Here We all Are (Lucier Mix)

Here We All Are (Lucier mix)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.

I am very grateful to Vanessa Rossetto for inviting me to contribute to AMPLIFY 2020 quarantine and giving me the chance to try out my ideas.
The full 16 minute track is available on AMPLIFY2020 Bandcamp amplify2020.bandcamp.com/album/here-w…mgNvpClHy8vM

Here We all Are (Lucier Mix) extract

https://soundcloud.com/p…/here-we-all-are-lucier-mix-extract

I am lucky enough to live in a house with a garden. 1 in 5 people in the UK live below the poverty line and many have suffered during the lockdown
Any financial contributions from Here We all Are (Lucier Mix) will be donated to the Hackney Food Bank hackney.foodbank.org.uk/

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Science Fiction

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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

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‘Gender, Intimacy and Voice in Sound Art’ in The Bloomsbury Handbook of Sound Art

Bloomsbury handbook of Sound Art‘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/

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Radiofon: macchina som allstars & cathy lane

Kule Auguststraße 10, 10117 Berlin, 10117 Berlin, Germany

15 January at 19:3022:30 

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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”.

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Listening and not listening to voices : Interrogating the prejudicial foundations of the sound arts canon. Audio Paper published in Seismograf

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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

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Sounds Like Her

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

New Art Exchange, Nottingham, Admission: FREE

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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

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Herstories: Rewriting Music History Edit-a-thon

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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.

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