Pauline Oliveros brilliant interview ...

posted here

Early sound girrls...

bein' contemporary (and thus temporary) casting back trawling back to sound >... and the Queen of DaDa

 Baroness Elsa von Freytag-Lorington 'Queen of DADa'
    Ildrich mitzdonja—astatootch
    Ninj—iffe kniek —
    Ninj—iffe kniek!
    Arr—karr —
    Karrarr—barr —
    Arr —
    Arrkarr —
    Mar—doorde—dar —


Elsa von Freytag-Loringhoven, “Klink—Hratzvenga (Deathwail),” The Little Review 6.10 (March 1920), 11; in Body Sweats, 180.

    Aggnntarrr—nnjarrre—knntnirrr —

    Hussa—juss—huss—jalamund —


    Lihula—halljei—alsuiiii —
    Jalamund—mund arrrljo-i-tuuu!

    Ooo—ooo—acktasswassknox —

    Jass—hass—wass must—
    Mustjuamei—jalamund—mund odajmi!
Elsa von Freytag-Loringhoven, “Duet: Eigasing Rin Jalamund,” Body Sweats, 181–83.

Who was she...?
'Like no other’s, the Baroness’s corporeally-charged sound poetry embodied the Dada motto of The Little Review: “Making no compromise with the public taste.” A maverick who consistently confounded the boundaries of life and art, the Baroness was known for her remarkable do-it-yourself art aesthetics, adorning her body with objects and self-made costumes, while also producing mischievously titled assemblages made from junk she found in the streets. But it was her sound poetry that provided a touchstone that created a neat division between mainstream critics who dismissed the Baroness as insane, and her admirers who championed her precisely because they recognized in her practice the promise of a new corporeal language'.2

“Harpsichords Metallic Howl—”: The Baroness Elsa von Freytag- Loringhoven’s Sound Poetry1
Irene Gammel and Suzanne Zelazo from Modernism / Modernity volume eighteen, number two, pp 255–271. © 2011 The Johns Hopkins University Press

... more poems published here in Jacket

... for the sound ...


Pioneers of Sound now interviwed on GIRRL

New offerings from GIRRL (posted on features artists link to the left)
Interviews with sound artist pioneers!! Wonderful firsthand chats were they talk in-depth about their practice, their influences, their careers and what they are currently doing with sound … great stuff.

The first up is Annea Lockwood, a composer and installation artists, very famous for her sound maps of the Hudson and Danube rivers and for her, Transplants, where she has buried piano's upside down on beaches. She is interviewed here by NY sound artist Heather Dewey-Hagborg.

Here is some of Annea's work ...

Work titled Digital Whitewater
This is a 9 minute video only version of the third movement of Bow Falls. This movement features the integration of digital camera articfacts into the whitewaters of Bow Falls. The full 26 minute version of Bow Falls is a video/audio collaborative interpretation of the waterfall in Banff, Canada by Paul Ryan and Annea Lockwood in accord with the Earthscore Notational System. Paul Ryan uses handheld camerawork, slow motion, reverse motion and negative color fields to compose four movements in video. Using only non-sync sound gathered at Bow Falls, audio artist Annea Lockwood creates a sound composition that both renders waterflow patterns and engages in a play of differences with the video images. Bow Falls was co-produced with the Banff Art Centre.

Keep an eye out for the next Pioneers Interview its with Pauline Oliveros will be up on GIRRL’s site next week …


Chicks on Speed... show

*chicks on SPEED SHOW* is the first speed show evva in linz && the first one
that only showcases female artists. The line-up includes media artists from
the early 90s up to today. join us for this evening of great women in media

*Saturday, September 3rd, from 18:30 to 21:30, Graben 17, Linz **
@ the internet cafe that has no name *(corner of Graben / Marienstr)*

with ...
... the wonderful monica panzarino
... the amazing mez breeze
... the lovely rosa menkman
... the unbelievable LIA
... the one and only cornelia sollfrank
... the great amy alexander
... the incredible melissa barron
... the overwhelming sara ludy
... the adorable jennifer chan
... the blazing dain oh
... and the unbeatable VNS matrix

curated and organized by nina wenhart


documentation of the event will be available from *Monday, September 5th* on

SPEED SHOW is an online & real space exhibition format conceived of by
German artist Aram Bartholl. visit the collection of past SPEED SHOWS on


Chihei Hatakeyama...

Chihei Hatakeyama
with special guest Anonymeye
At Syncretism, the Judith Wright Centre
Thursday August 25 from 8pm

Occasionally we line up all the cards just right and August's Syncretism is just one such case - a double CD launch from two of the finest and more eccentric guitar provocateurs to grace this fine planet.

From Tokyo's outskirts comes Chihei Hatakeyama, the lauded master of saturated guitar tones and reduced harmony. His floating polychromatic style carries with it a dream-like quality, as if gazing into an old polaroid or watching some scratchy super 8 film. Over the course of the past decade he has explored the outer limits of guitar and electronics, developing a sound that is versed in ambient traditions, but harks back to the heritage of Japan's darker, rawer musics. For his first tour to Australia, Hatakeyama comes on the back of a brand new recording titled Mirror that Brainwashed calls "anything but common, exhibiting an unusual attention to detail that surpasses the efforts of many like-minded musicians."

Joining him for Syncretism is Brisbane acoustic experimentalist Anonymeye who unites various instruments (now including banjo!) with a waving collision of electronics. For his August performance, Anonymeye launches the band new LP Anontendre - a collection of esoteric audio excursions with a flare for the unexpected.



People (some are women) Who Do Noise

About: ... 'People Who Do Noise' is a film about the experimental music of Portland, Oregon. Extensive interviews and intimate performance footage provide an intense portrait of the motivations, emotions, and methods that go into this uncompromising, sometimes brutal musical form. Unwavering in its focus, the film brings to light an art form unfathomable to many, with only the words of the musicians themselves providing any explanation for the pulsating sonic chaos they create. The unflinching cinematic style defies any trend-setting or commercial representation, opting instead for a stark portrayal of a musical underground at its most genuine and vital.  Written by Cornelius, Adam 


Friday Sept 9th 9.30-11.00
Under the Radar Brisbane Festival 
Metro Arts 109 Edward St Brisbane , Australia...

Vocalist, artist and musician Michelle Xen has been collecting words, chasing songs, finding new synth sounds and sewing sequins in preparation for a new live performance. Neon Wild featuring Chris O’Neill, Roger Gonzalex and Carly Dickeson.

Rhythm, electronica, pop, and a good party.

Free Entry

We go on at 9.45pm ♥

Ladyz in Noyz review by Gail Priest

click here

This is an excerpt from the article part 1: sydney scenes & sound

This article is reproduced with the permission of the publisher of RealTime, Open City, and the writer. www.realtimearts.net

Image caption: Daisy Buchanan, Ladyz in Noyz, Adelaide, photo Spoz

ISEA 2011 ISTANBUL 17th International Symposium of Electronic Art in SEPT!!!

Lots offered at this fantastic symposium on Electronic Art, for example...

Fantastic Workshop offered- EMOTIONAL SNAPSHOTS
by: Emilian Gatsov

Marly shook her head. How could anyone have arranged these bits, this garbage,     in such a way that it caught at the heart, snagged in the soul like a fishhook?
            William Gibson, Count Zero

quote ...'This is an exploratory workshop on the topic of 'sound photographs', snippets, fragments, bits and loops of sound.  It will trace the connection between recorded sound and time, memory and emotions. The first syllable of a song, an unfinished phrase from a dialog or the breath someone takes before staring to speak, wind and birds entering and then suddenly leaving just out of nowhere – sounds belonging to a world which always seems placed elsewhere.

Emotional Snapshots is open to participants coming from different disciplines: musicians interested in inventing their own language but to no lesser degree to visual artists, photographers, field recordists, object makers, thinkers interested in perception and generally any curious person able to perform operations as simple as cut and paste. A multidisciplinary group is the best scenario.

Nowadays loops are something quite common: there are for example tons of drum loop banks produced for the postmodern groovster to tweak and mix, perfectly matched in pitch and tempo. On the other side, loops are handy in gallery installations because of random access, yet usually long and smooth enough not to be recognized as loops or fragments. This workshop will focus on the fragmentary nature of a loop like a memory container, an emotional snapshot,

It's about catching a piece of sound long and complex enough to have its own story told, short enough to still be a fragment, a bit of memory that remains from another world. It's about packing an emotion in a time span of just a few seconds. Or creating an emotion through fake memories: samples.

Looping such fragment 'kills' the idea of musical development on a large scale and the sense of time passing in general, turning sound into a static image, emphasizing connections between elements in an almost visual way. Some loops get easily boring, while others can be played forever; one of the main theoretical topics of the workshop is how the mechanical nature of looping and sampling in general gets a soul.

I've always found this extremely touching. A dramatic structure always requires some tension between different realities as well as a certain lack of completeness, an abrupt cut of the energy curve before it ends naturally, the illusion that something's gone, the power of finishing the unfinished through imagination.

So this workshop is about sampling of voices, sampling of movie scenes along with the atmosphere, words and foley sounds, sampling a breath, sampling one's own work. It is not about creating realistic samples of a violin or piano and it's not about turntablism and similar collage techniques, neither is it about recycling in the postmodernist sense.

Here are the main areas of explorations:

Extracting a fragment from pre-existing sound material; working within a frame. Observing what's caught in the frame and what's left outside the frame (photographic approach).

Constructing a micro-composition from a limited set of sound objects, playing with limitation and completeness.

Utilizing imperfection for the sake of dramatism and emotional appeal.

Utilizing non-musical elements (speech, field recordings, foley sounds), looking for cinematic narrative.

Compressing the message in a short time-span. Playing with cliche and archetype.

Working with personal material.

Collective process of combining snapshots within different contexts.'

...makes you think, how silent has the family album been all these years...


Lucille Calmel's variable(s) performance-research...

variable(s) performance - research from lucille calmel on Vimeo.

UBU Sound re sounded ...

About UbuWeb Sound

Originally focusing on Sound Poetry proper, UbuWeb's Sound section has grown to encompass all types of sound art, historical and contemporary. Beginning with pioneers such as Guillaume Apollinaire reading his "Calligrammes" in 1913, and proceeding to current practitioners such as Vito Acconci or Kristin Oppenheim, UbuWeb Sound surveys the entire 20th century and beyond. Categories include Dadaism, Futurism, early 20th century literary experiments, musique concrete, electronic music, Fluxus, Beat sound works, minimalist and process works, performance art, plunderphonics and sampling, and digital glitch works, to name just a few. As the practices of sound art continue to evolve, categories become increasingly irrelevant, a fact UbuWeb embraces. Hence, our artists are listed alphabetically instead of categorically.

UbuWeb embraces non-proprietary, open source media. As such, most of our newer files are encoded in the more universally readable MP3 format. However, when a recording is still in print and available, we only serve it in streaming RealMedia; we don't wish to take whatever small profits might be made from those taking the efforts to gather, manufacture and properly distribute such recordings. Instead, we hope that by streaming these works, it will serve as an enticement for UbuWeb visitors to support the small labels making this work available.

All MP3s served on UbuWeb are either out-of-print, incredibly difficult to find, or, in our opinion, absurdly overpriced.

? Concrete Poetry
3 ... 2 ... 1 ... ZERO
3ViTrePAIR series
3ViTre dischi di polipoesia
3Vi: Aldino Leoni
3Vi: Bertoni + Serotti
3Vi: Italia-Canada
3Vi: California-Italy
3Vi: Ungheria-Italia
3Vi: Voooxing Poooêtre
Marina Abramoviç
Vito Acconci
Kathy Acker
Tomomi Adachi
Alejandra & Aeron
Pierre Albert-Birot
Terry Allen
Andreas Ammer
Charles Amirkhanian
Beth Anderson
Laurie Anderson
Carl Andre
Kenneth Anger
Ant Farm
Anthology Film Archives
David Antin
Eleanor Antin
Jorge Antunes
Georges Aperghis
Guillaume Apollinaire
Jon Appleton
Karel Appel
Louis Aragon
Pierre André Arcand
John Armleder
Pelayo Fernández Arrizabalaga
Antonin Artaud
Art & Language
Art By Telephone
Jean/Hans Arp
John Ashbery
Robert Ashley
Audio Arts
The Avant Garde Project
Derek Bailey
John Baldessari
Hugo Ball
Giacomo Balla
Billy Bang
Llorenç Barber
Vincent Barras
Roland Barthes
Michael Basinski
Jean Baudrillard
Erik Belgum
Julian Beck
Samuel Beckett
David Behrman
Walter Benjamin
John M. Bennett
Alban Berg
José Manuel Berenguer
Caroline Bergvall
Luciano Berio
Harry Bertoia
Bertoni + Serotti
Charles Bernstein
Leonard Bernstein
Steven Jesse Bernstein
Ted Berrigan
Joesph Beuys
Luciano Berio
Berliner Dichter Workshop
Maurizio Bianchi
Big City Orchestra
Julien Blaine
Jaap Blonk
Blood Stereo
Lars-Gunnar Bodin
Hermann Bohlen
Christian Bök
Jorge Luis Borges
Jonathan Borofsky
Jean François Bory
Paul Bowles
Glenn Branca
Anthony Braxton
Bertolt Brecht
Robert Breer
Andre Breton
Anton Bruhin
Marcel Broodthaers
Earle Brown
Jean-Louis Brau
Allan Bryant
Gavin Bryars
Camille Bryen
Chris Burden
William S. Burroughs
Christopher Butterfield
John Cage
John Cale
Cornelius Cardew
Jose Luis Castillejo
Francesco Cangiullo
Augusto de Campos
Capilano Review (Canadian Sound Poetry)
Louis-Ferdinand Céline
Rhys Chatham
chris cheek
Chicago '82: A Dip in the Lake
Velemir Chlebnikov
Henri Chopin
Concrete Mass
Chinese Experimental Music
Henning Christiansen
Walter Cianciusi
Carlfriedrich Claus
Claude Closky
Bob Cobbing
Jean Cocteau
Guy de Cointet
Todd Colby
Philip Corner
Robert Creeley
Marilyn Crispell
David Cronenberg
ee cummings
Merce Cunningham
John Paul Curtay
Alvin Curran
Chris Cutler
Andrew Cyrille
Halim El-Dabh
Dada for Now
Salvador Dali
Hanne Darboven
Mario Davidovsky
Brian Joseph Davis
Guy Debord
Francis E. Dec
Emile de Antonio
Augusto de Campos
Walter de Maria
Christopher DeLaurenti
Jacques Demierre
Delia Derbyshire
Jacques Derrida
Fortunato Depero
Robert Desnos
Taylor Deupree
Dial-A-Poem Poets Index
-- The Dial-A-Poem Poets
-- Better An Old Demon...
-- Big Ego
-- Biting Off The Tongue...
-- Burroughs / Giorno
-- A Diamond Hidden...
-- Disconnected
-- John Giorno / Anne Waldman
-- The Nova Convention
-- Sugar, Alcohol & Meat
-- Totally Corrupt
-- You're the Guy...

Disintegrating Language
Tod Dockstader
Dariush Dolat-Shahi
Edward Dorn
Jacques Doyen & Jacques Lasry
Arnold Dreyblatt
Kevin Drumm
Jean Dubuffet
Marcel Duchamp
François Dufrêne
Jas Duke
Judy Dunaway
John Duncan
Duplex Planet
Paul Dutton
Jane Draycott & Elizabeth James
Max Eastley
Gwilly Edmondez
Nikolaus Einhorn
Electronic Music, History of (1937-2000)
Ensemble Ordinature
Max Ernst
Esplendor Geométrico
Barbara Ess
Luc Etienne
Extended Voices
Forough Farrokhzad
Fat Worm of Error
Morton Feldman
Mark Feldman
Min Xiao Fen
Luc Ferrari
Robert Filliou
Howard Finster
Robert Fitterman
FLAT: Art of Truncation
Flatus Vocal Trio
Fluxus 30th Anniversary Box
Fluxus Anthology
Fluxus Anthology 2006
Flux Tellus
Henry Flynt
Fred Frith
DJ Food
Giovanni Fontana
Richard Foreman
Four Horsemen
Jim Fox
Ellen Fullman
Buckminster Fuller
Furious Pig
Fylkingen Anthology
Kenneth Gaburo
Gabo + Pevsner
Rainer Ganahl
Drew Gardner
Ilse Garnier
Pierre Garner
Xavier Gautier
Jean Genet
The Gerogerigegege
Alberto Giacometti
John Gibson
John Giorno
Giorno Poetry Systems Index
Allen Ginsberg
Philip Glass
Glass / Summers
Jean-Luc Godard
Barbara Golden
Jack Goldstein
Kenneth Goldsmith
Kenneth Goldsmith & Jonathan Zorn
Eugen Gomringer
Michael Gordon
Dan Graham
Kenny Graham
Spalding Gray
David Greenberger
Lily Greenham
Group 180
Group Ongaku
David Grubbs
Bernhard Günter
Pierre Guyotat
Brion Gysin
Al Hansen
Sten Hanson
Happy New Ear
Newton and Helen Mayer Harrison
Raoul Hausmann
Václav Havel
Tim Hawkinson
Tim Hecker
Kevin Hehir
Bernard Heidsieck
C.C. Hennix
Juan Hidalgo
Dick Higgins
Paul Hindemith
Shelley Hirsch
Hobbs / Adams / Bryars
Åke Hodell
Abbie Hoffman
Bob Holman
Stewart Home
Roni Horn
Joël Hubaut
Douglas Huebler
Richard Hulsenback
Herbert Huncke
Brenda Hutchinson
José Iges
Il concento prosodico
Eugène Ionesco
Isidore Isou
Itchy & Scratchy Orchestra
Mick Jagger
Ernst Jandl
Bengt Emil Johnson
Joe Jones
James Joyce
Mauricio Kagel
Robin Kahn
Allan Kaprow
Vasilij Kamenskij
On Kawara
Roland Kayn
Hugo Keesing
Mike Kelley
Mike Kelley & Paul McCarthy
Jack Kerouac
Velimir Khlebnikov
Martin Kippenberger
Kipper Kids
Klaus Kinski
Kenneth Kirschner
Yves Klein
Guy Klucevsek
Milan Knížák
Komar & Melamid
Takehisa Kosugi
Christopher Knowles
Ferdinand Kriwet
Aleksej Krucenych
Christina Kubisch
Kuemmerling Trio
Ron Kuivila
Tuli Kupferberg
Joan La Barbara
Ilmar Laaban
Jacques Lacan
Oliver Lake
Dan Lander
Sean Landers
Paul Lansky
Lautpoesie Anthology
Louise Lawler
Gregory Laynor
Phoebe Legere
Margaret Leng Tan

Maurice Lemaître
Aldino Leoni
Les Levine
George Lewis
Arrigo Lora-Totino
John Lennon
Sébastien Lespinasse
Lauren Lesko
Alan Licht
Kalup Linzy
Lipstick Traces
Live To Air - Artists Soundworks
Anna Lockwoood
Christopher Logue
Francisco López
Los Angeles Free Music Society
Lovely Little Records
Gherasim Luca
Alvin Lucier
Marcus Lupertz
Witold Lutoslawski
Willard Maas
Jackson Mac Low
Angus MacLise
Bruno Maderna
Vladimir Maïakovski
Ivo Malec
Hansjorg Mayer
Pejk Malinovski
Lionel Marchetti
F.T. Marinetti
Kelly Mark
Christian Marclay
Ali Reza Mashayekhi
George Maciunas
Richard Maxfield
Friederike Mayröcker
Steve McCaffery
Paul McCarthy
Jennifer & Kevin McCoy
Stephen McLaughlin
Marshall McLuhan
Taylor Mead
Jelle Meander
Ulrike Meinhof
Jonas Mekas
Eugenio Miccini
Paul D. Miller aka DJ Spooky
Christof Migone
Henry Miller
Ilhan Mimaroglu
Enzo Minarelli
Minutes LTM V:XV, Homage to Burroughs
Bijan Mofid
MoMA: Writing in Time
Franz Mon
Meredith Monk
Rick Moody
Anthony Moore
Charlotte Moorman
Taniel Morales
Christian Morgenstern
Ikue Mori
Tracy Morris
David Moss
Otto Muehl
Gordon Mumma
Murs du Son - Murmures
Music for TAPE/BAND
Music Overheard
Toshimaru Nakamura
Takayuki Nakano
Sainkho Namtchylak
Maurizio Nannucci
Ogden Nash
Pandit Pran Nath
Bruce Nauman
Otto Nebel
Joseph Nechvatal
Max Neuhaus
New Humans
Phil Niblock
R. Henry Nigl
Seiichi Niikuni
Hermann Nitsch
Noigandres - VerbiVocoVisual
Eiríkur Örn Nordahl
Victor Nubla
M.A. Numminen
Ladislav Novák
Michael Nyman
Dylan Nyoukis
Frank O'Hara
Obscure No. 5
Pauline Oliveros
One Record Anthology
Yoko Ono
Roman Opalka
Dennis Oppenheim
Kristin Oppenheim
Oral Complex
John Oswald
Genesis P-Orridge
Nam June Paik
Charlemagne Palestine
Pan Sonic
William Parker
Zeena Parkins
Bernard Parmegiani
Past Eroticism (60s Canadian Sound Poetry)
Ben Patterson
People Like Us
People Like Us & Ergo Phizmiz
Perfo2: Catalogus Festival 1984
Michael Peppe
Arthur Pétronio
Jane Philbrick
Tom Phillips
Ergo Phizmiz
The Poetics
Phonetische Poesie
PhonoStatic Cassettes
Piers Plowright
UbuWeb Podcasts
Poèmes Spatialisme
Poetry And The Film
Poetry Out Loud
Poesia Sonora
Poésie Sonore Internationale
Polish Experimental Radio
Eduardo Polonio
Bern Porter
Ezra Pound
Seth Price
Richard Prince
Public Works
Winfried Mühlum-Pyrápheros
Josep Maria Mestres Quadreny
Sun Ra
John Roach
Eliane Radigue
Radio Radio
Arnulf Rainer
Lee Ranaldo
Man Ray
Tom Recchion
Steve Reich
Revolutions Per Minute
Terry Riley
Robin Rimbaud
Peter Van Riper
Jean-Claude Risset
Alain Robbe-Grillet
Steve Roden
Jim Roche
Nat Roe
Jon Rose

Marina Rosenfeld
Martha Rosler
Alexander Ross
Mimmo Rotella
Dieter Roth
Jerome Rothenberg
Rothenberg + Morrow
Ned Rothenberg
Roulette TV
Carl Ruggles
Gerhard Rühm
Runzelstirn and Gurglestock
Russian Futurism (1920-1959)
Arthur Russell
Bertrand Russell
Luigi Russolo
Frederic Rzewski
Sackner Archive
Carles Santos
Aram Saroyan
Erik Satie
Erik Satie: Pianoless Vexations
Remko Scha
David Schaefer
R. Murray Schafer
Janek Schaefer
Paul Scheerbart
Julian Schnabel
Carolee Schneemann
Arnold Schoenberg
Kurt Schwitters
Ed Schneider
Scratch Orchestra
Elliott Sharp
David Shrigley
Nicolas Slonimsky
Harry Smith
Michael Smith
Patti Smith
Walter Smetak
Michael Snow
Dave Soldier
Philippe Sollers
Sonic Arts Union
Sonic Youth
Keith Sonnier
Sound Poetry Today
Sound Sculptures
Sound Sculpture (book), ed. John Grayson (1975)
Philippe Soupault
Terry Southern
Spanish Avant-Garde
Adriano Spatola
The Static
Imogen Stidworthy
Igor Stravinsky
W. Mark Sutherland
Taku Sugimoto
John Supko
Jim Staley
The Static
Walter Steding
Jan Steele
Brian Kim Stefans + Alan Licht
Gertrude Stein
Softpalate: Gertude Stein
Demetrio Stratos
Karlheinz Stockhausen
Stoppage (Interruption)
Kathleen Supové
Tibor Szemző
The Tape-beatles
Tape Poems
Anne Tardos
Cecil Taylor
Michael Taylor
Ghedalia Tazartes
Tellus Index
Tellus #1
Tellus #2
Tellus #3
Tellus #4
Tellus #5-6: Audio Visual Issue
Tellus #7 - The Word
Tellus #8 - USA/Germany
Tellus #9 - Music with Memory
Tellus #10 - All Guitars!
Tellus #11 - The Sound of Radio
Tellus #12 - Dance
Tellus #13 - Power Electronics
Tellus #14 - Just Intonation
Tellus #15 - The Improvisors
Tellus #16 - Tango
Tellus #17 - Video Arts Music
Tellus #18 - Experimental Theater
Tellus #19 - New Music China
Tellus #20 - Media Myth
Tellus #21 - Audio by Artists
Tellus #22 - False Phonemes
Tellus #23 - Paul Bowles
Tellus #24 - Flux Tellus
Tellus #26 - Jewel Box
Tellus Tools
James Tenney
Text-Sound Compositions
3ViTre Polypoetry
Christopher Tree
Sue Tompkins
David Toop
Edwin Torres
Barry Truax
Blue Gene Tyranny
Tristan Tzara
Lawrence Upton
Vagina Dentata Organ
Edgard Varése
Various Throats, Vol. 1
Nico Vassilakis
Ben Vautier
Sarenco + Franco Verdi
Patrizia Vicinelli
Lois V Vierk
Hallgrímur Vilhjálmsson
Vision #4 - Word of Mouth
Stephen Vitiello
Wolf Vostell
Paul de Vree
Samuel Vriezen
UbuWeb Podcasts
Unamunos Quorum
The Uproar Tapes (1986)
Vladimir Ussachevsky
Yoshi Wada
Andy Warhol
Lawrence Weiner
Benjamin Weismann
Larry Wendt
Gregory Whitehead
Robert Whitman
John Wiese
Robert Wilson
Lloyd Michael Williams
Emmett Williams
Reese Williams
William Carlos Williams
Trevor Wishart
Gilius van Bergeijk
Jozef Van Wissem
David Wojnarowicz
Adolf Wölfli
Gil Wolman
Arthur Woodbury
Ivan Wyschnegradsky
Iannis Xenakis
C. Spencer Yeh
La Monte Young
Frank Zappa
Il 'Ja Zdanevic
Bernd Aloiss Zimmermann
John Zorn
Jonathan Zorn

Sound Publisher's Errant Bodies ...

Errant Bodies: publishing as practice (Berlin)

Has been publishing books and CDs on sound art, auditory issues, and forms of performative and spatial practice since 1995. Initially as a literary journal, Errant Bodies has developed its publishing practice into a number of series dedicated to developing discourses on sound, locational practice, and performance by supporting practitioners and thinkers alike. Such work reflects an overall interest to generate communicational exchanges, recognizing the book and CD as meeting places for virtual communities.

A series of monographs featuring contemporary artists working with sound, experimental music and media. The series highlights and documents the often under-represented field of sound art, with a view to fostering discourse on the subject and related auditory issues. The series articulates parameters while accentuating diversity of approaches, bringing forward those whose work advances the use of sound through multi-media presentations. 

Book series dedicated to essays, meditations, and performance-texts on sound, auditory culture, and questions of sonological understanding. The series aims to provide a context for addressing contemporary viewpoints on "sound studies" by probing, defining, and listening in to the acoustical paradigm. With the advent of digital culture, network society, and mobile communications, the emergence of an auditory culture is increasingly prevalent as witnessed in the aesthetics of sound-art and electronic music, web-radio and live audio streaming, interactive and responsive systems. The prominence of such aesthetical shifts parallels an epistemological transformation from “seeing is believing” to a globe of voices: the digital age is marked by a re-emergence of oral culture from print culture; a displacement of fixed boundaries as witnessed in “liquid” architectures; and a radiophonic disruption of forms of representation, turning static graphics upon the page into animated expressions. Audio-Issues functions to engage such transformations by fostering new modes of thinking, writing, and performing the auditory.



CRiSAP are working with Electra on moving the Her Noise archive to LCC. The Her Noise exhibition took place at South London Gallery in 2005 and investigated music and sound histories in relation to gender. The archive contains material related to all stages of the project including  newly commissioned works by Kim Gordon & Jutta Koether, Hayley Newman, Kaffe Matthews, Christina Kubisch, Emma Hedditch and Marina Rosenfeld.  It also includes video interviews which  with artists including Pauline Oliveros, Maryanne Amacher, Diamanda Galas, Else Marie Pade, Jutta Koether, Marina Rosenfeld, Thurston Moore, Jim O’Rourke, Kevin Blechdom, Kembra Pfahler, Kim Gordon, Lydia Lunch, Peaches, Kaffe Matthews, Christina Kubisch, Maia Urstadt and others.

CRiSAP will be using the archive to animate discussion on gender and the sound arts. There will be a variety of launch events in the early Summer 2011.

***CLICK HERE *** The Making of Her Noise is here on UBU Web - a film and pdf of Her Noise plus the brochure with full linear notes

 'Her Noise gathered international artists who use sound to investigate social relations, inspire action or uncover hidden soundscapes. The exhibition included newly commissioned works by Kim Gordon & Jutta Koether, Hayley Newman, Kaffe Matthews, Christina Kubisch, Emma Hedditch and Marina Rosenfeld. A parallel ambition of the project was to investigate music and sound histories in relation to gender, and the curators set out to create a lasting resource in this area.

Throughout the development of the project, the curators conducted dozens of interviews, whilst also compiling sound recordings and printed materials which would eventually form the Her Noise Archive. The Her Noise Archive is a collection of over 60 videos, 300 audio recordings, 40 books and catalogues and 250 fanzines (approximately 150 different titles) compiled during the development of this project. The archive remains publicly accessible at the Electra office in central London.

Much of the material available in the archive was shot specifically for this project, and is uniquely available as part of this archive. The documentary 'Her Noise - The Making Of' was commissioned by Peacock Visual Arts, Aberdeen on the occasion of the 'Sound' festival and 'SoundAsArt' conference at University of Aberdeen.

The video documents the development of Her Noise between 2001 and 2005 and features interviews with artists including Diamanda Galas, Lydia Lunch, Kim Gordon, Jutta Koether, Peaches, Marina Rosenfeld, Kembra Pfhaler, Chicks On Speed, Else Marie Pade, Kaffe Matthews, Emma Hedditch, Christina Kubisch and the show's curators, Lina Dzuverovic and Anne Hilde Neset. The documentary also features excerpts from live performances held during Her Noise by Kim Gordon, Jutta Koether and Jenny Hoyston (Erase Errata), Christina Carter, Heather Leigh Murray, Ana Da Silva (The Raincoats), Spider And The Webs, Partyline, Marina Rosenfeld's 'Emotional Orchestra' at Tate Modern, and footage compiled for the 'Men in Experimental Music' video made during the development of the Her Noise project by the curators and Kim Gordon, featuring Thurston Moore and Jim O'Rourke.'

Electra is a London-based contemporary arts agency founded in 2003. Electra commissions and produces artworks across sound, moving image, performance and the visual arts, which it presents in the UK and internationally. Recent projects include a film/performance commission "Perfect Partner" by Kim Gordon, Tony Oursler and Phil Morrison (Barbican Centre), group exhibition "Her Noise" (South London Gallery), "Sound And The Twentieth Century Avant Garde" lecture series (Tate Modern and Stavanger, Norway), soundtrack consultancy on films by Daria Martin working with composers Zeena Parkins and Maja Ratkje respectively, "The Sounds Of Christmas" installation by Christian Marclay (Tate Modern), "Emotional Orchestra" and "Sheer Frost Orchestra" by Marina Rosenfeld (Tate Modern), "Once Seen" Programme for The British Council (Oslo and Tromso, Norway).

Women in Sound Effects

Archive pic of the week: Sound Effects Chief Oscar Lansbury training Dorothy Lober, the first girl appointed Sound Effects Operator in the ABC (circa 1938). Does anyone know what sound the glass box produced?


Pollock on Ettinger's Interpretation Theory and Encounter ... notions on the way to how we interpret sound

Louise Bourgeois 1911–2010
Cell (Eyes and Mirrors) 1989–93
Marble, mirrors, steel and glass
2362 x 2108 x 2184 mm

Article: What if Art Desires to be Interpreted? Remodelling Interpretation after the ‘Encounter-Event’

by Greselda Pollock 

published in the Tate Papers Issue 15 Spring 2011

'.... Writing as both an artist and an analyst-theorist, Bracha L. Ettinger declares that it is the destiny of artworks to be interpreted. She formulates the inevitable connection between subjectivity, initially the artist’s, and the Symbolic, the field of meaning, in ways which at first echo Julia Kristeva’s notion of art as the semiotic transgression of the Symbolic order. But Ettinger goes further...

    "Artists continually introduce into culture all sorts of Trojan horses from the margins of their consciousness; in that way, the limits of the Symbolic are transgressed all the time by art. It is quite possible that many work-products carry subjective traces of their creators, but the specificity of works of art is that their materiality cannot be detached from ideas, perceptions, emotions, consciousness cultural meanings, etc, and that being interpreted and reinterpreted is their cultural destiny. This is one of the reasons why works of art are symbologenic." 5

And again Ettinger writes:

    "Artists inscribe traces of subjectivity, Oedipal or not in ‘external’ cultural/symbolic territories (i.e. artworks), and by analyzing these inscriptions, it is possible to create and forge concepts which indicate and elaborate traces of an-other Real and change aspects of the symbolic representation (and non-representation) of the feminine within culture.  From time to time the artist’s gaze is suddenly split and we find ourselves in the position of observer-interpreter. I see the inscription of oneself in the Symbolic and the recognition of one’s own desire through the Symbolic as inter-related, self-organizing, continuous events. I believe, therefore, that the Symbolic must be penetrated by women even if choosing one name/concept will be considered phallic. In that way, alternative ideas, deviating from the Phallus, may enlarge the text of culture." 6

Pollock ... Thus, it is not as a woman that the artist changes culture and brings into it new possibilities; it is instead achieved through working as an artist on these margins, opening passages from other unthought dimensions of subjectivities and sexual difference into a transformed realm of cultural meaning. In the case of feminism, this means challenging the phallocentric domination of the Symbolic and shifting or expanding its potential for supporting other, different, differencing meanings and subjectivities. 

5. & 6. Bracha L. Ettinger, ‘Matrix and Metramorphosis’, Differences: A Journal of Feminist Cultural Studies, vol.4, no.5, 1992, pp.195–6.
Griselda Pollock is Professor of Social & Critical Histories of Art and Director of the Centre for Cultural Analysis, Theory and History in the School of Fine Art, History of Art & Cultural Studies at the University of Leeds.

Think of the traces as SOUND. The unthought dimentions as sounded-possibilities...
Greselda Pollock writes so well about Ettingers notions of the matrixial borderspace, interpretation, language and art. Part of putting GIRRL together as to open up thinking spaces around sound and theory. I'm relying  on Ettinger  and Pollock and Stein to write a theory of sounded-language or soundage as I'm calling it... more of this coming soon.

Nectarines (for GB)

About Nectarines (for GB)

click here for more

Nectarines (for GB) consists of several experimental (one hour) events on Thursdays at 6 p.m. at studio 3.2, Metro Arts, 109 Edward Street, Brisbane Australia (beginning February 10, 2011). It is series of improvised meetings, or events, aimed at initiating a conversation about the possibilities for sound in visual art practices.  Several artists who play with the spatial and temporal phenomenon of sound in art practice will be invited to make and present work.

Nectarines (for GB) is hosted by Brooke Ferguson, and as a project it lends itself to the legacy of George Brecht, specifically his project - Nectarine: An Assemblage. A seminal figure within Fluxus, his art practice was and still is considered playfully propositional and problematic. Brecht is heralded for introducing what is known as the ‘Event Score.’

image: Hayley Brandon

The Beauty and the Geeks Di Ball attempts to get her geek back...

At ISEA Sin­ga­pore I pre­sented an artist talk en­ti­tled " I am so off my­Face: I used to be the old­est geek girl in the world but I lost my geek ...". In 2011, I will at­tempt to get my geek back. Pro­claim­ing my­self " Beauty in res­i­dence", I will par­tic­i­pate in the great­est gath­er­ing of geeks and blog the re­sults. If you see me across a crowded room, please HELP ME!!
Sat­ur­day, 17 Sep­tem­ber, 2011 (All day)

In 2008 at ISEA Sin­ga­pore I pre­sented an artist's talk en­ti­tled " I am so off my­Face: I used to be the old­est geek grrl in the word but I lost my geek and now I am just the old­est grrl in the world". I ex­plained that as tech­nol­ogy had moved to meet my needs, I had be­come more un­able to use it. I de­scribed my jour­ney both IRL (in real life), and URL (un­real life); I in­tro­duced Fleur Ball and Krys­tal Ball and Beach Ball and Glo Ball. I spoke of my work as an early techo­e­van­ge­list and called her iBall. I ended with a frame grab of my hideous fat-ar­sed hara­juku avatar ac­ci­den­tally set­ting fire to her own hair in an at­tempt to enter Sec­ond Life.
Ar­s­man­i­festo blogged:

(...........) Be­tween pop cul­ture, human grit­ti­ness, provoca­tive un­der­min­ing of con­tem­po­rary tech­nol­ogy and a sane sense of humor about the in­san­ity of our con­tem­po­rary lives, the nos­tal­gia and sen­ti­men­tal­ity of her art prac­tice fil­ters through the wit of her per­for­mances.

My life has  been de­scribed to me as a search for my medium of cre­ativ­ity. I have been an ar­chi­tect, a per­former in a wheelie bin en­sem­ble, a coun­try and west­ern singer and a human statue. I now call  my­self an artist (new media, hy­brid, what­ever is the lat­est term for mixed and var­ied ) and op­er­ate/per­form dif­fer­ent per­sonae under the uber­ti­tle " the ball­Park: my life as a theme park".

Like a disco ball faceted with mul­ti­ple mir­rors, she re­flects as­pects of pop­u­lar cul­ture using an ever-grow­ing se­ries of in­di­vid­ual per­sonas, each with a name de­rived from her own. There’s Krys­tal Ball the cyber clair­voy­ant, Fleur Ball the cun­try (sic) & west­ern singer, Meet Ball the on­line in­tro­duc­tion agency madam, and most re­cently Glo (Glo­ria) Ball the in­ter­na­tional trav­eller and celebrity hunter. (……..)

She has a beady eye for the most ex­quis­itely naff as­pects of mod­ern life and an abil­ity to find the user-friendly as­pects of French fem­i­nist the­ory. Ball is part Julia Kris­teva part Edna Ever­age She rev­els in a promis­cu­ous fa­mil­iar­ity with low­brow as­pects of the mass media, from new age women’s mag­a­zines to tele­vi­sion body makeovers. [1]

Tech­nol­ogy has pro­vided me with a medium al­low­ing for mul­ti­ple out­comes, and in the heady early days I rev­elled in its po­ten­tial. As i was sub­sumed by the joy of con­nec­tiv­ity, I felt like the kiddy in the candy shop, nose pressed against the glass of pos­si­ble plea­sure. I want to re-con­nect my ideas with the po­ten­tial ofered by to­days' tech­nol­ogy and yearn a re­turn to wear­ing my geek­grrl badge with pride.

"The Beauty & the Geeks" ap­pro­pri­ates its name from a re­al­ity tv show where in­tel­li­gent geek stereo­types are matched with pneu­matic bo­somed per­ox­ided bar­bie babes  in the hope that they will learn to love the dif­fer­ences in each other and find com­mon ground. I will "per­form" the beauty, in it­self a com­ment on pop­u­lar cul­ture ideals of beauty. My mis­sion state­ment is to at­tend lec­tures, work­shops and of course par­ties and doc­u­ment this hope­ful jour­ney back to geek­dom. I de­scribe this pro­ject as a per­for­mance or in­ter­ven­tion, and the blog out­come a self por­trait bor­row­ing from the Fou­cault no­tion that "we must cre­ate our­selves as works of art".

“Di’s itin­er­ary of per­sonae each have ‘bound­ary sto­ries to tell – how they came to be here – and roles to play in both vir­tual and real life. (Her) per­sonae (…)rep­re­sent var­i­ous of Di’s sub­jec­tive and em­bod­ied ex­pe­ri­ences. In short, as Di claims, “all my work is about me and the things I’ve done”. Given this, the per­sonae are not merely masks, but rather bi­o­graphic ren­der­ings emerged from a re­ally ‘out there’ life. [2]

1. Mor­rell, Tim­o­thy (2006) Aus­tralian Art Col­lec­tor, p126

2. Car­roli, Linda (1999) Krys­tal Clear: cat­a­logue essay

click here for more ...