIX: RADIO AND SOCIAL CHANGE
Patrick McGinley, Colin Black
- 13:00 – 14:00 LUNCH
14:00 – 15:00 PANEL SEVEN: COMPOSITION AND FIELD RECORDING
Paul Whitty and Efthymios Chatziggianis
- 15:00 – 15:30 TEA BREAK AND Q&A
15:30 – 17:00 PANEL EIGHT: MAPPING THE SOUNDS
Peter Cusack, Udo Noll and Doug Rouxel
w/ eran sachs & alex drool
thursday, 4 april
hanut 31 gallery
hanut 31, jaffa
האירוע הראשון של פריימט ארינה בחנות מארח את אמן הסאונד פטריק מגינלי (ארה”ב\אנגליה\אסטוניה) להופעה וסדנא.
הסדנא תתחיל בסביבות 12:00 בחנות (העליה 31) ותמשך בין 4-6 שעות. היא יותר ממומלצת והיא בחינם!!!
ההופעות יתחילו ב20:30 והכניסה תעלה מחיר סמלי.
כבר כמעט עשרים שנה שפטריק מגינלי מסתובב בעולם ומקשיב. מקשיב לרחשים הקטנים, אוסף סאונדים חמקמקים, מקליט ומייצר סאונדים במקומות לא שיגרתיים. את הידע הזה מגינלי מעביר הלאה – סדנא של מגינלי היא חווייה שמחדדת את השמיעה לניואנסים עדינים ומשנה לנצח את האופן בו אנו מבינים סאונד ומשתמשים באוזניים. הסדנא שלו בגלריה החנות תוקדש ללימוד הפוטנציאל הסונורי של חלל הגלריה ותסתיים בערב בהופעה של מגינלי עם משתתפי הסדנא.
האמנות של מגינלי סובבת סביב הקלטות שטח. בשנים האחרונות אנחנו נחשפים יותר ויותר לאמנים כאלו, שעובדים עם הקלטות שטח. חלק בטח זוכרים את הביקורים של דייב פיליפס ופרנסיסקו לופז בישראל. בעולם יש קהילה כזו, והיא הולכת וצוברת השפעה.
למגינלי יש מקום של כבוד בהתפשטות של התחום. בשנות ה-90 מגינלי יסד את תחנת הרדיו הלונדונית ResonanceFM, שמוקדשת לאמנות רדיו ונקלטת בכל רחבי לונדון בתדר 104.4. כמו האחות האנינה של wfmu הניו יורקית, רזוננס אפ.אם מוקדשת לדברים היותר הרפתקניים שניתן לעשות עם רדיו והיא זרוע הרדיו של הירחון The Wire. מגינלי, שעזב את לונדון ומתגורר כיום באסטוניה, עדיין מגיש תכנית רדיו שבועית בשם Framework radio, שמוקדשת להקלטות שטח.
מגינלי מופיע תחת שם הבמה Murmer. הוא הוציא ריליסים בלייבלים כגון Drone, Helen Scarsdale Agency (הלייבל של ג’ים היינס מאווקריטס רקורדז), Ground Fault, Absurd ועוד. המוסיקה שלו תמיד רוחשת, חיה, מהפנטת, מלאה פרטים סונוריים ושואבת את המאזין למישורים אחרים.
הערב יפתח בהופעה משותפת של פטריק מגינלי עם אלכס דרול וערן זקס (Primate Arena).
friday, 16 nov.
BUILDING 30 Suite 106
Brooklyn Navy Yard
directions: enter at the Clinton Ave & Flushing Ave gate, ask for Building 30 Suite 106 at the guardhouse, they will direct you. a BNY map link and directions can be found here.
RSVP: via FB, btovsky (at) gmail (dot) com or 917.674.6647
after a long hiatus we are pleased to announce the first of a new series of events:
MURMER (SOUND) + BRUCE TOVSKY (VISUALS)
BEN OWEN (SOUND) + ANA CARVALHO (VISUALS)
for patrick’s set all sounds used are prerecorded in the space itself or it’s surroundings, or generated live from local found objects. patrick is using this process for each of the performances he is giving on this tour. we will be doing a soundwalk around the navy yard the day before, collecting sounds, and in my case visuals, to be presented during the performance.
106BLDG30 is curated by Bruce Tovsky & Tracy Wuischpard
saturday, 10 nov.
10 channel center street
$10 suggested donation
Join Studio Soto for an outstanding evening of rare performances by American expat sound artist Patrick McGinley (aka murmer), and the renowned duo Nmpreign (Bhob Rainey and Greg Kelley), along with the sterling Ernst Karel.
Patrick McGinley (aka murmer) is an american-born sound, performance, and radio artist who has been based in europe since 1996. since then he has been building a collection of found sounds and found objects that has become the basis of all his work. in 2002 he founded framework, an organisation that produces a weekly field-recording themed radio show, broad- and podcasting around the world. in 2005, he began working closely with the artist-run organisation MoKS in southeast estonia, relocating there permanently in 2009.
nmperign began in 1998 as the trio of Greg Kelley (trumpet), Bhob Rainey (soprano saxophone) and Tatsuya Nakatani (drums and percussion). This line-up recorded the group’s debut CD, and toured the US before Nakatani left to pursue solo work. As a duo, Kelley & Rainey forged a unique style of improvised music informed as much by electronic music and noise as by the traditions of classical music (which Kelley studied at the Peabody Conservatory in Baltimore), modern composition (which Rainey practiced at the New England Conservatory), punk, and free improvisation. The duo toured extensively in the late 90s and early 00s, highlights of which were documented on a CD published by Ralf Wehowsky‘s Selektion label. They would hone the nmperign sound to a sharp point that would bring them into contact with people who would become frequent collaborators: Gunter Mueller, Axel Doerner, Andrea Neuman, Jerome Noetinger, Lionel Marchetti, Damon & Naomi, Le Quan Ninh, and most importantly Jason Lescalleet, with whom they would record two albums as a duo, and each work on an album with individually. — from Intransitive Recordings
In his audio projects, Ernst Karel works with analog electronics and with location recordings, sometimes separately, sometimes in combination, to create pieces that move between the abstract and the documentary. As an improvisor and performer on trumpet and/or analog electronics, or as a composer, he has participated in recordings released on and/OAR, Another Timbre, BoxMedia, Cathnor, Dead CEO, Formed, Kuro Neko, Locust, Lucky Kitchen, and Sedimental record labels, among others.
tuesday, 6 nov.
the center for the arts galleria
2400 chew st.
as part of playaround 2012
The technology required for exploration of our sonic environment (digital sound recorders, microphones, editing software) is now readily available and affordable, but the most important and powerful tool we have is often overlooked: our ears. In this workshop we will return to this most basic hardware and explore perception via listening itself, in a detailed consideration of our surroundings via sound. Although we will of course make use of the technology available to us, our focus will be on the act of listening itself in an attempt to gain a greater understanding of what is arguably our most important sense.
We will explore both active and passive soundscapes: passive through the act of field recording, as we explore the obvious and hidden sounds of small spaces in an exercise called ‘one square meter’, in which participants will find and document different sounds, resonances and perspectives from within a defined radius, and active through improvisational sonic explorations as we create unamplified group performances in found spaces using only the materials found therein. In this way we will give voice to spaces whose resonances may otherwise remain silent.
- durational listening: One of out first exercises will be to explore our own perception of sound through an extended session of listening to field recordings and found sound. We will explore and discuss perceptions of time and space and how they are affected by sound, notions of self-awareness, sensitivity to certain types/qualities of sound, and identification vs. anonymity of sound.
- one square meter: Participants will choose a small defined space, natural or urban, and explore it’s sonic aspects in detail through various recording techniques (normal microphones, contact microphones, hydrophones, miniature microphones inside objects, etc), making an extended sonic survey of a small space. For an example see this Maribor, Slovenia location on the aporee soundmaps.
- active/passive blind soundwalks: Participants will lead and be led through various environments with eyes closed, both through the existing soundscape of our natural environment, and through our own created soundscapes which we will construct through our acoustic improvisations and explorations. In this way we explore the intensity and detail of listening to an environment without seeing it.
- revenant actions: for the ‘active’ portion of our workshop, we will choose locations and explore them sonically through intervention/interaction with the space. All spaces have resonance and materials, and we will examine what sounds we can eek out of a space using only the material found there and a collection of ‘resonant aids’, such as instrument bows, rubber mallets and sticks, etc. Tones from rubbed windows, bowed metal, percussive hollow objects, textures from dried leaves – these are just a few examples of what can be found in a chosen space. For more information on the revenant project, see http://www.revenantsound.net
In the end we will have a collection of field recordings and site specific performances that will be a document of our explorations.
udo noll (de)
with patrick mcginley (ee),
support by ana pečar, petra kaps & andrej hrvatin (si)
KIBLA, Ulica kneza Koclja 9
udo noll and patrick mcginley talking to carsten stabenow (de)
radio aporee is a platform for artistic research of concepts and practices in the field of sound, location and their specifications in space. two terms, periphery and resonance, build the main focal foundation, bound to sound and space and also to social and communicational viewpoints. the term periphery can be defined as a spatial or qualitative differentiation, as movement away from the centre, towards the borders. at the same time, every conscious perception builds peripheries, where the main focus lies in the centre of those peripheries. the term resonance defines two poles: the answer of the place or of the opposed to our mere presence or address, in contrary to the resulting muteness. do we succeed in establishing a fruitful relationship with the surrounding world or are we left out? field recordings as the main source and method of the willing approach towards places and situations can be read as communicative relationships: the recorded sound is, at best, the answer to the question, defined by our search and approach. in this case, resonance is the stroke of luck, where a contact with space and the world is established. conscious listening is the key and the access point to an intensified reception and experience of the surrounding world.
w/ the authors of mitte tartu
tuesday, 8 may
“Mitte-Tartu” on psühhogeograafilis-hallutsinatoorne proosakogumik.
Kogumiku esitlus leiab aset teisipäeval, 8. mail kell 19 Y-galeriis.
“Mitte-Tartu” lugeja tutvub selle osaga Tartust, millele ‒ olgu teadlikult või mitte ‒ tavaliselt tähelepanu ei pöörata. Hiinalinna garaaživohang, Variku autoviadukt, Emajõe põhi, linna ümbritsevad võsad ja luhad. Grafiti sildade all. 17. sajandi lapse luukere Meltsiveski tiigis. Küütri tänava metroopeatus.
“Mitte-Tartu” esitlusel Y-galeriis loevad katkendeid oma tekstidest raamatu autorid Anti Saar, Berk Vaher, Joanna Ellmann, Aare Pilv, Tanel Rander (ehk ChanelDior), Lauri Pilter, Meelis Friedenthal, Sven Vabar, Jaak Tomberg, Kaja Pae, andreas w ning võibolla ka Mehis Heinsaar ja Erkki Luuk. Maarja Pärtna on ka kohal, aga tema teksti loeb keegi teine. Kiwa kahjuks sõidab seeaeg ära Rootsi.
Autorite taustaks laseb keskkonnahelisid Mitte-Tartust murmer (Patrick McGinley).
Tanel Rander näitab esitlusel ka, kuidas meie siin Baltikumis mamaligat lõikame. Mamaliga on traditsiooniline idaeuroopa maisipuder. Nii et esitluse külastajad saavad ka kehakinnitust. Muideks on „Mitte-Tartu“ esitluse ajal Y-galeriis üleval Taneli näitus „Decolonize This“, mis tegeleb Eesti ja Tartu idaeuroopa identiteediga; mõned fotod ja videod näitusel on üles võetud mitte-Tartus.
„Mitte-Tartut“ illustreerivad Kaja Pae arvukad fotod kõigist neist Tartu mitte-kohtadest. Kogumiku koostas Sven Vabar ideeidu põhjal, mille Berk Vaher talle pähe pistis.
Kujundas Mari Ainso.
Toetasid Eesti ja Tartu kulka, kirjandusfestival Prima Vista, Eesti Kirjanduse Selts ja EKL Tartu osakond.
w/ udo noll
opening of the permanent urban sound installation crosstalk: tartu-berlin soundbridge, a collaboration between udo noll and patrick mcginley commissioned by the goethe institute and domus dorpatensis for the 2012 edition of tartu’s saksa kevad festival.
In former telephone networks, the term crosstalk (in German: Nebensprechen, Übersprechen, Einstreuung) described a form of audible disturbance during a a call, often fragments of other calls, network noise or voices. What was considered to be an error, from a technical point of view, was experienced as an almost poetic moment by others: a spatial short-circuit, an unexpected encounter, an intimate touch by sound or a spoken word, the unfolding dimensions of a telecommunication network, whose specific sounds are a topos of it’s own, synonymous with wide distances, and close personal relations.
Here’s how it works:
Sounds from Berlin are pinpointed on a virtual map of Tartu. While you walk around town, your phone is permanently tracked by its built-in GPS (or global positioning system). The moment-by-moment positioning interacts with the Radio Aporee Miniatures for Mobiles App. Depending on where you are, the nearest sound from the virtual Tartu map will begin to play. As you move closer to a different sound, it crossfades with the previous one, and so on. If you leave a sound, it remembers where you’ve left off, and will continue from that point if you return. The crosstalk miniature has no prefered direction, just go where you like and use the map for navigation.
Beware: as you may know already, computers sometimes crash and phones sometimes loose their connections. so, if things hang or produce strange results, try restarting the app and start again.
Enjoy your walk!
w/ alexei borisov & toorete helide süntesaatorisalong
tuesday, 1 may