Disclaimer

Index

Content Types

Artist Profiles (3)

Audio (4)

Audio Papers (37)

Editorial (3)

Essays (22)

Conversations (8)

Scores (7)

Series (8)

Text Poems (8)

Contributors (120)

  • Allanah Stewart
  • Allanah Stewart is an artist from Aotearoa/New Zealand, currently living in Melbourne, Australia. As well as her work in various experimental music projects, she is the presenter of a monthly podcast radio programme called Enquiring Minds, hosted by Noods radio, which explores old and new, lesser known and well known sounds that loosely fit under the banner of experimental music.

  • Jen Callaway
  • Jen Callaway is a Melbourne musician, sound and performance artist, photographer, and community services worker raised in various parts of Tasmania. Current projects include bands Is There a Hotline?, Propolis, Snacks and Hi God People; and upcoming film Here at the End, by Campbell Walker, as actor/co-writer.

  • Isha Ram Das
  • Isha Ram Das is a composer and sound artist primarily concerned with ecologies of environment and culture. He works with experimental sound techniques to produce performances, installations and recordings. He was the 2019 recipient of the Lionel Gell Award for Composition, and has scored feature-length films and nationally-touring theatre installations. He has performed at institutions such as the Sydney Opera House; Black Dot Gallery, Melbourne; Institute of Modern Art, Brisbane; Metro Arts, Brisbane; Museum of Contemporary Art, Sydney; and Boxcopy, Brisbane.

  • Dylan Robinson
  • Dylan Robinson is a xwélméxw (Stó:lō) writer, artist, scholar and curator, He is Canada Research Chair in Indigenous Arts, and associate professor at Queen’s University in Kingston, Ontario. He is author of Hungry Listening, Resonant Theory for Indigenous Sound Studies, published by University of Minnesota Press.

  • Megan Cope
  • Megan Cope is a Quandamooka woman (North Stradbroke Island) in South East Queensland. Her site-specific sculptural installations, video work and paintings investigate issues relating to identity, the environment and mapping practices. Cope’s work often resists prescribed notions of Aboriginality and becomes psychogeographies across various material outcomes that challenge the grand narrative of ‘Australia’ as well as our sense of time and ownership in a settler colonial state.

  • Sean Baxter
  • Australian musician Sean Baxter died on 15 March 2020. Part of Melbourne's improv scene, he is described by musician Anthony Pateras as possessing “a unique aesthetic vision and intellectual depth, mixing highbrow philosophical concepts with punk sensibilities in how he lived, spoke and played. He was pure energy.”

    Drumkit and percussionist, Sean was an Australian improviser who forged an international reputation as a bold explorer of percussive possibilities both as a soloist and through his work with the acclaimed avant-garde trio, Pateras/Baxter/Brown. Focusing on the use of extended techniques applied to the conventional drum kit, he utilised an arsenal of metallic junk and other percussive detritus to expand the sonic palette of the percussion tradition. In addition to Pateras/Baxter/Brown, he was involved in many collaborations and was drummer for groups The Throwaways, Bucketrider, Lazy, SxSxSx and Terminal Hz.

  • Thomas Ragnar
  • Thomas Ragnar is an artist based in Singapore. His work is often underpinned by collaborations, affinities and research with experiential methodologies.

  • Alessandro Bosetti
  • Alessandro Bosetti is an Italian composer, performer and sound artist, currently based in Marseille. His work delves into the musicality of spoken language, utilising misunderstandings, translations and interviews as compositional tools. His works for voice and electronics blur the line between electro-acoustic composition, aural writing and performance.

  • Lin Chi-Wei
  • Lin Chi-Wei is a legend of Taiwanese sonic art, whose practice incorporates folklore culture, noise, ritual, and audience participation.

  • Mat Dryhurst
  • Mat Dryhurst is an artist who releases music and artworks solo and in conjunction with Holly Herndon and the record label PAN. Dryhurst developed the decentralised publishing framework Saga, which enables creators to claim ownership of each space in which their work appears online, and a number of audio plays that derive their narrative from the personal information of listeners. He lectures on issues of music, technology, and ideology at NYU, and advises the blockchain-based platform co-operative Resonate.is.

  • Sean Dockray
  • Sean Dockray is an artist, writer, and programmer living in Melbourne whose work explores the politics of technology, with a particular emphasis on artificial intelligences and the algorithmic web. He is also the founding director of the Los Angeles non-profit Telic Arts Exchange, and initiator of knowledge-sharing platforms, The Public School and Aaaaarg.

  • Emile Frankel
  • Author of Hearing the Cloud (Zero Books), Emile Frankel is a writer and composer researching the changing conditions of online listening. In his spare time he runs the Sci-Fi and critical fantasy publisher Formling.

  • Bridget Chappell
  • Bridget Chappell is a raver and theory bro currently living on the unceded nations of the Latji Latji and Nyeri Nyeri people. They make music as Hextape and organise parties in drains, observatories, and other natural amphitheatres. They founded and run Sound School, work with young musicians behind bars, and make experimental sound technologies to challenge police sirens.

  • Holly Herndon
  • Holly Herndon experiments at the outer reaches of dance music and pop. Born in Tennessee, Herndon spent her formative years in Berlin’s techno scene and repatriated to San Francisco, where she completed her PhD at Stanford’s Center for Computer Research in Music and Acoustics. Her albums include Platform (2015) and Proto (2019).

  • Candice Hopkins
  • Candice Hopkins is a curator, writer and researcher interested in history, art and indigeneity, and their intersections. Originally from Whitehorse, Yukon Territory, Hopkins is a citizen of Carcross/Tagish First Nation. She was senior curator for the 2019 Toronto Biennial of Art, and worked on the curatorial teams for the Canadian Pavilion at the 58th Venice Biennale, and documenta 14.

  • Raven Chacon
  • Raven Chacon is a composer, performer and artist from Fort Defiance, Navajo Nation. His work ranges from chamber music to experimental noise, to large scale installations, produced solo and with the Indigenous art collective Postcommodity. At California Institute of the Arts, Chacon studied with James Tenney, Morton Subotnick, Michael Pisaro and Wadada Leo Smith developing a compositional language steeped in both the modernist avant-garde and Indigenous cosmologies and subjectivities. He has written for ensembles, musicians and non-musicians, and for social and educational situations, and toured the world as a noise artist.

  • Lisa Lerkenfeldt
  • Lisa Lerkenfeldt is a multi-disciplinary artist working in sound, gesture and performance. Central to her practice is languages of improvisation and intimacy with technology. Traces of a personal discipline and form of graphic notation are introduced in the online exhibition 14 Gestures. The associated recorded work Collagen (Shelter Press, 2020) disrupts the role of the common hair comb through gesture and sound.

  • Haroon Mirza
  • Haroon Mirza is an artist who intertwines his practice with the role of composer. Mirza considers electricity his main medium and creates atmospheric environments through the linking together of light, sound, music, videos and elements of architecture. Regularly showing internationally in group and solo exhibitions, Mirza’s work has also been included in the 7th Shenzhen Sculpture Biennale, China (2012) and the 54th Venice Biennale, Italy (2011), where he was awarded the Silver Lion.

  • 33EMYBW
  • Shanghai native 33EMYBW (Wu Shanmin) has been an active member in the Chinese music scene for over a decade. She has also performed at CTM and Sinotronics in Germany, China Drifting Festival in Switzerland, and SXSW. Her 2018 album Golem, released on SVBKVLT, was met with critical acclaim and voted one of the best electronic albums of 2018 by Bandcamp. In 2019 she released DONG2 EP under Merrie Records Beijing, and will premiere her sophomore album Arthropods (SVBKVLT) at Unsound 2019.

  • Alexander Garsden
  • Alexander Garsden is a Melbourne-based composer, guitarist and electroacoustic musician, working across multiple exploratory musical disciplines. Recent work includes commissions from the Sydney Symphony Orchestra, the Melbourne Symphony Orchestra, Speak Percussion, Michael Kieran Harvey and Eugene Ughetti; alongside performances with artists including Tetuzi Akiyama (Japan), Oren Ambarchi, Radu Malfatti (Austria), Julia Reidy, David Stackenäs (Sweden), and with Erkki Veltheim and Rohan Drape. From 2014 to 2019 Garsden was Co-Director of the INLAND Concert Series. He has taught through RMIT University and the University of Melbourne.

  • Annika Kristensen
  • Annika Kristensen is Senior Curator at the Australian Centre for Contemporary Art, Melbourne.

  • Arben Dzika
  • Arben Dzika is an artist whose practice involves working with various media including, but not limited to: sound, image, word, and performance. His work primarily seeks to reflect on, interrogate, and play with technologies, systems, and human senses. Within his practice, he works as a producer and DJ under the moniker, Dilae.

  • Audrey Schmidt
  • Audrey Schmidt is a writer and editor based in Melbourne, Australia. She is a regular contributor to Memo Review, co-editor the third issue of Dissect Journal, and has written for various publications including Art Monthly, Art + Australia and un Magazine. She co-founded Minority Report with Adam Hammad in 2018 and released one online issue that was available until the domain expired in 2019. Audrey sits on the FYTA (GR) Board of Advisors.

  • Autumn Royal
  • Autumn Royal is a poet, researcher, and educator based in Narrm/Melbourne. Autumn’s current research examines elegiac expression in contemporary poetry. Autumn is the interviews editor for Cordite Poetry Review, and author of the poetry collections She Woke & Rose (Cordite Books, 2016) and Liquidation (Incendium Radical Library, 2019).

  • Bianca Winataputri
  • Bianca Winataputri is a Melbourne-based independent curator and writer researching contemporary practice in Southeast Asia, and relationships between individuals and collectives in relation to history, globalisation, identity and community building. Currently working at Regional Arts Victoria, Bianca was previously Assistant Curator of Contemporary Art at the NGA. She holds a BA (University of Melbourne), and BA Honours from the ANU where she received the Janet Wilkie Prize for Art. In 2018 Bianca was selected for 4A Centre for Contemporary Asian Art’s Curators’ Intensive.

  • Brian Hioe
  • Brian Hioe was one of the founding editors of New Bloom, an online magazine covering activism and youth politics in Taiwan and the Asia Pacific, founded in 2014 in the wake of the Sunflower Movement. Hioe is a freelance writer on social movements and politics, as well as an occasional translator.

  • Chi Tran
  • Chi Tran is a writer, editor, and an artist who makes poems that may be text, video, object, sound, or drawing. Chi is primarily interested in working with language as a means of coming-to-terms. Their work has been published by Incendium Radical Library Press, Cordite Poetry Review, Australian Poetry and Liminal Magazine and exhibited at galleries including Firstdraft, Sydney; Punk Café, Melbourne; and ACCA, Melbourne. In 2019, as a recipient of The Ian Potter Cultural Trust Fund, Chi spent three months in New York developing their practice with renowned poets including Mei-mei Berssenbrugge, Fred Moten, and Jackie Wang.

  • Chun Yin Rainbow Chan
  • Chun Yin Rainbow Chan is a Hong Kong–Australian artist, living in Sydney. Working across music, performance and installation, Rainbow is interested in the copy and how the ways in which it can disrupt Western notions of ownership. Central to Rainbow's work is the circulation of knock-off objects, sounds and images in global media. Her work positions the counterfeit as a complex sign that shapes new myths, values and contemporary commodity production.

  • Dale Gorfinkel
  • Dale Gorfinkel is a musician-artist whose stylefree improvisational approach informs his performances, instrument-building, and kinetic sound installations. Aiming to reflect an awareness of the dynamic nature of culture and the value of listening as a mode of knowing people and places, Dale is interested in bringing creative communities together and shifting perceived boundaries. Current projects include Prophets, Sounds Like Movement, and Music Yared as well as facilitating Art Day South, an inclusive arts studio with Arts Access Victoria.

  • Danni Zuvela
  • Danni Zuvela is a curator and writer based in Melbourne and the Gold Coast. Her research is informed by interests in feminism, activism, ecology, language and performance. With Joel Stern, Danni has led Liquid Architecture as Artistic Director, and continues to develop curatorial projects for the organisation.

  • Eric Avery
  • Eric Avery is a Ngiyampaa, Yuin, Bandjalang and Gumbangirr artist. As part of his practice Eric plays the violin, dances and composes music. Working with his family’s custodial songs he seeks to revive and continue on an age old legacy – continuing the tradition of singing in his tribe – utilising his talents to combine and create an experience of his peoples culture.

  • Fjorn Butler
  • Fjorn Butler is an artist, researcher, and event organiser. As an artist, she works primarily in sound and performance under the name Papaphilia. As a researcher, she interrogates how biological discourses are used in neoliberal/colonial governance structures to shape the political. Fjorn's research informs her writing on sound-poetics and the challenges this framework poses to anglophone notions of property. She is also co-director of Future Tense and co-curator of Writing and Concepts.

  • Freya Schack-Arnott
  • Freya Schack-Arnott is an Australian/Danish cellist who enjoys a multi-faceted career as a soloist and ensemble performer of classical and contemporary repertoire, curator and improviser within experimental music, electronics, popular and cross-disciplinary art forms. Schack-Arnott regularly performs with Australia's leading new music ensembles, including ELISION Ensemble (as core member) and Ensemble Offspring. Her curatorial roles include co-curator/founder of the regular 'Opus Now' music series and previous curator of the NOW Now festival and Rosenberg Museum.

  • Gooooose
  • Gooooose (Han Han) is an electronic music producer, visual artist and software developer based in Shanghai, China. His current releases include They (D Force, 2017), Dong 1 (D Force, 2018), Pro Rata (ANTE-RASA, 2019). Gooooose's 2019 SVBKVLT–released RUSTED SILICON received positive reviews from media including boomkat, Resident Advisor, Dusted Magazine, and The Wire. Gooooose has performed live at CTM (Berlin, 2018), Nyege Nyege (Kampala, 2019), Soft Centre (Sydney, 2019), Unsound (Kraków, 2019) and Recombinant (San Francisco, 2019).

  • Harmony Holiday
  • Harmony Holiday is a writer, dancer, archivist, director, and the author of four collections of poetry, Negro League Baseball, Go Find Your Father/A Famous Blues, Hollywood Forever, and A Jazz Funeral for Uncle Tom. She lives in New York and Los Angeles.

  • James Rushford
  • James Rushford is an Australian composer-performer who holds a doctorate from the California Institute of the Arts, and was a 2018 fellow at Academy Schloss Solitude in Stuttgart. His work is drawn from a familiarity with specific concrète, improvised, avant-garde and collagist languages. Currently, his work deals with the aesthetic concept of musical shadow. James has been commissioned as a composer by ensembles including the BBC Scottish Symphony Orchestra (Glasgow), and Melbourne Symphony Orchestra, and regularly performs in Australia and internationally.

  • Jessica Aszodi
  • Jessica Aszodi is an Australian-born, London-based vocalist who has premiered many new pieces, performed work that has lain dormant for centuries, and sung roles ranging from standard operatic repertoire to artistic collaborations. She has been a soloist with ensembles including ICE; the Melbourne, Sydney and Adelaide Symphony Orchestras; and San Diego and Chicago Symphony Orchestras’ chamber series. Aszodi can be heard on numerous recordings and has sung in festivals around the world. She holds a Doctorate of Musical Arts from the Queensland Conservatorium, an MFA from the University of California, and is co-director of the Resonant Bodies Festival (Australia), and artistic associate of BIFEM.

  • KT Spit
  • Kt Spit (Katie Collins) is an artist and musician based in Narrm (Melbourne). Lyrically and visually her work explores subcultural narratives and challenges dominant representations of loss, grief, and true love. In 2015 Kt independently released her debut album, Combluotion, and in 2019 will release a visual album entitled Kill the King.

  • Immy Chuah and The Convoy
  • The Convoy conjure illustrious soundscapes from the abyss of chaos, revealing hidden worlds of the imagination as the performance takes form and infuses with subjective experience. Using instruments of sound, light and smell, The Convoy enchant space with themes of tension, evolution, entropy and regeneration. Sensorial immersion transports audiences through highly dynamic environments that shift and blend into one single, breathing moment. As entity, rather than singular, Immy Chuah is a guest within The Convoy on unceded land.

  • Sam Peterson
  • I’m interested in what can be done with one’s identity and the space around it. Both my body and mind, touching everyday feelings between the rational, the playful and the political. Of course, this is often to do with my disability and my sexuality. My work has been focused on access, and the lack of it — to places, people’s minds and opportunities. I find plasticine is a great subverter of space and potentially of people’s minds. And the continued flexibility of it is something I am really enjoying — covering or filling up gaps and playing with crevices. But I’m finding that my work is drawing more and more to spoken word as a powerful format.

  • Sarah McCauley
  • Sarah McCauley is a Melbourne-based music producer, editor and writer.

  • Neil Morris
  • Neil Morris is a Yorta Yorta, Dja Dja Wurrung man. He is well known in Narrm/Birraranga for his musical project DRMNGNOW, a project built on subject matter tackling the colonial nature of the Australian construct and how that affects contemporary society upon this land. The work is unapologetic, clear, and deeply poetic. It hints toward Morris's extensive experience as a spoken word artist in Narrm since 2015. Morris's work is triumphant in the face of severe adversity often imbued in a quite fortified melancholy, a powerful marker of the survival of First Nations peoples in the now.

  • Natasha Tontey
  • Natasha Tontey is an artist and graphic designer based in Yogyakarta. She is interested in exploring the concept of fiction as a method of speculative thinking. Through her artistic practice she investigates the idea of how fear, horror, and terror could be manifested in order to control the public and how fictional accounts of the history and myth surrounding ‘manufactured fear’ might operate as a method of speculative fiction that determines expectations for the future.

  • Mat Spisbah
  • Mat Spisbah is a New Media curator with a unique portfolio of programming that seeks to integrate non-traditional artistic methods and emerging technologies. Having lived in Hong Kong for 14 years, he is connected to the region’s art and culture, and has created professional networks with artists, curators, galleries, promoters and industry professionals across Australasia. Portfolio highlights include the debut Australian performances of north Asian artists including: Howie Lee, Rui Ho, Meuko Meuko, Pan Daijing, Alex Zhang Hungtai, Tzusing, and Gabber Modus Operandi.

  • Mandy Nicholson
  • Mandy Nicholson is a Wurundjeri-willam (Wurundjeri-baluk patriline) artist and Traditional Custodian of Melbourne and surrounds. Mandy also has connections to the Dja Dja wurrung and Ngurai illam wurrung language groups of the Central/Eastern Kulin Nation. Mandy gained a Bachelor of Arts (Honours) in Aboriginal Archaeology in 2011, worked for the Victorian Aboriginal Corporation for Languages for six years and is now a PhD candidate studying how Aboriginal people connect to Country, Off Country.

  • Lucreccia Quintanilla
  • Lucreccia Quintanilla is an artist, writer, DJ and PhD candidate researcher at Monash University. Her writing and art have been published and exhibited both within Australia and internationally. Quintanilla’s practice is a collaborative one that manifests into outcomes within galleries and also as events and performances outside of that context. She regularly speaks at panels and symposiums on themes within her research, has received grants for her projects and residencies, and has taught at university level.

  • Amanda Stewart
  • Amanda Stewart is a poet, author, and vocal artist. She has created a diverse range of publications, performances, film and radio productions in Australia, Europe, Japan, and the USA, working in literature, new music, broadcasting, theatre, dance, and new media environments. Amanda collaborated with Chris Mann for many years in the Australian ensemble, Machine For Making Sense (with Jim Denley, Rik Rue, and Stevie Wishart), as well as in other contexts. Her poem ‘ta’ was written in honour of Chris Mann’s extraordinary vision and work.

  • Holly Childs
  • Holly Childs is an artist and writer. Her research involves filtering stories of computation through frames of ecology, earth, memory, poetry, and light. She is the author of two books: No Limit (Hologram, Melbourne) and Danklands (Arcadia Missa, London), and she collaborates with Gediminas Žygus on ‘Hydrangea’. She is currently writing her third book, What Causes Flowers Not to Bloom?.

  • Ivy Alvarez
  • Ivy Alvarez’s poetry collections include The Everyday English Dictionary, Disturbance, and Mortal. Her latest is Diaspora: Volume L (Paloma Press, 2019). A Fellow of MacDowell Colony (US), and Hawthornden (UK), her work is widely published and anthologised (twice in Best Australian Poems), with poems translated into Russian, Spanish, Japanese and Korean. Born in the Philippines and raised in Australia, she lived in Wales for almost a decade, before arriving in New Zealand in 2014.

  • Nick Ashwood
  • Nick Ashwood is a guitarist, composer, improviser and performer from Nipaluna/Tasmania now residing in Sydney. His focuses have been exploring deep listening, harmonic space and the possibilities of the steel-string acoustic guitar by means of preparations, just intonation, objects and bowing.

  • Johnny Chang
  • Berlin-based composer-performer Johnny Chang engages in extended explorations surrounding the relationships of sound/listening and the in-between areas of improvisation, composition and performance. Johnny is part of the Wandelweiser composers collective and currently collaborates with: Catherine Lamb (Viola Torros project), Mike Majkowski (illogical harmonies), Phill Niblock, Samuel Dunscombe, Derek Shirley and others.

  • Megan Alice Clune
  • Megan Alice Clune shifts between musician, composer and artist. Primarily, her work explores both the concept and aesthetics of ambient music through sound installation, collaboration and performance. Megan is the founding member of the Alaska Orchestra, and has presented work and undertaken residencies across Australia, Asia, Europe and North America, including the Bang on a Can Summer Music Festival (MA), Next Wave Festival, Underbelly Arts Festival, Performa 15 (NYC) and VividLIVE at the Sydney Opera House.

  • Andrew Fedorovitch
  • Andrew Fedorovitch is compos mentis.
 Andrew Fedorovitch embodies professionalism in every aspect of his life, including music.

  • Shota
  • Shota is an artist working in Australia. He makes sound-based works for varying contexts. He has had the opportunity to collaborate with a multitude of artists from varying disciplines. Shota is currently an honours student who is associated with the Plant ecophysiology and Ecosystem processes lab at the University of Sydney.

  • Sonya Holowell
  • Sonya Holowell is a Dharawal woman, vocalist, composer and writer working across new and experimental genres. The contexts for her work, and the forms they take, are diverse and deeply questioning. Her practice comprises interdisciplinary collaboration, improvisation, multi-form writing and conceptual composition. She is also a workshop facilitator; a curator of the Now Now Festival; lecturer in experimental vocal practice; and a co-founder/editor of online arts publication ADSR Zine.

  • Alexandra Spence
  • Alexandra Spence is an artist and musician living on Gadigal country in Sydney, Australia. She makes installations, compositions and performances based on (everyday) sound and listening. Through her practice she attempts to reimagine the intricate relationships between the listener, the object, and the surrounding environment as a kind of communion or conversation. She has a current, near-spiritual, obsession with the animation of material and object through sound. Alex has performed and presented work on radio, in concerts, festivals, symposiums and galleries worldwide, and has two releases: Waking, She Heard The Fluttering, with Room40, and Immaterial, with Longform Editions.

  • MP Hopkins
  • MP Hopkins is an artist based in Sydney, Australia, that is concerned with how to record voices that are not really there, and ways to make voices that are there not sound like voices. He makes audio recordings, performances, and texts.

  • Joel Stern
  • Joel Stern is a curator, researcher, and artist living and working on Wurundjeri land in Melbourne, Australia. He has been Artistic Director of Liquid Architecture since 2013. In 2018, with critical legal scholar James Parker, Stern curated Eavesdropping, an expansive project addressing the ‘pol­i­tics of lis­ten­ing’ through work by artists, researchers, writ­ers, detainees and activists from Aus­tralia and around the world.

  • Georgia Hutchison
  • Georgia Hutchison is a cultural development practitioner and arts executive in Naarm/Melbourne, and Executive Director/CEO of Liquid Architecture. Her practice as an artist, educator, organiser and strategist crosses contemporary art, music, design and social justice.

  • Rob Thorne
  • Rob Thorne (Ngāti Tumutumu) is a new and original voice in the evolving journey of Taonga Puoro. His debut album Whāia te Māramatanga (Rattle Records) is a deeply felt and highly concentrated conversation between the past and the present—a musical passage of identity and connection. Using modern loop technology and traditional Māori flutes and horns made from stone, bone, shell and wood, Thorne creates a transcendent aural experience that touches the soul with timeless beauty. Every performance of Whāia te Māramatanga is a stunning and very personal exploration of the spiritual and healing qualities of an ancient practice.

  • Michiko Ogawa
  • Michiko Ogawa is a performer-composer specialising in the clarinet, born and raised in Tokyo, Japan. She performs not only classical repertoire but also contemporary and experimental music, including free improvisation and film soundtrack work. In 2019 she was awarded a doctorate (DMA) from the University of California San Diego, with a dissertation focusing on the film music of Teiji Ito. She is in the begin­ning stages of writ­ing a biogra­phy of Ito’s life.

  • Emma Nixon
  • Curious about the tender intersections between art, life and friendships, Emma Nixon is an emerging curator and writer. In 2018 she completed a Bachelor of Art History and Curating at Monash University and co-founded Cathedral Cabinet ARI in the Nicholas Building. In Melbourne she has curated and written about exhibitions that investigate subjects such as abstraction, the domestic, care and collage within contemporary art.

  • Fayen d'Evie
  • Fayen d’Evie is an artist and writer, based in Muckleford, Australia. Her projects are often conversational and collaborative, and resist spectatorship by inviting audiences into sensorial readings of artworks. Fayen advocates the radical potential for blindness, arguing that blindness offers critical positions and methods attuned to sensory translations, ephemerality, the tangible and the intangible, concealment, uncertainty, the precarious, and the invisible. With artist Katie West, Fayen co-founded the Museum Incognita, which revisits neglected or obscured histories through scores that activate embodied readings. Fayen is also the founder of 3-ply, which investigates artist-led publishing as an experimental site for the creation, dispersal, translation, and archiving of texts.

  • Debris Facility
  • Debris Facility Pty Ltd is a para-corporate entity who engages im/material contexts with the view to highlight and disrupt administrative forms and their embedded power relations. Deploying print, design, installation, and wearables as the most visible parts of operations, they also work in experimental pedagogy and perforated performance of labour. They are a white-settler parasite with theft and dispossession as the implicated ground from which they work. They currently hold contracts with Liquid Architecture, Victorian College of the Arts, Monash University and Debris Facility Pty Ltd.

  • Timmah Ball
  • Timmah Ball is a writer and urban researcher of Ballardong Noongar descent. She has written for The Griffith Review, Right Now, Meanjin, Overland, Westerly, Art Guide Australia, Assemble Papers, The Big Issue, The Lifted Brow, the Victorian Writer magazine and won the Westerly Patricia Hackett Prize for writing.

  • Jessie Scott
  • Jessie Scott is a practising video artist, writer, programmer and producer who works across the spectrum of screen culture in Melbourne. She is a founding member of audiovisual art collective Tape Projects, and co-directed and founded the inaugural Channels Video Art Festival in 2013.

  • Christopher LG Hill
  • Christopher L G Hill is an artist, poet, anarchist, collaborator, facilitator, lover, friend, DJ, performer, sound pervader, publisher of Endless Lonely Planet, co-label boss; Bunyip trax, traveller, homebody, dancer, considerate participator, dishwasher, writer, bencher, eater, exhibitor: Sydney, Physics Room, Westspace, TCB, BUS, Punk Cafe,100 Grand street, Lismore Regional Gallery, Good Press, Gambia Castle, Conical, GCAS, NGV, VCA, Mission Comics, Slopes, Art Beat, Papakura Gallery, Neon Parc, UQ Gallery, Tate Modern, Connors Connors, Glasgow International, Sandy Brown, OFLUXO, New Scenarios, Margaret Lawrence, Flake, Utopian Slumps, World Food Books, Sutton, Rearview, Joint Hassles, a basement, a tree, Innen publications, SAM, Chateau 2F, etc, and tweeter, twitcher, sleeper, Biennale director (‘Melbourne Artist initiated’ 2008, 2011, 2013, 2016, 2018-20), DJ, retired gallerist Y3K, conversationalist who represents them self and others, born Melbourne/Narrm 1980c.e, lives World.
    http://www.christopherlghill.com/
    https://twitter.com/CLGHill
    https://www.instagram.com/christopherlghill/
    https://bunyiptrax.bandcamp.com/
    https://jahjahsphinx.blogspot.com/
    https://boobasprite.tumblr.com/
    http://counterfeitnessfirst.blogspot.com/
    http://newtabandwindowshopper.blogspot.com/
    https://www.mixcloud.com/Christopher_L_G_Hill/
    http://anotheryouapictureavoicemessagemime.blogspot.com/

  • Iliass Saoud
  • Iliass Saoud was born in Halba, Lebanon in 1960 as the sixth of eight children of Wakim and Nadima Saoud. Escaping the Lebanese Civil War in 1977, Iliass migrated to Canada pursued a BA in Mathematics from Dalhouse University in 1982. In 1987 he married Janice Joseph (Fakhry) before settling in Australia to raise his family in 1997, owning a variety of small businesses including the Gaffney Street post office across from the Lincoln Mill’s Centre in Coburg from 2005-2011. Currently, Iliass works part time at a local newsagency and is an avid Bridge player and a dedicated grandfather of one.

  • Dimitri Troaditis
  • Dimitri Troaditis works in the Greek-Australian media. As a poet he has been extensively published in Greece and in Australia in numerous literary journals, websites, blogs and anthologies. He has published six poetry collections and two social history books so far. He has organised poetry readings in Melbourne for years and translates others’ poetry. He runs poetry website To Koskino and was a resident of Coburg for 19 years.

  • Luisa Lana
  • Luisa Lana was born in Australia in 1953. Her mother Nannina had arrived in Australia in 1950 with a 3 month old son, and worked for many years on the sewing room floors and her father Angelo worked on the docks where he helped unionise the Italian workforce. Luisa and her brother were latchkey kids, as they looked after themselves in the morning and ran the ‘Continental’ deli in the evenings. Luisa attained a teaching degree, then a postgrad in Social Sciences, and twice studied Italian at The University for Foreigners in Perugia, Italy. Luisa married Luigino Lana, a Venetian migrant who operated a mechanic business in Brunswick for over 30 years. She devoted her life to being an educator and a mother, teaching Italian to English speakers and English to generations of migrants from around the world. Currently Luisa is translating her father's memoirs from Italian to English, and enjoying being a Nonna.

  • Anabelle Lacroix
  • Anabelle Lacroix is a French-Australian curator, writer and radio contributor. Working independently in Paris, she is based at Fondation Fiminco for a year-long residency focused on the politics of sleeplessness (2020). She has a broad practice, and a current interest in experimental practice, working with performance, sound, discourse and publishing. She is a PhD candidate at UNSW Art & Design.

  • Geoff Robinson
  • Geoff Robinson is a Melbourne-based artist working on Wurundjeri country. Robinson creates event-based artworks that utilise the temporal qualities of sound and performance and the spatial conditions of physical sites to unravel the durational layers of place. Robinson has presented projects with Titanik, Turku; Bus Projects, Melbourne; Liquid Architecture, Melbourne; and MoKS, Mooste, Estonia. He was awarded the Melbourne Prize for Urban Sculpture 2014 and completed the PhD project Durational Situation at MADA, Monash University, Melbourne, 2018.

  • Mattin
  • Mattin is a cross disciplinary artist working with noise, improvisation and dissonance. His work Social Dissonance was presented at documenta 14 in 2017 in Kassel and Athens.

  • Elena Biserna
  • Elena Biserna is a scholar and independent curator based in Marseille (France), working at the intersection of social, political and public spheres.

  • Tobi Maier
  • Tobi Maier is the director of Lisbon’s Municipal Galleries, and recently presented Mattin’s Expanding Concert (2019–2023) a four year long concert distributed in time and space through different media: 5 public interventions in 5 different galleries in Lisbon, and 5 texts published within the city.

  • Clare Milledge
  • Clare Milledge is an artist and academic, she lives and works between the lands of the Arakwal people in Bundjalung country (Broken Head, Northern NSW) and the lands of the Bidjigal and Gadigal people (Paddington, Sydney). She is a Senior Lecturer at UNSW Art & Design and is represented by STATION gallery.

  • Alexander Powers
  • Alexander Powers is a choreographer, performer and DJ from Naarm. In 2019 they premiered their first full length choreographic work Time Loop at the Melbourne Fringe Festival, receiving the Temperance Hall Award at the Fringe Awards. Under the moniker Female Wizard, they are known internationally for their forward-thinking DJ sets. They’ve performed at Golden Plains, Dark Mofo, Boiler Room, Hybrid Festival and Soft Centre and held a four year residency at Le Fag.

  • Zoe Scoglio
  • Zoe Scoglio’s (often collaborative) practice explores the space of art as a site of study and sociality to engage the radical imagination towards alternative ways of being, knowing and relating. Current research takes critical and collective somatic approaches towards response-ability in these times of ecological collapse, within settler colonial conditions. Past projects have taken place within varied contexts, on top of mountains and under full moons, as large collective choreographies and intimate encounters.

  • Tricky Walsh
  • Tricky Walsh is a non-binary artist working in New Norfolk, Tasmania, who works both collaboratively and in a solo capacity. Their projects focus on both spatial and communication concerns in an increasingly speculative manner and while they use a diversity of media (architecture, painting, drawing, sculpture, installation, sound, film, comics, radio) it is foremost the concept at hand that determines which form of material experimentation occurs within these broader themes.

  • Kengné Téguia
  • Kengné Téguia is a Black Deaf HIV+ cyborg artist, who works from sound deafinitely. #TheBLACKRevolutionwillbeDEAFinitelyLoud

  • Ange Goh
  • Angela Goh is a dancer and choreographer. Her work poses possibilities for disruption and transformation inside the aesthetics and conditions of technocapitalism, planetarity, and the post-anthropocene. She lives and works in Sydney, and has toured her work across Australia, Europe, the UK, the USA and Asia. She received the 2020 Keir Choreographic Award and the inaugural Sydney Dance Company Beyond the Studio Fellowship 2020-21.

  • Jannah Quill
  • Jannah Quill’s deconstructive exploration of electronic instruments and technologies manifests in electronic music production and experimental audio-visual performance and installation. Jannah modifies existing technologies (such as solar panels) into innovative light-to-audio systems, used with software/hardware experimentation and modular synthesis to carve a distinct voice in electronic music and art.

  • Tom Smith
  • Tom Smith is a Melbourne-based artist, musician and researcher whose work combines video assemblages, experimental performance, speculative fiction, electronic music, websites and critical writing. Tom’s work is concerned with the politics and poetics of computational systems, the contradictions of creative economies, generic digital aesthetics and music as a mode of critical inquiry. Tom is also one half of music production duo Utility, and runs an independent record label called Sumactrac with Jarred Beeler (DJ Plead) and Jon Watts.

  • Pris Roos
  • Pris Roos grew up in Rhenen, the Netherlands. Her family migrated from Bogor, Indonesia, to start their own toko in the Netherlands. Toko is the Indonesian word for shop, and they sell non-Western food (products). Roos grew up in the toko, a space of being together, and full of colours, smells, food, stories and images of immigrants. The toko is a source of inspiration for her artistic practices. Stories that are normally not heard find their way in her works. Roos makes portraits of immigrants that she meets in the toko, on the streets or in her surroundings of the South of Rotterdam. She visits them at home or invites them to her atelier. The stories are translated into painted portraits, videos, installations and spoken word performances.

  • Winnie Dunn
  • Winnie Dunn is a Tongan-Australian writer and arts worker from Mt Druitt. She is the general manager of Sweatshop: Western Sydney Literacy Movement and holds a Bachelor of Arts degree from Western Sydney University. Winnie’s work has been published in the HuffPost Australia, The Saturday Paper, Griffith Review, Meanjin Quarterly, SBS Voices and Cordite. She is the editor of several anthologies including Sweatshop Women, The Big Black Thing and Bent Not Broken. Winnie is currently completing her debut novel as the recipient of a 2019 CAL Ignite Grant.

  • Jon Watts
  • Jon Watts is a Melbourne/Naarm based musician, designer, 3D artist and animator. His music has been released through cult labels SUMAC and Butter Sessions, and he is currently Senior Multimedia Installer at the National Gallery of Victoria.

  • PAN-PAN Kolektiva
  • Pan-Pan Kolektiva was established in March 2020, as a research group on listening. Pan-Pan is a standard emergency call based on the acronym Pan which stands for Pay Attention Now.

  • Nathan Gray
  • Nathan Gray is an artist whose recent works use voice as their medium, taking form as lecture-performances, radio-plays and documentaries, DJ sets, narrative and rumour.

  • Makiko Yamamoto
  • Makiko Yamamoto
    makik markie yammamoroto
    Mama
    Kik
    Makiki
    Yammer matah
    Ma
    Ki
    ko

  • Leighton Craig
  • Leighton Craig is an artist living in Meanjin/Brisbane. He has been in a number of bands (The Lost Domain, G55, The Deadnotes et al) and is currently a member of the duo Primitive Motion with Sandra Selig.

  • Anne Zeitz
  • Anne Zeitz is associate professor at University Rennes 2. Her research focuses on aural attention, the inaudible, the unheard, and the polyphony in contemporary art. She directed the research project 'Sound Unheard' and she co-organised the eponymous exhibition at the Goethe-Institut Paris, Paris and exhibition 'Échos magnétiques” at the MBA Rennes, Rennes in 2019.

  • Melissa Johnson
  • Melissa Johnson is Associate Professor of Art History & Visual Culture at Illinois State University (Normal, IL). Her scholarly research focuses on the histories of craft and its intersections with modern and contemporary art. She is currently working on a project that explores artists making work in response to the writings of Virginia Woolf. She’s deeply interested in situating her academic writing and her textile-based work as parallel practices, and is working on two writing and textile projects, “Woolf Words” and “Haptic Investigations,” and a project on mending and repair.

  • Diego Ramirez
  • Diego Ramirez makes art, writes about culture, and labours in the arts. In 2018, he showed his video work in a solo screening by ACCA x ACMI and he performed in Lifenessless at West Space x Gertrude Contemporary in 2019. His work has been shown locally and internationally at MARS Gallery, ACMI, Westspace, Torrance Art Museum, Hong-Gah Museum, Careof Milan, Buxton Cotntemporary, WRO Media Art Biennale, Human Resources LA, Art Central HK, Sydney Contemporary, and Deslave. His words feature in Art and Australia, NECSUS, un Projects, Runway Journal, Art Collector, and Australian Book Review. He is represented by MARS Gallery, Editor-at-large at Running Dog and Gallery Manager at SEVENTH.

  • Noemie Cecilia Huttner-Koros
  • Noemie Cecilia Huttner-Koros is a queer Jewish performance-maker, writer, dramaturg, poet, teaching artist and community organiser living and working on Whadjuk Noongar country in Boorloo (Perth). Her practice is driven by a deep belief in the social, political and communal role of art and performance and in engaging with sites and histories where queer culture, composting and ecological crisis occur.

  • Josten Myburgh
  • Josten Myburgh is a musician based on Whadjuk Noongar boodja country who plays with techniques from the worlds of electro-acoustic music, radio art, free improvisation, field recording and experimental composition. He co-directs exploratory music label Tone List and the Audible Edge festival. He has performed in South Africa, the United States, and throughout South East Asia, Europe and Australia. He is a Schenberg Fellow and a student of Antoine Beuger and Michael Pisaro.

  • Aisyah Aaqil Sumito
  • Aisyah Aaqil Sumito is an artist and writer living near Derbarl Yerrigan on Whadjuk Noongar Bibbulmun lands. Their work reflects mostly on personal intersections of disability, queerness and diasporic ancestry in so-called 'australia'. They have recently made text-based contributions to Runway Journal and HERE&NOW20: Perfectly Queer, Lawrence Wilson Art Gallery.

  • Michael Terren
  • Michael Terren is a musician and educator from Boorloo/Perth. Grounded in experimental studio-based practice, his work explores the social construction of the technologies of music’s creation and distribution. He is a sessional academic teaching music at two Boorloo universities, and in 2019 finished a PhD thesis entitled 'The grain of the digital audio workstation'.

  • Joee Mejias
  • Joee Mejias is a musician and video artist from Manila. She is co-producer of WSK, the first and only international festival of digital arts and new media in the Philippines and co-founder of HERESY, a new platform for women in sound and multimedia. She performs as Joee & I: her avant-pop electronica solo project.

  • Myriad Sun
  • Myriad Sun are an experimental audio/visual/rap trio from Walyalup (Fremantle), Australia, composed of electronic producer Ben Aguero, Mc POW! Negro, and Limit Bashr. Additional performers: Mali Jose, Billy Jack Narkle and Polly-Pearl Greenhalgh.

  • Jasmine Guffond
  • Jasmine Guffond is an artist and composer working at the interface of social, political, and technical infrastructures. Focused on electronic composition across music and art contexts her practice spans live performance, recording, installation and custom made browser add-ons. Through the sonification of data she addresses the potential of sound to engage with contemporary political questions and engages listening as a situated-knowledge practice.

  • Sounding Together
  • Sounding Together comprise of the following performers: Rhys Butler (alto saxophone); Simon Charles (soprano saxophone, shakuhachi); Eduardo Cossio (electronics, writing); Luke Cuerel (alto saxophone); Jim Denley (flute, writing); Julia Drouhin (voice, electronics, objects, images); Jameson Feakes (mandolin); Be Gosper (voice, objects); Noemie Huttner-Koros (voice, writing); Lenny Jacobs (percussion); Annette Krebs (amplified string instrument); Annika Moses (voice, images); Josten Myburgh (clarinet, alto saxophone, editing); Dan O’Connor (mastering); Stuart Orchard (guitar, objects, editing); Daisy Sanders (voice, movement).

  • Yan Jun
  • Yan Jun, a musician based in Beijing uses a wide range of materials such as field recording, body, noise and concept. Yan Jun: “I wish I was a piece of field recording.”

  • Katie West
  • Katie West is a multi-disciplinary artist who lives on Noongar Ballardong boodja and belongs to the Yindjibarndi people of the Pilbara tablelands in Western Australia. The process and notion of naturally dyeing fabric underpin her practice – the rhythm of walking, gathering, bundling, boiling up water and infusing materials with plant matter. The objects, installations and happenings that Katie creates invite attention to the ways we weave our stories, places, histories, and futures.

  • Simon Charles
  • Simon Charles is a composer and performer based in Noongar Ballardong Country (Western Australia). His practice reflects an interest in the instability of compositional structures; as friction between musical notation and perception and interactions with place. He has performed at Serralvés Festival (Porto), The Wulf (Los Angeles) Studio Rotor (Berlin), Vigeland Mausoleum (Oslo), Avantwhatever Festival (Melbourne), DATA (Marseille), ANAM Quarttethaus and the Melbourne Recital Centre.

  • Tiarney Miekus
  • Tiarney Miekus is a writer, editor and musician based in Naarm/Melbourne. Her writing has appeared in The Age, Meanjin, The Lifted Brow (Online), Overland, Memo Review, un Magazine, Art Guide Australia, Swampland and RealTime. She is currently editor and podcast producer at Art Guide Australia.

  • Liang Luscombe
  • Liang Luscombe is a Naarm/Melbourne-based visual artist whose practice encompasses painting, sculpture and moving image that engage in a process of generative questioning of how media and film affect audiences.

  • Thembi Soddell
  • Thembi Soddell is a sound artist best known for their powerful acousmatic performances and installations in darkness. In 2019 they were awarded a PhD from RMIT University for their practice-based research titled, A Dense Mass of Indecipherable Fear: The Experiential (Non)Narration of Trauma and Madness through Acousmatic Sound. This research developed a novel approach to understanding lived experiences of anxiety, depression and trauma using a medium (abstract sound) with the unique ability to reflect the intangible nature of the inner world.

  • James Parker
  • James Parker is the Director of a research program on Law, Sound and the International at the Institute for International Law and the Humanities (IILAH) at Melbourne Law School. His research focuses on the relations between law, sound and listening, with a particular emphasis on international criminal law, the law of war and privacy.

  • Eloise Sweetman
  • Eloise Sweetman loves art, misses her home in Western Australia, all the time loving Rotterdam where she became friends with Pris Roos whose artwork Sweetman speaks of. Sweetman is a curator, artist, writer and teacher working in intimacy, not knowing and material relation. She started Shimmer with Dutch-Australian artist Jason Hendrik Hansma in 2017.

  • Cecilia Vicuña
  • Cecilia Vicuña's work dwells in the not yet, the future potential of the unformed, where sound, weaving, and language interact to create new meanings.

    'In January 1966, I began creating precarios (precarious) installations and basuritas, objects composed of debris, structures that disappear, along with quipus and other weaving metaphors. I called these works 'Arte Precario', creating a new independent category, a non-colonized name for them. The precarios soon evolved into collective rituals and oral performances based on dissonant sound and the shamanic voice. The fluid, multi-dimensional quality of these works allowed them to exist in many media and languages at once. Created in and for the moment, they reflect ancient spiritual technologies—a knowledge of the power of individual and communal intention to heal us and the earth.'
    —Cecilia Vicuña

  • Camila Marambio
  • Camila Marambio is a private investigator, amateur dancer, permaculture enthusiast, and sporadic writer, but first and foremost, she is a curator and the founder/director of Ensayos, a nomadic interdisciplinary research program in Tierra del Fuego.

  • Las Chinas
  • Las Chinas is the cosmic coincidences led to the meeting of Chileans Sarita Gálvez and Camila Marambio in Melbourne. Their shared reverence for the ancestral flautón chino from the Andes Mountains lead to playful explorations of its unique dissonant sounds and thereafter to experimenting with atonal signing and other technologies of the spirit.

    Influenced by Chilean feminist poet Cecilia Vicuña, the now deceased poet Fidel Sepúlveda, the musical ensemble La Chimuchina and the chino bands from the townships of La Canela and Andacollo, Las Chinas honours the ancestral tradition by enacting the principle of tearing each other apart.

  • Bryan Phillips
  • Bryan Phillips A.K.A. Galambo is a Chilean/Australian artist working in community arts, music and performance, using sound as a means to facilitate engagement with others. His practice has mainly been developed in Chile, but after completing his Masters in Community Cultural Development (VCA-2013) he has become involved in projects with artists from Timor-Leste, Indonesia and Australia.

  • Douglas Kahn
  • Douglas Kahn is an historian and theorist of energies in the arts, sound in the arts and sound studies, and media arts, from the late-nineteenth century to the present. His books include Energies in the Arts (MIT Press, 2019); Earth Sound Earth Signal: Energies and Earth Magnitude in the Arts (University of California Press, 2013); Noise Water Meat: A History of Sound in the Arts (MIT Press, 1999); Mainframe Experimentalism: Early Computing and the Foundations of Digital Arts, edited with Hannah Higgins (University of California Press, 2012); and Source: Music of the Avant-garde, edited with Larry Austin (University of California Press, 2011).

  • Jason De Santolo
  • Jason De Santolo (Garrwa and Barunggam) is a researcher & creative producer based in the School of Design, University of Technology Sydney, Australia. He has worked with his own communities as an activist and advocate using film and performance, protest and education to bring attention to injustices and design solutions using Indigenous knowledge.

  • Kynan Tan
  • Kynan Tan is an artist interested in the relations and conditions of computational systems, with a focus on data, algorithm, networks, materiality, control, and affect. These areas are explored using computer-generated artworks that take the form of simulations, video, sound, 3d prints, text, code, and generative algorithms.

  • Snack Syndicate
  • Snack Syndicate, two rats (Andrew Brooks and Astrid Lorange) living on unceded Wangal land; texts, objects, events, meals, and publics.

  • Spence Messih
  • Spence Messih is an artist living and working on Gadigal land. Their practice speaks broadly to sites of pressure, power structures, materiality, and language, and more specifically about these things in relation to their own trans experience.

  • Tom Melick
  • Tom Melick is the co-editor of Slug and part of the Rosa Press Collective and Stolon Press.

  • Trisha Low
  • Trisha Low is a writer living in the East Bay. She is the author of The Compleat Purge (Kenning Editions, 2013) and Socialist Realism (Emily Books/Coffee House Press, 2019).

Artist Title | 00:00 / 00:00 (Play)

Disclaimer

Index


(play) (pause)
00:00 / 00:00

Flux
Cecilia Vicuña &
Camila Marambio

In October 2016, Vicuña travelled to Queenstown, Tasmania for the inaugural The Unconformity 2016 festival, accompanied by Liquid Architecture’s Joel Stern, Danni Zuvela, and Anabelle Lacroix, and artists including Camila Marambio, Rob Thorne, Douglas Kahn and others. The group had been invited by Hobart’s Unconscious Collective (David Patman and Michelle Boyde) to devise an open-ended performance program at the site of an abandoned limestone quarry. Videographer Jason Heller and photographer Keelan O’Hehir were also part of the visiting party.

On arrival, we were struck by the intensity of the Queenstown setting, a town dilapidated by the economic collapse of its longstanding copper mine (with a population having shrunk to one tenth of its former size), and bearing the visible scars of more than 100 years of rapacious environmental extraction, destruction, and disregard; a stunningly broken landscape of treeless jagged hills, acid orange rivers, and ghost settlements.

This ecocidal mentality of the earth as commodity — no matter the price — is of course not only an environmental pathology, but colonial in character. Vicuña and Marambio had been thinking alongside this ecological-colonial matrix in the Chilean context for many years. Marambio was experimenting with ways of holding Tasmania and Tierra del Fuego, the southernmost tips of so-called ‘Australia’ and the Americas, together as sites interconnected by a common, and damaging, political ecology of relentless extraction and frontier imagination; alongside an abundance of natural beauty. This understanding of place, power, and time was brought to bear on the performance site, an imposing environment of sheer rock face, framing a lush, wild garden below. With Vicuña and Marambio at the core, the artists set out to transform the quarry into a metaphorical singing bowl through voice and sound — drawing out the echoic memory and reverberations of an environment that were held uneasily in time.

Jason Heller’s video footage documents an improvised sonic and spatial exploration, which would be described by Vicuña, in a radio conversation later that day, as sound coming ‘from an ancient tradition of listening to what wants to come out of its own accord…from the land itself…from a listening that listens to itself.’

Alongside the video of Vicuña and Marambio’s performance is an unedited audio recording, with edited transcription of the aforementioned radio conversation with Vicuña, Marambio, Douglas Kahn, and host Miyuki Jokiranta, as a part of Unconformist Radio. The radio discussion dwells momentarily on the quarry performance, before moving on to questions of energy and time, a research focus for Kahn, and a point of intersection for the three artists. Khan’s presence in Queenstown was serendipitous, another instance of past and present colliding. As the interview reveals, Vicuña and Kahn had met once before, in early 1980s New York City, through their mutual friend, writer and critic, Lucy Lippard. Thirty-five years later their paths had crossed again in a small regional Western Tasmanian mining town, about as removed from a global metropolis as one could imagine.

Finally, on this page, we include a series of images produced by Vicuña with photographer Keelan O’Hehir in the quarry, one of which would later appear as the cover for the book, Read Thread: The Story of the Red Thread, published by Sternberg Press in 2017.

<p>Cecilia Vicuña, Tassi Quipu, Tasmania, 2016. Photo: Keelan O'Hehir.</p>

Cecilia Vicuña, Tassi Quipu, Tasmania, 2016. Photo: Keelan O’Hehir.

Cecilia Vicuña, Douglas Kahn & Camila Marambio:
Unconformist Radio with
Miyuki Jokiranta

We hear a recording of Cecilia Vicuña and Camila Marambio’s performance from Flux Quarry, captured in the video above.

Miyuki Jokiranta

Cecilia and Camilla, welcome!

Cecilia Vicuña

Thank you.

Camilla Marambi

Hi.

MJ

You heard that for the first time a recording of yourselves back after performing earlier today. What are your thoughts? What are your first impressions?

CV

That was not us, it was something else.

CM

I also heard some fantasmagoric voices coming in.

CV

I think that is the core of the sonic aesthetics of the space that Joel was mentioning, that is where this sound comes from. The sound comes from an ancient tradition of listening to what wants to come out of its own accord. So, it’s a way of sounding where you cannot actually determine where the sound comes from. It comes from the land itself, it comes from the dialogue, it comes from a listening that listens to itself. It’s very mysterious and incredibly beautiful — I can remember the very first time that this sound came from within and I was truly startled.

CM

Yesterday, we spent some time in the quarry with Cecilia, and it was through her ancestral practice of slowly allowing oneself to seep in and get lost in the forms and the figures and the noises that begins to prepare the body to do this sounding. So, we become very porous, and as Cecilia was mentioning, it’s a deep sound that just kind of moves through your body so listening to it for the first time is an absolute surprise.

<p>Cecilia Vicuña, Tassi Quipu, Tasmania, 2016. Photo: Keelan O'Hehir.</p>

Cecilia Vicuña, Tassi Quipu, Tasmania, 2016. Photo: Keelan O’Hehir.

MJ

And for people that were in the quarry themselves, you performed with your backs to us. So in fact you are in direct dialogue with the landscape, and the recognition of the listening that we experience is immediately set in the kind of visual setting you create.

CV

Yeah, that’s right. I mean, even before coming here we heard from Joel and the team, Danni and so forth, about the wound of this place, the tremendous pain that is in Tasmania. And in this mine in particular, you could feel that coming here was coming to this place that’s alive with pain. And so, this is part of why we’re here. And so, arriving there, I just heard that there is all this machinery, and all this pollution buried there. This is a rock that has been broken open and there is water coming down, so the desire of the water, the desire of the earth, the desire of the rocks, to be rock, to be water, to be soil, for me, is something that is overwhelming. I can feel it. And therefore, it is from that relationship that this sound arises.

CM

You asked Joel how he had come to Cecilia, and it was really touching to hear him say it was through trusting me. I also upon hearing about Flux, and the quarry, and Liquid Architecture’s approach to it. I knew immediately that it was Cecilia the poet, Cecilia the healer, Cecilia the magician, the bruja could bring forth that quality of the water to cleanse and heal and make things fluid again. Queenstown has been going through a crisis these past years, and to come here with the voice and lick this wound or just give it a bit of a moisture is the little bit that we from Chile could do. We’ve experienced a lot of similar crises because we share geologies. I went to the geological walk today, or talk, and heard about the volcanic eruptions and the way that all of the layering of rocks has occurred, and it brought me home to the Andes Mountains. And so, I think that that invisible thread is a thread that Cecilia has been weaving for an eternity, and that if we could pull it through from the centre of the earth and make it emerge at the Flux core, is something that will have a lasting effect.

MJ

Bruja is ‘witch’ in Spanish, yes? Can you explain to me the kind of witchery you weave? You have been doing this practice for decades, and so, over time, how has that kind of witchery changed from the first incilinations that this is the kind of work you want to do, to arriving at this limestone quarry?

CV

How does it change? I wish I knew. I witness it, I sit with that it may go on. I devote myself to its own ability to grow, move, transform. And so, I am at the service of what is coming. And, it is such a never-ending relationship, like for example, arriving at the place, it was really beautiful to see the other artists, everybody was in the same mode of sensing, rehearsing, one was touching this, the kids were running around. And so of course, you see how the water is pouring down; and hear Rob (Thorne) and Dylan (Martorell), the poets in the space were really welcoming — and that’s how I started. As you said, a few, maybe a metre or two metres away from the water, where I could see the little moss, the little sparkles, the little drops, I could be inside the transparency of the water and so it is from there that this emerges. And so, sound emerges very much like water emerges. In the midst of the northern highlands of Chile, of the Andes Mountains; the sound of the flute; the sound of the human voice emerges from the sound of the rocks, responding to the water, touching it. So this is an ancient idea that it is through learning from the water sounds, that our speech came forth.

CM

Just to refer to the word ‘bruja,’ that I used, I use it because brujas have been outcasts, they’ve been women who are aware of all of that witches in the dark, or has been considered vile, or precarious, ugly, and it’s from that quality of being able to tend to those things that I use the word, not so much in the fantastical sense of the ‘cooking witch,’ but also, welcome all witches!

<p>Cecilia Vicuña, Tassi Quipu, Tasmania, 2016. Photo: Keelan O'Hehir.</p>

Cecilia Vicuña, Tassi Quipu, Tasmania, 2016. Photo: Keelan O’Hehir.

MJ

The excerpt that we heard was the two of you in this space, and I’m not going to ask specifically, but there is a generational difference between the two of you, and so, how do you then work as a collaborative duo? How do you arrive in a space and say ‘this is what we’ll do’? In terms of the relationship between the two of you, and I suppose then the space, which is always in question.

CV

It’s true for me, it’s a tremendous joy for me to meet Camilla and to see that Camilla hears what my work is about, because part of what she was saying is that because my sound is an Indigenous woman thing, it has been despised and ridiculed for decades. So, for me to find a young woman that is not only willing to hear, but to invite me here, and to go along and do her own following in these steps, which is of course her own thing. So, how do I collaborate? I collaborate with her and other musicians in the same form: by not programming, by not planning, but not setting any kind of structure other than, let’s hear each other, and let’s move into it. And so, she knows that this is the way I work, so she does it too! And we proceed from there, we proceed from the first sound. So, that’s the key for me: when you think of improvisation, a lot of people think that improvisation is planned, and some musicians plan improvisations, but in our case, we really hardly even talk about it, we just know, and trust, it’s like we throw ourselves into the abyss, because true sound, to me, emerges from that encounter with the abyss.

MJ

Camilla? Surely you have one collective voice?

[They all laugh.]

CM

It’s such a blessing to collaborate with Cecilia. It’s really through her freedom that I feel allowed, invited and I learn from that space of sacralising the improvisations and suspending the expectations that oneself has about one’s voice, and which should be heard, or what sounds good. As both, as a woman, as a body, as a performer, it’s so healing to put myself in line with this practice she has been exploring, experimenting, and exposing to the world.

<p>Cecilia Vicuña, Tassi Quipu, Tasmania, 2016. Photo: Keelan O'Hehir.</p>

Cecilia Vicuña, Tassi Quipu, Tasmania, 2016. Photo: Keelan O’Hehir.

MJ

So you said before that this landscape, while maybe not immediately familiar to you with resonance to yours back home, has similar geologies. But how is it to put a woman’s body in this space which is predominantly male, I mean has been driven by male intention, by male physicality, by a male approach.

CV

There is a word people are using a lot lately, which is ‘decolonising,’ and this is, from my perspective, the earth itself is a profoundly feminine energy, so is the water. So all these layers of the conquerors, of the invaders, the murderers, the people who have destroyed ancient cultures, not only here, but around the world, to me, is a superficial layer and it is up to us, the women, to return the power from where the power really is, which is in the creativity of the life force. If you read contemporary science, even the word ‘lifeforce’ has been deleted. You see, science wants to pretend that life can be created in love. So, there’s this violence against what is a name when it is not controlled, and we represent that. We represent us, women, any woman, has this extraordinary creative energy within. And so, to be there is a huge pleasure, it’s like a deviation from the norm, it’s like breaking the rules, and that in itself is a delight.

[They all laugh.]

CM

The emergence of that life force that Cecilia is talking about is this viabratory sensorium, maybe blood-like, menstrual, it’s something that’s cyclical, and that’s much larger than one female body. And so, to draw it out through the water as Cecilia was describing, this listening to the gurgling, the droplets, and all of that water that is within the body that is allowing it to come into a space that’s been dominated by a male paradigm. It’s through being enchanted with the ways in which the female exists within the male and the male within the female that is what I think, allows us to sing — it’s not about opposing forces, but about conjoining forces.

<p>Cecilia Vicuña, Tassi Quipu, Tasmania, 2016. Photo: Keelan O'Hehir.</p>

Cecilia Vicuña, Tassi Quipu, Tasmania, 2016. Photo: Keelan O’Hehir.

MJ

One final question and then I want to bring on our next artist. I wanted to ask: the word ‘poet’ implies language, we heard doesn’t have a language but do words ever slip into your performances? Is there ever that moment where, I suppose the more conformist word of ‘poet’ arrives?

CV

Oh yes, certainly. Words, sounds and breath are really sort of variations of each other. And so, words are always in my performance and even though they may not be heard as words, for example, the first word that I was singing was ‘agüita’, and ‘agüita’ is a Spanish word ‘agua’, transformed by the Chilean Indigenous way of speaking Spanish into ‘little water’. So, you speak to the water in a language where you say ‘agüita, agüita!’ and the water hears it. And of course, I was saying many other phrases about the wounds of the water and so forth, but the word transformed.

MJ

Beautiful. Well, thank you both for joining me. Can I invite our next guest up, who’s not sitting too far behind? Cecilia, if you just stay for a moment, I’d like to introduce Doug Kahn. Now Doug, I do have an excerpt of your performance, but I just think it’s better if I put you on the microphone. Now, I just wanted to draw this fact that the both of you worked in New York in the early 1970s, is that correct?

Douglas Kahn

No.

MJ

Oh, no!

DK

No, I visited New York twice — when would that have been? The early 1980s. And, I think our connection, Cecilia, and my connection, is with an independent publisher called Tanam Press. And it was the first book that I wrote, it was on the anti-Nazi photo montage artist, John Hartfield. And I think, was that your first book in New York? So, we had the same publisher, and I think I’m pretty sure we were at a party for a book launch for Fire Over Water, which was a collection in which we both had essays, or you had poetry and I had an essay — and it was either that, or Political Art Documentation/Distribution (PAD/D). I was in Seattle, Washington and I had organised an art and politics conference with Lucy Lippard, Judy Baca and some other people, and it was after that that I went to New York and stayed with Lucy for a week at her place, and went to all the events that New York had to offer, we met at either Tanam Press or PAD/D, they intersected quite a bit.

MJ

But, forces outside of yourselves have kind of found ways to bring you together in some way. Be it a publisher, be it a party, be it a conference, that in fact there is a direct overlap in your fields of inquiry, and the ideas that you are interested in.

DK

Oh, there is?

[They all laugh.]

DK

How would you represent it?

MJ

Well, I would say energies. Doug, maybe you can tell us a little bit about the lecture you gave, a performance lecture, which is deeply steeped in energies.

DK

Well, that’s my topic now. I’m a historian and a historical theorist, I guess. I do theories about things about sound and energy, but I do history to try to prove them.

[They all laugh.]

DK

I’m insecure about what I’m saying, I can’t just make assertions, I have to demonstrate somehow, so I’m a historian. In the 1990s, I started doing work on the history of sound and the arts, and then I did a collection called, Wireless Imagination: Sound, Radio and The Avant-Garde, and then in 1999, I did a book called Noise, Water, Meat: A History of Sound and the Arts. And then after that, I started investigating a book that took me twelve years to write, which was, instead of sound, trying to understand the trade since the nineteenth century, between electromagnetism and acoustics. You know, they sound like physical phenomena, but they’re social, cultural, aesthetic and ecological, as it turns out, especially with energy, there’s an elaboration across all spheres of life. But, in the book, Earth Sound Earth Signal, published in 2013, it was mostly naturally occurring radio. The whole book was based upon Alexander Graham Bell’s assistant, Thomas Watson. At night time, he would go listen on the first telephone, and the telephone test line, over a half mile over the rooftops of Boston, turned into an antenna — but nobody knew what an antenna was — and he was listening to these sounds, and they sounded like little bird chirps, and some of them like whistles, or flocks of birds in the morning, and it turned out to be natural radio. It was radio that was produced in the ionosphere by the aurora borealis. So, this was twenty years before Marconi, based upon that, and by putting nature into being the first broadcaster, and a sidekick, not a genius inventor, but a sidekick, being the first person on earth to hear radio, it just reconfigured a lot of history. So, the book I wrote still had to do with energies in the radio, in the environment, and I only got down to brainwaves. I got down to seismic vibrations at the earth scale, all these things were happening at the earth scale. The only energy I got in the body was brainwaves, because there’s a whole different system of energy in the body from. After that book, I’ve thrown the doors open on energy, and there’s an imperative with an investigation of energy now, for ecological things. But, what I’m trying to show now, is that there’s ‘fossil fuel’, and it’s alternative notion of energy, like energy politics, so-called? But, it actually relates at a very deep level to energy more generally, whether it’s vibratory, or oscillating, you name it! It’s a big field of energy, and there’s a particular political — if political means survival of the species — there’s a political imperative to understand the configurations and the interrelationships of the larger field of energies, so that’s what my talk was based upon.

<p>Douglas Kahn, The Unconformity 2016. Photo: Keelan O'Hehir.</p>

Douglas Kahn, The Unconformity 2016. Photo: Keelan O’Hehir.

MJ

In the example of the limestone quarry, which is how you began this afternoon’s conversation, what is it about the limestone quarry and its deep time? Give us the example that you kind of open the speech with, that allows it to concretise in some way.

DK

Well, I open the speech with something that Henry David Thoreau had talked about in terms of the deep cut. Now, it was a way to see nature at a moment of its destruction, the deep cut was the cut out of a hillside that they did for railroads. And within that, he saw the erosion and the patterning and the recuperation. He saw nature at work within this big wound, so that’s how I began. The limestone in particular, first of all it’s an amazing space, it is a space of destruction and extraction. But it is also what is left, it’s starting to be recuperated now, the water coming down, the plants, the trees growing on the sides, the roots will break it up and nature will recuperate it eventually. But the limestone itself is not a rock, it’s actually a deposition of a life form. I said I was presenting a lecture and this big face of limestone was like a chalkboard. I used that on purpose because the chalkly cliffs of Dover are actually from a plankton — a deposition of plankton — called Ehux for short. The Ehux bloom in the oceans, one was so big it was the size of England, it could be seen from outer space. The rock has to do with the sun because the plankton lives in the first few metres at the top of the ocean where the sun penetrates. So, it’s a life form that then dies off trillions and trillions, and settles down and that’s what forms limestone. You put certain limestones under pressure long enough you get marble. So I was making an argument that what we see in inner rock is not just a trace of life, but a moment of a cycling of the sun. So you have a deep time in the temporal frame of the sun, an old sun, and things like limestone, but you also have old sun in fossil fuels. My talk was about how you can reinterpret ideas of the anthropocene in terms not of the dead past, but of a cycling of the sun that is still present and will provide our future. So, it’s a notion of the ecological that’s not from geology, it’s from heliology. It’s from a relationship to the sun, and the sun provides all but one in 4,000 parts of our energy. In fact the earth is actually a pico or nano scale in terms of the energy it receives from the sun, but it’s the energy that is there, it is all but one in 4,000 parts is how we live. There’s a way to reconfigure ecological notions to talk about the relationship of the sun. How do we take light, sound, all these phenomena and patterns of energy and start thinking of them as a whole with the purpose of reaching some type of dynamic homeostasis where we don’t die.

[They all laugh.]

<p>Cecilia Vicuña, Tassi Quipu, Tasmania, 2016. Photo: Keelan O'Hehir.</p>

Cecilia Vicuña, Tassi Quipu, Tasmania, 2016. Photo: Keelan O’Hehir.

MJ

Cecilia, do you want to hop in?

CV

Yes, absolutely wonderful to hear you, Doug, and to think in those terms. I kept thinking while you spoke of ideology and the cycling of this energy from the sun as it relates to the ocean, and the plankton and all that. It’s a completely different world view that you are manifesting. I was thinking, my god, when you think of the ancient peoples of this earth, the ancient Aboriginal Australians, the ancient Incas, where it’s the sun! It’s all about the sun, it’s all about the light, and of course these peoples have been destroyed and they have been regarded as archaic, primitive, idiotic, silly, stupid, all of that. And now, you turn the table so that this is the actual thinking that has let us survive! You know if we follow the path that you’re proposing, the cyclical notion is also our thought. You see, the cyclical perception is at work. So, it’s a cycle of perception that is turning, and we are, you know, part of that music. It’s the music of perception that is at work, and relates to the sun, to the light, to the soil, so I’m totally fascinated by your talk.

DK

Science is catching up. We think we have to have almost like a sycophantic relationship with science, but in fact, in the field of bioenergetics, it was not until the early 2000s, that there was a third retinal cell discovered in the eye. So you have rods and cones and then you have an intrinsically photosensitive ganglion retinal cell. I had to rename it because obviously scientists are not very good with words. It’s not something that falls off your tongue, so I named it ‘solar retinal,’ and what it is, it actually perceives a thin band of blue light. It’s not an imaging thing, but it’s circadian. It’s the way our body relates to day and night, relates to the sun. This is not that many years ago, in fact, but it means that it secretes melanopsin instead of transducin or rhodopsin secreted by rods or cones, it secretes melanopsin like the colour of the melanin. This is very recent, there is a scientist who says that bioenergetics, the mechanisms that are there, they’ve been swamped over too much by DNA, by the discourse of this code. But it’s very basic, the circadian is the position of the solar system that makes us secrete hormones in the body at a very minute thing. So we’re synced up, but it’s taken until the 1990s, early 2000s, for science to understand ‘oh, yes in fact we’re part of the solar system, that individual biologies are part of the solar system’. What they found out is that the circadian method is actually ensconced in the liver, in all of these different parts of the body in what’s called ‘sluggish temperality’, a sluggish syncing. It’s a rhythm nevertheless, but we are with the sun whether we like it or not.

MJ

Well, it’s actually time for us to wrap, but Cecillia, would you give us a final thought, and we’ll head out?

CV

I wanted to connect what Doug said with what Joel said in the beginning. Which is this ancient idea that sounds are connected to the cyclicality of life and to these circadian rhythms. All ancient traditional cultures have known that, because there are certain sounds that are specific hours of the day for specific seasons of the year, so they are all oriented into the light and to the dark, and so, we are coming around.

DK

And in Indian music in the morning and the afternoon, evening ragas, it’s also to the seasons, it’s a long, long cultural tradition that’s expressed in many ways.

MJ

Okay, we’re going to have to take this conversation offline. It’s been absolutely riveting and I’m so sorry we didn’t bring you on both sooner. Thank you so much, Camilla, Cecilia, Doug and Joel, for joining me for a very small snapshot of the really deep thinking, deep time, deep approaches that were performed today in the Flux, and will continue tonight and tomorrow.

<p>Cecilia Vicuña, Tassi Quipu, Tasmania, 2016. Photo: Keelan O'Hehir.</p>

Cecilia Vicuña, Tassi Quipu, Tasmania, 2016. Photo: Keelan O’Hehir.

Contributor/s

Cecilia Vicuña’s work dwells in the not yet, the future potential of the unformed, where sound, weaving, and language interact to create new meanings.

‘In January 1966, I began creating precarios (precarious) installations and basuritas, objects composed of debris, structures that disappear, along with quipus and other weaving metaphors. I called these works ‘Arte Precario’, creating a new independent category, a non-colonized name for them. The precarios soon evolved into collective rituals and oral performances based on dissonant sound and the shamanic voice. The fluid, multi-dimensional quality of these works allowed them to exist in many media and languages at once. Created in and for the moment, they reflect ancient spiritual technologies—a knowledge of the power of individual and communal intention to heal us and the earth.’
—Cecilia Vicuña

Camila Marambio is a private investigator, amateur dancer, permaculture enthusiast, and sporadic writer, but first and foremost, she is a curator and the founder/director of Ensayos, a nomadic interdisciplinary research program in Tierra del Fuego.

Douglas Kahn is an historian and theorist of energies in the arts, sound in the arts and sound studies, and media arts, from the late-nineteenth century to the present. His books include Energies in the Arts (MIT Press, 2019); Earth Sound Earth Signal: Energies and Earth Magnitude in the Arts (University of California Press, 2013); Noise Water Meat: A History of Sound in the Arts (MIT Press, 1999); Mainframe Experimentalism: Early Computing and the Foundations of Digital Arts, edited with Hannah Higgins (University of California Press, 2012); and Source: Music of the Avant-garde, edited with Larry Austin (University of California Press, 2011).

Editor/s Joel Stern Autumn Royal

ACKNOWLEDGEMENTS
Cecilia Vicuña: Listening with the Fingers foregrounds the series of performances, readings, interviews, and collaborations presented by Chilean artist and poet Cecilia Vicuña and Liquid Architecture during her visit to Australia in 2016.

As Vicuña states: ‘To be an artist you need a network, a network of people who believe in you, and that can never be composed of just one person.’ The editors acknowledge Cecilia Vicuña for her extraordinary work and generosity, Camila Marambio for making her visit possible and for her collaboration and energy. The partners who helped stage and present Vicuña’s work in Australia included Tara McDowell, head of Curatorial Practice at Monash University, West Space, Trades Hall, Triple R, Unconscious Collective, The Unconformity, Cordite Poetry Review. We would like to thank Liang Luscombe and Public Office for their editorial and design support, respectively, on this collection. We would also like to thank Shima Aristidou, Celine Saoud, and Monet Jones for their transcription work on this collection.

This work was produced online, and across multiple unceded Indigenous Lands in so-called ‘Australia’. We acknowledge the people of the Kulin Nation as the custodians of the lands on which we work. We pay our respects to Indigenous Elders, past, present and emerging.

Notes

    Disclaimer is a journal for new thinking and writing on listening and sound. Published by Liquid ArchitectureDisclaimer is a journal for new thinking and writing on listening and sound. Published by Liquid Architecture
    Disclaimer is a journal for new thinking and writing on listening and sound. Published by Liquid Architecture • Disclaimer is a journal for new thinking and writing on listening and sound. Published by Liquid Architecture
    Score: Natasha Tontey ‘Church of Xenoglossia’, 2019

    Podcasts