This is a recording of a performance by John Powell-Jones and Lauren de Sá Naylor which took place at Castlefield Gallery on Thu 2 Dec 2021. The performance  included a reading by Sa Naylor from a text she wrote in part inspired by the CYBERJUNK universe. A pdf of the text can be downloaded on https://www.castlefieldgallery.co.uk/event/john-powell-jones-cyberjunk/ 
Please note the text contains adult themes and language that may not be suitable for young readers.

Lauren de Sá Naylor writes prose and poetry; she also makes film and audio collages with interacting layers of electronic sound, voice and field recordings. Her work is informed by mythopoetics, myth making, world building and how these practices relate to her understanding of herself. Drawing from oneiromancy (a form of divination based upon dreams) and biophilia (the belief that humans are predisposed to seek connections with nature and other forms of life) her practice is a way to think through how we relate to the world, our sense of embodiment within it and our subjectivity.

CYBERJUNK OST Live

CYBERJUNK soundtrack with Love, labour, unravelling by Lauren de Sá Naylor

In this collaboration with musician Andy PM Hunt, and narrated by Dan Mahony, Gregory Herbert presents a soundscape of original writing, quotes, and music.   Encouraging a different way of looking at the world around us, you can listen to it on your own devices alongside his installation, or take the ideas of the piece out into the world.  In his recent work, Gregory has been collaborating across disciplines from performers to scientists to bring new ways of thinking into his art.

Focus Shift by Gregory Herbert & Andrew PM Hunt

As part of our programme of activities running alongside the Archives at Play exhibition, artist and researcher Sarah-Joy Ford read joined us on 17 March 2022. 

Sarah-Joy Ford  read two texts; 'Touching the Archive' her text about archives; how they hold our history and how they can touch us and commissioned by Castlefield Gallery to coincide with the exhibition; and 'Archive Fever', a rumination on the feelings for the archive.

*Please note. Contains one use of strong language/sexual reference.

Touching the Archive by Sarah-Joy Ford

To coincide with our exhibition 'Nina Chua and Daniel Silver', we invited artist Pavel Büchler to facilitate an in conversation event with Nina Chua and Daniel Silver.

Together they talked about their work. How do these works come about and what do the artists think happens when their works are brought together?

Nina Chua and Daniel Silver in conversation with Pavel Büchler

Incidental Rendition is a sonic reflection of the Ritherdon factory at work. Composed for headphone listening, the piece presents the manufacturing process as a metaphorical symphony; the factory’s tools and machines are the instruments, the people working in Ritherdon are the ensemble performers, the background noise is the reverberant concert hall resulting from the factory’s architecture, and the order of the process is the conductor.

Our walk begins at goods in, where the sheet metal enters the factory through the roaring roller shutter performed by Danny P. We briefly pause at the entry to absorb the bustle of the delivery bay, until jolted by the alarming entry of Terry on the Lansing E15 moving a new delivery. Then we walk past Pete on the Masterplat Robopac who is gingerly enveloping a freshly assembled enclosure in its cellophane cocoon before it is sent on its way. Approaching the punching machine station, Jock is on the controls of the Trumpf Trumatic 5000R, heard slowly awakening, steaming and whirling while stretching its mechanical arm. With Jock retrieving the relevant programme from the Trumpf’s memory, it begins its first solo with a sequence of calm yet complex percussive patterns. The punched blanks then move on to the press brakes, where Dawid, Aadam, Jason, and Harry jangle them in the Edwards Pearson PR100. The menacing roar of the Bosch GWS 880 follows, while Andy and Oggi grind the steel sheets, before they are rolled to Tony and Ross in the welding booths, who provide an electrifying performance on the Thermal Arc 400SP. Moving deeper into the factory, we reach “No man’s land”, an area of rare calmness and eerie stillness. No performers are present. All we can hear is the factory’s heartbeat, the electricity regulator, with its minimalist pulses providing the whole operation with vital energy. Moving away from “No Man’s Land”, the calmness is broken by the ensemble of machines making up the paintshop, performed by Matt, Rhys, Filip, and Aaron. The quartet includes the clicking percussion of the overhead conveyor, the pressurised streams of the wash, and the compressed harmonies of the spray booth, while all are enveloped by the constant drone emanating from the stoves. The last piece in the process comes at assembly, where Pete, Paul, and Jan shape Ritherdon’s products into their final form, all under the monophonic songs played on the Technika Digitalradio. Walking through assembly, we reach our starting point, where the Trumpf greets us with its second solo, a pounding crescendo of industrial-strength beats. Stunned by the thunderous performance, we are then soothed by the familiar sounds coming from the Masterplat Robopac, where Pete packages the latest batch of steel enclosures. We follow them out on the loading bay, sent out the same route they came in as sheet metal though Danny P’s roller shutter.

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Incidental Rendition

As Together We Move draws to a close, we're reflecting back on the event Open Mic – Open Archive at Salford Museum and Art Gallery. An afternoon of live performances and interactive poetry, Open Mic - Open Archive was delivered by performers of all ages, including Saxophonist Mike Farmer, Ella Otomewo of Young Identity, spoken word artist Louise Fazackerley and poet Charles McDermot, programmed by Ruby Ramelize. 

On this audio piece, you can listen to Louise Fazackerley reading her poem O-pen Music Archive.

CastlefieldGallery

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