Name: Seedling by joey zaurrini
Duration: 6 min 2 s
Description: Seedling is inspired by the regeneration that takes place deep in the soil: the churning, changing, becomingness of life from decay. It is constructed with gestures of pulses, pushing outwards as familiar sounds of the city begin to dance around the stereo-field. New arrays of familiar sounds signal a regenerated landscape from the inside out.

A 20min immersive ecological encounter designed to be experienced under the canopy of a Tipuana Tree. This piece reflects on the ideas presented in Novacene (2018) by James Lovelock. 

Commissioned for Botanica Festival 2021. 
Credits: Created ESEM Projects. Lead Artist: Dr. Sarah Barns

Composition & Research: Sarah Barns
Field recordings: 
Andrew Skeoch, Listening Earth
Vicky Powys, 
Jonothan Hutchison, 
George Vlad
Music: Nigel Cruikshank
Vocals: Rosie Grayson
Sound design: Pete Hird

Includes the voices of James Lovelock, Gregory Bateson, Paul Erhlich, Emma Maye Gibson, Annika Killalea, Frances Barns.

Superorganism: Listening in the Anthropocene

Doi Saket sound map

Temple Ceremony/งานพิธีที่วัด -- part of Lost in Doi Saket soundmap

Seedling is inspired by the regeneration that takes place deep in the soil: the churning, changing, becomingness of life from decay. It is constructed with gestures of pulses, pushing outwards as familiar sounds of the city begin to dance around the stereo-field. New arrays of familiar sounds signal a regenerated landscape from the inside out.

Seedling

Saturday 01.02.2014, CTM 2014 – Dis Continuity, Berlin

Lectures & panel discussion with Sadie Plant (UK/CH), Susanne Kirchmayr (AT), Fender Schrade (DE), Marie Thompson (UK. Moderation: Annie Goh (UK/DE)

Recent discourse on the subject of women and electronic music falls tendentially into two categories; either writing forgotten histories of pioneering work of women such as Daphne Oram, Elaine Radigue, Delia Derbyshire, Pauline Oliveros, Maryanne Amacher amongst many others, or with reference to the recent statistics via female:pressure, highlight the huge quantitative discrepancies between male and female musicians, DJs and producers represented at labels and music festivals worldwide. Whilst both can be considered worthwhile approaches in their own right, the former approach risks creating fetishized figures of "patchbay nuns" (Abi Bliss) and the latter finds hostile responses and risks ostracization in its own field. In both, one fundamentally important aspect remains overlooked - Judith Butler formulated this as the necessity not only to inquire how the category of “women” might become more fully represented - for example here in music -, but also crucially to understand and critique the very categories and structures of power in which these discourses operate.

Taking root from an abstract ontological level, in which binary categories of sex and gender have long been refuted (biologically as well as culturally), the panel aims to assess the interactions between sound, gender and technology from various philosophical and artistic positions. The widely discussed "cyberfeminism" borne in the early 1990s questioned the perpetuation of technology as a male-dominated domain, whilst also inciting digital culture as an ideal flourishing ground for subversive strategies. Though the relationship of this purported digital utopia never largely or explicitly addressed sound, it shares dimensions in its affective power as well as non-linear, decentralized and unhierarchical characteristics. 

After approximately two decades since cyberfeminism boomed - how can we assess the cyberfeminist dream of the subversive potentialities within technology in the current status quo? How does an inquiry into the nature of sound tally to the broader aims of cyberfeminism? Does a gendered understanding of technology and sound technologies help the dismantling of the structures which form sound, gender and technology today, or does it perpetuate these? Referring to both levels of feminist activism and feminist theory outlined above, as well as the dual tendencies within cybernetics towards order and chaos at the core of cyberfeminism – what can be identified as continuity and discontinuity in the structures of sound, gender and technology?

CTM 2014: Sound, Gender, Technology – "Where to" with Cyberfeminism?

Most of the lyrics were written under the summer sun on a blanket with the Lachine canal in front of me, and the tracks were mostly recorded after having a few glasses of wine. I suggest you do the same with your favourite drink and mellow out with me. Best listened to with a neat glass of Bowmore.

Reshape The Phase

Dead Bells (Revisitation)

Forcing a diamond 
out of the rough, 
you don't understand 
why you have to be so tough. 

I could rip my heart out 
and you wouldn't even notice, 
sulking like a monster 
in the shadows. 

For your secrets 
and your silence, 
For your secrets 
and your silence.

from II, released March 24, 2016 
Isabella Davis: Lyrics, Vocals 
---: Vocals, Bass, Synth, Musicbox 
Paul Geldart: Drums, Electric Guitar

Sepulchre

Father's son (sketch)

First single from GRMLN's album 'Discovery', out on April 7th

Spotify:
https://open.spotify.com/album/1hqt7NUzGy5nB3eFFmed96?si=GXWSvEgzToCqFntdSHXyIw

Pre-order:
https://grmln.bandcamp.com/album/discovery

Discovery

27 Kids

A selection of Deep House Music from Julien James, enjoy it!
Podcasts available @ : https://www.mixcloud.com/julienjames/
Facebook @ : https://www.facebook.com/JulienJamesProductions/

Radiohead - Daydreaming (Stereo Underground Remake)

Electroacoustic composition, traditional composition, sound art and sound design.

Seedling

joey zaurrini

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