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::: news :::

::: echo surveys for living spaces :::

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

::: performance @ krunan keikat :::

w/ adam cadell & film: talousennustajat

sunday, 27 september
krunan mestassa
meritullinkatu 6

Krunan keikka #13

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

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

TALOUSENNUSTAJAT (ohj. Reetta Huhtanen, 2015)


Tapahtuma on osa Pikseliähky-festivaalia,
vapaa pääsy!

(vuoden 2015 Krunan keikkoja tukee Helsingin kaupunki)


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


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
meets at Käntöpöytä
Tallikatu, Pasila

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


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

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

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

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).

Screen Shot 2016-02-16 at 14.27.31
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.

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 :::


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

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.


::: 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.

2014-07-26 14.22.03

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

::: performance @ kiilan kansainväliset äänipäivät :::

w/ keränen & jookla

thursday, 24 july
kiila beach & westers café
kiila, finland

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
eesti maanteemuuseum
vana postitee

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


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

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

monday, 9 june
hanut 31 gallery
hanut 31, jaffa
free entry

early evening artist talk, listening session and discussion.


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

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

sunday, 8 june
shoshan 3

early evening artist talk, listening session and discussion.


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

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

sunday-tuesday, 25-27 may
orient & dance theatre
16 nablus road
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.

2014-05-27 19.39.07 copy
  • 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.

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
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.


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

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

w/ liminal, sybella perry & jd zazie

thursday, 13 march
holywell music room
holywell street

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 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.


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.

::: raadio mälu :::

recently luís antero, curator of the green field recordings label, and producer of the radio show o colecionador de sons (the sound collector), invited me to produce a piece to celebrate one of the last broadcasts of his show before he leaves on an extended hiatus. it was an honor, and i took the opportunity to explore an idea that had recently come up. the resulting work, entitled raadio mälu (radio memory in estonian), debuted on portuguese radio on the the 13th of may, 2013, and was then rebroadcast as an edition of framework:afield on the 19th.

::: patrick mcginley ::: raadio mälu :::

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.

2013-05-12 21.37.37
i composed this piece from four elements: memories, stories and observations from a handful of estonians, related upon being presented with this particular radio for the first time; sonic material produced by the radio itself, both when tuned to and tuned between stations; field recordings from the surrounding landscape, vibrations in the immediate airwaves that have carried these radio signals; and archive material from estonian radio’s past, both in and before the country’s soviet era.

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.

::: Alfred ::: 09:22-15:29 :::
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.

::: Mari ::: 51:18-55:09 :::
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.

::: 2013.06.08-09 ::: jedburgh, scotland :::

::: weekend program @ soond gaitherin #1 :::

w/ felicity ford & james wyness

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)

full schedule:

Saturday 8 June

10.30 – 13.00: mini knitted sonic pillow-making workshop with Felicity Ford

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!

10.30 – 13.00: ephemeral listening with Patrick McGinley

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

14.00 – 16.30: natural dyeing workshop with Felicity Ford

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.

14:00 – 16.30: recording colour with Patrick McGinley

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 .

19.00 – 21.30: soond gaitherin

A social listening event in a relaxed setting with curated sound works, performances and
contributions from guest artists. Cost: £10.00

Sunday 9 June

10.30: field trip – environmental interventions and field recording

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

Map to Oxnam Village Hall

Further information:-
James Wyness
t: 01835 863061
m: 07896305368

::: 2013.06.03-04 ::: oxford, uk :::

::: presentation @ sound diaries symposium 2013 :::

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:


Monday 3rd June 2013
    John Drever, Christopher De Laurenti, José Luis Crespo Fajardo & Atilio Doreste
  • 11:30 – 12:00 TEA BREAK AND Q&A
    Felicity Ford, Judith Robinson
  • 13:00 – 13:30 LUNCH
    Cheryl Tipp, David Hendy, Sybella Perry
  • 15:00 – 15:30 TEA BREAK AND Q&A
  • Michael Gallagher & James Wyness, Mark Peter Wright, Patrick Farmer
Tuesday 4th June 2013
    Claudia Wegener, Noel Lobley, Ernst Karel
  • 11:30 – 12:00 TEA BREAK AND Q&A
    Patrick McGinley, Colin Black
  • 13:00 – 14:00 LUNCH
    Paul Whitty and Efthymios Chatziggianis
  • 15:00 – 15:30 TEA BREAK AND Q&A
    Peter Cusack, Udo Noll and Doug Rouxel

::: 2013.04.04 ::: jaffa, il :::

::: workshop & performance @ primate arena :::

w/ eran sachs & alex drool

thursday, 4 april
noon workshop
20:30 performance
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.

2013-04-04 14.45.42 copy
ניתן להירשם דרך הפייסבוק או במיילeransachs@hotmail.com. שימו לב! מספר המקומות בסדנא מוגבל ל-10.

פטריק מגינלי

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).

::: free mp3 release, ačgārnā aizcirtne :::

latvia’s molmika recordings has just made available a new 2 hour mp3 release, available for free download. ačgārnā aizcirtne was a private live session recorded in riga in 2010. very little editing has been done. enjoy, and please share!

::: bērnu rīts, murmer, toms šiklovs, antireality :::
::: ačgārnā aizcirtne :::

::: molmika ::: mp3 ::: 2013 ::: download :::

live session at molmika base, riga, february 9th 2010

d.i.y. string instruments, motors, tapes, reed organ, wind instruments, found objects, frequency generator, jew’s harp, prepared accordion, field recordings, voice.

::: sound as space / sound as language :::

latvian friend and collaborator max shentelevs has posted a piece on the bernu rits website made by latvian television about a series of workshops and performances that took place there in 2008. max, john grzinich and i led the sound as space / sound as language workshop over 6 days in two locations. some more information about the workshop, from the murmerings archives:

“a workshop focusing on sound as transmitter of nonverbal information, whether as a tool for communication or as a description of physical or imaginary space. we will focus on sound’s ability to define/describe space, and on our ability to resonate, alter, or create space by using sound. we will also explore animal communication and group activity. a strong focus will be placed on environmental listening, and the development of the ear toward detailed sonic perception. using small acoustic objects and the space itself, we will experiment with methods of group nonverbal sonic communication, with giving our location a voice, and with creating new spaces toward an understanding of sonic scenography. the workshop will open with an extended listening session, after which participants will work through a series of sonic games and be asked to bring objects to use in the later stages.

more information (in latvian) and images from the week’s events here. the film is also in latvian, but includes much to see and hear!

::: 2012.11.16 ::: new york, usa :::

::: performance @ 106BLDG30 :::

w/ bruce tovsky, ben owen, & ana carvalho

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:


we are really happy to have two very special sound artists launch our new season: patrick mcginley (aka murmer), who is an american now living in estonia, and ben owen, based in brooklyn.

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