Thank you for respectfully remembering my husband Michael with respect and dignity that he rightly deserved

Is there a way to access the Michael McDonagh essay you're reading from?

Some insects just don't care. I left out my Sennheiser rig to capture elephants feeding at a mango grove and this moth decided my blimp was the best place to hang out and make low frequency humming sounds.

Congo Basin Rainforest - Bugs Close To The Mics

Maps and Diagrams - Occupying Space

Irish Travellers, known in their own language as Mincéirs or Pavees and in Irish called ‘An Lucht Siúil or, ‘The Walking People’, are a nomadic ethnic minority in Ireland with a distinct history, culture and identity. Historically, Travellers were called Tinkers, a reference to their trade as tinsmiths, and they also made a living through engaging with the settled community; by buying and selling animals, or through seasonal farm labour. They’ve also long been renowned as singers, musicians and storytellers who brought news, tales, songs and music from townland to townland, parish to parish and county to county as they travelled around Ireland. As a minority group however, Ireland’s Travellers they have long-faced discrimination on the basis of their ethnicity, and are often reported as the subject of explicit prejudice in Irish society. For this episode of the podcast, I hope to enter into an exploration of Traveller culture and identity, and I’m honoured to be joined by David Joyce; an advocate for the Traveller community who has worked as both a barrister and a solicitor, and Áine Furey, a singer, musician, tour guide and alumna of the Department of Irish Folklore here at UCD.  I hope you’ll keep us company for the next hour or so as we come to know and honour the culture, traditions, perspectives and experiences of Ireland’s Travelling people, to whom this episode is dedicated. For details concerning audio timecodes, see below:

08:20: Tom 'Bun' Connors in conversation with Seán Ó Súilleabháin, Cherry Orchard, Dublin (1967) listing some Travellers families and which parts of Ireland they're from.

14:20: Andy Cassidy, 'My Rifle, My Pony and Me' recorded by Alen McWeeney in Labre Park, Ballyfermot, Dublin (1967) My thanks to Alen, and to Pavee Point for permission to reproduce this wonderful recording! See more here: http://www.paveepoint.ie/wp-content/uploads/2010/08/WhishtBooklet.pdf

27:35: Bridget Connors in conversation with Seán Ó Súilleabháin, Cherry Orchard, Dublin (1967) recounting the kindness of Kerry people, and the hostility with which she was met in other places in Ireland.

39: 54: 'Bun' Connors recounting the tinsmithing trade as it was practiced in his family, and how it was undone by the arrival of cheap plastic goods.

42:07: John Reilly singing 'The Jolly Tinker'. Recorded by Tom Munnelly while John and his family were camped at Cloongrehan, Cootehall, County Roscommon (October 1971)

47:02: John Reilly singing 'False Lankum'. Recorded by Tom Munnelly while John and his family were camped at Cloongrehan, Cootehall, County Roscommon (October 1971) See here for more: https://digital.ucd.ie/view/ivrla:31077

50: 22: 'Bun' Connors relates his experience of travelling around Ireland, and demonstrating how well he knows the homeplace of Seán Ó Súilleabháin(from Kenmare, county Kerry) in particular.

53:55: Uileann Piper Johnny Doran playing 'Colonel Fraser, My Love Is in America, Rakish Paddy' recorded by the Irish Folklore Commission (1947)

56: 28: 'Bun' Connors relates his long standing friendship with Margaret Barry

1:00:55: 'Bun' and his mother Bridget Connors describe how Travellers used make a living from dealing animals, and gives account of the fairs they used visit.

1:04:10: 'Bun' Connors relates details of winter lodgings and the times of the year that Travellers used travel.

1:08:30: 'Bun' Connors recounts the ways in which the settled people would come and join them by the fire a few days after they had arrived into an area and set up camp. Describes the bonds and neighbourly feelings fostered over time.

1:23:39: Pádraig Mac Gréine recounts how he first met Traveller and storyteller Oney Power in county Longford in the 1930s.

1:29:40: 'Bun' and Bridget Connors give account of the context in which the Traveller language is used, providing examples of phrases and terminology.

1:39:38: Johnny Doran, playing Sliabh na mBan, a slow air, dedicated to the late Seán Garvey.

Blúiríní Béaloidis 36: The Travellers (with David Joyce & Áine Furey)

You can download all kukan effect's songs for free on Bandcamp. I would be happy if you could listen to it.

https://kukaneffect.bandcamp.com/music

#ambient
#ambientguitar 
#drone
#electronica 
#Japan 

■Official Site
https://kukaneffect.theshop.jp

■bandcamp
https://kukaneffect.bandcamp.com/music

■YouTube
https://youtube.com/@kukaneffect

■Spotify
https://open.spotify.com/artist/1AMsFh39nvVYLpqYfyfrrg

■Twitter
https://mobile.twitter.com/kukaneffect

■Instagram
https://www.instagram.com/kukan_effect

■Facebook
https://www.facebook.com/profile.php?id=100084217587504

pilgrim - mastering ver.

Alexandra Spence – “Do jellyfish breathe?”

A reworked version of this piece has been released as the album 'a veil, the sea' as a cassette tape or download on the Mappa label. You can purchase a copy here:

https://mappa.bandcamp.com/album/a-veil-the-sea

During Sydney’s most recent lockdown I submerged* a 15 minute-long piece of cassette tape in seawater collected from a local beach. The cassette tape contained a field recording of waves, and a recording of my voice offering a (non-definitive, and non-hierarchical) list of things found in the Pacific Ocean.

I’ve been thinking about connection with bodies of water, as well as connections between bodies and water, and how we might reimagine our bodily limitations to examine the things that connect us to each other and to our surroundings. The sea has always felt like home, and having lived on both the east and west edges of the Pacific Ocean it has become a place of connection for me.

I’ve been thinking about the Pacific Ocean as a home – not only to marine creatures and sea currents – but to the obscure movements of global trade, offshore data barges, and sunken satellites deactivated and dumped from space. Vast bodies may seem infinite, but nothing is – the depths hold mysterious, beautiful, and troubling things.

…Bottlenose dolphins, ancient artefacts, Lego pieces, approximately 36 species of shark, underwater mines…

Imagining an infinite ocean has led to overfishing, floating plastic-particle gyres, lost whales (as a result of the underwater din of shipping and naval industries), and an international sense of unaccountability.

“… Do jellyfish breathe?” is a kind of sonic traversing of oceanic layers, exploring imaginary landscapes, entwining and encountering unequal forms, such as breath with wave, fish with fishing line, along the way.

*Submerging the tape in salt water is an expansion of an ongoing project in which I bury tape loops 7-second field recordings on tape loops before burying them in the earth at the location in which they were recorded. I imagine this as a collaboration of sorts — I make a recording and the physical variables of each place and location alter it. While the magnetic coating of the tape retains sonic remnants of the recorded sounds of the place, the physicality of the tape ribbon retains material remnants of the place: sand, salt, other, which, in turn, impart audibly on the recording in the form of crackles, scratches, tape-warp, and hiss.

Alexandra Spence - Do Jellyfish Breathe (excerpt)

D’après Solaris de Stanislas Lem.
Cette pièce évoque différentes géographies et écosystèmes observées sur une planète lointaine.  A travers un jeu de textures, de résonances et de son ciselés se dévoilent la faune, la flore, ainsi que les émanations étranges, gazeuses d’un environnement en métamorphose.

Commande GMEM Marseille/FRAC Sud pour l'exposition Solaris, 2023 
en version multiphonique pour 5 haut-parleurs et 4 transducteurs.

AURAE

SenSen - LeC II

Hydrophonic sample of snow with some added instrumentation. Half speed Macumbista Benjolin, Soma Dvina and other friends.

Samplad snö

zezecoで自動音楽構築システム「AISO」のために楽曲を制作させて頂きました
前回発表した1stアルバム『燦然』の裏面のイメージで『朧光（obscure light）』というタイトルでアルバムを作る感覚で制作を進めていたのですが、AISOの特性でもある数学的な作業に慣れるまでに時間がかかってやっとの完成となりました
曲を作って解体、偶然生まれる重なりを抽出して再解体、とパズルを作る側の作業というのは所謂曲を作るというのとは脳の置き所が違う作業で
・終わることのない音
・聞き続けても飽きが来ない
・でも毎回驚きがある
という一見混ざり合うことが無いようなコンセプトを再現させる中で、新たな閃きや、驚きに満ちた未知のzezecoの領域が開けた気がします
個人的にはジャズの即興演奏のようなハマり方をする箇所を特に注視して制作していて、コードの妙やリズムのズレが堪らないという時を何度も体験しながら、次はもう聞けないかもしれないという儚さがまた面白いと思いました。
時空を旅するように、形を変え続けるアルバム。新しい音楽体験が出来ると思います。是非聞いてみてください
(青木ロビン)

今回AISOを使ってzezecoの作品を制作するにあたり、普段の楽曲制作のように完パケされた作品を作るのとは違い、AISOというデバイスに終わらないライブ演奏をさせるためのプログラミングを組むというような作業が必要なため、技術的な壁と思想設計のアジャストにかなり苦戦しながらの制作となりました。

BGMとは何か！？と概念的な疑問や、またそれの歴史やこれからの在り方、AISOがもつ「終わらない音楽」という特性やランダム要素をより意味をもって音楽的に落とし込む意義や可能性をロビンさん以外にも、AISO設計者でもありアーティストの日山さんとも何度も議論を重ね一歩ずつ手探り進めていきました。

途中納得できる表現方法に至れず、完成までに何度か白紙に戻してゼロからやり直しも致しましたが、最終的にはAISOを活用したzezecoの作品として自信を持ってお届けできるものができたと思います。
(manukan)

zezeco / 朧光(obscure light) / AISO

snf10 : reizen "works, 2020" extract

2083

Bluiríní Béaloidis is the podcast from The National Folklore Collection, University College Dublin, and is a platform to explore Irish and wider European folk tradition across an array of subject areas and topics. Host Jonny Dillon hopes this tour through the folklore furrow will appeal to those who wish to learn about the richness and depth of their traditional cultural inheritance; that a knowledge and understanding of our past might inform our present and guide our future.

Podcasts are available for download directly from SoundCloud or via iTunes.

Blúiríní Béaloidis 36: The Travellers (with David Joyce & Áine Furey)

Blúiríní Béaloidis / Folklore Fragments

Recent comments

Outside The Colony

L

Nell Marie Mc Donagh

Related tracks