Collisions-rédemption

The deeper I am investigating field recording as both artistic and listening practice, the more I become aware that each recording session is an intrusion into the landscape and that the landscape, whatever historical, biotic, or environmental system defines it – is sentient to my presence.

No matter how considerate my “intrusions” are, an abstract form of communication always takes place, and it largely depends on my ability to maintain this connection, which goes beyond the soundscape and sonic properties of the place. In this sense, my capacity to employ deep intuition and activate a specific neural architecture developed through a compound of skills also defines the recording process and its future aesthetic transformation. Thus, making a field recording fully personalized practice and soundscape composition a discipline of open interpretation, as well as a vast field for misuse and false representation. Regardless of an evaluation system, whether we contemplate an act of listening through scientific observation of one’s cognition event boundaries or through the capacity to comprehend the existential phenomenology of Zulu spiritualism, the possibility that two or more listeners can have the same listening experience is minuscule.

We are all deeply rooted in a diversity of psychological constructs; neural and sensory imprints, memory compounds, cognitive abilities, and many body-mind pathways determining our current psycho-physical state. Therefore, if the field recording practice is based on any form of active listening – it is a discipline based on interpretation.
With that in mind, I am asking: How do we approach the landscape of severe devastation and a dense history of warfare? Knowing that serious ethical and moral consequences are involved in the effort to interpret a particular soundscape.

In the work “ghosts” I am using obsolete instruments – a modular synthesizer built in 1970, a discarded wheelchair wheel salvaged from the Adriatic Sea, and the piano fallen in disuse which belonged to the Austrian conceptualist, filmmaker, improviser, photographer, environmentalist, and writer – Karl Katzinger aka John Tylo (October 1953 – April 2021). Next to these elements of the past and their voices rediscovered, I am incorporating hydrophone and field recordings from several locations appropriating them through the discourse of critical tourism and a culture of memory – more specifically through listening to the inherent memories of environmental devastation due to exploitation of natural resources as well as warfare – in the South Adriatic (Old town Dubrovnik and island of Vrnik), and the Czech-Austrian borderlands nearby of Mauthausen–Gusen concentration camps. 

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Instruments:
EMS Synthi 100
Wheelchair wheel salvaged from the sea
John Tylo’s old piano

Field recordings:
Dubrovnik – Stradun air conditioning units and collection of rubbish containers
Vrnik Island South Adriatic – crickets in an ancient limestone quarry
Adriatic dolphins *hydrophone recording by Robertina Šebjanič
Harrachstal village on Czech-Austrian borderlands – crickets in the abandoned granite quarry
Hydrophone recordings of the river Schwarze Aist
Train coming into Freistadt train station in Austria

All sounds performed, recorded, composed & edited by Manja Ristić
Some sounds gathered at the SHAPE + musikprotocoll residency, July 2023

Hydrophone used for an underwater recordings made by Jez riley French
jezrileyfrench.co.uk

Mastering by La Plant Studio
laplantstudio.com

Bandcamp

ghosts

Return
Composto nel 2023, dopo una ricerca sui feedback analogici svolta nel corso del 2022.
Questa ricerca si articola, oltre che da un punto di vista sonoro, anche da quello visivo grazie all'artista Samuel Pietri.
I due linguaggi -sonoro, visivo- apparentemente lontani ricercano un continuo scambio comunicativo.
Un ringraziamento al batterista Sergio Perna per il contributo durante la sperimentazione. 

LINK: https://vimeo.com/0l0

Return

Shanti is a veteran and expert in four to the floor dance music - tune in once a month for a considered two-hour selection of the best house and techno around, transmitting direct from the NTS studio. 
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Le Révélateur
Hyper
Picture-Disc LP (Hybrid Vinyl)
Dekorder 080

Release Date: March 18, 2016

https://dekorder.bandcamp.com/album/hyper

Dekorder 10-Year Anniversary Hybrid-Vinyl Series

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Excepter
Le Révélateur
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Vindicatrix
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Kemialliset Ystävät
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Alien Radio

https://dekorder.bandcamp.com/album/10-year-anniversary-hybrid-vinyl-series

Le Révélateur - Fakeaway Haptics (Dekorder 080)

for 10 instruments and electronics

Performed by the Wet Ink Large Ensemble (Ian Antonio, conductor)
1st Annual Wet Ink Large Ensemble Readings
June 11th, 2016, New York City
www.wetink.org

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Check out a new track from 130701's Montreal-based composer Olivier Alary, who has previously collaborated with Bjork and released on FatCat and Aphex Twin's Rephlex label.
'Mirages' is the first of a series of instrumental pieces based on the idea of porous memory and blurring the line between fiction and reality. It was written for a 15-piece chamber orchestra comprised of a string quintet, wind quintet, second clarinet, trumpet, trombone, piano, and percussion. It was recorded in Montreal, spring 2018.

Mirages

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Read more, including tracklist and interview, at https://wp.me/p25H4R-nM1

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