For a long time I’ve been thinking of what a feminist re-working of Lucier’s “I Am Sitting In A Room” might sound like. It’s a great work but I couldn’t help but wonder about Lucier’s position as the only sound in the room, the male artist apparently voluntarily isolated and cut off from the rest of society with his voice becoming more and more re-enforced and literally bouncing back at him from his environment reflecting only him. I wanted to see what happened when my voice was looped over and over again into the outside world so that it combined with the sounds of the other people and the other species that I share space with.
In March and April 2020 the UK went into lockdown to try and slow the spread of the virus C19. The inner cities everywhere became quieter as traffic and planes decreased. The weather was unusually warm and sunny. Birds sang and insects buzzed. In my part of East London where the small gardens of terraced houses are divided from the neighbours gardens on three sides by fences, you could hear but not see the various activities of your often unknown neighbours at various points of the day and night. Many people no longer were allowed to go to work but worked in the garden, played with their children and enjoyed being outside.
All recordings Here We all Are (Lucier Mix) were made during the start of this time while sitting in the same position in my garden in Hackney, London in late March and April, 2020.

Writers include
Peio Aguirre, Margaret Atwood, J. G. Ballard, Tiffany E. Barber, Jean Baudrillard, Franco ‘Bifo’ Beradi, Rosie Braidotti, Rachel Carson, Jeffrey Deitch, Donna Haraway, Cathy Lane, Amna Malik, Tom McCarthy, Alondra Nelson, Gwyneth Shanks, Jan Tumlir, Xin Wang, Gilda Williams

The first major anthology to focus on relationships between science fiction and contemporary art, with topics ranging from accelerating technological change to global urbanization.

Over the past two decades, artists and writers have increasingly used science fiction as a lens through which to search for fragments of truth emerging from the past or the future. The proliferation of science fiction in contemporary art practice and discourse reflects an increased understanding of how this narrative field continues to grow in relevance. This book is the first major anthology to focus on relationships between science fiction and contemporary art, and offers an essential read for all those exploring this vital genre.

Organizing its contributions according to four distinct approaches—”estrangement,” “futures,” “posthumanism,” and “ecologies”—this unique collection gathers key examples of the influence of science fiction in recent cultural development. It considers topics that include the integration and acceleration of technological change, global urbanization and concepts of futurity, the boundaries of social structures and nonhuman life, and the threatening evidence of climate change.

Science Fiction. Edited by Dan Byrne-Smith

From Whitechapel: Documents of Contemporary ArtScience Fiction

https://mitpress.mit.edu/books/science-fiction-1?fbclid=IwAR1vJ_H1ofEcVYJvBcPLtZwNeWUNHFYlKJD2tYZobzHvXN7vbtKELPLJZkQ

‘Gender, Intimacy and Voice in Sound Art: Encouragements, Self-Portraits and Shadow Walks’  in The Bloomsbury Handbook of Sound Art discusses the sounds of sex in the work of  Anna Raimondo, Yashas Shetty and Annea Lockwood; breath in works by Khaled Kaddal, Ansuman Biswas, Ain Bailey and Hildegarde Westerkamp and intimate voices in selected works by Tomoko Hojo, Viv Corringham and Mikhael Karikis.

Through chapters by and about a fantastic selection of writers and artists The Bloomsbury Handbook of Sound Art explores and delineates what Sound Art is in the 21st century.  Sound artworks today embody the contemporary and transcultural trends towards the post-apocalyptic, a wide sensorial spectrum of sonic imaginaries as well as the decolonization and deinstitutionalization around the making of sound.
It’s massive and very expensive……order it for your library……

https://www.bloomsbury.com/uk/the-bloomsbury-handbook-of-sound-art-9781501338809/

Re-Soundings: Prelude – The Ayahs Home is part of ‘The Sundry Effect: The Stories we are…’ at Bikaner House, New Delhi, India. The exhibition curated by Meena Vari for Gallery Ragini, explores storytelling, the re-creation of the narrative, ignored or unheard stories, and those of the past and the future.

Exhibiting artists:
Annu Palakunnathu Matthew, Cathy Lane, Cristiana de Marchi, George Martin, Gigi Scaria, G R Iranna, Jagannath Panda, Madhu Venugopalan, Masooma Syed, Pooja Iranna, Riyas Komu, Thukral & Tagra, Tomasz Koclega, Veer Munshi and Vivek Vilasini

Exhibition catalogue

Remembering the ayahs

Kule Auguststraße 10, 10117 Berlin, 10117 Berlin, Germany

15 January at 19:30–22:30 

Radiofon is a series of encounters in the field of radio works – in a wide and open definition- live radio play in exchange with experimental music and discourse production. We will perform and debate formats and contents. Every single event is designed according to the wishes and needs of the participants. This third event invites Cathy Lane

sponsored by the initiative neue musik (inm)

MACCHINA SOM ALLSTARS
Klaus Janek, Milena Kipfmüller, Jörg Lukas Matthaei

As 3 artists of different backgrounds, we meet in our interest in sound between semiotics and sound, context and composition. Each of us understands sound from his / her own perspective: radio, dramaturgy, discourse, performing arts, experimental acoustic and electronic music. We work with language, field recordings, noise, music and their composition. Key words for our joint work are: live radio play, experimental music, instant composition, text as music, discourse production, dramaturgy, performance, APPARATUS OF WARS (performative and audio interventions in Berlin 2014), WAR ALBUM (feature and live radio play 2014-15 ), IDIOTIE & WIDERSTAND (Salons & Radio Play 2015 – 2018) and “The Golden CD”.

Abstract

We live in sound, it is all around us. We are implicated in the social relationships and ideologies that we hear reflected back to us. Sound art offers the chance to critique the world that we hear, and to produce new and different possibilities. Are sound artists taking up the challenge of offering new ways of knowing or changing the world, and does this need new ways of listening and understanding? Can sound art act as a tool for radical change by ‘de-conditioning’ our listening and helping us cross linguistic, cultural, geographic, ethnic, gendered, specied and sexual prejudicial borders? This audio paper will consider how new listenings might lead to a richer, more inclusive sound art, that can embrace and celebrate difference.

Lane, C. (2017) Listening and not listening to voices. Interrogating the prejudicial foundation of the arts canon. Seismograf. Special issue: Sound Art Matters. November.

http://seismograf.org/en/fokus/sound-art-matters/listening-and-not-listening-to-voices-interrogating-the-prejudicial-foundations-of-the-sound-arts

Curator & Artists in conversation, 18 November 2017, 2pm – 4pm

New Art Exchange, Nottingham, Admission: FREE

A discussion with  Sounds Like Her curator Christine Eyene and sound artists Ain Bailey and Linda O’Keeffe.  The conversation will consider their trajectory into sound, and instances where gender has impacted their approach, be it in terms of legacy to draw from, narrative to include within their work, challenges to overcome, or conversely, as a matter to put aside in order to focus on the medium and technique only. The discussion will also address archiving, education, access to technology and sensory abilities from an intersectional critical perspective, as inscribed within the Sounds Like Her exhibition and the participants endeavour to challenge the male-dominated and Eurocentric frameworks that have for so long informed this creative field.

http://www.nae.org.uk/event/curator-and-artists-in-conversation/537

image shows artist Christine Sun Kim

Mon 6 November 2017

18:30 – 20:30 GMT

Somerset House

London

WC2R 1LA

Join Music Hackspace and Sound and Music at this free edit-a-thon event, raising the profile of women in the British Music Collection – the UK’s national archive for new music – as it celebrates its 50th anniversary.

The British Music Collection is a constantly growing resource, but still not representative of UK society, and this needs to change! Come and join us, chat and make new friends, celebrate women composers and sound artists who should be featured and help us (at least partially) set the world to rights.

The evening will consist of an introductory talk by special guest Cathy Lane (Co-Director at CRiSAP), with further guests (tbc) acting as facilitators, before we crack on using our shared knowledge and the internet to create new composer profiles and add more information to the British Music Collection website. Free drinks, snacks, new music and social justice! No prior knowledge or experience necessary. Please bring your own laptop.

Generously supported by the Ambache Trust.

The venue is located on the ground floor of Somerset House and is fully wheelchair accessible with widened doors and an accessible toilet. If you have any other access requirements, whatever they may be, please let us know and we will do our best to accommodate them.

Doors for this event will open at 18:30. The talk will begin at 19:00 with time for Q&A afterwards. Drinks will be available from the bar next to the entrance to the New Wing of Somerset House.

If you have any questions about this event please contact info@musichackspace.org.

Am I Here? RADIO OUTSIDE: A PHONOGRAPHY OF THE WORLD

Dramaturgie Sonore

touring round in Canada in Montreal, Trois-Rivières, Québec
Alma and Saguenay and broadcasting online at http://radiodehors.dramaturgiesonore.com/

Keynote talk

“Why not our voices? New listenings and new worlds in the sonic imaginary”

We live in sound, it is all around us. We are implicated in the social relationships and ideologies that we hear reflected back to us. Sound art offers the chance to critique the world that we hear and to produce new and different possibilities. Are sound artists taking up the challenge of offering new ways of knowing or changing the world and does this need new ways of listening and understanding? Can sound art or listening act as tools for radical change by ‘de-conditioning’ our listening and help us cross linguistic, cultural, geographic, ethnic, gendered, specied and sexual prejudicial borders? This presentation will consider how a new listenings might lead to a richer more inclusive sound art that can embrace and celebrate difference.

This Wednesday, 27th April 4pm – 6pm, G19, Old Mining Building, University of Leeds. Invitied for a Research Seminar as part of a new research centre: Centre for Audio Visual Experimentation (CAVE).

 blanca rego, christopher delaurenti, christina kubisch, stephanie spray, darius ciuta, cathy lane, julia handi al abed & lou mah al abed ratier, martin kay, magali babin, and rodolphe alexis

 Framework Seasonal is a regular review of works produced by artists working with field-recording. all works are previously unreleased, and contributed freely by their creators in support of framework radio. many thanks to the artists, who have made this project possible.

ISSUE #8 ::: SPRING 2016  AVAILABLE NOW!

Martin Art Gallery, Muhlenberg College, Allentown, PA 18104

January 20 – February 20, 2016

Works on display include US and international artists David Faithfull, Cathy Lane, Paul Martin, Brian Nissen, James Walsh and Chris Welsby, and the exhibition will be accompanied by a catalog and essay by the Curator.

This exhibition presents six artists that are engaged in mapping through intensive research of either the land or sea or both but without conforming to any “conventional signs” other than those they have invented. In this case the artist’s tabula rasa transforms into a personal meditation on place, evoking both palpable and mythological sites presented through varied media.

I am delighted to be talking about ‘Playing with Words: Spoken language as material for composition’ on the invitation of Dr. Fernando Estenssoro, director(s) of the Instituto de Estudios Avanzados de la Universidad de Santiago de Chile, and artists and poet Dr Felipe Cussen as part of his Fondecyt Regular  funded research project ‘Samples and Loops in contemporary Poetry.’

Insituto de Estudios Avanzados, USACH, Calle Roman Diaz 89, Santiago, Chile 19.00 Tuesday, January 5th, 2016 https://www.facebook.com/events/855373614576451/

– See more at: http://www.wolverhamptonart.org.uk/events/sound-matters-exploring-craft-sound/#sthash.Vw3VVN4X.dpuf

Saturday 5 September, 12 noon-12 midnight

Space Time: The Multiverse is Wysing Arts Centre’s sixth annual festival of art and music and is loosely curated around the themes of altered states and multiple identities. The line-up includes:

Bamboo / Beatrice Dillon / Bruce Gilbert and BAW / Cup / Drill Folly / Ectopia / Joey Fourr / James Holden with Lucy Suggate / Jen Allan DJ / Klara Lewis / Laura Buckley / LoneLady / Orlando / Ravioli Me Away / Rose Kallal & Mark O Pilkington / Squares and Triangles / The Fish Police / Tomaga /

The festival includes the performance programme The Multiversal Score: newly commissioned performances and screenings by Lisa Busby / Holly Ingleton / Cathy Lane / France-Lise Mcgurn / Kimberley O’Neill / Ash Reid / Liene Rozīte / Cara Tolmie, in a special programme in the Studio Stage, curated by Electra, alongside a new performance of Pauline Oliveros’ Saxual Orientation (1977) with Verity Susman / Sue Lynch / Artur Vidal / Adrian Northover.

Covered stalls area showcasing experimental galleries, publishers and record labels, with: Arcadia_Missa / Banner Repeater / Behind the X / DKUK / Five Prawns / French Riviera / Landfill Editions / Mexico / One Thoresby Street / Open School East / OUTPOST / Primary / Rosalie Schweiker / Set the controls for the heart of the sun / School of the Damned / The Northern Charter / Ube / X Marks the Bökship

Ticket prices inclusive of booking fees:

Day Pass £40
Day Pass plus Camping per Person £50
Day Pass plus Coach Travel from London £60
Day Pass plus Travel from Cambridge Station £50

Children under 13 are admitted free but must be accompanied by a paying adult
It is not possible to refund ticket purchases
Line-up and stages are subject to changes

          Museum nan Eilean, Lionacleit, Benbecula, Outer Hebrides, Scotland

July 31- November 1, 2015

What is landscape but a map of human activity past and present?

Can place be investigated through sound?

Do past lives and past events leave sonic traces and how can we hear them in the present?

Using field recordings, interviews and archive materials ‘The Hebrides Suite: mapping the islands in sound’ explores aspects of island life past and present through the medium of composed sound.

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Sound, like memory, can be fleeting and ephemeral no sooner than is it heard it has gone. Recording offers the opportunity to materialise sound and make it suitable for analysis, study and creative use and re-use. But who decides what or who gets recorded or what or who gets remembered?

Recordings both make and are memories – ghostly traces of the past remaining in time and space. These traces of the past echo and reverberate through language, place-names, family stories, song and the sounds of the natural world to form a sonic background to the present.

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The Hebrides Suite: Mapping the Islands in Sound  consists of  three eight channel sound works and a large wall piece which maps the Uists according to field recordings made, and places mentioned, in the interview and archive materials used in the compositions.

‘Sandy Jaffas’ (2015) one of the three sound pieces, was  commissioned this for this exhibition and made in collaboration with the S2 Gaelic class from Sgoil Lionacleit in Benbecula, members of the Comann Eachdraidh Uibhist a Tuath (North Uist Historical Society) and South Uist Historical Society and supported by Museum nan Eilean, London College of Communication and CRiSAP (Creative Research in Sound Arts Practice).