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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.
thursday, 24 july
kiila beach & westers café
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
monday, 9 june
hanut 31 gallery
hanut 31, jaffa
early evening artist talk, listening session and discussion.
sunday, 8 june
early evening artist talk, listening session and discussion.
sunday-tuesday, 25-27 may
orient & dance theatre
16 nablus road
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.
- 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.
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 screemed, accompanied by found sounds from the yard mixed with the live playing of found materials in the space.
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.
a few months ago i found a small portable radio, dating probably from the 1980’s and made during soviet times, is a secondhand shop in the small village of mooste in southeast estonia. i have a thing for old radios, so i bought it, and it got me to thinking about the place of radio, not in this present world of internet streaming, podcasting and so forth, but in our past, and in our memories. i know i have distinct memories of radio, radio stations, djs, events, situations, and even places that i relate to radio from my own past, growing up in boston, during my student days in western massachusetts, all the way through my years at the resonance fm studios in london, and my attempts now to listen to estonian radio to improve my language skills. i wondered if this particular radio, alien to me but possibly familiar to estonians, might trigger memories for those around me, and i decided to find out.
the estonians interviewed were given the choice of speaking in their native language or in english; two chose estonian, and two english. i have left the estonian language untranslated in the audio itself – much of what is being communicated can be heard in the tones of their voices, and through shared vocabulary. that said, i am providing a written translation for the estonian language sections below.
It is, yes, made in USSR. It’s from Russian times. But with this one you couldn’t listen to Voice of America. This gets mediumwave and longwave. For Voice of America we used shortwave, 25, 31, and 49 meter bands. But this is… yes, with this one it should be possible… wait, let me check. It’s stuck in the bag. “Selga”; you see? It’s just as I thought, Selga. Produced in Latvia. Latvia made things like this. But let’s see which wavelengths it has – should be mediumwave and longwave. I had one just like this; I used to listen to German music with it. They played very good German music, on mediumwave. And it works? Yes, it’s got mediumwave and longwave. I used to listen to broadcasts in English on shortwave. We also had one of these Riga radios at home. They made a lot of these in Riga. All kinds of different machines. And then we also had a Radiotehnika, I used that one a lot too. I couldn’t speak any English yet, but i just listened to how good it sounded. It has such a nice timbre. Mother also used to listen to English radio – or which language did you listen to? Did you listen to Estonian? Mother doesn’t remember anymore which language she listened to. But yes, there was really good music. So this is from the Radiotehnika factory – RRR: Rigas Radiotehnika Rubnika. RRR, the factory’s mark. “Rigas Radiotehnika Rubnika” in Latvian. Selga 405. 29 rubles. Radio receiver. Look how well it’s preserved. Still working. It’s old already, probably 30, 35 years at least. Quality mark; this is a quality mark. SSSR. Here you choose longwave or mediumwave. It works well. ah, German. German? ah, one of them is speaking German, the other English. It works very well. Italiano – no, maybe not. No, I don’t know. Still English probably. Italian? He’s probably talking about the pope, who’s giving up his position. Is he giving up his position? It’s very sensitive, receiving very well. Don’t know what language that is. And what langauge is that? Ha, Big Brother language. Mine was light colored and had a colored bag as well. And a strap, like this one. This is of course newer than mine was. But that one I think broke. I don’t remember what was wrong with it.
It’s a radio, made in the Soviet Union. It has a black leather cover, a bag that has a strap that can be adjusted to different lengths, so that you can, for example, put it over your shoulder on the street and take it with you. Very comfortable. The bag has a nice soft texture on the inside. It has two snaps that you can close it with. The radio itself is rectangular, with two buttons: one for the volume, the other maybe for the frequency. The bag has one round hole, through which you can see the frequency indicator. And then there are many small round holes, to let the sound through. On the back there are some more holes. I don’t know what these can be for. Maybe for the radio to get ventilation. And then there is one hole through which headphones can be attached. And there is one more button with which, probably, different wavelengths – longwave, shortwave – can be selected; you can choose. Many words have been embossed on the bag, for example “made in USSR”. The radio is totally rectangular; the button is round and the speaker part is rectangular with small holes. The brand is Selga. The words on the indicator are green, and the pointer is red, and a bit transparent. On the indicator there are numbers: 1.5; 2; 3; 4; 5.6; 6.5; 8; 10 and 15. On the back is written Radio Prijemnik. Selga-405, type APP 4. Cost 29 rubles.
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