Excerpts mashup of Deep House Tracks I've mixed

Deep House Compilation

TwoForty

This track is brought to you by the Year 4 class at Greenway Primary School, Cardiff, South Wales (2015). Using their recordings of wobbly chairs, water bottles, singing and shouting, cellophane, metal fences, rickety wooden bridges, and the obligatory pencil pot tapidy-taps.

Big Bridge Stomp - Greenway Primary -(Jack of the Suburbs Mix)

Unmastered recording of improvisation from upcoming Second Krom Monster record

Bei (rough cut)

Glad We Talked (Piano Soundtrack)

Bleeding Heart

LETTERs

Something (Else)

Unhaunting: Music & Memory in Contemporary Cambodia
David Gunn
Founding Director of Incidental

Drawing directly upon the author’s own experiences of running a range of sound  projects in Cambodia, this paper focuses upon the role of music artefacts, processes  and archives as transitional objects (Winnicott, 1953) that enable individuals and  groups to negotiate cultural memory and to frame experiences of inter-cultural  contact.To begin, the paper will briefly outline the historical conditions in Cambodia, which  provide an almost unique context to analyse the relationship of cultural tradition to  archival processes – with an estimated 90% of all artists and musicians killed and the  nation’s musical heritage and archive almost entirely destroyed during four years of  Khmer Rouge rule. In subsequent decades the recovery, conservation and archiving  of cultural traditions became a key priority. However, as key cultural actors recognize  that this phase of activity is now drawing to completion, cultural conditions within  Cambodia are entering a period of complex transition. Drawing examples from  the author’s own practice and key actors within Cambodia, the paper argues that  this period should be understood quite explicitly as a tense renegotiation with the  recently restored cultural archive, where processes of re-use and recontextualisation  are fraught with emotion and danger. Where the discipline of archival curation and custodianship may traditionally place  emphasis upon notions of clear transmissability of data, this paper will explore what  happens to forms of sound and music when archival order or integrity collapses or  simply is not present. In such circumstances, it will be argued that paradoxically it is  precisely through staging its own collapse and obsolescence that the archive performs  its most vital function.

www.theincidental.com/projects/theroom
www.theincidental.com/projects/krom

9:30 (PRM Lecture Theatre) Saturday, November 24
Session 1: Active Cultures of Recording

Full Conference Schedule

http://makingsoundobjects.wordpress.com/schedule-2012/

Conference Website

http://makingsoundobjects.wordpress.com

Reel to Real project website and blog:

web.prm.ox.ac.uk/reel2real/
https://pittrivers-sound.blogspot.co.uk/

Something (Else)

KaiLena

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