During a residency with the Landscape Quartet I recorded this Aeolian guitar with strings suspended to a tree down by the sea by the harbor in Gävle, Sweden. Part of a large scale group composition, this is the first section in the guitar part. No electronics or overdubs. This was played by myself and the wind on April 2 2014.

Tracks and Traces (Aeolian Guitar recorded by the sea in Gävle)

A live version of the track from my 2023 album Proserpine for Tom Ravenscroft and Deb Grant on their BBC Radio 6 show New Music Fix Daily.

Like An Apple (BBC Radio Live Session)

Endless loop for abandoned synagogues

6 minute excerpt from the exhibition, 'Deathstar,' by Marina Rosenfeld, at Portikus, Frankfurt, Germany, Feb 17-April 16, 2017. 

From Portikus.de: 
The exhibition title of Marina Rosenfeld's new work for Portikus, Deathstar, refers to an unrealized line of research conducted in the late nineties in the last days of the sound laboratory at AT&T (formerly Bell Labs). Before it was abandoned, researchers explored the possibility of formalizing the subjective and transitory nature of sonic experience through a proprietary microphone configuration and set of calculations. So-called “perceptual soundfield reconstruction” aimed to allow users to reproduce a sensory account of the experience of one space within another. The “death star,” the device's informal nickname, referred more to the appearance of the structure, but the device also pointed to an alternative future, a future where listening was closely tied to cognition and the body.

Marina Rosenfeld takes up the “death star's” idea of environmental recording but inserts it back into a more immediate and complex temporality. The gallery is co-opted as a site of continuous simultaneous recording and playback, a fluid and recursive acoustic environment where a constant production and dispersal of data is subject to a series of delays and to the native distortion of Portikus' architecture. Indeterminacy in this system is a function not of philosophy, but the inability of the apparatus to fully grapple with the quantity and complexity of the signal that is continuously collected, translated, and redistributed through a set of shotgun microphones, an interface and four speakers.

Part echo chamber, part unruly machine, the Deathstar ultimately achieves a kind of legibility through another recursive gesture, the conversion of its collected sound back into notation. In that sense sound is neither an abstraction nor a means to an end, but rather a material condition connected to the formation of music. . . 

More: http://www.portikus.de/en/exhibitions/205_deathstar

6 minutes of sound from the exhibition 'Deathstar' , @ Portikus, February-April 2017

Final group composition during our Activating the Geopoetic workshop in Zagreb, Croatia. Vocal improvisation in the Francuski Pavilion. September 2018.

Activating the Geopoetic: Francuski Pavilion

Excerpted from SOUND OF MULL (a series of performance scores), "How to Perform Geochronology in the Anthropocene" is a sonic meditation through deep time and speculative futures.

How to Perform Geochronology in the Anthropocene

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

Azimuth, the Ecology of an Ear (readings)

KRAI 001. Elvin Brandhi

Collage of memories is a collage of several compositions that were created from the recorded sound on the island of Beška on Skadar Lake. On the island of Beška there is a female monastery of the same name from the 14th century. The time we spend in places like this often gives us the opportunity to be aware of the moment and where not only to hear the outside world but also the inside. These soundscape compositions are ambient and minimalist. The idea was to make one composition from one recording, and the first composition was created from the sound of the monastery bell, while the others were created from the recording of the semantron and waves of the lake. By working on these compositions, I wanted to re-examine how we experience our own memories in the places we connect physically and mentally through sound and whether the space itself can be presented through sound.

Visuals by Tamara Tasić - www.instagram.com/brusnica__/

Collage of memories - Waves

Commissioned by Made In Roath, Cardiff, to be part of a 24 hour broadcast across the Solstice, 2020.

Sounds include: the slow creak of a shruti box, a found sound of a volcano erupting and lockdown rainfall.

Azimuth, the Ecology of an Ear (readings)

PF

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