This is a montage of recordings created at or just after the launch event of Audiograft - the Sonic Art Research Unit's 2011 festival of sound art and contemporary music.

Stephen Cornford plays the piano in this recording; the benches are played by Paul Whitty, Patrick Farmer, Sarah Hughes and Shirley Pegna. 

The event took place on 16th February, 2011, in the Richard Hamilton Building at Oxford Brookes University.

For further details please visit http://www.sonicartresearch.com or http://www.audiograft.com.



Pianos and benches

This is a recording of Patrick Farmer performing a fluxus score by George Brecht at the "Concept as Score" performance that was put on at The Holywell in Oxford, as part of Audiograft. This is the score for the work:

For a drummer, fluxus version 2;

Drum with sticks over a leaking feather pillow making the feathers escape the pillow.

For more information on this performance, please visit http://www.sonicartresearch.com

Patrick Farmer playing George Brecht's "For a drummer, fluxus version 2"

This is a recording of Bengt af Klintberg's fluxus score, "Orange Event Number 24."
 
This version of the score was realised at the Audiograft festival during the "Concept as Score: Wandelweiser and Fluxus" concert that took place in the Holywell Music Room on 17th February as part of the Audiograft festival.

The performers cracking nuts in the piece are: Sarah Hughes, Patrick Farmer, Dominic Lash, Paul Whitty, Rhodri Davies and Bruno Guastalla. The score simply dictates:

Stay for a long time in a room in which there is silence.
Breathe silently, move silently if you choose.
At a time that you choose yourself, crack a nut.

"Orange Event Number 24" by Bengt af Klintberg

"The Ethometric Museum is a fascinating and transporting new installation by internationally acclaimed sound artist Ray Lee. Appearing to be artefacts from a hitherto unknown branch of science, Ethometric Instruments are curious, fascinating relics from a bygone age.

Ray Lee is famous for creating the world-renowned show “Siren”. Here he has assembled an extraordinary collection of these obscure, yet compelling objects and is presenting the Ethometric Museum to the public for the first time in the basement gallery of the Museum of the History of Science."

- The Museum for the History of Science, Oxford

This recording features excerpts from Ray Lee's Ethometric Museum, including an introduction from Dr Kounadea, and the sounds created by several of the mysterious Ethometric Instruments during Professor Lee's demonstration.

Ray Lee is a SARU practitioner at Oxford Brookes University and the Ethometric Museum may be heard/seen/experienced at The Museum of the History of Science in Oxford throughout April 2011.

This recording was made by Felicity Ford using a combination of headworn binaural microphones (Roland CS10EM) and a static, mounted Audio Technica BP4029 stereo shotgun microphone. 

Ethometric Museum Excerpt...

SARU practitioner Max Eastley's work was recently featured in Gone With The Wind, at the Raven Row gallery in London. The show also featured ResonanceFM, and works by Takehisa Kosugi and Walter Marchetti.

Kinetic drawings and sculptures by Eastley were displayed at this show, along with a series of Aeolian devices, which were installed on the roof of the gallery, and which had their sounds transmitted into the exhibition space by means of an ingenious series of wires, transducers and amplifiers.

This recording documents how the Aeolian devices sounded in situ, on the roof of Raven Row.

The devices were all activated by the wind. A large sheet of plastic or metal rumbled when the wind moved it; latex bands with bamboo and metal objects suspended on them danced around, striking other metallic surfaces when blown about (which you can hear in the first excerpt); and mono-bows mounted on poles resonated with sustained bursts of wind.

Recordings variously made with a widely-spaced pair of Naiant X-X omni-directional microphones, and an Audio Technica BP4029 stereo shotgun microphone.

Max Eastley's Aeolian devices

polishing

Realised by Sarah Hughes and Patrick Farmer at the launch event of Audiograft 2011

Solo for Violin, Viola or Contrabass by George Brecht, 1962

Saru are very pleased to announce that Trichromatic Moiré, a new double CD featuring realisations of a graphic composition by Thomas Martin Nutt, is now available. 

Martin’s work with the physicality of interference takes place within the beating patterns of a multi-sensory field, a Moiré, and to celebrate his wonderful compositions, SARU invited a number of artists from around the world to realise his work.

The release features interpretations by Tetuzi Akiyama, Harriet Butler, Sarah Hennies, Ryu Hankil, Ko Ishikawa, David Lacey, Sally Ann McIntyre, Will Montgomery, Joseph Clayton Mills, Shirley Pegna, Rie Nakajima & Marie Roux, Samuel Rodgers, Lo Wie, and Keiko Yamamoto.

www.sonicartresearch.co.uk

Tetuzi Akiyama

Sarah Hennies

Sally Ann McIntyre

Keiko Yamamoto

On Wednesday 11th June, SARU practitioners Paul Whitty, Shirley Pegna and Felicity Ford presented the Sonic Kitchen Workshop at Fir Tree School in Wallingford, Oxfordshire.

This is some audio documentation from the workshop.

Sonic Kitchen Workshop

Thomas Martin Nutt, Harriet Butler, and Patrick farmer got together one afternoon in the SARU studio during the audiograft festival (complete with the bleed of music students practising in adjacent rooms), to discuss, among other things; Martin’s compositions, his influences, the sound a healing eardrum, interference patterns on tennis courts, and the role of silence and language in his work.

http://www.sonicartresearch.co.uk/trichromatic-moire-studies/

A conversation about Trichromatic Moiré, with Thomas Martin Nutt

The SARU (Sonic Art Research Unit) provides a forum for dialogue between the fields of Experimental Composition and Sound Art; including electroacoustic, language based composition, interdisciplinary and site-specific practices, field recording and soundscape studies. SARU curates the annual sound festival audiograft; supports the development of online projects including Sound Diaries and Found Soundscape and programmes symposia, performances and exhibitions. SARU is supported by a community of practitioners.

You can get involved in SARU through our new MA Sound Arts course and our PhD programme.

Sonic Art Research Unit

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