logo image
::: news :::

::: ruben guzman short films :::

i am extremely honored to announce that the amazing experimental documentary filmmaker rubén guzmán, from patagonia, has made two short film clips inspired by and featuring sounds from my upcoming LP release on gruenrekorder, songs for forgetting. i can’t recommend his work enough – if you have a chance to see any of his films, take it.

more about his work can be found here.

Screenshot 2016-05-18 17.53.43

::: 2016.05.21 ::: jyväskylä, fi :::

::: performance @ taavettilan riihi & talk @ ti-la 2016 :::

saturday, 21 may
performance: 17:00
seminaarinkatu 15
talk: 19:00
kauppakatu 19
both free entry

Pixelache visits Jyväskylä and its’ Yläkaupungin Yö -festival 21. of May. The program of the visit reaches also to the neighbouring municipality, Petäjävesi. The program is based on the Pixelache Festival 2015 – Living Spaces, organised in Helsinki in autumn 2015. The festival explored the thematics of cultural decentralisation.

From Pixelache 2015 – Living Spaces program, sound artist murmer (Estonia/US) will bring his ‘Echo Surveys’ sound art performance to Jyväskylä in Taavettila riihi (the oldest wooden building in Jyväskylä, Seminaarinkatu 15, Jyväskylä) at 17-18. All the sounds in the performance will be produced by the materials found in the Taavettila riihi or are pre-recorded in the same space. Murmer wants to create an unique and straight-forward connection to the space and the audience as well as maintain an aspect of risk or surprise in his performances. ‘Echo Surveys’ can be experienced as a performance or as a pop-in-out sound installation.

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Visual artists Johanna Juvonen and Biagio Rosa lead (S)low communication -workshop in Toinila (Koulutie 8, Petäjävesi), Petäjävesi at 12 – 15. Communication and distortion of messages are explored in this open-to-all low tech art workshop. The workshop will include building slow communication tools and network from recycled materials for the Toinila art path.

Patrick McGinley (murmer) and Johanna Juvonen & Biagio Rosa talk about their work in ti-la 2016 -gallery (Kauppakatu 19, Jyväskylä) the same night at 19-21. Pixelache 2015 – Living Spaces Festival co-director John W. Fail will talk about the festival. The co-directors of the 2016 Pixelache Festival Interfaces for Empathy -festival Mari Keski-Korsu and Petri Ruikka will talk about Pixelache theme for this year. Pixelache 2016 – Interfaces for Empathy festival will bring program to Jyväskylä in November 2016.

The sound performance, workshop and other program is realised in collaboration with Live Herring Ry, Yläkaupungin Yö, Petäjävesi municipality and ti-la 2016 -gallery. Live Herring Ry. produces (S)low communication workshop in the context of ‘Placing Media Art on the Map’ -project.

Detailed program

At 12-15 Johanna Juvonen and Biagio Rosa: (S)low communication workshop in Toinila, Petäjävesi (Koulutie 8, Petäjävesi). The workshop is free of charge and suitable also for kids. Children under 7 years can take part together with their parents. The workshop has max 20 participants. Register to participate by sending email to info@iveherring.or or calling 050-305 3540 before 12.5. There’s an effort to organise shared rides to the workshop from Jyväskylä.

At 17-18 Sound artist murmer’s (Estonia/US) Echo Surveys sound performance in Taavettilan riihi (Seminaarinkatu 15, Jyväskylä).

At 19-21 Pixelache presents itself ti-la 2016 gallery (Kauppakatu 19, Jyväskylä)

Murmer from festival 2015 program will perform also in Rovaniemi 7. of May. The visit to Rovaniemi is organised in collaboration with Magneetti Ry. The collaboration in between Pixelache, Live Heriring and Magneetti will continue in autumn 2016 when program of Pixelache 2016 – Interfaces for Empathy will tour both Jyväskylä and Rovaniemi. The events are supported by Finnish Cultural Foundation.

::: kickstarter campaign launch! :::

i am very excited to announce the one of my favorite record labels, gruenrekorder in germany, has launched a kickstarter campaign to raise the funds to release my first full-length solo release since 2012, songs for forgetting. i know i can count on the support of listeners, friends and family to help make this happen. please help spread the word!

some words from gruenrekorder:

Gruenrekorder proudly presents songs for forgetting by Patrick McGinley AKA murmer.

To make this project come true we need your support on Kickstarter.

Since 2007, Patrick McGinley, AKA murmer, has been working on what will become his first full-length solo release since 2012: songs for forgetting. In 2016 Gruenrekorder will release these 45min of great field recordings from Germany, France, Spain and Estonia as a vinyl LP.

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The project has a unique story:

The ca. 45 minutes of recordings are going to be released on a 180g heavy vinyl. Delivered with a unique sleeve, produced by friends and supporters of the artist Patrick McGinley, the whole project supporting a creative community in Estonia, where Patrick lives with his family. The outer sleeve, designed by the Armenian illustrator Vahram Muradyan, will be produced from 100% locally-sourced recycled card from the oldest continuously-operating industry in the country, the Räpina Papermill, and will be printed, locally as well, on the historical machines at studio.tartuensis.

For more information about this great project please visit our Kickstarter page!

We need your support to make this project happen!

We are aiming to create an artwork as visually worthwhile as the audio it contains. This involves paper, vinyl, printing, love and time. For it to be worthwhile, we need to know there is an audience for a physical release in these days of digital, online media. By backing this project you help to bring it into the world. Without your support and appreciation, it just can’t happen.

By supporting our project you will receive amazing rewards, like the record itself, a handmade designed tote-bag, a special self-made item from Patrick’s home in Põlgaste…

Curious?

Visit Kickstarter and support this really great project, so we can make an object that looks and feels as good as it sounds.

THANK YOU FOR YOU SUPPORT!

::: 2016.05.07 ::: rovaniemi, fi :::

::: talk @ napa-gallery & performance @ värinä gallery :::

saturday, 7 may
talk: 14:00
Kairatie 3
performance: 18:00
Valtakatu 19
both free entry

As a part of Pixelache 2015 Living Spaces festival touring program, sound artist murmer (Estonia/US) perform in Rovaniemi on the 7th of May. Murmer will bring his ‘Echo Surveys’ sound art performance to Culture House Valsa, soon to be torn down house in the centre of the town. All the sounds in the performance will be produced by the materials found in the Valsa house or pre-recorded in the same space. Murmer creates a unique and straight-forward connection to the space and the audience while maintaining an aspect of risk or surprise in his performances. ‘Echo Surveys’ can be experienced as a performance or as a pop-in-out sound installation.

Patrick McGinley (murmer) talks about his work in Napa -gallery the same day at 14 – 16. Pixelache 2015 – Living Spaces co-director John Fail will tell about the 2015 festival, as well as the co-directors for year 2016 Interfaces for Empathy -festival, Mari Keski-Korsu and Petri Ruikka, will talk about the theme for this year’s festival. Pixelache 2016 – Interfaces for Empathy festival will bring program to Rovaniemi again in November 2016.

murmer-wires-normandy

The program is produced in collaboration with Pixelache, Northern Media Culture Association Magneetti ry, Napa-gallery and Culture Association Valsa.

Detailed program
At 14-16 Murmer and Pixelache in Napa-gallery (Kairatie 3, Rovaniemi)
At 18-19 murmer’s ‘Echo Surveys’ -performance in Culture House Valsa (Valtakatu 19, Rovaniemi)

Murmer from festival 2015 program will perform also in Jyväskylä 21. of May. The visit to Jyväskylä is organised in collaboration with Live Herring Ry. The collaboration between Pixelache, Live Herring and Magneetti will continue in autumn 2016 when program of Pixelache 2016 – Interfaces for Empathy will tour both Jyväskylä and Rovaniemi. The events are supported by Finnish Cultural Foundation.

Northern Media Culture Association Magneetti ry is an organisation which gives exposure to northern artists and connects them to the international art world. Our foundations lie in internationalism and professionalism. Magneetti was set up in 2005 by Jetta Huttunen, Minna Rainio and Mark Roberts.

::: 2015.11.26 ::: london, uk :::

::: performance/presentation @ london college of communication :::

thursday, 26 november

Patrick will be presenting, in the context of his approach to field recording and environmental sound at large, sounds and images from the Räpina Papermill, the oldest continuously-operating industry in Estonia, where he had been recording and filming extensively over the past few years for various projects, in particular the upcoming documentary film ‘The Mill’ with collaborator Daniel Allen.

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::: 2015.11.24 ::: oxford, uk :::

::: presentation @ playground :::

w/ debbie fieldhouse & christopher morley

tuesday, 24 november
19:00
arts at the old fire station
40 george street, oxford
free

Ep.25: The one with Sonic Bicycles, Documentaries from Estonia, and collaborative music making

Less than a week to go until some of the most exciting and fresh off the oven art projects are coming to an arts centre near you!

Tuesday 24th November, 7pm at the Gallery of Arts at the Old Fire Station Playground will be bringing you…..

Debbie Fieldhouse, straight out of the Contemporary Arts MA at Oxford Brookes, will be bringing her wondrous “Velophones” for you to experience up close! Do you like bikes? Do you like sounds? You should be getting very excited about this one! Some of Debbie’s work https://vimeo.com/user17376793

Patrick McGinley (aka Murmer) who some of you might have seen using the Hollywell Music Room as a percussion instrument in last year’s Audiograft festival, will be showing the makings of his recent documentary film, about a Peppermill in Southeast Estonia. His site: http://www.murmerings.com/

Christopher Morley (aka Crusoe) is a musician and composer who likes getting people to collaborate by adding and/or changing his music in real-time! Get your music loving fingers into that pie! Ie: https://soundcloud.com/the-diplomatic-core/satans-clans-are-coming-to-town-28102015

See you on Tuesday! Don’t forget to bring your curiosity, playfulness and of course your Instant Noodles!

Play nicely

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::: 2015.11.17 ::: london, uk :::

::: presentation @ goldsmiths :::

tuesday, 17 november
17:00
cinema, richard hoggart building
free

Music Research Series and SPRS present:
Patrick McGinley, AKA murmer
One Square Meter: Small Scale Sonic Exploration

McGinley presents his experiments in small-scale sonic exploration.

We will examine and discuss perspective, perception, attention and focus through sonic surveys of small or unexpected spaces, as in his ongoing projects ‘One Square Meter’ and ‘Hidden Sounds’.

The Music Research Series is designed to help postgraduate students advance their research and careers. The events stimulate exchange, hones skills, facilitates the creation of professional networks and helps to consolidate the department’s postgraduate community, all over a glass of wine! Attendance is strongly recommended for all postgraduate students (MA, MMus and PGR) in Music but of course undergraduates, music researchers, and visitors from across the college and the community are also most welcome to these public lectures.

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::: echo surveys for living spaces :::

::: 2015.09.27 ::: helsinki, fi :::

::: performance @ krunan keikat :::

w/ adam cadell & film: talousennustajat

sunday, 27 september
15:00
krunan mestassa
meritullinkatu 6

Krunan keikka #13

Syyskuun lopun Krunan keikalla, klo 15 alkaen –
Äänitaidetta sekä sooloviulu:

MURMER (Patrick McGinley, USA/Viro)
ja
ADAM CADELL (Australia)

Dokumenttielokuva:
TALOUSENNUSTAJAT (ohj. Reetta Huhtanen, 2015)

Ruokaa:
KANTTARELLIKEITTOA

Tapahtuma on osa Pikseliähky-festivaalia,
vapaa pääsy!

(vuoden 2015 Krunan keikkoja tukee Helsingin kaupunki)

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::: work-in-progress: the mill :::

IMG_3274

since 2009 i have been working with the local räpina paper factory for the handmade sleeves that have housed the various framework editions releases, culminating with framework500, which not only used paper made there, but featured recordings of that paper being made. during the recording sessions for framework500 i couldn’t help but think that what really needed to be made at the mill was a film.

since early summer 2015, my friend and collaborator daniel allen and i have been recording the paper mill in all it’s surreal, other-worldly glory, and we now think we have what we need to make our film about this incredible space.

the film will take us some time still; in the meantime, we have put together this 3-minute teaser with some of our footage. we’d be very happy to hear any comments you might have! hopefully we can get the final product finished by the end of 2016.

::: 2015.09.26 ::: helsinki, fi :::

::: performance @ pixelache 2015: living spaces :::

saturday, 26 september
18:00
meets at Käntöpöytä
Tallikatu, Pasila
free

group improvisational acoustic walkabout performance in the pasila railyard, showcasing the work done during the echo surveys for living spaces workshop, as part of pixelache 2015: living spaces

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::: 2015.09.21-24 ::: helsinki, fi :::

::: workshop @ pixelache 2015: living spaces :::

monday, 21 – thursday 24 september
11:00 – 17:00
Kääntöpöytä
Tallikatu, Pasila
free

Echo Surveys for Living Spaces

Echo Surveys will be a sonic exploration of, and interaction with, a series of found spaces around the city of Helsinki. We will focus our activity on improvised sonic actions in which we attempt to give voices to our locations by producing sound using only the space itself and objects found therein (tools for resonance – mallets, bows, etc. – can be used). Participants will develop their attentive listening skills while learning to find sonic potential in everyday materials. No artificial amplification will be used, but our explorations will be documented for later examination, presentation, and discussion. Our work will be presented publicly towards the end of the festival as a series of live site-specific group acoustic performances. The workshop is led by Patrick McGinley (US/EE).

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METHODOLOGY
The workshop will begin with an extended listening session and discussion centering on environmental sound, attentive listening, and sonic perception. We will then move through a series of exercises and games designed to draw attention to the perceptive possibilities of listening and of sonic interaction with a space and a group. From day two we will begin exploring a preselected group of locations, developing techniques of interaction and improvisation that will lead to a public performance in each space. Participants are encouraged to recommend spaces that they think may be appropriate for our explorations around the city, particularly spaces that are in the Pasila district. They are also encouraged to bring any resonating tools they may have that would be useful in our activities: old violin bows, drumsticks, rubber mallets, etc. No prior sound or music experience is necessary, all that is necessary is a good set of ears and a willingness to listen carefully and respond.

DETAILS
The workshop will meet daily at Dodon Kääntöpöytä, in Pasila Railyard, from 11:00 until 17:00. The workshop will be mostly mobile, in the chosen locations, but will return to Kääntöpöytä at the end of each day for review. On Saturday at 18:00, the workshop will present and perform to the public, and this performance will also begin at Kääntöpöytä.

A pre-festival interview conducted by Pixelache can be found here: http://livingspaces.pixelache.ac/posts/interview-with-patrick-mcginley-murmer

Echo Surveys is co-sponsored by Âänen Lumo/Charm of Sound.

::: framework500 :::

500sleeve

framework editions is proud to announce it’s latest release, framework500, produced in celebration of the 500th(!) edition of my long-running radio show, framework, which premiered on sunday, february 22nd, 2015.

to celebrate this important moment in our history, we are publishing this new 3-disc compilation. we invited the artists who participated in our first release, framework250, to return with a new work. we are proud to present those works here, slow burnt onto the highest quality CDRs, and housed in a beautiful origami sleeve made from locally produced recycled stock from räpina paberivabrik and letterpressed on the historical machines at studio.tartuensis.

what’s more, we have had the amazing opportunity to be present for both the production of our very own paper stock, and its printing, and have thusly been able to include on the release recordings of both of these processes. so you can hold framework500 in your hand while you listen to the sounds of the paper you are touching being made and the words you are reading being printed. many, many thanks to mihkel peedimaa and lemmit kaplinski for making this possible. we are very proud to be able to produce this object with local materials in collaboration with local artisans.

framework500 is available to framework supporters in exchange for a minimum donation of 40€, via the framework website. framework is a 100% volunteer effort, and we rely on listener support to be able to continue. please support your favorite radio show today!

click here for further info, images, and sound recordings from räpina paberivabrik and studio.tartuensis, or to donate and order your copy via the paypal buttons on the right.

of course this project would not have been possible without the participation and good will of all the artists.
many thanks to them, once again, for making it happen.

full tracklist:

::: 2014.11.11 ::: cambridge, usa :::

::: presentation @ harvard university :::

tuesday, 11 november
harvard university
15:15
free

i have prepared a playlist of recordings made with ‘extended’ recording techniques (contact microphones, hydrophones, etc) for the group to explore and discuss before i reveal their origins. i will also be showing the mics i use and explaining their construction and use and how i think about them in my work. if we have time we’ll also try them out in/around the lecture room.

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::: 2014.07.26 ::: kaluka, ee :::

::: performance @ non-existent villages :::

w/ villem jahu & derek holzer w/ marco donnarumma

saturday, 26 july
departing tartu @ 12:00, võru @ 14:00

The project of non-existent villages deals with culturally organized areas of landscape and activates spaces where human habitation has ceased. These villages are considered as null pointers; those points existing on maps and in cultural memory but which have lost the objects being refered to. The exhibition connects the villages in question conceptually and/or technologically to the exhibition space, links proto machines and/or rural symbols to contemporary technological culture.

Participating artists excavate embedded meanings in these culturally changing environments and search for intersections of traditional and contemporary cultural practices.

The closing event, a joint tour, takes place on SATURDAY 26th of July starting 12:00 from Tartu / 14:00 from the Võru City Gallery and passing by all the installations in the landscape, also featuring sound performances by Derek Holzer + Marco Donnarumma, Patrick McGinley and Villem Jahu.

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::: 2014.07.24 ::: kiila, fi :::

::: performance @ kiilan kansainväliset äänipäivät :::

w/ keränen & jookla

thursday, 24 july
16:00
kiila beach & westers café
kiila, finland
10€

Kiila International Sound days.
Jooklo duo (IT), Murmer (Patrick McGinley) (US/EE) and Tommi Keränen (HKI).
Murmer 16:00 at the beach
Tommi Keränen 18:00 at Westers
Jooklo 20:00 at Westers

2014-07-24 13.58.09

::: 2014.07.19 ::: varbuse, ee :::

::: presentation @ eesti maanteemuuseum :::

saturday, 19 july
16:00
eesti maanteemuuseum
vana postitee
varbuse

presentation of my (light-hearted) project mushroom(ears) in the context of the estonian road museum’s road art festival, about the use of a quasi-jecklin disk recording set-up to record sounds from the perspective of mushrooms in the ihamaru forest just off the historical tartu-võru postal road where the museum is situated.

each recording was made from the perspective of the pictured mushroom, with a pair of small-capsule omnidirectional microphones placed on the mushroom cap as ‘ears’, with stereo separation created with a cardboard and felted-linen semi-circular barrier, amounting approximately to one-half or a jecklin disc. observations: at this time of year, mid-july, bird sound is low in the forest, leaving more space for distant sounds and insects. as such, i would like to repeat the experiment with a lower-noise microphone. also, the black windshields seemed to attract insects – a more neutral color would be preferable. here are three examples:

puravik (bolete):
2014-07-17 14.09.35

kitsemampel (gypsy mushroom):
2014-07-17 14.44.29

kukeseen (chanterelle):
2014-07-17 15.33.11

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::: 2014.06.09 ::: jaffa, il :::

::: performance/presentation @ hanut 31 :::

monday, 9 june
19:30
hanut 31 gallery
hanut 31, jaffa
free entry

early evening artist talk, listening session and discussion.

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::: 2014.06.08 ::: jerusalem, il :::

::: performance/presentation @ ha-mazkeka :::

sunday, 8 june
19:00
ha-mazkeka
shoshan 3
jerusalem
20₪

early evening artist talk, listening session and discussion.

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::: 2014.05.25-27 ::: al-bireh, ps :::

::: workshop @ orient & dance theatre :::

sunday-tuesday, 25-27 may
14:00-18:00
orient & dance theatre
16 nablus road
al-bireh
free entry

Field Recording and Ephemeral Listening

So much technology is associated with sound-work and field recording, but in this workshop we will begin with the first and most important piece of equipment: the ear. We will focus on the act and art of listening, exploring perception and the effects of sound through extended listening sessions, soundwalks, and exercises that will warm and sharpen our ears. A strong focus will be placed on environmental listening, and the development of the ear toward detailed sonic perception. Only from this new position or aural attention will we explore different microphones and recording techniques, as we embark on a group recording expedition that will make it clear that a sharp ear can make amazing recordings with any kind of equipment, while the best equipment in the world can do nothing with an inattentive ear.

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  • Day 1: extended listening session of endemic and exotic sounds, exploration of active and passive field recording, discussion
  • Day 2: participatory sound exercises, ‘alternative’ methods of field recording, blind and sighted group and individual soundwalks and soundsits, discussion
  • Day 3: field recording techniques and technology, group recording excursion, closing listening session, discussion

Patrick McGinley is a sound, radio, and performance artist who has been living and working in Europe (currently Estonia) since 1996. He works primarily with found sound, found objects, and site-specific sonic interactions. He also produces a weekly field-recording themed radio show which recently celebrated it’s 11th anniversary. He frequently teaches and leads sound workshops, group actions and experiments.

::: echo surveys :::

::: murmer ::: echo surveys :::

::: murmerings ::: web ::: 2014 ::: download :::

in 2012 i began a new series of performances which i call echo surveys. the premise is straightforward: each is entirely unique and site-specific; all sounds heard are either produced live from materials found in the space, or have been prerecorded there during a pre-performance reconnaissance visit. this is an attempt to retain a specific and direct connection with each space and each audience, and to retain a sense of risk associated with each performance.

these first three experiments occurred during a visit to the eastern united states in the fall of that year. each had it’s particularities: the first was in the galleria of the baker center for the arts at muhlenberg college, in allentown, where i was given permissions to ‘play’ the harry bertoia kinetic sculptures which are on display there. the second was in my hometown, boston, where a very sparse performance space proved to be quite a challenge for finding sound sources. and the third, at bruce tovsky’s space in the brooklyn navy yards, expanded outwards, as the exceptional environment and visual collaboration with bruce led us to make our initial recordings, not just in the performance space, but all around the navy yard. for the performance bruce’s film was screened, accompanied by found sounds from the yard mixed with the live playing of found materials in the space.

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while usually i am not partial to publicly releasing recordings of my live performances (as they generally don’t make sense without the immediate connection to space and audience), i like having the ability to compare these three very different outcomes of this experiment, and to draw attention to bruce’s great filmwork. you can hear the three performances streaming above (sound only), or watch bruce’s film with my sound below.

“BROOKLYN NAVY YARD came about incredibly quickly. When I heard that Patrick, who is based in Estonia, was coming through Brooklyn on a brief U.S. tour I knew that we had to do something together at my space in the Brooklyn Navy Yard. Patrick’s work is very much an exploration of site-specific sound and sound as definition of space, and the Navy Yard was the perfect urban subject; a sprawling 150-year-old Navy Yard undergoing a transformation into a modern industrial village on the Brooklyn waterfront. I myself am both a life-long phonographer and visual artist, and have done many pieces that explore the visual and sonic resonance of urban spaces. I had long wanted to do a piece in and about the Yard and this seemed to be the perfect opportunity. Due to our tight schedules we decided to spend one day gathering material in the Yard and then present it in a live sound with video performance in the studio. I led us through the Yard and Patrick chose specific places to sonically document, using both standard microphones and large contact mics. I set up my camera positions, sometimes including him recording or listening, sometimes not. We had the freedom to roam as we pleased – as a tenant I have full access within the Yard. After several hours of accumulation, we each spent the night and next day organizing and editing what we had gathered. The next evening we reconvened at the Yard and gave the performance: Patrick mixed sounds drawn from the previous day with explorations of the studio itself for sound potential – he had positioned several contact mics on various structural elements in the space, and used them to haunting effect. The groans and wails echoed the sounds created by the huge cranes used in the Yard’s dry-dock facilities. I screened the edit I had made of the prior days outing on a large 6’ x 8’ video screen I keep in the space. We had a capacity audience – 30 or so people – and as is our usual method had a post-performance discussion, which this time was particularly rich and informative. I record the sound at these events with both direct feeds from each performer and with a custom-made binaural dummy head, and then do a balance between them in the final mix – often in a 4.1 mix. I later combined the video piece with the mixed audio to create this standalone piece, an encapsulation of our effort to capture and examine a slice of this historic, fascinating space.” – bruce tovsky, 2014

::: 2014.03.20 ::: london, uk :::

::: solo performance @ sprawl :::

w/ steve beresford, blanca regina, jack goldstein, matthias kispert & iris garrelfs

thursday, 20 march
19:00
TROYganic
132 Kingsland Road
£5/£3 concs

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.

further details on the sprawl website here.
facebook event here.

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::: 2014.03.13 ::: oxford, uk :::

::: performance w/ felicity ford @ audiograft :::

w/ liminal, sybella perry & jd zazie

thursday, 13 march
19:00
holywell music room
holywell street
oxford
£5

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.

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::: a quiet position: form​(​at​)​, flora and fauna :::

:::  murmer: tape found on my mother’s dashboard :::
::: from a quiet position: form(at), flora, and fauna :::

::: engraved glass ::: mp3 ::: 2013 ::: download :::

i have contributed a piece to an online compilation on jez riley french’s a quiet position series on his engraved glass imprint, focused on sounds originally recorded on cassette tape.

this proposal became an exercise in memory for me. audio tape is not a medium i think about much in and of itself – i never recorded onto tape, but began when minidisc became affordable in the late 90’s – but it was very present in my life before my own recording began. i had a tape collection, both store-bought and dubbed records or cds, throughout high-school and university, and still associate, for example, some albums with others simply because they shared space on a single 90 minute cassette. so the object remains evocative to me, even if the medium does not.

that said, if i do think about the medium, one or two memories come to me: the hours spent playing with a friend’s copicat tape delay above a pub in london, stringing extra-long tape loops all over the room; making tapes of jokes and stories alone and with friends throughout my childhood, the first being one my father recorded of me at about the age of 4; and this recording, which was a cassette tape that had been sitting on the dashboard of my mother’s car for goodness knows how long. i was living in london at the time, and she had become inspired by my new recording activities to herself record for me the spring peepers in the marsh behind her new england home.

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she found an old all-in-one tape recorder, and went looking for a tape to put in it. the only tapes she could think of were those in her car, which had likely been there, on the dashboard, in the sun, for years. she took one that she never listened to, popped it in the recorder, made a hissy, distant, but also lovely recording of her peepers, and gave the tape to me.

i was pleased enough to hear the peepers on one side of the tape, but when i flipped if over and listened to side b, the remains of whatever music she had originally copied there, burnt and warped by years of dust and sun and moisture, i was blown away. it was music that no one could have imagined, an alien static orchestra, with rhythms and cadences previously unknown.

i copied the cassette onto what would become another audio memory, a minidisc, attempted, if i recall correctly, to make some sort of composition out of it, never finished, and relegated it to the archive, where it sat more or less forgotten until this pinch sent me back towards my few magnetic-medium-related memories. i have long since lost that cassette, but i still have my minidisc archives, so when this memory arose i was able, with a little difficulty, to extract a recording of one obsolete bit of technology from another obsolete bit of technology, and present it on this obsolete-bit-of-technology-to-be.