Mariel Roberts, cello
Cenk Ergün, computer

Aman

In April 2020, I recorded a brief sound and sent it to my musician friends. I asked them to listen to it and record a simple, spontaneous response of their own. 38 of them generously accepted my invitation. Each recorded without hearing others, most often on their phones. I made this piece using all recordings in their entirety, without any editing or manipulation.  My goal was to create a picture in sound of this crazy and sad time, made up of isolated moments from the lives and homes of friends I dearly love. 

The music begins inside Conrad Winslow’s Berlin apartment, with the close-up sound of an electric fan. After a series of jams among clarinets, strings, trumpets, trombones, saxophones, megaphones, drums, throat singing, cellophane, electronics, and water drops from a leaking ceiling in Conrad Tao’s New York apartment, the microphones move outside to the sound of bees, birds, the wind, the ocean, a fountain, sparkling water, and a little gem of a poem by Molly Bashaw. The final moment is a brief interaction between the mailman and Sudhu Tewari, who is “tunin’ the piano” (pictured on the cover) outside his home in Berkeley, California. 

CE May 2020 Berlin

Cover Image: Carly McLane

Below is a list of the musicians and their sounds, showing their time of appearance in the piece:

00:00 Conrad Winslow, electric fan
01:01 Eric Umble, clarinet
02:39 Horia Dumitrache, bass clarinet
03:05 Jay Campbell, cello
03:27 Eric Cha-Beach, scrapes
03:56 Alvin Curran, samples
04:37 Rupert Enticknap, voice
05:28 Jeff Gavett, voice
06:28 Chris Otto, voice
06:32 Jason Treuting, drums
07:08 Mariel Roberts, cello
07:35 Travis Laplante, saxophone
07:36 Patrick Crossland, trombone + megaphone
07:36 Andrew Lafkas, electronics 
07:37 Thom Blum, electronics
08:08 Arda Cabaoglu, trumpet
08:09 Alvin Curran, samples
08:17 Soo Yeon Lyuh, haegeum
08:18 Cenk Ergün, digital organ
08:46 Andrew Lafkas, double bass
09:19 Conrad Tao, water drops
10:45 Marcel Zaes, electronics
11:06 Kaitlin Lambert, trombone
11:37 Zoe Cutler, trombone
11:37 Patrick Crossland, electronics
11:47 Travis Laplante, saxophone
11:50 Kiko Weinroth, voice + singing bowl
12:14 Molly Bashaw, trombone
13:34 Kim Lauritsen, voice
13:34 Alvin Curran, samples
13:35 Anna White, voice
13:36 Megan Thompson, voice
13:51 Kira McGirr, wind and voice
13:54 Derya Ergün, voice
13:59 Miranda Cuckson, violin
14:03 Rupert Enticknap, voice
14:20 Margaret Lancaster, cellophane + voice
15:16 Chris Vatalaro, electronic drums
16:21 Johannes Liepold, bees
16:52 Ning Yu, water fountain
17:03 Beth Meyers, sparkling water
17:19 Joan Jeanrenaud, ocean + highway
17:29 Molly Bashaw, poem
17:47 Sudhu Tewari, mailman + piano

Amore Vieni For Isolated Ensemble

Year: 2015
Composed for JACK Quartet
Commissioned by Chamber Music America

Sonare (Excerpt)

Year: 2016
String quartet for JACK Quartet
Commissioned by Chamber Music America

Celare (Excerpt)

clicks & cuts vol. 1 - 3 (mille plateaux|2000-2002)

01. sutekh - unstabile |°
02. ihan - sans titre no 2 |°
03. random inc - losing touch |²
04. frank bretschneider - kern |°
05. robin judge - rhizome |³
06. taylor deupree - clir |²
07. richard chartier- filer |²
08. skist - shift |°
09. snd - palo alto |³
10. pole - spa |°
11. tim hecker - brown wedding |³
12. deru - migrage|³
13. donnacha costello and david donohue - nine blind men (the rankest poison of ignorance and vice) |³
14. dettinger - strange fruit |°

° = http://en.wikipedia.org/wiki/Clicks_%26_Cuts
² = http://en.wikipedia.org/wiki/Clicks_%26_Cuts,_Vol._2
³ = http://en.wikipedia.org/wiki/Clicks_%26_Cuts,_Vol._3

* Clicks & Cuts Series is a compilation series from the German music label Mille Plateaux. It features various experimental electronic artists to give an example of the sound and variety of the glitch music movement of the early 2000s. So far, six volumes have been released.
The term "clicks & cuts" was first used by an English journalist writing about glitch music and the Mille Plateaux label.

*Mille Plateaux is a label for experimental electronic music. 
Genres like Clickhop, Glitch, Clicks & Cuts etc. were largely influenced (and named) if not formed by the label. 
The name "Mille Plateaux" (A Thousand Plateaus) initially stemmed from a concept and same-titled principal work by French philosopher Gilles Deleuze, who himself gave approval of its use to the original label founder. 
(wikipedia|discogs)

knowledge

clicks & cuts (...and rock n roll) [mille plateaux|2000-2002]

MARIIA MYTROFANOVA / ZEYNEP AYŞE HATIPOĞLU 
GALYA CARRIES WATER, 2023

The zine publication GALYA CARRIES WATER, which is also on view as a mural in the exhibition, is based on the exchange and collaboration between the two artists Mariia Mytrofanova and Zeynep Ayşe Hatipoğlu during the first month of their residency at the SCHIESSLHAUS AiR in Kollnburg. The publication includes elements from three artistic works: the static performance series SELF-OBJECTIFYING SESSIONS, the 
improvisation piece of the GALYA CARRIES WATER, and the documentation of the performative commemoration of THERESE’S BIRTHDAY. The zine publication is translated into the format of a music notation book and includes a QR code on the back cover, which can be used to access the sound piece performed by Hatipoğlu and Mytrofanova.

Performers: Mariia Mytrofanova (vocal, performance), Zeynep Ayşe Hatipoğlu (cello, sound mix)

2023_Galya Carries Water Composition / MARIIA MYTROFANOVA / ZEYNEP AYŞE HATIPOĞLU

@ the wulf. - 12.05.2015
Jake Rosenzweig, Laura Steenberge, Scott Worthington - basses


tergiversate

Lebanese artist Nour Sokhon reimagines capacities of the human protest and the human desire as a radical electronic collage absorbing stories of the ‘ordinary people’, the underrepresented in the community that surround her while working from her home studio space. Growing up as an Arab woman, she blatantly describes the confining reality of living with various restrictions to her individual and collective sense of freedom, fuelling her work with film, sound and advocacy. Intergenerational post-war hauntings, awakenings and the struggle for hope both at the worldly and the personal level are the prevalent themes found in her work.

The ongoing Lebanese civil protests and revolution following the pandemic adds to her and her people’s emotional and collective strife, that she seeks to evoke as sonic matter:


On October 17, 2019 the process of rediscovery through listening magnified more than ever, in the streets of Lebanon, where a sea of rage swept the country. The country’s lock-out of spaces has been a norm since then. Isolation, social anxiety, frequent cutbacks in electricity at odd hours of the day, items disappearing from store shelves, people unable to go into social environments and participate in human contact is nothing new. Poverty has taken over, hunger is in the eyes of the people everywhere you walk. The conversations that take place in the local supermarkets, in the shared cabs, and on the streets all carry one common theme: anger. Anger about the prices soaring, anger about the lack of proper infrastructure, anger about lack of basic public services and anger about the root cause of it all: the government’s extreme level of corruption.


Sokhon’s association with sound emphasizes its political and social possibilities; she uses field recordings and samples to write up the lives of people who are oppressed and subjugated.


My desire is to sincerely translate the frailing energies of human and civilian struggle flowing through the veins of my country Lebanon in recent months at the hands of time tested injustice, leading to perhaps an imminent economic and cultural collapse.


Rectification of the Wretched is composed to remind her people that there are still dreams that they can seek.


I am with the people, and seek reformation. Before the start of quarantine I used to find myself in the streets. At the moment I have lost hope, yet I find it necessary to not succumb to the dark pit of despair. My personal sense of empowerment, my weapon, rises and awakens through sound amidst all the chaos. I would like to rediscover the current turbulence we open our eyes to every morning by amplifying the silenced voices of the people. I would like to create a figment of hope through the power of imagination by asking locals one question. What do they dream of?


The resulting soundscape is a narration of twelve different voices. Conducted through Whatsapp, the interviewees responded to the same question posed: What do they dream of?

Editorial edit by Alifiyah Imani
Full essay is published here: https://spatialsoundinstitute.com/P_Composing-Sonic-Futures

Rectification Of The Wretched - Nour Sokhon

Helak - Lycoris Radiata

Helak - Inferno I, Live At Karga

Cellist, composer, improviser from Istanbul, living in Berlin.

2023_Galya Carries Water Composition / MARIIA MYTROFANOVA / ZEYNEP AYŞE HATIPOĞLU

Zeynep Ayşe Hatipoğlu

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