AFFAIRE - homenage a Francoise Barriere

an unedited extract of a durational recording of vibrations within soil horizons - east yorkshire 


ink botanic is an on-going series of installations and multi-channel sound works...research into transpiration, root systems, cavitation, vibrations in soil horizons and situated connections between species

recorded with JrF c-series contact microphones, d-series hydrophones and adapted geophones


https://jezrileyfrench.co.uk/ink-botanic.php

ink botanic - soil horizons (unedited extract)

Tracklisting
Beatriz Ferreyra – Echos (1978)
Hilda Dianda – Después del silencio (1976)
Jacqueline Nova – Creación de la tierra (1972)
Jocy de Oliveira – Wave Song (1981)
Oksana Linde – Mariposas acuáticas (1985)
Vânia Dantas Leite – L’Indien et L’Ovni (1986)
Nelly Moretto  –  Composición 9b (1966)
Marlene Migliari Fernandes  –  Espectros Cromáticos (1967)
Graciela Paraskevaídis  –  Algún sonido de la vida (1993)
Graciela Castillo  –  Y así era (1982)
Olga Pozzi Escot  –  Three Poems of Rilke (1959)
Alicia Urreta  –  Dameros I (1984)

Published at: https://soundsandcolours.com/articles/peru/raro-13-ale-hop-female-pioneers-of-electronic-and-electroacoustic-music-in-latin-america-59928/

Mix RARO 13 "Female Pioneers of Electronic and Electroacoustic Music in Latin America"

Sélection Prix Découvertes Pierre Schaeffer

Elise Bonifas, 3h30, 
7’49, autoproduction, France

D'après une étude menée par la société spécialisée App Annie, nous passons 3h30 sur nos smartphones. En branchant mon téléphone sur mon ordinateur, j’ai récupéré toutes les discussions vocales que j’ai eues avec une amie sur un an. Je me suis aperçu que c'était un réel espace de soutiens, de réconfort, un lieu où se dépose une parole, où l’on se raconte à travers nos histoires et la banalité de nos quotidiens. Un écho de nos espaces ondulatoires.

Compositrice et violoniste au sein de la Cie L'ETE, elle obtient en 2021 son brevet d'électroacoustique au CRR de Toulouse. En 2022 sa "miniature acousmatique" est jouée au festival FUTURA.

Elise Bonifas_3h30

Going Under: Above and Below the River Ouse (2014)
Words, voice, sound: Isobel Anderson
Recorded at the river Ouse, at the point at which it runs through my home town of Lewes, in Spring 2013, 'Going Under' explores the fluidity between mind and location through the language and sounds of water. 

Going Under was performed at the San Francisco Tape Music Festival, the International Conference for Emotional Geographies and broadcast on BBC Radio 3's Late Junction and the CCA Glasgow's Radiophrenia. 

Artwork by Miguel Martin: http://www.miguelmartin.co.uk

Going Under: Above and Below the River Ouse

Enemy Lines Stereo Mix

Homage to Janet Beat: Section 2: Inside the Bell Dome (Working Title)

Warning message: Binaural recording, please wear headphones to experience the work.

Binaural recording of an extract from section 2 of my 16-channel acousmatic homage work honouring the pioneering music, practice and career of British electronic composer Janet Beat (b. 1937).

Originally composed for a 16-channel speaker layout consisting of two double rings of 8; see layout below.

Top speaker system:
  1  2
8      3
7      4
  6  5

Bottom speaker system:
   9  10
16      11
15      12
  14  13

This piece will be part of a series of electroacoustic compositions and sound installations paying homage to early women electronic composers, created as part of my PhD research at the University of Liverpool (UK).

Homage to Janet Beat: Section 2: Inside the Bell Dome [binaural recording wear headphones]

PianoDeconstruction (working title)

The 3rd track off the Whimsy EP. ‘Iceland in My Fridge’ provides a vivid dip into the headphone trip, with organic soundscapes of ice cubes swirling in all directions before taking the listeners into the techy terrain.

Kindly drop me a message if you would like a copy of the EP for music review or airplay in your blog, radioshow, podcast or any other music-related press.

‘Whimsy’ is out now on Bandcamp
>> jeanreiki.bandcamp.com/album/whimsy

Iceland In My Fridge

Tombeau pour Françoise Barrière

This piece is part of a larger project (http://hebrides-suite.co.uk) that attempts to both explore and communicate something about history and memory related to the Outer Hebrides of Scotland, through sound.It uses a mixture of monologues, field recordings and interviews collected during a number of trips to the Outer Hebridesas well as material from existing oral history archives.
The voices and recordings in 'Tweed' were recorded over a number of visits to the Outer Hebrides, remote islands off the North west coast of Scotland. The first voice, of weaver Catherine Campbell, was recorded in her weaving shed and shop in Plocrapool, on the east coast of Harris.She is proud of her independent status as a weaver who “doesn't work for the mill” but works for herself. The next voice heard was recorded in a weaving shed near Callinish on Lewis in 1998 as the weaver tried to show me and my friend how to us the Hattersley loom. Threaded inare various atmospheres, voices and mechanical sounds from mill at Shawbost, Lewis recorded in 2006 just as it was about to be sold. As well as the various machines for the washing, drying, dying and spinning of the yarn the weavers are heard explaining some of the physical elements of weaving many of which form spatial templates for the treatment of the recorded material in the composition.

A paper about this work can be accessed at ww.shimajournal.org/issues/v5n1/h.%20Lane%20Shima%20v5n1%20114-127.pdf


Tweed

I am an electroacoustic composer who specialises in acousmatic works and sound installations. My works also incorporate interaction, soundscape, improvisation, multichannel surround, sound design and live performance elements. I have an MA in electroacoustic composition and sonic art from Liverpool Hope University. I am currently conducting a practice-based PhD in electroacoustic composition, exploring the concept of ‘homage’ as a device and approach within compositional practice, specifically to highlight and celebrate the music and output of forgotten early women electronic music composers. I also design and deliver sound-based workshops for participants to learn how to compose with sound.

My work has been performed across the Northwest including venues such as the Capstone Theatre, Congleton Town Hall, The Royal Northern College of Music and across Halton Libraires venues (Ditton, Widnes, Runcorn, and Halton Lea Library). My compositions have been featured on the radio, most recently on BBC’s Merseyside’s ‘Folkscene’ programme. I was also a finalist for Liverpool City Region Culture and Creativity ‘Impact Award – Health & Wellbeing’ (2021), for my immersive interactive audio-visual sound installation ‘dɪsˈlɛksɪə ˈɡeɪtweɪ (dyslexia gateway)’, which highlights the dyslexic’s perspective.

Homage to Janet Beat: Section 2: Inside the Bell Dome [binaural recording wear headphones]

wendyeacomposer