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Index

Content Types

Artist Profiles (2)

Audio (4)

Audio Papers (3)

Editorial (2)

Essays (5)

Interviews (6)

Scores (7)

Series (1)

Text Poems (6)

Contributors (66)

  • 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
  • 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.

  • 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.

  • 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)

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Index


Proposals from the Future
Nick Ashwood, Johnny Chang, Megan Alice Clune, Andrew Fedorovitch, Sonya Holowell, MP Hopkins, Shota Matsumura, and Alexandra Spence






Proposals from the Future documents an experimental and ever-evolving dialogue between composers Nick Ashwood, Johnny Chang, Megan Alice Clune, Andrew Fedorovitch, Sonya Holowell, MP Hopkins, Shota Matsumura, and Alexandra Spence. Conducted between Auckland, Sydney, Berlin and beyond from April to June 2020, Proposals from the Future adopted a methodology of sharing, chatting, messaging, commenting and encouraging—what the group describes as an ‘analogue collective mindset’—to conceptually expand twelve scores that were produced and performed but not recorded.

The idea is to find a moment together, each in our own way, to listen and to centre around anything we find relevant (either with respect to the score or, indeed, the current situation). The global parallel realisations will take place without technical intervention, or co-ordination through digital means. The focus is to be the analogue collective mindset. Download the score from the link provided, and join in wherever you are at the appropriate time.
—Johnny Chang, posted online 12 April 2020










Proposal of the Past/Future










Preliminary Proposal



Mieko Shiomi, Boundary Music
(back to top) Download: score-mieko-shiomi-boundary-music.pdf

In response:
Sonya Holowell, I never play or record this work
(back to top) Download: score-sonya-holowell-i-never-play-or-record-this-work.pdf










Online Conversation
12 April–12 June 2020

JC

12 Apr 2020, 12:15
Hi Everyone! Hope you are doing well …
I’ve been chatting casually with Andrew Fed about proposing appropriate text scores for open realisations. It’s less a performance than finding a moment together, each in our own way, to listen and to centre around anything we find relevant (either with respect to the score, or indeed, the current situation).
First one on Wednesday morning 10am NZ time, and hopefully regularly each week afterwards — would you be keen to join in? The first score I thought of is a Manfred Werder piece from 2008.
Looking forward to it!
Johnny Chang

JC

12 Apr 2020, 12:17
‘think global, act local’
(You may or may not be aware of similar initiatives already ‘in-play’. I wanted also this to be a chance to try to centre something more locally, at least Australasian.
(back to top) Download: score-manfred-werder-2008-2.pdf

AS

12 Apr 2020, 12:19
is this an unstreamed simultaneous play? if so i love this idea of removing the digitisation from collective ‘sharing-in’. something integrally ‘human’ and comforting to it.

JC

12 Apr 2020, 12:25
Yes indeed. That is the intention.
On my part, I’ve stumbled upon two rare discoveries, the lovely local sea sounds and the fact my phone can record it nicely. So I would be documenting, for my own purposes…
But, fundamentally, The idea would be just to do it together. And leaving the computer out of it…

AS

12 Apr 2020, 12:30
yesss so perfect. have been missing the music community a lot, but the move to take everything online doesn’t sit right with me just now.
though would be nice to chat afterwards or communicate in someway

JC

12 Apr 2020, 12:34
Yeah true !

JC

13 Apr 2020, 14:28
Yeah maybe by then the virus is all over and i can come back to sydney for drinks, chats and food …

AF

13 Apr 2020, 15:19
Looks great. Do you mind if I share the proposal with others. Thinking JW, shota, etc, etc

JC

13 Apr 2020, 15:55
Absolutely!

AS

15 Apr 2020, 09:26
Ummm so this morning’s score got me tuning in to some more…
I’m not sure if these go together or are stand alone. I think either can work, would people be interested to try them one of these mornings?

JC

15 Apr 2020, 09:38
Sure yes! Is that one score, or two? Looks great !

AS

15 Apr 2020, 09:53
started as one, but then became two… so maybe i prefer as two discrete score now… but i could also imagine it as one. Whatever people would prefer

NA

15 Apr 2020, 09:58
What if we just pick the one we feel that day

JC

15 Apr 2020, 10:06
I think it would be nice to pick one and post it at least on monday. So people can choose to engage with it a bit beforehand if they prefer.
Re: Alex’s score — it seemed like two to me, i was just wondering what her conception of that might be. Hope that’s ok ? Even with a seemingly ephemeral call-to-respond such as this, it still reflects how I would approach working on a piece in real life.

JC

15 Apr 2020, 11:06
How was the Werder for everyone?

AS

15 Apr 2020, 11:18
yes choosing one between us and then sharing sounds good to me :) i may work on adjusting the ‘look’ of whichever score we choose, not 100% on how i’ve presented them above

JC

15 Apr 2020, 11:19
Great that you made use of Manfred’s framework to be productive on your side!

AS

15 Apr 2020, 11:20
ha, it couldn’t be helped. i sat there and listened for a bit, then i played a little tin whistle and then my brain started churning, so i got the notebook

JC

15 Apr 2020, 11:20
What’s the earliest part of the day you’ve ever done compositional work in?

AS

15 Apr 2020, 11:21
maybe 8am (today) haha

JC

15 Apr 2020, 11:21
Choice

AS

15 Apr 2020, 11:21
but i like mornings. have started waking up at 6.30 to read and listen to music

AS

15 Apr 2020, 11:22
keen to hear how everyone else spent the time x

NA

15 Apr 2020, 11:24
I walked — slowly — softly — eyes forward —

MH

15 Apr 2020, 11:47
Laying down, variations on the words ‘birken birches’ slowly turning over in my head. Broken benches, bircher muesli, bricks, blister, birk or bark? Just words inside slowly moving around. A few outside sounds, but far away, not focussed on.

MH

15 Apr 2020, 11:51
Internal language games that cannot be recorded I guess!

JC

15 Apr 2020, 11:56
I think you just did!

MH

15 Apr 2020, 12:01
Was really interesting to do this piece as I’m currently adjusting a series of text-score that were designed to be performed ‘publicly’. Am thinking of ways to make them ‘private’ and set up situations where the internal voice is the performer/the event, so listening goes inward and is difficult to follow. Listening to an internal commentary about listening to whatever is going on but also listening to yourself listening, if that makes sense?

JC

15 Apr 2020, 12:02
makes perfect sense… sounds like a fuck-you to academia…

MH

15 Apr 2020, 12:09
More of a fuck-you to my own listening practice!

MH

15 Apr 2020, 12:10
Was reading this yesterday and the bits about language really got me thinking… what i love about the Werder score is that, for me, it opens up ideas about the role inner voice has in realising the score

MH

15 Apr 2020, 12:13

AF

15 Apr 2020, 12:16
Wow. Everyone!

AF

15 Apr 2020, 12:18
https://soundcloud.com/grateful-dad/endless-dreams-dj-lunetti-hippie-mix
Haha, I was dreamin’! I forgot the night before, so dreamt through, I’ve no doubt your actualisations energetically pierced my dreams tho

AF

15 Apr 2020, 12:20
I’ll do a postponed Dulwich hill version this arvo

AF

15 Apr 2020, 12:21
Your pieces look great Alex. Look forward to playing them both in time

AF

15 Apr 2020, 12:29
How do ppl feel about adding shota into this convo? I feel he would have some thoughts about these ideas — or he might say nothing or troll us. It’s a gamble

JC

15 Apr 2020, 18:27
Isnt this Bryan Eubanks’s dj handle, one of them at least. Or Andrew Lafkas… i’ve lost track

JC

15 Apr 2020, 18:29
Dear all,
For proposal from the future #2, i was thinking of Cat Lamb’s stones, shades , (score attached) that should get us all practiced up for Alex’s piece which we can do for #3… How does that feel?
(back to top) Download: score-catherine-lamb-stones-shades.pdf

AF

15 Apr 2020, 18:32
Looks beautiful

AS

15 Apr 2020, 18:37
ahh that cat lamb is magic

JC

15 Apr 2020, 18:37
🐈 🐑

MH

15 Apr 2020, 19:15
Stone piece is 👌

NA

15 Apr 2020, 21:12
I love cats, meow

NA

15 Apr 2020, 21:14
can I suggest a Beuger piece? wandelweiser.de/beugerscores/ew01.184.pdf

AS

16 Apr 2020, 08:13
oh hehe, i think some sounds is the one score club did at frontyard a little while back. very happy to play it again

JC

16 Apr 2020, 08:44
Yeah let’s space it out a bit, certain ‘reference pieces’ then some pieces by those of us here who are keen and others.
Nice idea @Nick .

JC

16 Apr 2020, 09:24
(I am sure it is debatable that Antoine and Manfred consider themselves ‘one of the blokes’, and they are! And they would find the labelling of reference or guideline, and what have youse, to be distasteful. Maybe I should refer to some works as ‘generational pieces’)

JC

18 Apr 2020, 07:03
morning all,
posting this one a bit earlier, so people can find their instruments…
Proposal from the future #3
Catherine Lamb’s stone, shading — join in simultaneously from your location.

Los Angeles, US - Tue, 21.04, 3pm UTC-7
Glasgow, UK - Tue, 21.04, 11pm UTC+1
Berlin, GER - Wed, 22.04, 12am UTC+2
Hong Kong - Wed, 22.04, 6am UTC+8
Tokyo, JPN - Wed, 22.04, 7am UTC+9
Sydney, AUS - Wed 22.04, 8am UTC+10
Auckland, NZ - Wed 22.04, 10am UTC+12

AF

18 Apr 2020, 08:59
Andrew Fed added Shota Mvz to the group.

AF

18 Apr 2020, 08:59
Thanks Johnny, nice layout looks neat

JC

18 Apr 2020, 09:18
Cheers Andrew — Hope it makes sense!

NA

18 Apr 2020, 12:27
Thanks for doing this Johnny — its such a nice thing to think about and to look forward to xxx

JC

21 Apr 2020, 21:03
Good evening everyone — hope you are all doing ok!
Are any of you finding the Cat Lamb hard? My dilemma is how to rub two stones together then add another two more — need extra arms!
Kind of implies an ‘ensemble’, not necessarily solo realisations…

NA

21 Apr 2020, 21:04
haha ive been leaving two on the table and rubbing like that ??

JC

21 Apr 2020, 21:04
It’s been interesting to force my mind to divert to these creative endeavours… Just now I arranged Imagine for a friend’s kids in Paris, omg….

JC

21 Apr 2020, 21:05
Did you tape it out with blu tac or something?
Really mine are more pebbles, so they’re really small — probably therein lies the issue…

NA

21 Apr 2020, 21:06
no tape, I have two bigger and two smaller ha so I leave the bigger on the table and rub with the small seems to work ok

JC

21 Apr 2020, 21:06
Oh!

NA

21 Apr 2020, 21:08
think thats ok?

JC

21 Apr 2020, 21:09
Sounds great actually…
I have been assuming, in a way wrongly, that two stones rubbed together are always similar in size. Thanks for the reminder/adjustment.

MH

22 Apr 2020, 11:01
Nice to spend some time with the stones! Johnny — I read it as two stones together, then another two together (so not 4 at once). For me the dilemma was ‘shading the space’ but I think I got there:

AF

22 Apr 2020, 11:04
Wonderful morning moment! Thanks for sharing it everyone

AF

22 Apr 2020, 11:04
I read it as you did, Johnny. This was my solution/technique

JC

22 Apr 2020, 11:06
Are you sure matthew? If two stones together produces one tone (Hypothetically speaking… Because I think they bring out more tones than just one).
At one point, just before and after the fold of the page, Cat writes ‘add two other stones (one tone)’, then ‘shading the space with the two tones now’.
On a different note, or tone… My stones were inadequate, so i screwed up.
[As I’m typing this, I see that they are about the same size as Fed’s.]
Haha

NA

22 Apr 2020, 11:07
Was very nice way to spend the morning. whats next Johnny?

AF

22 Apr 2020, 11:08
Love all the discrepancies and ‘screw ups’

JC

22 Apr 2020, 11:09
Yes it was a great moment to spend together, thanks everyone!

AS

22 Apr 2020, 11:10
hmmm but johnny — the first tone could remain as a decay (real or imagined) in the space

JC

22 Apr 2020, 11:11
Yes I think you’re both right

AS

22 Apr 2020, 11:11
i found that after rubbing the first two stones for awhile i got so familiar with the sound, that it kept going even after i stopped. It was a nice exercise in getting intimate with one’s stones

JC

22 Apr 2020, 11:12
I guess for technical reasons, or even for want of a better word, trying to explore the performance practice of rubbing stones, I was trying to figure out how to do that with 2 pairs.

AS

22 Apr 2020, 11:13
i also found the sound changed hugely when placed on a table versus rubbed in the air. i preferred the table, as this gave a nicer resonance

JC

22 Apr 2020, 11:13
Ah!

AS

22 Apr 2020, 11:15

AF

22 Apr 2020, 11:16
Woah! Nice stones!

JC

22 Apr 2020, 11:16
Crikey! I am jealous

AF

22 Apr 2020, 11:16
Yours look very pretty Johnny

NA

22 Apr 2020, 11:17

AF

22 Apr 2020, 11:17
Mobsters
Woh

JC

22 Apr 2020, 11:17
This is practically Christian Wolff mate!

AF

22 Apr 2020, 11:18
Yeah haha

NA

22 Apr 2020, 11:18
HA!!

JC

22 Apr 2020, 11:18
It was positively Instagramable, I am ashamed to say

NA

22 Apr 2020, 11:18
🐕

AF

22 Apr 2020, 11:19
I wish I’d invited Tim Green and the other fella who played wolf’s stones at 2013 now now (or was it 2014?)

JC

22 Apr 2020, 11:21
I made a video, pretty much asmr — but maybe it’s ‘wrong’ for the piece…
Click for video:

JC

22 Apr 2020, 11:24
Great insight on this point! I agree absolutely with the (conceptual) continuing of sound or shading… happened to me also, to some extent

MH

22 Apr 2020, 11:58
Somehow my brain interpreted it as two stones = a tone, and shaded space = a tone. So the shaded space was a kind of silence, a constant thing that the two different stone combinations were added to. I alternated between one set of stone tones + shaded space, then moved on to the other set of stones + shaded space.

SM

22 Apr 2020, 12:36
Could use a stone as a stethoscope/listening substrate

AS

22 Apr 2020, 12:39
was just listening to jana winderen this morning talking about using wooden oars as a bone conductor for listening

AS

22 Apr 2020, 12:55
*listening to the underwater, from above water

AF

22 Apr 2020, 12:55
Oh nice! Was listening to my stones this morning through bone conduction at times. Wrist to cheek bone/jaw bone

AF

23 Apr 2020, 10:14
hey everyone, would anyone be up for experimenting with moving this chat to another platform (fb free)? i’m trying to work out ‘slack’ at the moment

SM

23 Apr 2020, 13:02
gumtree.com.au/s-ad/willowbank/birds/show-quality-white-homing-pigeons-25-each/1245030980

AS

27 Apr 2020, 10:04
(back to top) Download: score-alexandra-spence-listening-for-awhile.pdf

AS

27 Apr 2020, 10:06
made a third score based on the other two, hah. hope you’re all still interested for wed?

JC

27 Apr 2020, 10:06
thumbs up

JC

28 Apr 2020, 15:24
Click for video:

AS

28 Apr 2020, 16:09
oh my gosh, so cute

JC

28 Apr 2020, 16:11
She doesn’t know about MacD’s yet…

AS

28 Apr 2020, 16:11
haha but she’s found the scent!

JC

28 Apr 2020, 16:11
Yeah it was definitely, hmmm, there…

JC

28 Apr 2020, 16:13
That last sound she makes, i get that a lot — ‘ehh’
‘Ehh’ then walks away from me

AF

28 Apr 2020, 16:35
Lol

JC

28 Apr 2020, 19:21
Trying to memorise your score, @Alexandra Spence (!!)

AS

28 Apr 2020, 19:46
Oh lol of course! I didn’t think of that hahaha

JC

29 Apr 2020, 09:31
@Alexandra Spence — beautiful score and a lovely way to start the day — thank you so much!

AF

29 Apr 2020, 09:49
Yes! Great to do right after waking. Thank you Alex

MH

29 Apr 2020, 10:06
Nice start indeed — got my brain, mouth, ears, and respiratory system going. Thanks Alex!

AF

29 Apr 2020, 10:08
I found I was observing the ‘interaction of the tones’ even before I hummed any — as I was imagining the tone to be hummed, I found it to be a similar sensation to the memory. And the air in my mouth tasted great!

AS

29 Apr 2020, 10:11
ohh thanks guys, i also found it a really nice early morn activity. was imagining my five tones ringing around with all the fridge and cat mewing sounds in my home. Also i really delighted in trying to imagine a tone to accompany the rounded comforting smell of warm coffee

MH

29 Apr 2020, 10:20
My humming was quite breathy and it all became quite rhythmic by the end, I wasn’t expecting that! There was a great moment with a beeping truck, some ibis and an unknown sound from neighbour working in the yard, then the humming/breath

JC

29 Apr 2020, 14:29
Like Matthew, I eventually noticed that I was doing regular humming intervals (In terms of time, not distance between two pitch… That’s a bit of a music nerd talk there, ha ha. Really interesting to witness the buildup of harmony containing all these real and imagined tones.

SM

29 Apr 2020, 20:14
sorry about the late reply, i had uni in the morning. But alex that was a lovely piece

JC

29 Apr 2020, 22:38
‘Sing, awhile’
Click for video:

JC

30 Apr 2020, 23:04
good evening everyone, just sending through proposal #5 before bed.
Proposal from the Future #5
Ryoko Akama: PPM Book - join in simultaneously from your location.
Sydney, AUS - Wed 06.05, 8am UTC+10
Auckland, NZ - Wed 06.05, 10am UTC+12
(back to top) Download: score-ryoko-akama-ppm-book.pdf

AF

5 May 2020, 10:28
Cool thanks JC! Tomorrow’s pieces looks great too

JC

5 May 2020, 10:31
RyokoAkama!

MH

5 May 2020, 14:41
Really looking forward to this piece tomorrow!

MH

5 May 2020, 14:48
I have a new score I’d like to offer, if there is room that is — totally fine though if you’ve already got coming weeks planned though, Johnny.

JC

5 May 2020, 18:39
Hi Matthew, sounds great ! of course there’s room. Got two pieces by Aillie Robertson and Sally Ann Mcintyre. I think the Robertson could be next week — so yours could be after that if that’s ok with you?

MH

6 May 2020, 16:31
Sounds good to me — I’ll get it all together and send through soon. Hope all had a nice time with today’s piece, curious to know what words people chose????

JC

6 May 2020, 16:57
I had a ‘mayu mayu’ time … haha.

AF

6 May 2020, 16:57
Haha! Me too!

JC

6 May 2020, 16:57
Nice

AF

6 May 2020, 16:58
I was humming as my sound/instrument. And found it was very effective to use the word itself separated into two syllables. One syllable = one sound. Did 12 minutes. Great piece, thanks for putting it forth JC. I laughed a lot reading the score

JC

6 May 2020, 16:59
I had 7 minutes, before taking Hana out for air at the beach.

AF

6 May 2020, 17:00
Nice
Niiice

JC

6 May 2020, 17:00
Click for video:

JC

6 May 2020, 17:00
Great piece eh! I think we should come back to this one — i need more time on this. As with all the pieces so far!

AF

6 May 2020, 17:00
Great beach home video. Indeed

MH

6 May 2020, 17:27
Ha, I did mayu too! Using amplified voice and sine waves

JC

6 May 2020, 17:29
No way! Also mayu!

MH

6 May 2020, 17:31
What are the chances!

MH

6 May 2020, 17:32
The score I’ve made fits nicely with mayu I think

AF

6 May 2020, 18:31
👍

JC

6 May 2020, 19:48
yeah, the direction i went almost felt like an Ablinger piece, Voices & Piano — only in the sense that i was vocalising, and adding piano as my texture change…

JC

6 May 2020, 19:49
youtube.com/watch
Peter Ablinger — ‘Angela Davis’ from Voices and Piano

JC

7 May 2020, 16:24
The Sub-Bass page of the Akama is also very sweet

MH

10 May 2020, 16:23
Hello all. Please find the score for Voices Trace attached, let me know if you have any questions!
(back to top) Download: score-mp-hopkins-voices-trace.pdf

SM

10 May 2020, 16:42
voicemessage1.aac

JC

10 May 2020, 16:48
voicemessage2.aac

SM

10 May 2020, 16:50
Omg !

AF

10 May 2020, 17:02
voicemessage3.aac

JC

10 May 2020, 17:12
voicemessage4.aac

SM

10 May 2020, 17:28
voicemessage5.aac

JC

10 May 2020, 17:29
voicemessage6.aac

JC

10 May 2020, 17:30
Click for video:

SM

10 May 2020, 17:33
voicemessage7.aac

JC

10 May 2020, 17:36
voicemessage8.aac

SM

10 May 2020, 17:39
http://www.bbc.com/earth/story/20150313-the-origin-of-the-anus

MH

10 May 2020, 21:00
voicemessage9.aac

JC

10 May 2020, 22:48
Thanks Matthew for the score — Only just now had a chance to look through it. great one!

AF

10 May 2020, 23:11
voicemessage10.aac

AF

10 May 2020, 23:11
voicemessage11.aac

SM

10 May 2020, 23:16
voicemessage12.aac

AF

10 May 2020, 23:17
thumbs up

SM

10 May 2020, 23:17
voicemessage13.aac

JC

10 May 2020, 23:32
I think the direction that Shota has gone in is amazing

AS

12 May 2020, 12:31
Alexandra Spence added Meg Clune to the group.

AS

12 May 2020, 12:32
adding meg to the fold!

AS

12 May 2020, 12:33
meg — the idea, in johnny’s words :
The idea is to find a moment together, each in our own way, to listen and to centre around anything we find relevant (either with respect to the score, or indeed, the current situation). The global parallel realisations will take place without technical intervention, or co-ordination through digital means. The focus is to be the analogue collective mindset.

AS

12 May 2020, 12:34
if you scroll up, you’ll find matthew’s score for tomorrow morn at 8am xx

JC

12 May 2020, 12:34
Hi Meg!

MH

12 May 2020, 12:59
Hi Meg!

AF

12 May 2020, 13:09
Hello Meg!

MC

12 May 2020, 16:07
👋🏻👋🏻👋🏻

MC

12 May 2020, 16:07
Hello everyone!!! I hope you’re well

SM

12 May 2020, 16:49
hello megan

JC

12 May 2020, 16:51
Getting ready to find myself in Matthew’s piece

AF

12 May 2020, 23:00
Looking forward to ur score mp!

MH

12 May 2020, 23:08
Cheers Fedz! Keen to hear how you find yourself near yourself, as you are

AF

12 May 2020, 23:09
Me too!!

JC

13 May 2020, 11:46
Matthew, I really have to apologise about your piece this morning !!
I went in a completely different direction in terms of instrumentation, by mistake.
Basically, in the context of your piece, I have been finding my own voice inside of the culture of eating from my home country, Taiwan. I prepped a dish that I had been wanting to cook for awhile, even though it’s not strictly Taiwanese, it’s a most Asian flavour, and therefore (in the context of your piece) I was in fact approximating my voice…

AF

13 May 2020, 12:13
I love this direction JC

SM

13 May 2020, 12:14
what is the secret spice?

AF

13 May 2020, 12:14
I was murmuring in bed while Chantel slept next to me and I fell into a deep sleep after finishing. Fantastic feeling

JC

13 May 2020, 12:18
— awesome

JC

13 May 2020, 12:20
Basically rice wine, soy sauce, sugar, starch/flour combo with some sort of animal protein . It’s no big secret, to the majority of the planet — but as I said, It’s a revelation on a personal/intestinal level.

AS

13 May 2020, 12:24
i collected on paper a small series of unarticulated words and gasps and breath sounds that my mouth made voluntarily and involuntarily

JC

13 May 2020, 12:34

MH

13 May 2020, 12:37
wow, AMAZING everyone. Johnny sounds like you nailed it first go! And fedz and alex too.

AF

13 May 2020, 14:05
intestinal!

SM

14 May 2020, 20:42
Shota removed a message

JC

17 May 2020, 07:03
good morning all — hope the weekend has been a good one over in sydney for you. our PM moved us to level2, so people are out and about brunching at cafes and eating at bars. pretty surreal to see all that again.

JC

17 May 2020, 07:06
sharing here the piece for proposal #7

‘Which disney princess are you’

JC

17 May 2020, 08:33
Oops wrong concept…

JC

17 May 2020, 08:34
meant to send the piece by Ailie Robertson instead. here it is — a really lovely one.
(back to top) Download: score-ailie-robertson-vedbaek.pdf

AF

18 May 2020, 10:14
Great concept, Lol.
Yeah, same for nsw, ppl at cafes etc. makes my anxiety spike
Thanks Johnny
Heart squeezing score

AF

18 May 2020, 17:52
How do I get this quiz?

NA

18 May 2020, 18:38
Insta

NA

20 May 2020, 13:45

MC

20 May 2020, 17:08
I sent this to alex before which gave me the idea… Score for Juicing a Lemon — first, insert skewer into non-stalk end of lemon

MC

20 May 2020, 17:08
Click for video:

SM

20 May 2020, 17:31
thank you for that zesty experience

MC

20 May 2020, 17:34
My pleasure Shota. I hope you perform this score each time you desire some lemon juice.

SM

20 May 2020, 17:43
🍋

JC

21 May 2020, 06:54
Morning everyone! How did we go for the Robertson piece yesterday… I think I might need to re-do sometime this week.

AF

21 May 2020, 10:57
Morning Johnny! I enjoyed it a lot. It felt very personal/private so I enjoyed the space afterwards of not talking about it for 24hrs
I read, read, read, sang each line to myself. The singing was kind of like a chanting on one or two, sometimes three pitches per line
Went for about 18 minutes. Then fell asleep and had some wild dreams

JC

21 May 2020, 11:02
Andrew’s description feels very close to an arrangement, which could then be handed over to someone else for realisation. Meaning, I will look into this possibility and record it… See how that turns out.

SM

22 May 2020, 12:27
Click for video:

AF

22 May 2020, 12:42
👀

MC

22 May 2020, 12:59
🍋😲🤩

JC

27 May 2020, 13:08
Hi there!
Don’t know if people had time to engage with the Pisaro text score for today. I was talking to her about the inclusion of voice and the instruments, we were discussing how best to word that line so that vocalists could also be involved. (The text in parentheses were my additions to the score)
Also the other aspect of this which I picked up from my discussion with Kathy Pisaro was, how the score can include ‘non-professional’ musicians as interpreter. From the way Kathy was talking about this, I had a sense that one can only interpret the score with the instrument that they were trained on, rather than if one wanted to sing one note from the favourite score, even if they were, for example, a trained cellist.
(The example that I wanted to explore was of a reverse situation, if a trained singer’s favourite piece was a cello concerto — did that mean the singer may not choose that piece in the context of the text score?) If so, that approach seems oddly narrow to me.
What are peoples thoughts concerning, professional versus non-professional…
(back to top) Download: score-kathryn-pisaro-favorite.pdf

AF

27 May 2020, 20:51
Hey Johnny and everybody, I had a good time listening to ‘I want to know what love is’ in my head this morning. I didn’t interpret the instruction as limited to a familiar instrument at all, it didn’t occur to me actually — although, now I reflect on it, the wording ‘YOUR instrument’ does imply something

AF

27 May 2020, 20:53
I think that the score instructs to think of a favourite piece, which led me to think it could be any instrument of your choosing . Cos most of my fav pieces don’t have saxophone or miscellaneous electronics in them

AF

27 May 2020, 20:56
Can you elaborate on your question?

NA

28 May 2020, 12:08

JC

30 May 2020, 18:14
Hi everyone, hope y’all having a good queen bday weekend… wait, do you have that over there? How about this score next for something diff…
(back to top) Download: score-erik-satie-harmonies.pdf

AF

30 May 2020, 19:42
👀

MC

30 May 2020, 19:43
Might have to do a bit of practice for this one 😂

JC

30 May 2020, 20:10
This might be almost as hard as Alex’s piece, and Cat Lamb’s (but not quite!!)

AS

31 May 2020, 15:29
discrete pitches 😮

MH

31 May 2020, 16:49
I’ll have to sit this one out — I can’t read music. I love Satie though! I don’t play an instrument as such, or at least have never had any training, so I didn’t partake in Pisaro’s score last week either. For the reason you outlined, Johnny. I’m a ‘non-musician’ and couldn’t really think of how to approach it otherwise.

JC

31 May 2020, 16:57
If ‘non-participation’ is your form of participation , then that’s that, innit !

MH

31 May 2020, 16:58
Totally!

JC

31 May 2020, 20:52
hi MP I just figured out partly what you meant , referring to last week’s participation in the pisaro score.
my question is: Did you look at the score, then decide not to participate solely because of the reasons you outlined above? I am honestly surprised by that, since I didn’t think the score itself is that restrictive.
On the other hand, certainly, the conclusion I have come to in my musical life about people’s responses to “experimental” music or scores, is that they aren’t solely to do with the music Itself, but rather reflects the Person in question. If I may read into your response a bit, it feels like you take some pride in preferring to be ‘non-musician’, and ‘un-trained’.
Back to the Satie score for next week. honestly, I don’t really plan to utilise a piano or even the violin for it. But my proposal for myself to Engage with the score — I feel that is the central theme here….

JC

31 May 2020, 20:53
Surely, in the spirit of how these global performances started, we might all begin to let go of pre-conceptions we hold over ourselves ? But maybe this is getting too philosophical for this platform…

MH

31 May 2020, 21:27
Not too philosophical at all! To answer your questions, I looked at the Pisaro score and could not think of how to deal with ‘Pick up your instrument. (examples: clarinet, violin, guitar, voice etc.) Play one note that matches the part you are hearing in your head right now.’
I take no pride at all in not being able to play an instrument, i wish that i could, and want to. I was just responding to your mention of discussing with Kathy how ‘non-professional’ musicians might be included, and the sense you got that one could only interpret the score with the instrument they were trained on.

MH

31 May 2020, 21:36
I’m wondering about letting go of preconceptions we hold over ourselves, curious to hear more about what you see the preconceptions as, and how one might let go of them?

JC

31 May 2020, 22:09
Hi again! I think there are two issues here concerning my discussion with Kathy:

  1. Wording of a text score.
  2. Imagined interpretations from the composers point of view. Examples being, A violinist’s realisation with her favourite piece. Or a serious realisation of her favourite piece.
  3. How best to word the score to involve non-professional musicians.
AS

2 Jun 2020, 09:44
hmm, sorry — there’s a lot going on here! and i’m just going to offer one tiny thought — i feel uncomfortable with the term ‘non-professional musicians‘. especially in this sense where it seems that if one has not learnt to read western notation nor does not know how to play an orchestral instrument, then they are considered a non-prof musician?

AS

2 Jun 2020, 09:50
this is something i grapple with personally — as i move further and further away from playing the clarinet, and really from playing any kind of conventionally recognisable ‘instrument’. does this mean i am no longer a musician? i still understand myself as a musician and i still consider my output to be music. but i recognise that there is tension here. and i oscillate between describing myself as musician/sound artist/artist — depending on my audience.
so in essence i define myself in accordance to what i think others will recognise/understand, and i do this so people can relate better but, i simultaneously find this problematic.
and what does it mean for people making music who have not come from so-called ‘musical backgrounds’ in which they studied an instrument in the conventional manner…

AS

2 Jun 2020, 09:53
a big part of my interest in text scores — is that they often dissolve these socially constructed distinctions, and blur the boundaries between the composer, performer and audience

JC

2 Jun 2020, 10:10
(yes, lots of stuff going on…)
yes, to clarify i used non-prof in reference to the convo i had with kathy, as that’s the term she used. i personally prefer something a bit more neutral such as ‘performer’ … not getting into the area of whether one’s trained or not, attended music school or not. simply, if someone chooses to engage with the score, they are the performer. (I use this interchangeably with ‘musician’ at times)

AF

5 Jun 2020, 17:25
hey gang, i had a break this wednesday, needed more rest that morning. i’m keen to engage with the score over the next few days, i feel like i really need to have a printed version for this one especially, somehow X

AS

7 Jun 2020, 10:21
This week has been heavy, I also did not get to the score this week. Sending love to all x

JC

7 Jun 2020, 10:23
Right on. Stay safe and sane!

AF

7 Jun 2020, 11:52
has anyone else been following yan jun and zhu wenbo’s miji 66 project - some amazing scores and realisations surfacing

MC

7 Jun 2020, 12:34
Yeah they’ve been so cool! I’m just a bit suspicious re big tech, I feel like there needs to be another platform for these things outside of Facebook… does anyone else have any thoughts on this? It’s convenient and it works well but… big tech is not cool 👎🏻

SM

7 Jun 2020, 13:25
Shota removed a message

MC

7 Jun 2020, 14:05
*without having their data collected!

JC

9 Jun 2020, 07:57
hi everyone,
don’t know if people are in the mood for ‘global parallel analogue performances’ in the current climate. i was thinking maybe to do one every other week for a short time then propose a halt?
some proposal then for this timeframe: i thought I might suggest my piece soon. and then also hopefully something of Sally Ann McIntyre and another aussie artist, cath evans.
how about some others from this thread?
ok cheers for now — stay safe, stay sane !

AS

9 Jun 2020, 10:18
hey johnny, a gradual slow down sounds like a nice culmination to me. i would love to do both your and sally’s scores! i don’t know of cath evans…
would love to do more scores by the group.
It could be nice to perhaps do a collaborative bit of writing on how these wednesdays have manifested for us all during this time…maybe we could start a google doc (or other suggestions?)
much love and strength x

JC

9 June 2020, 17:05
Good idea, on collab writing. I like opening google docs for these sorts of things, lol

MC

9 Jun 2020, 17:32
Google doc! More big tech 😱

SM

9 Jun 2020, 17:37
10th dimensional communication should be sufficient for our needs

MC

9 Jun 2020, 17:42
Maybe I should start a letter writing project 🤔

JC

12 Jun 2020, 08:25
morning everyone — here is a bit of my contribution to proposals from the future, next round.
(back to top) Download: score-johnny-chang-bird-transcriptions.pdf

Contributor/s

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.

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

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 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.

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.

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.

ACKNOWLEDGEMENTS

Proposals for the Future is published as part of Unsettling Scores, a series curated by Liquid Architecture for Monash University Museum of Art in conjunction with the exhibition Samson Young: Real Music.

Bringing together artists, musicians and writers from around the world, the series examines how experimental and political sound and acts of listening — grounded in the language of musical scores — become vehicles of unsettlement, disrupting logics of settlerism, extractivism, expropriation, and appropriation, while at the same time offering powerful assertions of sovereignty, resistance, and futurity.

The group would like to thank Ryoko Akama, Catherine Lamb, Kathryn Pisaro, Ailie Robertson, Erik Satie, Mieko Shiomi, and Manfred Werder for their contributions of scores to the project.

Notes

    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

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