Name: Cantos De Antes - extr : 3’32’’ – 2002 by BEATRIZ FERREYRA
Duration: 3 min 32 s
Description: extr : 3’32’’ – 2002 – APREM – CD : Motus M 30 2004- Voix : Simone Riste et Roger Cochini

extr : 3’32’’ – 2002 – APREM – CD : Motus M 30 2004- Voix : Simone Riste et Roger Cochini

Cantos De Antes - extr : 3’32’’ – 2002

https://muzaneditions.bandcamp.com/album/before-your-past-lives

VIII(Before Your Past Livess - Muzan Editions)

'Being Held' by Ekin Fil, from the album 'Feelings' (Vaagner/A Sunken Mall), gets tantalisingly reinterpreted by none other than Jefre Cantu-Ledesma.

download it here: https://vaagner.bandcamp.com/track/being-held-jefre-cantu-ledesma-rework

VAK57 | Ekin Fil - Being Held (Jefre Cantu-Ledesma Rework)

Object number: 97/254/1 

Alexandra Spence’s work explores earth’s material relationship with space via satellite disposal and debris, and the uncanny historic connections between electronic music and space exploration. Travelling through orbits, life cycles and transmissions, Stellar Nullius reconsiders the earth’s atmosphere, not as a liminal zone, but as a provisioning body whose wellbeing is deeply intertwined with our own. 

Alexandra Spence is a sound artist/musician based in Eora (Sydney). Through her practice Alexandra reimagines the intricate relationships between the listener, the object, and the surrounding environment as a kind of communion or conversation. She has presented her work worldwide and released music with Room40, Longform Editions, MoreMars (with MP Hopkins), Canti Magnetici, and Mappa. Find Alexandra on Instagram @alxandraspence and follow her work on Linktr.ee https://linktr.ee/alexandraspence.

With thanks to the interview subjects: Dr Annie Handmer, Professor Iver Cairns, Alan F Jones, Dr Sarah Reeves, Martin Gotfrit. Work title borrowed from Elizabeth Povinelli. 

Oscillations is presented by Jon Tjhia and sound design is by Erin Hyde (Sig Nu Gris).

ALEXANDRA SPENCE — STELLAR NULLIUS

Things Desired

Efemerides - De Luz Lila

CS/DL : f-o-m.bandcamp.com/album/upstream-ensemble

@forms-of-minutiae and TBA21–Academy present "upstream ensemble", a communal happening and aqueous sound piece initiated and composed by field recordist, artist, and f–o–m co-founder Pablo Diserens (@pablodiserens)

During the 2022/23 digital residency hosted by TBA21–Academy’s Ocean-Archive.org, Pablo Diserens launched an open call inviting members of its online platform ocean comm/uni/ty (and external enthusiasts) to venture into the world and record aqueous sonic encounters. The aim of this collective liquid attuning was to gather sound recordings from various wet ecologies while stimulating listening and field recording gestures regardless of any previous experience.

Recordings from 35 contributors were woven into the long-form sound composition "upstream ensemble" which navigates between the multiplicity of the water cycle as a sounding body. The work moves upstream through oceans, rivers, pipe networks, ponds, and glaciers while investigating the continuous flow of water and the environments that surround it. Listeners encounter drifting habitats trickling with the songs of sea lions, dolphins, blue whales, humpback whales, Arctic terns, and algae photosynthesis – as well as with the invasive hums of submarines’ sonars, boats, and naval industries. With "upstream ensemble" some of the world’s aqueous fauna, flora, geologies, and technologies mingle into a synchronized motion that documents the sonic articulations of these wet zones.

In resonance with Pauline Oliveros’ Deep Listening practice and inspired by Rachel Carson’s exploration of the intertidal zone in her book "The Edge of the Sea", this project contributes to an ever-expanding list of works that propose a focus on listening as a way of engaging and existing with the planet’s waters. By stimulating shared listening and attuning practices, Pablo Diserens aims to develop a sense of interconnectedness by blurring the boundaries between species as well as environments. Experiencing aqueous biomes both individually and collectively acts as a way of rethinking our relationships with the world. Despite these being mostly solitary experiences, Pablo believes that field recording and listening are communal and environmental practices that form gateways for earthly synchronicity and world mapping in time and space. Thus listening in turn can become a political act that sparks emotional bonds with the world and its biotic communities.

˜

concept: Pablo Diserens and Fiona Middleton (TBA21–Academy)

composition and mixing: Pablo Diserens

with sound contributions by: Alëna Korolëva, Alexandros Maragkoudakis, Bence Kovács-Vajda, Christopher Dean, Cyane Findji, Damian Pace, Elise Rigot, Eliza Collin, Fiona Middleton, Francesco Previtali, Ilù Seydoux, Irene Mansoldo, Isabel Val, Jakob Köchert, Jean-Baptiste Geoffroy, Joana Moher, Katy Lewis Hood, Kosmas Phan Dinh, Kseniya Lushnikova, Leo Maassen, Ludwig Berger, Mat Eric Hart, Mathias Arrignon, Matty Yeomans, Mélia Roger, Moritz Zeisner, Nikos Sotirelis, Nina Blume, Ocean Networks Canada, Pablo Diserens, Sem Zeeman, Slavek Kwi, Surrealich, Thibault Noirot, Varoujan Cheterian.

all profit of the release will be donated to the Blue Marine Foundation.

listening with good speakers or headphones is recommended as the piece features a large range of frequencies (notably blue whales' subsonic calls).

cassette mastering by Mathieu Bonnafous

graphic design by Cecilia Murgia

cassettes pictures by Camille Blake

duration: 30’29’’ — C60
piece repeats on both sides — limited edition of 100
published by forms of minutiae & TBA21–Academy — fom09 — 2023

special thanks to all the contributors, Fiona Middleton, Markus Reymann, Michal Kucerak, Petra Linhartova, TBA21, Madelyn Byrd, Diane Barbé, Lou Croff Blake, Thom Lucero, and Mélia Roger.

cassette & digital

pablo diserens & the ocean comm/uni/ty — upstream ensemble [fom09]

We welcome back Coline Cornelis to Brasserie Atlas for a new "Les Choses", focusing on flower anthesis.  Anthesis refers to the flowering period of a plant. The first part of this set is about blossoming, light and colour. It evokes the elements of a flower, the petals, the pistil and the pollen. The second part looks at fertilisation – the spores that disperse to fuse and recalls the beauty of chance, connections and similarities. The iris of an eye is reminiscent of the universe, just as a picture of pollen under a microscope is reminiscent of lichen. The third part deals with harmony and the state of symbiosis which is the principle of lichen formation, that can be found among things and beings.

Tracklist and description : https://lyl.live/episode/les-choses-15

Les Choses w/ Coline Cornélis (19/07/23)

From Lisa Lerkenfeldt

Recorded in Naarm, ’Shell Of A City’ reframes the architecture an instrument, in a concrète procession.

Durational contact recordings of a highway’s substructure reveal an unearthly resonance.

The continuous physical phenomenon is gently processed to explore the fringes of electroacoustic practice with a contemplative urgency.

The 40 minute arrangement pairs two channels of site-based improvisation into a time-altering minimal structure.

Many people wrote to me to say ‘A Liquor Of Daisies’ tape was a tool they used for rest. How precious. ‘Shell Of A City’ follows in its path.

I carve out space for listening to the discrete and lesser noticed.

Lisa Lerkenfeldt - Shell Of A City

Heart

Composed and recorded by Lisa Stenberg on the EMS Synthi 100 in studio KSYME Contemporary Music Research Center, Athens, Greece in 2017.
Produced at EMS Elektronmusikstudion in Stockholm 2017.

Monument

Buy cassette

Heart

The B side of Dissolution. LP/digital release on Glistening Examples, November 11th, 2016.  25 LPs were special edition, with 35 mm slides embedded in the clear vinyl. Copies of the regular LPs are still available on Forced Exposure
https://www.forcedexposure.com/SearchResult.html?SearchType=Basic&Type=artist&Key=olivia%20block

DISSOLUTION B

This year London has experienced several weekends of the hottest summer and that moved the Australian sound artist Kate Carr, whose practice is centred on articulating the relationship between people and place through sound, to point her microphone at the city. This volume is based on her recordings during a particularly hot long weekend in a corner of very busy intersection in London, where she resides now. In Heatwave, Carr is interested in both the serious and also the more prosaic aspects of soundscapes related to climate change. She investigated the throbbing summer music from her neighborhood, people’s efforts to keep cool, and the uneasiness which accompanies these everyday activities in this moment of environmental crisis. The way these pieces construct and compensate, with all the tangible sounds that fold into larger moods via multiple instruments, exemplifies her acumen in creating sonic stories that reflect our multi-layered experience of reality.

Cantos De Antes - extr : 3’32’’ – 2002

BEATRIZ FERREYRA

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