Somewhere And Somewhen (EDIT)

A live recording of the premiere of "asleep, forest, melody, path" for field recordings and live performance (2013), written for Greg Stuart. The field recordings were made in the Congaree National Park in 2012 and 2013. Greg assembled an ensemble of 30 local musicians for the concert, which took place on November 18, 2013, at the Columbia Museum of Art in South Carolina.
Performers: 
Cynthia Beavin, Alison Branham, Isaac Brockshus, Chris Buckman, Justin DuRant, George Fetner, Matt Fink, Cera Finney, Ellen Gardiner, Dan Gilmore, Dylan Gonzales,  Nathan Halverson, Jenie Hoffman, Katie Holaway, Peter Hoyt, Chris Johnson, Diane Kessel, Will Kroske, Hannah Lea, Alexi McHugh, Brenton O’Hara, Neil Pelfrey, Hannah Rilley, Nick Royals, Greg Stuart, Josh Thompson, Chau Tran, Jeff Vaughn, Dan Wolfe, Nick Wrobel

Recording: Chris Johnson and Greg Stuart
Mastering: Joe Panzner

asleep, forest, melody, path (for field recording and live performance, 2013)

Released by Caduc, March 15th 2017. 
Recorded as part of a residency at SARU, Oxford Brookes University. Mastered by Robert Curgenven. 
Artwork, 'Frightened Men and Horses', by Sarah Hughes.

Available from:
http://caduc.org/index.html
www.patrickfarmer.org

Patrick Farmer & David Lacey. Pell-Mell The Prolix (excerpt)

Mark So | and suddenly from all this there came some horrid music
performed by:
Cristián Alvear (guitar)
Gudinni Cortina (turntable)

Mastered by A.F. Jones at Laminal Audio
Recorded at SOFA in Santiago de Chile
edition of 100
available at www.caduc.org

Mark So - and suddenly from all this there came some horrid music

32°42’N 117°14’W was recorded from the explosives ordinance disposal unit pier in San Diego Harbor in December of 2016, and is featured on 'four dot three to one' (Kendra Steiner Editions).

Available in limited numbers here: https://kendrasteinereditions.wordpress.com/2017/04/02/new-album-from-a-f-jones-four-dot-three-to-one-kse-369-now-available/

"As a composer, A. F. JONES is really in a class of his own. As he has been called an  “undersea acoustician” (by Tiny Mix Tapes), I was excited by the thought of him taking  KSE listeners on a trip deep into that little-known world that covers 71% of the Earth’s surface and suggested he create a piece that grew out of his underwater field recordings and nautical background.

There is so much to experience on this rich and evocative and multi-textured, multi-leveled album. And when you listen on headphones (I’d played it on speakers 5 or 6 times first, so I was familiar with the sonic topography, so to speak, in a general sense), it opens up and you feel like you are, literally, diving into the sound world created by Mr. Jones.

I really have not heard anything like this album before. Each piece is quite different, and there is a rich tactile sense to the sound sculpture here. This is a highly recommended and highly original album."
- Bill Shute

32°42’N 117°14’W (excerpt)

"Wet Hologram" live at Transistor Chicago in 2016. Original version found on upcoming "Surreal Air Fortress" LP (Entr'acte 2018).

Coppice Wet Hologram (Live)

Playlist and other information available at: http://www.freeformfreakout.com/fffoxy-podcast-114-crys-cole-feature/

FFFoxy Podcast #114: crys cole feature

Playlist and other information available at: http://www.freeformfreakout.com/fffoxy-podcast-118-korea-undok-group-feature/

FFFoxy Podcast #118: Korea Undok Group feature

23 February 2019, Galerie Paris, Yokohama Programme Note I composed with our shadows in 2013 for the duo Les Amusements de la Chambre (Kate Clarke, harpsichord and Emily Redhead, violin).   The writing of this piece coincided with my reading of Rosemarie Waldrope's beautiful English language translations of Paul Celan's prose writings.   With our shadows is, in some ultimately un-sayable way, inspired by a fragment form Celan's Conversation in the Mountains: “I’ve met you here … with our unpronounceable names, our shadows, our own and not our own, you here and me here—"   This fragment seemed to name something of the encounter between the two players in the piece—something of the piece's intimacy and transience.

With Our Shadows, performed by ryuta iwase and yamada gaku

A series of recordings from the forthcoming publication, 'Azimuth, the Ecology of an Ear'.

Readings in order: Thomas Martin Nutt / Chloë Proctor / April Van Winden / Nisha Ramayya / Carrie Olivia Adams / Patrick Farmer / Tomoé Hill / Michael Pisaro / Julia Bloch / Fay Zmija Nicolson / Emily Leon. 

'Azimuth, the ecology of an ear', is a new book curated and edited by Patrick Farmer, in collaboration with twenty one other artists. Azimuth revolves around fifteen attempts to locate and rend the human/non-human ear into fragments, isolating and being with its forms and natures outside of their conventional relations. It asks, what is the ear; where is the ear; who is the ear; what are we to our ears; are we listeners or listening; does the ear hear? It considers the ear as interlocutor, as equivalence, as synergy, as eros (hear us).

'Azimuth' features work by Thomas Martin Nutt, Susana Gómez Larrañga , Lotti V Closs, Richard Skelton, Carrie Olivia Adams, Helen Frosi, April Van Winden, Florence Sunnen, Lance Austin Olsen, Tomoé Hill, Chloë Proctor, Nisha Ramayya, Hannah Dargavel-Leafe, J.R. Carpenter, Julia Bloch, Michael Pisaro, Clara de Asís, Fay Zmija Nicolson, Patrick Farmer, Tess Denman-Cleaver, Mirella Salame, Joseph Clayton Mills, Amelia Ishmael, and Emily Leon.

It will be released, 'alongside aspects of the morning', by Helen Frosi, on May 23rd at Cafe Oto, London. 

Image by Thomas Martin Nutt
Published by the Sonic Art Research Unit 
www.sonicartresearch.co.uk

Mark So - and suddenly from all this there came some horrid music

caduc.

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