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I went on the platform of the Kunsthalle at dawn when young people were gathering to dance, drink and talk. I layed down on the pavement and read a text that I inserted in between the cracks, the tiles of the platform. Water waves and wings of swans sounded from a speaker that amplified my voice, I sang like a river ghost, I posed, but very shy, I tested the waters.

“If you see me, come closer – I am shapeshifting a blue picture. Water spring blue person, I spring blue. You’ll find me near a temporary crack, I’ll spring blue speaking my shape and discharging my function. Work with me out of cracks – be what follows the spring in this picture. *Thinking of Alster Lakes mute swans, an image from Gerda Koppel’s women’s painting school on Glockengießerwall 23, water spirit Nix, Undine's Valediction by Ingeborg Bachmann, bottled water, bottling water, privatized water, the radioactive fountain of youth in Punta Gorda, Florida, being blue balaur looking for the cracks in concrete poetry.”


Images by Lisa Alice Klosterkötter

https://www.gegenwart.jetzt/de/years/2021/jasmina-al-qaisi

water spring blue me (live performative reading)

I composed (and performed) this piece for the award winning feature film "Unrueh"/"Unrest" by director Cyril Schäublin (2022). The text is from an original anarchist song, sang by Swiss anarchists in Jura in the end of the 19th century.

Choir: Caroline Ann Baur, Monika Stalder, Gessica Zinni, Li Tavor

Movie summary: 
New technologies are transforming a 19th-century watchmaking town in Switzerland. Josephine, a young factory worker, produces the unrest wheel, swinging in the heart of the mechanical watch. Exposed to new ways of organizing money, time and labour, she gets involved with the local movement of the anarchist watchmakers, where she meets Russian traveller Pyotr Kropotkin.

Polyphonie Anarchiste

Roly poly guided tours around the Republic of Moldavia's capital city street corners. The tiny mouse shaped toy was found at the flea market around Chișinău's Central Railway Station. The musician is a local, propeller of spirits amidst a crowded intersection on Ștefan cel Mare și Sfînt Boulevard, surrounded by onlookers including ragged vagabonds, construction work drills along roads and sidewalks around Meridian Market and some remnants of trade chat at midday's central market outskirts.

some sounds of Chișinău

Live vocal improvisation. Manila, 2 August 2023.

Moon rain

Audio Archaeology Series Volume 3: Brest

Sheet Erosion is the third episode in a series of works based around ideas of audio archaeology and found sounds. The setting this time is the city of Brest in France.

The piece is comprised of field recordings made in early 2020 during the storms Ciara and Desmond plus a batch of found open-reel tape recordings dating from the 70s and 80s. The tapes include domestic home recordings but mostly document the recordist, Michel’s tastes in music and radio programmes of the time. Daily life bleeds into these lo-fi recordings of radio and TV shows. Captured with a mic in front of a speaker rather than directly cabled, ambiguous activities can be heard in the background; babies crying, feedback, chairs scraping and muffled conversations.

In the composition family histories and musical tastes are transposed over a more contemporary soundscape of Brest. Over-saturated tape distorts time as well as sounds. Speeds change. Chronologies become confused. Different instances in time are blended and fused. What seeps through these chronological crevices are events and incidents unmoored from linear time taking place in a chimerical non-space.

Empire Of Dampness

ALL IN TIME by Sarah Boothroyd
2011
Stereo and Spatialized (Octophonic)
25 minutes
---------------
The clock ticks; the moon waxes; the autumn leaves turn crimson. Time is as ubiquitous as it is elusive. Guided by science and science fiction, All In Time traverses the timeless mystery of time itself. 

This 25-minute work won the 2011 Luc Ferrari International Broadcast Arts Competition, won a 2011 Gold World Medal for Best Sound at the New York Festivals Radio Programming Awards, and was shortlisted for the 2011 Phonurgia Nova Prize.

All In Time was commissioned by La Muse En Circuit in Paris (Centre National de Création Musicale), with the support of Radio Suisse Romande, Deutschlandradio Kultur, RTBF Musiq 3, Groupe de Recherches Musicales, and Radio-France.  

In 2011 All In Time was broadcast on Radio Suisse Romande in Switzerland; on Deutschlandradio Kultur in Germany; on Swedish Radio Channel 2; on TIK ArtRadio Days in Slovakia; on The Radius (New York), WKXR (New York), WMUA (Massachusetts), KUT (Texas), and KFAI (Minnesota) in the U.S.A.; and on over 40 radio stations around the world, thanks to the Radiophonic Creation Day Festival and the Future Places Festival.  

This independent production was also published on two CDs – Deep Wireless VIII and Concours d'art radiophonique Luc Ferrari: Composer Le Réel – and was featured in several online publications; including Transom.org, Public Radio Remix Blog, Third Coast International Audio Festival, Syntone, InStereoPress, Girrlsound, and Infinity's Kitchen.

In 2011, All In Time was also presented in spatialized, octophonic format at the Archipel Contemporary Music Festival in Switzerland; at Festival Extension XI and the Prix Phonurgia Nova Concert in France; at Netaudio London in the U.K.; at the Ohrenhoch Sound Art Gallery in Germany; at the Deep Wireless Festival (Toronto) and Canadian Electroacoustic Community Anniversary Concert (Vancouver) in Canada; and at the PNEM Festival in The Netherlands.

Written, recorded, edited and mixed by Sarah Boothroyd, special thanks are extended to physics maven Peter Watson; to antique clock collector Georges Royer; to Travis Morgan and Dokashiteru for providing Creative Commons samples; and to Himan and Melina Brown for permitting the use of CBS Radio Mystery Theatre clips.

To read more about this production please visit 
http://publicradioremix.org/2011/09/pressing-play-may-stop-time

Thumbnail image credit: Paulo Martel.

www.sarahboothroyd.com

Copyright: All Rights Reserved

All In Time

‘Light–Dark–Light–Heavy’ - a dance performance for one dancer, light and sound. 

Light–Dark–Light–Heavy is a cross-arts collaboration between 
Ellen Kilsgaard (dance) 
Chris Crickmay (visual art)
Sharon Stewart (sound)
Performed by Ellen Kilsgaard.

This track is the sound design. Watch full performance on Vimeo:
LIGHT-DARK-LIGHT-HEAVY 
a choreography for light, dance and sound
Performance June 14th 2015 - CPH-Stage Copenhagen
https://vimeo.com/139980033

In the beginning, stillness, darkness and quiet pervade. From this expanse of possibility, light, sound and movement emerge, weaving a journey in which you are invited to enter an imaginary space of association, memory and fantasy knitted together with the movement-body of the dancer. Is the dancer lighting the space or does the space light the dancer? Does the sound propel the movement, or does the movement generate the sounds? What fantasies arise within the quiet, darkness and stillness to merge with the living energy of the performance? 

Light–Dark–Light–Heavy is a small scale, intimate piece that uses modest means to achieve dramatic effects and emotionally charged moments. The work explores the visual and acoustic physicality of a given space and what this space might perceptually and imaginatively become.  Movement, light and sound draw us (as audience) inward to intimate spaces of the body and then out into what seem to become crowded spaces with many presences, or again further out into large open expanses – to landscapes and places beyond. It is an abstract work, yet it evokes a multitude of associations, connecting us with the familiar everyday world we all share and to places beyond, to nameless presences and circumstances such as arise in our individual dreams.

The title uses ‘lightness’ in two senses – ‘light’ as in the lightness of the body and light as in illumination. The title also refers to darkness/ shade/ shadow as positive qualities of their own (not just an absence of light) and heaviness or weight, implying the grounded physical presence and reality of a moving body in space.  

The light, which is carried by the dancer, amplifies even the smallest movement, creating a continuously transforming visual environment, which she inhabits. Through the reflections from skin, clothing and the architectural space, ‘sensory landscapes’ emerge and extend the moving body outwards, making it part of a single, continually transforming world with neither foreground nor background. Instead of being lit from the outside the piece is, as it were, lit from within. 

The dancer both creates and inhabits a place that emerges and shifts before us as we witness it. One might say we witness the internal life or the ‘coming alive’ of a person – a person who exists, not just alone in the imaginary and real space of performance, but also in the company of her audience, who travel with her, seeing what she sees, feeling what she feels. The experiencing body of the performer evokes a unique perceptual journey within each audience member.

The sound is a mix of (sometimes highly modified) field recordings and physically modeled synthesized sound. It has been designed to trigger associations while remaining in an open dialogue with the visual and moving dimensions of the piece, balancing in an ambiguous relationship with the dancer’s motion, sometimes seeming to emerge from the very actions of the performer while, perhaps simultaneously, seeming to propel the performer into motion or stillness.  At other times it might suggest a parallel world in which interaction is coincidental.




LIGHT – DARK – LIGHT – HEAVY

Radio Earth Hold is organised by Rachel Dedman, Lorde Selys and Arjuna Neuman, commissioned as a collateral project of Qalandiya International, and supported by the Serpentine Galleries.

It traces echoes between the anti-occupation movement in Palestine and anti-racism movements in the North American context. It examines British Mandate radio as a colonial instrument in Palestine, and Israeli control of Palestinian telecommunications as part of the architecture of occupation. It connects these to the birth of Mni Wiconi during the Standing Rock protests, radical midwifery practices, and the acousmatics of sound in the womb. 
Broadening beyond political struggle to the phenomenon of ‘natural radio’, Radio Earth Hold’s research addresses how electromagnetic radiation functions at a bigger-than-planetary scale. How might natural radio and acousmatic sound—reverb without a cause, or echo without a source—offer a model for reorganising relationships between the individuals and the world? What solidarity emerges from the recognition of our participation in the transmission of planetary sound?
Radio Earth Hold is commissioned as part of the collateral program of Qalandiya International IV, and supported by the Serpentine Galleries, London. 
On the 28th October 2018, Radio Earth Hold presents a day of collective listening and discussion around these ideas, bringing together artists, writers and musicians working on sound, radio, activism and the planetary. The day navigates engaged political struggle with more macro, theoretical, and poetic perspectives from Ultra-red, Daisy Hildyard, Sulaiman Majali, Sophie Dyer, Louis Moreno and Dhanveer Singh, 12-6pm, Serpentine Galleries, London, free to attend.
With thanks to Rana Anani, Yazan Khalili, Amal Khalaf, Elizabeth Graham, the Serpentine, Robert Leckie and the team at Gasworks, and all those who supported our research.

Radio Earth Hold  - Colonial Voice

The Long Now Vocal

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loud but loud
https://jasminescu.com/
invite me to your parties

water spring blue me (live performative reading)

jasminescu

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