Shadow-walks (at home)
In my long-term (almost 20 year) project Shadow-walks, I walk with local inhabitants of places on their special walks. Then I repeat the route alone, listening for the memory of that walk and singing my response. In a sense Shadow-walks is an attempt to make a person’s traces, their shadow, audible through my singing, improvising voice. 
During the Covid 19 pandemic it became impossible to walk with people because of  lockdowns and travel restrictions, so I adapted the project into Shadow-walks (at home). I ask volunteers to send me recorded descriptions of their special walks. These can be walks they remember, daily walks they wish they could still do, or walks they can take alone but not with me. My vocals in Shadow-walks (at home) respond to how I imagine the walk while listening to people’s verbal descriptions.
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About Viv Corringham
Viv Corringham is a US based British vocalist, composer and sound artist. Her work includes concerts, soundwalks, workshops and installations, exploring people's sense of place and the link with personal history and memory. She holds an MA Sonic Art from Middlesex University, London, and a Deep Listening teaching certificate from Pauline Oliveros. She received two McKnight Composer Fellowships through the American Composers Forum. 
Her project Shadow-walks has been presented internationally in venues including Hong Kong Arts Centre, Fonoteca Nacional de Mexico, Issue Project Room New York, Onassis Centre Athens, ICA London, Serralves Museum Portugal, Ohrenhoch Berlin, and Taipei, Shantou, Bangalore, Calcutta and Delhi universities.
Articles about Shadow-walks appear in publications including In the Field, Leonardo Music Journal, Organised Sound, Art of Immersive Soundscapes and For Those Who Have Ears.
more: www.vivcorringham.org

Shadow-walks (at home) with Catherine Clover, Australia - Viv Corringham (excerpt) out March 23

Since 2013 we have published an annual mixtape of exciting new music by Goldsmiths students and alumni. The mixtape is a great way for burgeoning and unsigned artists to get their music ​out there. For the listener, it's a brilliant source of fresh, unreleased sounds.

Once again, we have been bowled over by the response to our mixtape callout this year. The 2022 collection is as long, ambitious, varied, deeply conceptual and downright catchy as ever. Thanks to all our participants, and feel free to click through and read more over at our website: https://www.nxrecords.co.uk/2022-mixtape

NX 2022 Mixtape

Infinity Kisses 23 responds to Carolee Schneeman´s work of (almost) the same title, re-imagining the act of kissing that is presented in the original, though sound.

Cats were of importance to the renowned performance artist Carole Schneeman throughout  her life, as was her own body. It was therefore no surprise to me that Schneeman would engage in bodily interspecies intimacy, which the original Infinity Kisses series documents through photography. On the other hand though, for me it raised questions around what intimacy with animal companions actually is, and where it moves into zoosex with its inherent power issues. I was also thinking about the avalanche of cat images and cat videos I have watched on social media, where animals are made to imitate humans for our amusement.

The structure of the piece is part experiential – emerging from listening to the materials, part conceptual. One of Schneeman´s Infinty works, Infinity Kisses II (1990-98) was recorded over an eight-year period, and Infinity Kisses (23) compresses this into 8 days. The original  35mm photographs where made in the process of kissing, essentially early selfies with uncontrolled light and focus and an aspect of improvisation (1). My kissing and cat sounds were recorded in my bedroom, with the windows open, equally improvised, uncontrolled and created haphazardly. In the second part of the piece I work these recordings into more of a dreamy state – Scheeman believed that one of cats communicated from the afterlife (2).

“I position the interspecies kiss, indeed the kiss in general, as performative” (3) declared Lynn Turner who researches how animal and sexual differences matter in visual and aural culture. In Infinity Kisses (23) I inhabit and perform both the role of human and cat for your amusement, but also your thoughtfulness, contemplating the amazing work of Carolee Schneeman and her humanity these embody.

The piece was created for the exhibition Carolee Schneemann’s Cats by the collective Cats Like Plain Crisps, at Blindside, Melbourne, Australia from 8 Nov–2 Dec 2023. It was accompanied by a live performance in which Iris performed a duo with herself, via a turntable and dubplates.

1) Mantle, Jac (2012). Carolee Schneemann: Carnal Visionary (online). Available from https://www.theskinny.co.uk/festivals/edinburgh-festivals/art/carolee-schneemann-carnal-visionary
2) Thackara, Tess (2018). Carolee Schneeman´s lifelong love affair wit her cats (Online), Available from https://www.artsy.net/article/artsy-editorial-carolee-schneemanns-lifelong-love-affair-cats
3) Turner, Lynn (2010). When Species Kiss: some recent correspondence between animots. In: Humanimalia – a journal of human/animal interface studies, 2(1), pp. 60-85.

find out more: irisgarrelfs.com/infinity-kisses-23

Infinity Kisses 23

This is a demo for Embodied Dialogues, a collaboration-in-progress between Jenn Kirby and Iris Garrelfs, that merges body movement, wearable technology, and extended vocal improvisation. The performance features Kirby’s Sensor Dress, a wearable instrument that generates sound through the performer’s movement, and Garrelfs' unamplified voice. Sensor Dress is equipped with capacitive touch sensors and motion tracking, enabling real-time interaction between body, dress, and sound. As Garrelfs moves among the audience, her vocalizations activate the dress's sensors, triggering an array of pre-recorded sounds—ranging from electroacoustic and body-sourced sounds to environmental recordings—while her voice remains unprocessed. The performance creates an intimate and immersive dialogue between performer, audience, body, and space. The integration of wearables, voice, and motion highlights the tactile, organic aspects of sound-making and draws on unpredictability in live improvisation. The work challenges traditional notions of control and controllers in performance, inviting both performer and audience into an ephemeral, postdigital experience. By exploring the intersection of digital musical instruments, human-computer interaction, and embodied expression, Embodied Dialogues offers new insights into how wearables can expand the possibilities of improvised performance, emphasizing the agency of the performer and the fluidity of interaction between body, technology, space and sound.

Embodied Dialogues

A live recording (LSO Live, 2012) of the Faure's Requiem performed by Tenebrae and the London Symphony Orchestra Chamber Ensemble. The Requiem was preceded by a selection of Bach’s Chorales interspersed with his Partitia in D minor, performed by Gordan Nikolitch, leader of the London Symphony Orchestra. Heralded as 'devastatingly beautiful' by Gramophone (UK), this disc won the Classical FM's Album of the Year award in 2012.

Conductor: Nigel Short
Soloist: William Gaunt

Explore more of Tenebrae's recordings on our online shop: https://www.tenebrae-choir.com/shop

Fauré – Libera Me Feat. London Symphony Orchestra Chamber Ensemble

These are some of the amazing chants recorded on the Women's March London, January 21st, 2017. Proud to sing alongside these amazing women and to add my voice to the throng.

This Presidency Will Not Stand

Women Have The Power

These are some of the amazing chants recorded on the Women's March London, January 21st, 2017. Proud to sing alongside these amazing women and to add my voice to the throng. This chant was sung by the London-Irish Abortion Rights Campaign. You can read about their good work here: https://londonirisharc.com/about/

My Body, My Choice

2 sets performed separately, edited and then combined from the Liar Lyre event, Wellcome Collection, Euston, London, U.K. Voice: Iris Garrelfs. May 2017