[2021. 12. 24.] namsan#37, seoul & tokyo
aegissi + love & stone + machat + nyan 
- htlwc 

composition & image: lo wie
recording: lo wie + Inkyung Kim & Harim Lee + Mihye Cha + Reiko Shioda
sound engineering: Ryu Hankil

https://lo-wie.blogspot.com/2021/12/2021-12-24-namsan-37-seoul-tokyo.html

namsan #37

namsam #37

“The rational mind tends to always favor the most immediate solution. And immediate solutions for our world are not necessarily the best ones because they tend to ignore the deeper complexity, all of the circuits of connection that we would call an ecology. So we need both. We need the rational mind to try to produce ways in which we could be somewhat be assured of the accuracy of our storytelling, but we also need the other modes of storytelling to remind us of all the things that are left out of that picture…” 

An interview that starts with bugs and ends with psychedelics, the role of art, altered consciousness and our evolution as a species. Along the way David also talks about the non-human mind, listening and field recording, story telling, chaotic systems and nonlinear circuits, bark beetles and collective consciousness. 

00:40 // Atchafalaya Swamp, Louisiana: insects & frogs (track no 9). From “Why do Whales and Children Sing?” David Dunn. Earth Ear, 1999. 
02:12 // Underwater sound production, insects sound communication.
06:02 // Listening and recording: early memories. Interactions with the environment through sound. Mind, nature and technology. Intelligent behaviors: The machine and the environment as non-human forms of intelligence.  
14:15 // Perception of time, spacious and temporal metaphors, music as a mode of communication.
18:32 // Ennoia 2, electroacoustic composition for 2-channel playback, David Dunn, 1999
28:43 // The act of listening, recording, re-listening and human awareness. 
32:50 // Science stories, sound stories, bug stories. The rational mind, insects social-structures, collective mind, pattern of emergence. The emergent mind of a pond. 
42:49 //  Five Micro-Worlds. David Dunn (excerpt) 
48:44 // Human/virtual networks, Aboriginal culture, sophisticated knowledge and primitive tools as a manifestation of environmental awareness.
52:03 // Networks and nested forms of mind. The relationship between art and science. Observation and communication. 
59:33 // The Sound of Light in Trees (excerpt). David Dunn. Earth Ear, 2006. 
1:03:05 // Bark beetles, bioacoustics, insects sound production and sound sensing mechanisms. 
1:23:56 // Chaotic systems, nonlinear circuits, and a recording expedition to the Atchafalaya swamps of Louisiana. 
1:30:10 // Thresholds and Fragile States (short example1), David Dunn. 2010
1:36:43 // The non-human mind
1:38:47 // Metaphors and the role of art, the evolution of mind.

May 6 2021, via transatlantic connection between New Mexico and Haifa. 

Maayan Tsadka

Maayan Tsadka - Prehistoric Harmony 3 - David Dunn Interview

string septet

Violins: Hans-Christian Aavik, Hanna Chang
Violas: Miho Kawai, Agnieszka Zyniewicz
Celli: Frederick Winterson, Stefano Cuccuzella
Bass: Gabriel Abad Varela

Klangraum Festival 2023 Cologne

Chrysalis (2023)

for solo organ and three pencils, or small sticks
composed for the Graziadio Antegnati organ (1565) in Basilica of 
Santa Barbara, Mantova
( mesotonic tunning)

Organ: Marco Vincenzi
Assistant : Maura Capuzzo

November the 27th 2011, Santa Barbara Basilica, Mantova

Winner of II prize ( first not assigned) at "I Intenational organ composition contest
Antegnati Prize)

Giury member: Adriano Guarnieri, Michael Radulescu, Sonia Bo, Alessio Corti, Francesco Tasini

Publisced by Ars Publica

P.S. unluckly the recording was not well done, technicians have made some errors...




Di frammenti sparsi memorie colori  ( Agosto 2011)

Catherine Lamb - Muto Infinitas (2016/18)excerpt

Rebecca Lane - Microtonal Bass Flute
Jonathan Heilbron - Double Bass

Catherine Lamb - Muto Infinitas (excerpt)

+ (excerpt)

One afternoon I set up my dremel to play the membrane on the end of my bass flute

11 Minatures For Prepared Bass Flute And Dremel

This is an excerpt from a live performance.

To the dust of the well.     or
(confiding a shadow)

For strings, performer, and transducers mounted on drums

This piece has a strong performance aspect not reproducible as recording.

Musicians play instruments seated at one end of the room. 
A person plays a stone seated at the opposite end of the room.
Transducers are mounted on floor drums placed on the remaining ends of the room.

Premiered by Wasteland Ensemble at ArtShare-LA on August 10, 2019.
Adrianne Pope, violin
Linnea Powell, viola
Ashley Walters, cello
Brian Griffeath-Loeb, stone

To the dust of the well. [excerpt]

recorded at Casa Gesualdo, Mexico City in 2012 on a Sony minidisc recorder.
photo by Sasha Marks

Iván Bringas - guitar
Misha Marks - guitar

J.S. Bach Quaerendo Invenietis_with Iván Bringas

Performed by: Vilja Ellefsen-Larsen, Vilde Erikstad, Stina Stjern, Sambou Samateh, Ola Skarsæterhagen, Mats Aase Henriksen, Liz Zelda Røyneberg, Lene Høie, Isaaq Ibrahim, Harald Fetveit, Bjarne Larsen, Anla Courtis

Recorded live at Café Hærverk, Oslo in February 2020

På tur

this track is based on song called Izborsk's Ektenia (Litany) which is a part of a russian orthodox liturgy, recorded on domra (russian lute) and pitch pipe at Kupchino 10 October 2020

ἐκτενὴς

double bass player - contemporary classical music - improvised music



Catherine Lamb - Muto Infinitas (excerpt)

jon heilbron

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