Here's an excerpt of the sound track composed using the sounds of cotton mill machines, to accompany Caroline Radcliffe, Lancashire clog dancer. 

Our dance and AV piece aims to highlight the industrial roots of Lancashire clog dancing by juxtaposing dance steps with the machine actions which directly inspired them. I spoke about the history and development of this dance in a recent TEdx talk - more details here: http://www.sarahangliss.com/talks/lovingthemachinenotes

The Machinery (cotton mill sounds for sound and dance piece)

1.	Pat Rabbite - Lying
2.	Dr. Cornel West & BMWMB - Dear Mr. Man - Prince & Cornel West
3.	Captain Moonlight x Naphta - Dirty Cunts
4.	Sleaford mods. bunch of cunts 
5.	22 maybe - lost in translation - Arseholes, bastards fucking cunts( Germain Greer edit)
6.	Soundskeeperwilly- Shut up y'cunt -Enda-kenny is a parasite and a piece of shite 
7.	Crazy Counsinz - Inflation
8.	Pat Kenny invades Venezuala
9.	TCF - D7 08 2A 8D 2A 37 FA FE 17 0E 62 39 06 81 C8 A1 49 30 6F ED 56 AD 5E 04
10.	Leo Varadkar - Lying
11.	Sleaford mods 6thorseman
12.	Enda Kenny - Lying
13.	Ueno Masaaki - Bound State
14.	Sleaford Mods - The Mekon – 
15.	The pissed ups_pretty vacant


Irish Water Cunts Megamix-Dj PCP(the homoludo)ina Shuí-(Arseholes, Bastards, Fucking Cunts)

Excerpt from The Machinery - sounds collected from Quarry Bank Mill, a working cotton mill in Styal, on the Cheshire-Lancashire border. Working with Caroline Radcliffe (clog dancer and theatre historian), I put these sounds together to accompany a highly-metric Lancashire heel-and-toe clog dance, "The Machinery". "The Machinery" is a nineteeth-century machine-mimetic dance.

The Machinery (sounds to accompany clog dancer - long excerpt - S Angliss and C Radcliffe)

A mix of sounds - mostly relating to Rough Fell Sheep - recorded in Cumbria during the production of Hûrd – A KNITSONIK™ PRODUKTION

00:00 - 01:30 - Shepherds calling their sheep to them, including Hilary Wilson, Gerald Wm. Hayes, Brian Knowles, and Margaret Black. Includes baaing of Herdwicks, Greyfaced Dartmoors and Rough Fell Sheep
01:30 - 02:25 - Clara Black and Margaret Black discussing how one "learns" shepherding
02:25 - 03:00 - George Harryman (who keeps Herdwicks) talking about how one "learns" shepherding
03:00 - 03:35  - Clara Black talking about the Kendal Rough Fell Sheep, and asking "what could be more natural or more organic than a sheep and it's wool that's come off the fell?"
03:35 - end - Margaret Black introducing me to Amy's sheep and showing me how high up the fell the Rough Fell breed will go -  "to the skyline"

A section of Hûrd – A KNITSONIK™ PRODUKTION

Shetland/Tanzanian teen Elsie shares her favourite Shetland dialect words and explains what she likes about this lovely language.

Dreich.WAV

Mixed heritage Shetland teen Hannah shares her favourite swahilli words and explains why.

Swah.WAV

Young Shetlander, Erica, shares some of her experiences of living in Shetland.

Erica.WAV

Young Shetlander, Erica, shares her lived experience of being trans-racially adopted by English parents and growing up as a Shetlander in the Northern Isles of Shetland, Scotland

EricaFood.WAV

Raman Mundair soundtrack to accompany Raman Mundair film installation:
still/ill ::: breatheyesmemory

Beta hypothesis 1: White space renders me invisible

My brown body moves but you can't always see it, catch it, feel it.
There is pain and trauma in this brown body but you can't always see it, catch it, feel it, know it.
Fact: I have an invisible disability to accompany my stifled voice and censored presence.
Fact: I make signs and gestures and signal from this brown body but you can't always see it, catch it, feel it, know it.
Fact: I am stillmovingstill 
In process and in inertia
In the tension between dis/abl(e)ility versus agility versus pain versus trauma versus memory versus breath versus eyes
From tautness and in between these spaces

What do we need to say? How do we need to be remembered? - As a whole, not in parts. In subtlty and in the murk and gray rather than the convenience of white and binary space.

This brownbodymoves through space like underwater, a resistance wearing at my skin -
This brownbodymoves despite the steroidbloating and the exhausted sinew and muscles that give way -
This brownbodymoves even in a low dose naltrexone blur and didn't you know walking is falling, falling is moving stillmovingstill?
This brownbodymoves and you do not see that I am stillmovingstill and still/ill -
Note my hands, here – see these feet
now, look, these eyes
this memory - 
stillmovingstill


still/ill ::: breatheyesmemory is as an installation in the first instance but further developments and incarnations will progress to involve dance and performance.

premiered - Dance Base Edinburgh

breatheeyesmemory:::still/ill installation soundtrack

Yarnadelic

DinahBird & Jean-Philippe Renoult
The Gold Line
17:27

In 2016 DinahBird & Jean-Philippe Renoult began Antenna Gods, a composite art project on the use of radio waves by high frequency traders. In June 2018 they undertook a journey between the New York stock exchange, now a data centre in Mahwah, New Jersey, and the Chicago Mercantile Exchange in Aurora, West Chicago. The time it takes for data to be transmitted from one centre to the other via a network of microwave repeaters is 4.01 milliseconds, faster than the blink of an eye. These microwave repeaters are placed on towers that follow a geodesic path between the two exchanges. The actual route of the towers takes you over the Allegheny mountains of rural Pennsylvania and past many an Amish homestead, through the flat plains of Ohio, and in front of the immaculately mowed lawns and the blue ‘Make America great again’ flags of Indiana. Some of the towers are a requisition from the AT&T long lines network and can be found at the end of long dusty roads where the presence of new comers is instantly noticed. Some are new and specially commissioned for the purpose. They are unremarkable, just another shape in amongst the spikey cell phone antennas that litter the interstate. DinahBird & Jean-Philippe Renoult’s ‘slow’ high frequency round-trip along what Chicago traders nick-name the Gold Line, took twenty-four days. Along the way we documented these outposts and their surroundings using image and sound. They learned about the past and present uses of these transmission towers that are both a material memorial to radio history, and a physical reminder of passing time.

http://theradius.us/episode92

Radius Episode 91 is the first episode of DECADE. Radius DECADE series invites commissioned artists to examine slowness, calling attention to radio’s relationship to time.

http://theradius.us/decade

Radius

The Gold Line

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Episode 92: DinahBird & Jean-Philippe Renoult

Felicity celebrates everyday life through a playful and imaginative focus on sounds and listening. She is interested in linking sounds with material culture, and in using sound to animate, describe and explore the physical world. In her work, she seeks to link creative artistic practice to ordinary objects and concerns. A recipe or a shopping list becomes an instruction score; wallpaper becomes the basis for an imaginative sound-recording and composing project; and hand-knitting a sound-system becomes a way of connecting voices and sounds to specific landscapes and communities.

Since concluding her PhD in 2011, Felicity has been working full-time as a self-employed artist.  

Felicity is currently working on commissions with the Museum of Domestic Design and Architecture (Sonic Wallpaper) and the British Film Institute and the Wellcome Library (creating a soundtrack for Bathing & Dressing Parts 1 and 2). In addition to these projects, she co-runs the Sound Diaries project with Paul Whitty and recently returned from a month-long residency at MoKS in Estonia, in which associated travel costs were covered by The British Council. 


A section of Hûrd – A KNITSONIK™ PRODUKTION

FelicityVFord

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