A knife is cutting through air, relentlessly. However, it cuts very slowly, by degrees and in circles; it’s a wooden knife, not very sharp, like a butter knife but with teeth. The structure upon which this knife is attached has a light bulb resting on it, a light bulb with a rather complex metallic grid inside, vibrating softly with every degree of the knife’s turns. Then there is a strip of paper or a piece of thin cardboard, suspended; three toothpicks are leaning on and pushing this cardboard but they are not strong enough, the cardboard barely undulates. Sometimes a toothpick ...

Excerpts from Day Three at the Sydney Cricket Ground: Starc bowling to Saha from the Paddington end – dot ball; off-drive: boundary; dot ball; dot ball; dot ball; back-foot defence: dot ball. Watson bowling to Ashwin – edged: boundary; dot ball; dot ball; dot ball; forward defence: dot ball; forward defence: dot ball. Hazelwood bowling to Saha from the Randwick Street end – front foot defence: dot ball; back foot defence: dot ball; back foot defence: dot ball; drive to mid-on: dot ball; dot ball; off-drive: three runs. Watson bowling to Saha – forward defence: dot ball; back foot defence: dot ball; forward defence: ...

15 minutes, 51 seconds duration Performed by the artist and Cia Rinne, with birdsong recordings from the Tierstimmenarchiv (Animal Sound Archive) at the Museum für Naturkunde in Berlin selected by Dr Karl-Heinz Frommolt The analytical bibliographer charts the movements of books through time and space. Each copy of an edition makes its own journey, like a migrating bird. Only in the painstaking, scholarly work of bibliography is the homecoming of an entire edition possible. A copy of ‘Vögel vor der Kamera’ — birds on camera — is disbound. Artist Susanne Kriemann overprints the loose pages with large letterpress type. The letters H, O, ...

A conversation between Khyam Allami and Sharif Sehnaoui recorded at OneHertz Studios, Beirut, late 2017 Two musicians with very different backgrounds and itineraries in music discuss their visions and some of the ideas behind their distinct practices and methods. The conversation is set within the greater context of advancing contemporary ideas into the space of Arabic music. Here, Arabic music is not thought of as a fixed thing but rather as a historical and cultural background that lends various shades of meaning to each artist’s work. Though there was not quite enough time to fully expand upon the ideas discussed, the conversation ...

The picture above is a display of the parameters used by the Haskins SineWave Synthesizer (SWS) in experiments that study the temporal aspects of speech. The horizontal axis shows time in milliseconds; the vertical axis shows frequency in Hz. The pattern is a graph of frequency and amplitude variations of three sinusoids. Height in the plane indicates frequency; the thickness of each tracing indicates amplitude. The properties of tonal analogs of speech vary over time. Accordingly, the tones rise and fall in frequency and amplitude in imitation of the frequency and amplitude variations of vocal resonances over the course of an utterance. Note ...

Reading as part of the exhibition “Hymn to Pan”, 9th of July, 2010. Released in cooperation with Badischer Kunstverein, Karlsruhe, Germany.

Field recordings, MP3 compression 2013 Recordings often ask you to listen out-of-body by immersing yourself in the stereo image that the medium is reproducing. As if music were a window whose objects you could only perceive by imagining yourself on the other side. Immersion Loop asks you to stay where you are, to view the surface of the window and feel its effects in your space. The music is immersed, not the listener. Go about your business as though this sound is equal to all others: chatter, wind, traffic, footsteps, radios, appliance noise, etc. – JTP

EL: soo first in terms of editing, mix of the track any thoughts? Me: I just listened through again and was wondering about the order of the question sets EL: ok Me: like what if we move the first question set to after the talking set? Me: it’s hard to say though if that would make any difference as it stands it’s not too bad it’s just really austere in the beginning and a little silly at the end EL: hah Me: though the pink noise helps actually quite a bit after the describing food section EL: its a cleanser Me: totally a palate cleanser …

Aaron Harbour of Et Al. interviews Ginger Wolfe-Suarez, expounding on her exhibition at Diane Rosenstein gallery, A Thing Repeated Is Not Always The Same. August 31, 2015 – EL

Often, interview questions unduly influence the way in which one considers an interviewee’s response. By framing the responses with silence, a greater interpretive space is left open. Conducted over Skype, September 2012 – EL

Since the Autumn of 2012 we have been attempting to connect a variety of musical and conceptual work in which we feel strongly exists in, points towards, or employs an area that could be described as the liminal. We both feel that this is not something so easily defined, does not have to do with a particular kind of work, nor is a particular thing or perceptual understanding. Yet at the same time we feel that in some music or ideas this area becomes quite important- actually vital to the total experience- even if it is not to be directly ...

Sound is contingent on material yet it has no material component of its own. In some of your recent work, you focus on the material that shapes acoustic environments (such as the wood in Tonewood Hills and the awning in Eve). By emphasizing the physical reality of sound, the non-ethereal, material aspect of aural perception is accentuated. It is my belief that part of what distinguishes the culture surrounding sound practices from the wider field of visual culture is the tendency to look inward and deal with the formal aspects of sound while neglecting the outward, external elements that also ...

For this piece, I created a foundation – or “backing track” – that can be used for a variety of playback scenarios. It incorporates on-site recordings and excerpts of cassettes and audio files from my personal archive, including: crowd noise (date and time unknown), guitar and tape recordings (2006 or 2007), synthesizer and electronics (2008), percussion / loop cassettes (2007), and recordings of live noise shows (artists unknown, circa 2008). Preference was given to sounds of an unknown or barely remembered origin. These audio clips were mixed with recorded ambiences from a visit to Vox Populi Gallery in Philadelphia on the afternoon ...

Here, William Anastasi elaborates on his thinking behind the pioneering 1966 Dwan Gallery show Sound Objects, his relationship with John Cage, and the tautological nature of his work. Recorded October 2014 – EL

i composed two versions of one work earlier this year. one is “from audience” (documenta 14 radio program); one is “for audience” (the ecology of place; a cinema listening event in melbourne). for both i used only sound recordings of audiences and their environments before, during and after concerts. recently i received “live” recordings of the latter event in which the audience in melbourne contributed their sounds into the other audience’s sounds of my composition. it’s about 27 minutes long. the next day, september 13th 2017, i recorded this audio at my new studio in beijing. i was sitting in the space, ...

Late last year, I visited Christopher Knowles in his studio on 20th street in New York City to discuss his contribution to this publication. Knowles shares the studio with his wife, the artist Sylvia Netzer, and the three of us sat down and listened to many of Knowles’s recordings before he decided on the one he wanted to include. As we played a selection of the sound works, most of which were created in the 1970s and early 1980s, Knowles spoke about the condition of each tape’s production. He readily called to mind where he made each tape, the day ...

Iteration · December 8–10, 2012 · Philadelphia Counter-variation · Strict partial order · Samples · Apartment · Two rooms subdivided into four sections, connected by another · Two to four doorways · Peavey bass amp · Water · Vans Outline/blurb assigned numbered coordinates · Comments referencing room sections, objects occasioned, faulty time coding: https://soundcloud.com/lateral-addition/abd/s-3B10u · Lament metanalysis Nonrandomized domestic recordings: four linear tracks, seven breaks · Contingent irregularities — exception: three guests arrive · Additive objects and/or surfaces substitute, account for one another’s duration — obfuscatory spatial treatments · Per lack of attention, nonproportional proximity the rooms the podcast · Admeasure · Aural ...

Rab-Rab Talks # 1 Ivana Momčilović on Learning, Non-Useful Art, and Anti-Fascism In conversation with Rab-Rab, Momčilović will talk about her collective projects with Alain Badiou, Jacques Rancière and Natacha Michel, today’s leading theoreticians and writers, with whom she has collaborated since the nineties. Momčilović will comment on the emancipatory potential of Badiou’s and Rancière’s theses on understanding current political and artistic practices. Her focus will be on the educational research project, Ph.D. in One Night, in which she has worked since several years together with contemporary dancers, experimental musicians, and visual artists. Ph.D. in One Night claims re-evaluation of non-useful, ...

Rab-Rab: journal for political and formal inquiries in art in collaboration with Night Schoolers are delighted to host two presentations by Michael Corris and the launch of his new book Leaving Skull City: Selected Writings on Art (les presses du réel, 2016). The events will take place in Helsinki on February 21st and 22nd, 2017. Michael Corris’ practice and collaborations with diverse platforms such as the Art & Language collective, The Fox and Red-Herring provide an insight into the political aspects of Conceptual Art. The aim of these discussions is also to deepen our understanding concerning pressing issues such as organising ...

The work of Dove Bradshaw bridges the delicate line between object and environmental dynamics. Much of her material exploration is grounded in John Cage’s use of chance as compositional methodology, emblematic in works that employ elements such as live doves or ammonium chloride, the stochastic properties over which she has no control. Time is an active agent in Bradshaw’s oeuvre, lending her an exit route away from artistic bias or intention. In 1990 and 2014, Bradshaw curated two group shows at Sandra Gering Gallery in New York with works from the personal art collection of John Cage. The first of these ...

“Let us consider two important factors, the two poles of the creation of art: the artist on the one hand, and on the other the spectator who later becomes the posterity. To all appearances, the artist acts like a mediumistic being who, from the labyrinth beyond time and space, seeks his way out to a clearing. If we give the attributes of a medium to the artist, we must then deny him the state of consciousness on the esthetic plane about what he is doing or why he is doing it. All his decisions in the artistic execution of the work rest ...

“What are you up to?” asks Worker 7: bot? virtual boyfriend in a computer-generated voice. She replies that she’s busy. As the conversation unfolds, the artist and the online worker, who may or may not be a bot, struggle to understand and connect with each other. Empathy, digital labor, and new ways to serve and care on the network are the subjects explored in Elisa Giardina Papa’s Technologies of Care, commissioned by Rhizome for the Download. Giardina Papa presents portraits of online workers in a 26MB ZIP file; six are identified as women, plus the possible bot. Each portrait is its ...