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: ...

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 ...