Name: Air Mirrorworld by user192073571
Duration: 24 min

This composition examines the anthropocene’s “insensible” intimacies (Yusoff 2015 in West Texas and elsewhere. 

I use field recordings to trace out wind’s compositional and affective forces. Geophones and contact mics on electrical posts, old and new windmills, aeolian harps, electric hums and vibrations, and iterations of wind in other forms draw out inaudible frequencies and play with sensory thresholds. Recordings are my own or from freesound.org.

Air Mirrorworld

with Laura Benítez Valero,  Brandon LaBelle, Vanessa Lorenzo, Óscar Martín, Robertina Šebjanič

In a world dominated by the visual, could contemporary resistances be auditory? How does the materiality of sound affect listening and its capacities? What types of collaboration may be configured from working with biomaterials and sound? Do these bio_sonic_agencies open up other possible spaces outside a visual or logocentric regime? The radio work Bio_Sonic_Agencies follows such questioning through a focus on matters of air. Air is highlighted as an elemental force that moves across human and more-than-human bodies, and that enfolds in its rather invisible and light presence a range of material expressions and dynamics. From the microscopic to the macroscopic, air is radically invasive, affirming, influential; it is profoundly internal, filling the lungs with its molecular support while passing across the planet in atmospheres and weather streams. It transitions through states of materialization and imaginaries, from gaseous ethers and contagions to radiophonic signaling and aerial topographies – air is a deep and dangerous carrier. Bio_Sonic_Agencies is the result of a collaboration between a group of artists and philosophers who work with biomaterials, ontological entanglements, sound and speculative listening. Through a process of shared discussion and sonic experimentation, the collective work captures a series of encounters with matters of air.

Produced for Kunstradio, Vienna, 2021.

Bio_Sonic_Agencies

22 hour radio broadcast on Radio Art Zone, 12 Aug 2022 from 2pm CEST - 13 Aug 2022 at midday

​Our recent work constructing ‘Open Wave-Receivers’ (self-powered radio receivers made from readily available and found materials)brings into focus the site-and-time specificity of radio reception. We experiment with designs that incorporate the physicalities of an immediate space into the circuit - such as coils wrapped around roof tiles, ground wires connected to garden taps, and antennas attached to fences - all of which set the circuit within a specific location. By listening over time, we notice the atmospheric and environmental influences on radio reception. We think of these and other radio devices in-situ as part of a larger constellation of bodies, materiality, and connection experienced through listening.

Over the course of 22 hours during Radio Art Zone, listeners were able to tune into Shortwave Collective engaged in collective and solitary listening experiences as we searched for radio reception through Open Wave-Receivers and other devices such as VHF and VLF receivers, software-defined radio, walkie-talkies, and electromagnetic detectors. Our collective material was sourced over many months and seasons, and across different time zones, from listening sites that connect environments, technologies and voices. Each recording was broadcast at (or close to) the hour it was originally heard. In two live sessions taking place during the Perseids meteor shower, Shortwave Collective members filtered recordings made by the group through their home environments: between 18:00-18:30 CEST on Friday 12th August from a garden in Crete, and 11:00-11:30 CEST on Saturday 13th August from a mountain in the south of France. Our 22 hours concluded from the garden in Crete for the final half hour.

https://www.shortwavecollective.net/constellations-of-listening.html

Constellations of Listening 2-3pm

Madison Greenstone: bass clarinet

recorded October 2018 in Conrad Prebys Music Center Concert Hall.
recording engineer: Alexandria Smith

Timothy McCormack: RAW MATTER for bass clarinet solo

Voices on tape. Anonymized; otherwise unedited.
http://20thcenturymicrocassette.libsyn.com/website

20th Century Microcassette 2_1

Perpetual Motion by Philip Samartzis is composed of sound recordings of wind farms located in the Province of Benevento in Southern Italy.

Perpetual Motion

Madison Greenstone: contrabass clarinet and electronics
Live @ ISSUE Project Room, opening for Mary-Margaret O'Hara and her band.
December 1st, 2018

On the materialization of perception- 
The electronics consist of a 1-minute loop of a contrabass clarinet multiphonic, which over the course of 24 minutes continuously (linearly) decelerates to ¼ of the original speed (or, the fundamental sinks 1 semitone every minute). As this deceleration occurs, the listener starts to hear lower frequencies pass out of audio range (below 20 Hz), and higher noisy beating in the spectrum turn into slowly pulsating clusters of frequencies as different regions of the spectra warp at different rates in relation to each other. Over the last 2 minutes, the loop slows to 1/32 of the original speed. Effectively every audible aspect of the original multiphonic sinks below the threshold of human hearing, passing through the region where frequencies are felt somatically and spatially rather than heard. The live contrabass clarinet intercepts the long descent at regular intervals, playing multiphonics whose spectra activate, and are activated by, the sinking carrier signal. Certain partials are amplified, create beating, and are masked depending on the contingencies of each signal’s spectral profile. Each physical position of the listener in the space registers a phenomenally different sonic experience- the propagation of the sounds’ waves in the room, the listener’s own subjective position, and the audiences own material capacity for absorbing and reflecting sound are all revealed as material inevitabilities.

Live at ISSUE Project Room – December 1st, 2018 – contrabass clarinet and electronics

improvisation (single track). preparing to write a piece for solo cello.

cello (09/05/20)

QA Transposition 20201210 -- Hildegard Westerkamp

QA Time 20201217 -- Chris Watson

poet - Majority Reef (Inside the Castle, 2020)
& anthropologist (phd candidate UT Austin) 

senses, sound, energy, toxicity, Permian Basin

Air Mirrorworld

user192073571

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