Schedule

Featuring 9 works ; yurbrinwllflllinthsebinks from Distance Music, convos Pourquoi pas from AuToDeFé, Perish from psycho acoustic divination, Conflagration from Spont, poignant springs from nonmajestic˜˜˜existential∞theism, Kijk from unbecoming, Namaste from Wild Planet, primordialimmersion from radio the artof, screamo from Spont.  

 http://shaunrobert.bandcamp.com/

For Radiophrenia, Neo and Charles will present an Image Broadcast. Focusing on radio’s material potential, the broadcast will suspend a single image via audio transmission, allowing it to interface with the sonic and visual landscape of its reception (and disintegration.) The image was produced during a previous Image Broadcast, documenting not the audio itself but the space in which it was heard. Here a prior broadcast finds its way into the current, processed once again through a series of material translations.

Neo Gibson is a musician, releasing music under the alias 7038634357.  Charles Stobbs is a part-time lecturer.  Together they have produced radio broadcasts and installations under their own names, and as Maitre D’. Previously they have been hosted by Wave Farm, the Jacob Lawrence Gallery, Veronica, and Montez Press Radio.

https://maitre-d.online

Stories of radical land ownership in North Lewis is a project produced in collaboration with artist Virginia Hutchison, that brings together narratives surrounding the community land buyout of the Galson Estate in 2007. Developed in conversation with artists Stephen Hurrel and Fiona Rennie, the project weaves together local audio archives and interviews and brings them into contemporary conversations surrounding community land ownership.

Agnes Rennie recounts the events that lead up to the buyout and the establishment of the Urras – the Galson EstateTrust. Underpinning the interviews are recitals of the Gaelic place-names that define Galson, in collaboration with Fiona Rennie, and Seismic Sounds, produced by Stephen Hurrel.

Agnes Rennie is the chair of the Galson Estate Trust and Vice Chair of Community Land Scotland.

Stories of radical landownership in North Lewis – full project info

Produced in collaboration with artist Virginia Hutchison this project brings together narratives surrounding the community land buyout of the Galson Estate in 2007.Created during the COVID pandemic in 2020/2021 the project weaves together local audio archives and interviews and brings them into contemporary conversations surrounding community land ownership. With access and social distancing measures in mind the project has taken the form of a series of cast bronze artefacts temporarily sited in the landscape of North Lewis. Embedded with digital QR codes the artefacts link visitors directly to the audio works via mobile phone.

Each of the six objects – a series of cast bronze artworks moulded from cut peat – contain conversations recorded with members of the local community. Two out of six of the artworks remain open as audio project spaces for future conversations.

“If you didn’t know the names of these places you couldn’t talk about them..”[1]

Underpinning the interviews are recitals of the Gaelic place-names that define North Lewis. A gentle call and response between Gaelic and English – though not a direct translation – through the landscape, geography and history of the area.

Looking out onto the Barvas moor visitors can be mistaken for thinking that it is an empty landscape. But listening closely to the Gaelic expressions used to describe the environment of North Lewis gives a sense of the intimate and complex relationship between people and place. A language embedded within local culture and knowledge and not always translatable.

“Space doesn’t become a place until you interact with it. It doesn’t become a place until you name it…and it becomes a place in relation to somewhere or something else..ie. it’s always changing.”[2]

Permeating the voices within the audio works are recordings made from the constant movements and tectonic shifts beneath the Earth’s surface. Produced by artist Stephen Hurrel, the seismic sounds provide layers to the stories and issues that surround engagement with the landscape. Hurrel’s work with Seismic Sounds and with Gaelic speaking communities in Barra, weaves closely into the stories of radical landownership in North Lewis. Where these conversations meet and overlap presents opportunities for wider discussions around land reform in Scotland.

Many thanks to the Galson Estate staff and community. Special thanks to Agnes and Frank Rennie, Lisa Maclean, Annie MacSween, Iain Gordon Macdonald, Richard Collins (Edinburgh University), Edinburgh College of Art and Blackbay Recording Studios.

This project was produced in conversation with artists Stephen Hurrel and Fiona Rennie.

Virginia Hutchison is an artist based in Glasgow and the Isle of Lewis. Working within a predominantly social context her practice draws on the processes involved in collaborative creative production to explore how different forms of artistic engagement influence the interaction we have with our environments. Virginia currently runs the bronze casting facilities at Edinburgh College of Art and is one part of the duo ’In the Shadow of the Hand’ with artist and film-maker Sarah Forrest.

Produced with support from Community Land Scotland and the Stove Network.

https://www.galsontrust.com/about-clsartproject

[1]Annie Macsween, Faclan 2020, A History with Heart and Soul – The Place-names of North Lewis, Ness Historical Society

[2]Frank Rennie, Dùthcas 2020, The Changing Outer Hebrides – Galson and the meaning of Place

Isaac Phillips is a composer andmulti-media artist. Working from sonic and visual material found in the realworld as well as digital spaces, Isaac filters and deconstructs sound and imagevia musical and conceptual processes. Their work makes particular use ofcontemporaneous technologies such as AI to form new and radical approaches to composition.

1) Christian de Mouilpied Sancto – Feel So Close (radio edit) (6:31)

2) Danny Pagarani & Jens Masimov – All days hence 3 (11:00)

3) Hali Palombo – Fisherman (2:15)

1) Christian de Mouilpied Sancto – Feel So Close – Radio Edit

Synopsis: 

“Feel So Close – Radio Edit” is a short work of AI radio theatre. Adapting the lyrics of Calvin Harris’s eponymous EDM hit, Samuel Beckett’s radio play All That Fall, and my text messages, the piece probes the strangely similar ways in which both radio and the pandemic have made the home into unhomely setting. The artificial poignancy of the neural-net voices’ recitation—underscored by lines about manipulating texts and moods—echoes the irony of the Calvin Harris track: a dancefloor banger about the ecstasy of closeness repackaged for socially distant radio audiences.

Bio:

Christian de Mouilpied Sancto isan artist, musician, and researcher. At present he is a PhD student in Visual and Cultural Studies at the University of Rochester, New York. Previously, he studied composition at Goldsmiths, University of London.

2) Danny Pagarani & Jens Masimov – All days hence 3

3) Hali Palombo – Fisherman 

From the album ‘Cherry Ripe’.

Radio Concrete is an ongoing experimental radio art project which combines field recordings and radio re-sampling together with electro-acoustic instruments.

This episode was recorded live with Yiftah Kadan (ISR) and HagaiIzenberg (ISR) in Schocken studio, Tel Aviv. It features Yiftah Kadan on guitar and tape and Hagai Izenberg on objects, electronics and various media sources.

Other sources used in this recording include an amplified old clock, recordings of bees, a vinyl called Israel’s Quest for Peace and samples from Greta Gerwig speeches.

Kadan is an Israeli guitarist, sound artist and composer who plays experimental music,  jazz and free improvisation.

Hagai Izenberg is a sound artist, composer and musician and a founder member of the electronic duo Rendezvous. His work focuses on collecting and reconstructing field recordings together with live radio sampling, using sounds we’re exposed to every day in the public and domestic spheres. 

http://www.hagaizenberg.com/

Generative Radio is crawling in and between internet’s fiber-optic cables. A bug that escaped the algorithm now seeks lost or found sounds, spitting back sonic absurdities.

Generative Radio is a system that sorts through the large and growing archives of audio content found on the web, generating an algorithmic online radio stream.

It was conceived by KeDiMouRa and realised by Dimitri Aatos Ellinas in 2017.

Generative Radio Cut-Ups is a fixed and edited version of the stream marking the official release of https://loskop.radio/ where it will go live.

Active since 2013, the Center for Research and Propagation of Musical Turmoil (KeDiMouRa) avidly explores sound and play, in real-time formations and archival contexts.
It was formed in Corfu, Greece as an answer to the common need of its members for a flexible group structure where they could explore collaborative and playful ways of musical interaction, performance and composition.
 KeDiMouRa has initiated numerous concerts, workshops and large-scale events related to improvisation, inviting and collaborating with various musicians and artists.

Their latest project is the experimental online radio Loskop (https://loskop.radio).

Stories of radical land ownership in North Lewis is a project produced in collaboration with artist Virginia Hutchison, that brings together narratives surrounding the community land buyout of the Galson Estate in 2007. Developed in conversation with artists Stephen Hurrel and Fiona Rennie, the project weaves together local audio archives and interviews and brings them into contemporary conversations surrounding community land ownership.

Agnes Rennie talks about the history of crofting in North Lewis and the role of community owned estates today. Underpinning the interviews are recitals of the Gaelic place-names that define Borve, in collaboration with Fiona Rennie, and Seismic Sounds, produced by Stephen Hurrel.

Agnes Rennie is the chair of the Galson Estate Trust and Vice Chair of Community Land Scotland.

Full project info:

Produced in collaboration with artist Virginia Hutchison this project brings together narratives surrounding the community land buyout of the Galson Estate in 2007. Created during the COVID pandemic in 2020/2021 the project weaves together local audio archives and interviews and brings them into contemporary conversations surrounding community land ownership. With access and social distancing measures in mind the project has taken the form of a series of cast bronze artefacts temporarily sited in the landscape of North Lewis. Embedded with digital QR codes the artefacts link visitors directly to the audio works via mobile phone.

Each of the six objects – a series of cast bronze artworks moulded from cut peat – contain conversations recorded with members of the local community. Two out of six of the artworks remain open as audio project spaces for future conversations.

“If you didn’t know the names of these places you couldn’t talk about them..”

Underpinning the interviews are recitals of the Gaelic place-names that define North Lewis. A gentle call and response between Gaelic and English – though not a direct translation – through the landscape, geography and history of the area.

Looking out onto the Barvas moor visitors can be mistaken for thinking that it is an empty landscape. But listening closely to the Gaelic expressions used to describe the environment of North Lewis gives a sense of the intimate and complex relationship between people and place. A language embedded within local culture and knowledge and not always translatable.

“Space doesn’t become a place until you interact with it. It doesn’t become a place until you name it…and it becomes a place in relation to somewhere or something else..ie. it’s always changing.”

Permeating the voices within the audio works are recordings made from the constant movements and tectonic shifts beneath the Earth’s surface. Produced by artist Stephen Hurrel, the seismic sounds provide layers to the stories and issues that surround engagement with the landscape. Hurrel’s work with Seismic Sounds and with Gaelic speaking communities in Barra, weaves closely into the stories of radical landownership in North Lewis.  Where these conversations meet and overlap presents opportunities for wider discussions around land reform in Scotland.

Many thanks to the Galson Estate staff and community. Special thanks to Agnes and Frank Rennie, Lisa Maclean, Annie MacSween, Iain Gordon Macdonald, Richard Collins (Edinburgh University), Edinburgh College of Art and Blackbay Recording Studios.

This project was produced in conversation with artists Stephen Hurrel and Fiona Rennie.

Virginia Hutchison is an artist based in Glasgow and the Isle of Lewis. Working within a predominantly social context her practice draws on the processes involved in collaborative creative production to explore how different forms of artistic engagement influence the interaction we have with our environments. Virginia currently runs the bronze casting facilities at Edinburgh College of Art and is one part of the duo ’In the Shadow of the Hand’ with artist and film-maker Sarah Forrest.

Produced with support from Community Land Scotland and the Stove Network.

https://www.galsontrust.com/about-clsartproject

[1]Annie Macsween, Faclan 2020, A History with Heart and Soul – The Place-names of North Lewis, Ness Historical Society

[2]Frank Rennie, Dùthcas 2020, The Changing Outer Hebrides – Galson and the meaning of Place

1) Hali Palombo –  Truckers (2:23)

2) Elina Bry – Spit and Fever – Live in the studio (5 mins aprox)

3) Anne Marie Deacy & Lesego Rampolokeng – Recalibrating Reason (5:45)

4) Feronia Wennborg – Blomma (2:17)

1) Hali Palombo – Truckers

From the album ‘Cherry Ripe’.

2) Elina Bry – Spit and Fever 

Live Performance: With a Cheek Retractor, makingmy way through Fever from Peggy Lee. Singing until the last lyrics withoutcleaning my face of my spit. Fever.

3) Anne Marie Deacy & Lesego Rampolokeng – Recalibrating Reason

A collaboration between sound artist Anne MarieDeacy and the acclaimed South African spoken word/poet Lesego Rampolokeng.Their exchange began after both were curated by Brent Meistre into a groupexhibition ‘Broken Vessels’ for Galway International Arts Festival in 2021 andrealising they both had a penchant for radio.

Lesego’s powerful poetry had a huge effect on Anne Marie and led to this transmission piece.

In the powerful spoken word piece ‘Riddim, Rime Reason’,  Lesego, under a satirical eye, tells of truth and lies, displacement, pain, oppression and destruction in hishomeland. Underneath and interwoven into his words, low frequency celestialtuning forks vibrate, creating dissonance and responding in resonance. This work is an attempt at exploring the healing and transformative aspect of soundand sounding.

Anne Marie Deacy is a sound artist and fieldrecordist, based in Co.Galway, Ireland. Field recording is the foundation of her practice and using various devices she explores the heard and discreet sounds of the urban and rural landscape. She found a home for all her lost and found ideas in the medium of radio transmission and it is a platform from which she has been exploring themes around nostalgia, lost formats, sound as activism, community grieving and the inherent need we have to connect.

Lesego Rampolokeng is a prolific South African performance poet and playwright. He was born into a Catholic, working-class family in Soweto, then a Johannesburg township. His mother raised him alone after the early death of his father, who worked in a platinum mine. Rampolokeng briefly studied law at the University of the North. The violence and Catholicism of his childhood inform his poetry’s blunt, unflinching examination of degradation and oppression. Oral folk traditions and contemporary rap music echo throughout his work.

https://www.annemariedeacy.com     https://www.instagram.com/forasnafuaime/?hl=en

4) Feronia Wennborg – Blomma (2:17)

Blomma is anexcerpt from a sound installation exhibited together with sculptures by Jack O’Flynn, at the Pipe Factory in 2018.The exhibition presented a curious landscape of strange growths and visceralsounds. The original piece is 29 minutes long and produced for 6 audiochannels.

Stories of radical land ownership in North Lewis is a project produced in collaboration with artist Virginia Hutchison, that brings together narratives surrounding the community land buyout of the Galson Estate in 2007. Developed in conversation with artists Stephen Hurrel and Fiona Rennie, the project weaves together local audio archives and interviews and brings them into contemporary conversations surrounding community land ownership.

LisaMaclean talks about placemaking, land use and the management of community owned estates. Underpinning the interviews are recitals of the Gaelic place-names that define Ballantrushall, in collaboration with Fiona Rennie, and Seismic Sounds, produced by Stephen Hurrel.

Lisa Maclean was the Chief Executive of the Galson Estate Trust from 2010 – 2021, and was formative in establishing ‘Community Land Outer Hebrides’, a body of community trusts located throughout the Western Isles.

Full project info:

Produced in collaboration with artist Virginia Hutchison this project brings together narratives surrounding the community land buyout of the Galson Estate in 2007. Created during the COVID pandemic in 2020/2021 the project weaves together local audio archives and interviews and brings them into contemporary conversations surrounding community land ownership. With access and social distancing measures in mind the project has taken the form of a series of cast bronze artefacts temporarily sited in the landscape of North Lewis. Embedded with digital QR codes the artefacts link visitors directly to the audio works via mobile phone.

Each of the six objects – a series of cast bronze artworks moulded from cut peat – contain conversations recorded with members of the local community. Two out of six of the artworks remain open as audio project spaces for future conversations.

“If you didn’t know the names of these places you couldn’t talk about them..”

Underpinning the interviews are recitals of the Gaelic place-names that define North Lewis. A gentle call and response between Gaelic and English – though not a direct translation – through the landscape, geography and history of the area.

Looking out onto the Barvas moor visitors can be mistaken for thinking that it is an empty landscape. But listening closely to the Gaelic expressions used to describe the environment of North Lewis gives a sense of the intimate and complex relationship between people and place. A language embedded within local culture and knowledge and not always translatable.

“Space doesn’t become a place until you interact with it. It doesn’t become a place until you name it…and it becomes a place in relation to somewhere or something else..ie. it’s always changing.”

Permeating the voices within the audio works are recordings made from the constant movements and tectonic shifts beneath the Earth’s surface. Produced by artist Stephen Hurrel, the seismic sounds provide layers to the stories and issues that surround engagement with the landscape. Hurrel’s work with Seismic Sounds and with Gaelic speaking communities in Barra, weaves closely into the stories of radical landownership in North Lewis.  Where these conversations meet and overlap presents opportunities for wider discussions around land reform in Scotland.

Many thanks to the Galson Estate staff and community. Special thanks to Agnes and Frank Rennie, Lisa Maclean, Annie MacSween, Iain Gordon Macdonald, Richard Collins (Edinburgh University), Edinburgh College of Art and Blackbay Recording Studios.

This project was produced in conversation with artists Stephen Hurrel and Fiona Rennie.

Virginia Hutchison is an artist based in Glasgow and the Isle of Lewis. Working within a predominantly social context her practice draws on the processes involved in collaborative creative production to explore how different forms of artistic engagement influence the interaction we have with our environments. Virginia currently runs the bronze casting facilities at Edinburgh College of Art and is one part of the duo ’In the Shadow of the Hand’ with artist and film-maker Sarah Forrest.

Produced with support from Community Land Scotland and the Stove Network.

https://www.galsontrust.com/about-clsartproject

[1]Annie Macsween, Faclan 2020, A History with Heart and Soul – The Place-names of North Lewis, Ness Historical Society

[2]Frank Rennie, Dùthcas 2020, The Changing Outer Hebrides – Galson and the meaning of Place

1) Daniela Solis – Im learning to talk underwater (5:00)

2) Alexandra Spence – Communion (10:55)

3) Hali Palombo – Interval – 1 (6:51)

1) Daniela Solis – Im learning to talk underwater

I’m learning to talk underwater is aseries of 5 sound-performative exercises and a mix. 

released in may 2020, thisalbum was part of a series of water and underwater works that happened duringtimes of extreme quarantine while living in a communal setting near a river withmy family.

I started to practice screamingunderwater really to let some stress out, and soon I found myself practicinglots of different voice expressions.

here is a list of the 5different sound performative exercises: 

1. ex one:I practiced my firstwords: “i’m from water”,  I did this for 15 minutes goingunderwater on the same spot.. 

2. ex two: I jumped from a highplatform while screaming, kept the sound going from the jump and until i wasunderwater. 

3. ex 3: this day I talkedunderwater while swimming down the river, had to take air but i tried to beunderwater as much as possible, this ex lasted 15-20 minutes 

4. ex. 4: I invited someone tojoin me underwater and I confessed a secret 

5. ex 5: I said something thatis hard for me to say, a truth, i said it in spanish and english.

bio

My name is Daniela Solis and I’m a mexican artistbased in Morelos, México. I work with sound and visuals (video, photo andoverhead projection). I’m interested in the development of live performance andthe power of sound in space. I started making music and sound related works in2017 and I have been experimenting with video and visual stimulus since I wasvery young.

Today I focus my work on the experimentation of both mediums, light and sound,and the subjects that matter in my life both political and emotional

Daniela Solis

email: dani.solisgs@gmail.com

Web site: https://danisolisgs.wixsite.com/misitio

Ig handle: @dsgs

2) Alexandra Spence – Communion

Communion, to be released Dec 3 by Dragons Eye Recordings as part of ‘Touch’compilation, put together by Tomoko Hojo, mastered by Lawrence English

https://dragonseyerecordings.bandcamp.com/album/touch

3) Hali Palombo – Interval – 1

SuddenlySilent, released by Low End Theorists, August 2021,as part of compilation, mastered by Brendan Zacharias

https://theorytherapy.bandcamp.com/album/out-of-season

The artist doesn’t claim any of these ideas to be original and has been heavily influenced by the following references:
+Quantum Listening: From Practice to Theory (To Practice Practice). Pauline Oliveros
+The World Is Sound Nada Brahma: Music and the Landscape of Consciousness by Joachim-Ernst Berendt, Fritjof Capra.
+Sufi thought and Sufi listening practices

Fantôme dansant by LUDD PÚCA from Crois-tu en des spectres concrets?, produced by LUDD PÚCA.

Stories of radical land ownership in North Lewis is a project produced in collaboration with artist Virginia Hutchison, that brings together narratives surrounding the community land buyout of the Galson Estate in 2007. Developed in conversation with artists Stephen Hurrel and Fiona Rennie, the project weaves together local audio archives and interviews and brings them into contemporary conversations surrounding community land ownership.

Bringing together archive interviews produced by Fiona Rennie in 2017, Chapter 4 presents conversations with Carola Bell, Sally Reynolds and Murdanie Macleod – recounting individual experiences of living and working in North Lewis and the future of community landownership. Underpinning the interviews are recitals of the Gaelic place-names that define Eoropie, in collaboration with Fiona Rennie, and Seismic Sounds, produced by Stephen Hurrel.

Stories of radical landownership in North Lewis – full project info

Produced in collaboration with artist Virginia Hutchison this project brings together narratives surrounding the community land buyout of the Galson Estate in 2007. Created during the COVID pandemic in 2020/2021 the project weaves together local audio archives and interviews and brings them into contemporary conversations surrounding community land ownership. With access and social distancing measures in mind the project has taken the form of a series of cast bronze artefacts temporarily sited in the landscape of North Lewis. Embedded with digital QR codes the artefacts link visitors directly to the audio works via mobile phone.

Each of the six objects – a series of cast bronze artworks moulded from cut peat – contain conversations recorded with members of the local community. Two out of six of the artworks remain open as audio project spaces for future conversations.

“If you didn’t know the names of these places you couldn’t talk about them..”

Underpinning the interviews are recitals of the Gaelic place-names that define North Lewis. A gentle call and response between Gaelic and English – though not a direct translation – through the landscape, geography and history of the area.

Looking out onto the Barvas moor visitors can be mistaken for thinking that it is an empty landscape. But listening closely to the Gaelic expressions used to describe the environment of North Lewis gives a sense of the intimate and complex relationship between people and place. A language embedded within local culture and knowledge and not always translatable.

“Space doesn’t become a place until you interact with it. It doesn’t become a place until you name it…and it becomes a place in relation to somewhere or something else..ie. it’s always changing.”

Permeating the voices within the audio works are recordings made from the constant movements and tectonic shifts beneath the Earth’s surface. Produced by artist Stephen Hurrel, the seismic sounds provide layers to the stories and issues that surround engagement with the landscape. Hurrel’s work with Seismic Sounds and with Gaelic speaking communities in Barra, weaves closely into the stories of radical landownership in North Lewis.  Where these conversations meet and overlap presents opportunities for wider discussions around land reform in Scotland.

Many thanks to the Galson Estate staff and community. Special thanks to Agnes and Frank Rennie, Lisa Maclean, Annie MacSween, Iain Gordon Macdonald, Richard Collins (Edinburgh University), Edinburgh College of Art and Blackbay Recording Studios.

This project was produced in conversation with artists Stephen Hurrel and Fiona Rennie.

Virginia Hutchison is an artist based in Glasgow and the Isle of Lewis. Working within a predominantly social context her practice draws on the processes involved in collaborative creative production to explore how different forms of artistic engagement influence the interaction we have with our environments. Virginia currently runs the bronze casting facilities at Edinburgh College of Art and is one part of the duo ’In the Shadow of the Hand’ with artist and film-maker Sarah Forrest.

Produced with support from Community Land Scotland and the Stove Network.

https://www.galsontrust.com/about-clsartproject

[1]Annie Macsween, Faclan 2020, A History with Heart and Soul – The Place-names of North Lewis, Ness Historical Society

[2]Frank Rennie, Dùthcas 2020, The Changing Outer Hebrides – Galson and the meaning of Place

This work was made using fields recordings, DIY instruments, voice and instrumentation. Personal moments captured, mistakes latched onto, manipulated and edited into a series of sound images.

Composed during summer 2021, during a time of personal change and new beginnings. The work uses various field recordings made over the past 20 years that had meaning, memories and connection for me, both personally and in my sound explorations, representing reflections on the past, and changes to come.

Hilary Mullaney is an Irish composer and sound artist based in the North West of Ireland. Active in this field for over 20 years, her works are widely performed and broadcast, most recently for Audiosphere. Sound Experimentation 1980-2020, the first large-scale contemporary art exhibition of sound works, with no images or objects, at Museo Reina Sofía, Madrid. Place informs her practice, using field recordings, improvisation and everyday experiences to explore memories and associations through sound. Psychogeography merges with an interest in psychoanalysis, and from there the work unfolds and reveals itself through sound and listening.

http://www.hilarymullaney.com

Credits: Performed by Mike Minarcek (voice,percussion), Poem Written by Bradley Njus, Music Composed by Ralph Lewis

“convenient words/exactly lost” pokes at thedifference between intention and reception in radio transmission. BradleyNjus’s text is already lost somewhat to us listeners–he has put the originalpoem through a series of processes rendering it fractured and filtered. Thisnew facsimile is set by Ralph Lewis for Mike Minarcek. As rain pours outside ofhis car on Philo Road in Urbana, Illinois, Minarcek delivers the somewhatcryptic text with his voice and hands, puzzling  through its notions andfilling in what is missing with his steering wheel. What else could be lostthroughout this broadcast?

Mike Minarcek is a percussionist and drummer whorecently received his doctorate from the University of Illinois. Previously, aninstructor at Illinois Wesleyan University, he has been selected as a finalistin the Krannert Debut Artist Competition and has commissioned and performedworks from Emma O’Halloran and Joe Meland. Bradley Njus is a writer based in Los Angeles. His earliestradio memories are of hours spent crouched next to the tape deck, ready to hitrecord when his favorite songs came on. Ralph Lewis is a composer who loves the collaborative, public, andexperimental qualities of radio art.

2) Alexandra Spence – Water bugs

Waterbugs, to be released shortly by Room40 as part offorthcoming solo EP ‘Blue Waves, Green Waves’, mastered by Lawrence English.

3) Kiera Mulhern – Signs in the memory 

From the album ‘De ossibus 20’.

4) Susannah Stark – Relentless

1) Sebastiane Hegarty – Séance for stones radio mast hour hand and harp (6:40)

2) Susannah Stark – Time Together Soundscape 1 (1:44) 

3) Kiera Mulhern –  Self-auscultation 24-05-020 (12:44)

1) Sebastiane Hegarty – Séance for stones radio mast hour hand and harp

At the former site of Marconi’s radio experimentation station on the Isle of wight, the ghostly strum of an hour-hand plucks notes from thin air as it plays ‘automatically’ on the strings of an abandoned autoharp. Divined in séance with the breeze, this paranormal lullaby, is accompanied by the litho-telegraphy of pebbles tapping away at the concrete remains of a lost radio tower. As it tests substance, this di-di-dit continues the transmission of the first wireless signal sent out‘over the horizon’ one hundred and twenty-one years hence.
Litho-telegraphy choreographed and performed by Julia Hall.

Sebastiane Hegarty’s creative practice explores the relationship between time, place and remembering. Recent works focus on the materiality of sound and the haunted geographies of the audible, silent and unheard.These works are realised in the form of field recordings, composition, performed phonographic objects, failed actions, and lost radio transmissions.

https://sebastianehegarty.wordpress.com

2) Susannah Stark – Time Together Soundscape 1

3) Kiera Mulhern –  Self-auscultation 24-05-020 

From the album ‘De ossibus 20’.

I have recorded an hour long track with mainly a bit of Digitakt/Blofeld for drones and a bit of 110 hertz spirituality mixed into some 2020/2021 locked down and unlocked down samples with some pre-Covid world recordings for a bit of contrast.

No longer acceptable as entertainment student party and cheap deal booze nights got sacked for hard clubbing and sonic experimentation – only the good stuff from then on was pursued. The dawn of  multitrack recording ensued with late night sessions of improvised intoxicated songs with Ryan Lambie as Johns Indie Disco.  The JID  years were a productive period, tracks of techno punk quality and some flashes of pure genius, but only 3 live gigs, meant the main means of promotion was handing out home burnt CDs in the street. The Ladywell Lout era then ensued, involving the circle of contributors from JID with semi-documentary based audio on gala days, gadgies, losers and high rises.

https://theladywelllout.bandcamp.com/

Stories of radical land ownership in North Lewis is a project produced in collaboration with artist Virginia Hutchison, that brings together narratives surrounding the community land buyout of the Galson Estate in 2007. Developed in conversation with artists Stephen Hurrel and Fiona Rennie, the project weaves together localaudio archives and interviews and brings them into contemporary conversations surrounding community land ownership. 

Chapter 5 presents recitals of the Gaelic place-names that define Cros, a gentle call and response between Gaelic and English – though not a direct translation – through the landscape, geography and history of the area. Underpinning the recital are Seismic Sounds, produced by Stephen Hurrel.

Stories of radical landownership in North Lewis – full project info

Produced in collaboration with artist Virginia Hutchison this project brings together narratives surrounding the community land buyout of the Galson Estate in 2007. Created during the COVID pandemic in 2020/2021 the project weaves together local audio archives and interviews and brings them into contemporary conversations surrounding community land ownership. With access and social distancing measures in mind the project has taken the form of a series of cast bronze artefacts temporarily sited in the landscape of North Lewis. Embedded with digital QR codes the artefacts link visitors directly to the audio works via mobile phone.

Each of the six objects – a series of cast bronze artworks moulded from cut peat – contain conversations recorded with members of the local community. Two out of six of the artworks remain open as audio project spaces for future conversations.

“If you didn’t know the names of these places you couldn’t talk about them..”

Underpinning the interviews are recitals of the Gaelic place-names that define North Lewis. A gentle call and response between Gaelic and English – though not a direct translation – through the landscape, geography and history of the area.

Looking out onto the Barvas moor visitors can be mistaken for thinking that it is an empty landscape. But listening closely to the Gaelic expressions used to describe the environment of North Lewis gives a sense of the intimate and complex relationship between people and place. A language embedded within local culture and knowledge and not always translatable.

“Space doesn’t become a place until you interact with it. It doesn’t become a place until you name it…and it becomes a place in relation to somewhere or something else..ie. it’s always changing.”

Permeating the voices within the audio works are recordings made from the constant movements and tectonic shifts beneath the Earth’s surface. Produced by artist Stephen Hurrel, the seismic sounds provide layers to the stories and issues that surround engagement with the landscape. Hurrel’s work with Seismic Sounds and with Gaelic speaking communities in Barra, weaves closely into the stories of radical landownership in North Lewis.  Where these conversations meet and overlap presents opportunities for wider discussions around land reform in Scotland.

Many thanks to the Galson Estate staff and community. Special thanks to Agnes and Frank Rennie, Lisa Maclean, Annie MacSween, Iain Gordon Macdonald, Richard Collins (Edinburgh University), Edinburgh College of Art and Blackbay Recording Studios.

This project was produced in conversation with artists Stephen Hurrel and Fiona Rennie.

Virginia Hutchison is an artist based in Glasgow and the Isle of Lewis. Working within a predominantly social context her practice draws on the processes involved in collaborative creative production to explore how different forms of artistic engagement influence the interaction we have with our environments. Virginia currently runs the bronze casting facilities at Edinburgh College of Art and is one part of the duo ’In the Shadow of the Hand’ with artist and film-maker Sarah Forrest.

Produced with support from Community Land Scotland and the Stove Network.

https://www.galsontrust.com/about-clsartproject

[1]Annie Macsween, Faclan 2020, A History with Heart and Soul – The Place-names of North Lewis, Ness Historical Society

[2]Frank Rennie, Dùthcas 2020, The Changing Outer Hebrides – Galson and the meaning of Place

This will let you hang upside down from the dancefloor. Natural scientist Rym Nouioua and sound art curator Sascha Brosamer will guide you to scientific studies and environmental issues in artistic contexts. In this episode of a documentary-style podcast about bio-art, bat sounds and experimental music you’ll learn about ultrasonic sounds, bioacoustics and Covid-19 spread from bats. Furthermore you will listen to some tracks made mainly by bat sounds, based on a sound library from their current project “The Bat effect ”. Besides the communication of bats by recording the ultrasonic noises and presenting them into sound, we will illustrate the interrelation of human and non-human and create points of contact of human and animal shared living spaces.

1. Thomas Finbarr – Impressions of Hong Kong (12:10)

2. Clarinda Tse & Craig Hunter – (mildly) toxic (8:18)

3. Jan Sparsam – Mauerlunge (2:20)

4. Doriane Souilhol – Girls pity boum onomatopoeia (2:32)

5. Chelidon Frame – The Seasons Change in a Somber Montage (5:49)

6. Johanna Linsley with Jan Mertens – Sonic Spectral Summoning (22:34)

7. Ryan Lambie – Taking an audio sniffer for a walk (extract)  (2:12)

8. Johnny Dixon – Pill Pieces 6 (1:01)

Taken from recordings made during a short stay in Hong Kong this sound collage includes the sounds of traffic, typhoons, national parks, a library, a monastery, ashopping mall, the underground, a museum and a gift shop. Evoking the contrasts that make up the city.

First entering a studio as a bass player, Thomas Finbarr soon learnt his way around both analogue and digital recording. After an MSc in Sound Design at EdinburghUniversity he has worked as a recordist, sound designer and dialogue editor as well as creating his own sound pieces for festivals theatre productions and installations, including pieces at the Perth Concert Hall in Scotland andMedialab Prado in Madrid. He is currently living in Barcelona.

2. Clarinda Tse & Craig Hunter- (mildly) toxic

Toxicityis such a loaded term, and foraging wild fungi highlights the lack of nuanceattached to the various uses. There is no dichotomy, but a spectrum oftoxicity, a lack of information and a conversation based on fear. This pieceshares our experience of consuming (mildly) toxic mushrooms.

Craig Hunter is a journalist, music and radio enthusiast. Clarinda Tse is an interdisciplinary artist, listener, facilitator, movement practitioner, Hong Kong-born and Glasgow-based. She works across being a sofa barnacle and a mutating muscle.@clarindatse     @koalacraig

3 Jan Sparsam – Mauerlunge

The tracks were composed for a longer radio show documentary about the sonification of electromagnetic fields through induction, thereby revealing a new spectrum of sound in our environment. The basic sounds were recorded with a self-built device called”Elektrosluch” (after the design of JonášGruska), with which such fields can be transformed into audio signals. The track “Strippe” (colloquial for “phone”) is a recording of a DSL system. The Track “Mauerlunge” (“WallLung”) is a collage of field recordings and wire-tapped sounds from hi-fi speaker cables. Both tracks are previously released under my solo moniker monadnode.

My name is Jan, I am a sociologist and musician from Freiburg, the most southwestern end of Germany. I play guitar in a garage punk band and compose music individually as monad node, using a wide array of instruments and self-built devices like synthesizers, tape loops, drum machines as well as a ton of effects that I self-soldered. I also produce a monthly radio show with two friends in which we discuss current releases fromthe field of experimental music. The show is called “Büchse Buntes”(roughly translatable as pick-n-mix) and runs on the free radio station”Radio Dreyeckland” (http://www.rdl.de).

4. Doriane Souilhol –Girls pity boum onomatopoeia

Collage of onomatopoeias, noises, fictitious languages of the post-punk scene with the voices of Lizzy Mercier Descloux -Pylon – Vivien Goldman …  This short sound piece is part of the INNUENDO project which started in 2019 in collaboration with the artist Amandine Rué. We shared music and focused on the gender of this music, on my side feminist punk and post-punk, and for Amandinehair metal. The lyrics, the poses, the gestures, the clothes.

http://www.mydoriane.com

5. Chelidon Frame  – The Seasons Change in a Somber Montage

Like most of the tracks I’ve composed recently under the name Chelidon Frame, even “The Seasons Change in Somber Montage” has been realized during lockdowns and red zones. With this song, I’ve moved in two directions: on the one hand, heavily processing raw sound to make them completely unrecognizable on the other, slightly modifying some field recordings to realize an alien yet familiar soundscape.The overall aim was to combine e recreate an imaginary landscape of glitches and noises, a travel of the mind during restricted times.

Chelidon Frame is an experimental electronic music project that mainly works with fieldrecordings, radio interferences, guitars and processed sounds. His installations are experienced-based and suggest a dialogue between the location (both virtual and physical) and the sounds proposed, aiming to deliver a message in the simpler yet most effective way. The use of code, data analysis and data-driven sounds, allow information to be experienced anew. In his studioworks and live sets different layers of sounds – guitars, synthesizers and custom-made instruments – piles up creating unexpected new soundscapes.

6. Johanna Linsley with Jan Mertens – Sonic Spectral Summoning

This learning experience is aimed at equipping participants with the tools necessary to identify, isolate and summon your own ghostly spectre from the acoustic atmosphere of your choice. Every ringtone, white noise machine, laptop fan or refrigerator buzz has the potential to contain a latent haunting. Every inside joke, gossip circuit and open secret might, if you listen the right way, have the capacity to raise the dead. Drawing on common affects like revenge, melancholy and ecstatic force to tune your senses, you will develop a sensitivity to wraiths, apparitions, and lingering presences. (Originally commissioned for Queer Extension)

Johanna Linsley is an artist and researcher based in Dundee, Scotland.  She works across performance, interdisciplinary writing and sound. Her ongoing creative collaboration Stolen Voices, with Rebecca Collins, develops ‘sonic detection’ as a way of thinking expansively about site and place.  Her work has been presented in the UK and internationally, in venues including the Museum of Modern Art (New York), the Victoria & AlbertMuseum (London), the Wellcome Collection and the Centre for Contemporary Art(Glasgow). She is a Lecturer in Creative Practice at the University of Dundee.She collaborates often with Jan Mertens, a sound artist also based in Dundee. http://www.jhlinsley.com   https://soundcloud.com/janmertens      https://www.queerextension.org/

7. Ryan Lambie – Taking an audiosniffer for a walk (extract)

A shorter than planned piece based around sounds captured on a walk with a SOMA Ether electromagnetic audio receiver.  File then manipulated / mixed in the Borderlands granular app (on an Ipad in a caravan in Cornwall).  Longer piece to be uploaded to bandcamp at the end of Feb 2022.  Lo-fi experimental field recording artist from the Scottish central belt. Work mainly revolves around one take Iphone 5s and Sony ICD-UX560 voice recordings. Everyday sounds of the streets, radio static, random pub conversations and feedback. Borderline sound art. 

8. Johnny Dixon – Pill Pieces 6 

Only Transition is an exploration of presence within the soundscape of the Cairngorms. The lochs, the river, the wind, the rain, the endless heather and mountains of granite covered in green inviting the traveler to step further into their wealth. Over a week spent exploring the paths and hills of Glenshee, sound marks big and small slowly emerge, a brief introduction to the history and spirits that forged its terrain.

Steve Ashby is a musician, composer, and sound artist based in the United States. Ashby work focuses on sound found in the natural and digital world to discover places of intersection which engage in the art of listening.

A short look at human movement made in response to Léa Molinier’s zine “entrez dehors” which was available free of monetary cost in exchange for anything made. 

Stories of radical land ownership in North Lewis is a project produced in collaboration with artist Virginia Hutchison, that brings together narratives surrounding the community land buyout of the Galson Estate in 2007. Developed in conversation with artists Stephen Hurrel and Fiona Rennie, the project weaves together local audio archives and interviews and brings them into contemporary conversations surrounding community land ownership. 

Chapter 6 presents recitals of the Gaelic place-names that define North Dell, a gentle call and response between Gaelic and English – though not a direct translation – through the landscape, geography and history of the area. Underpinning the recital are Seismic Sounds, produced by Stephen Hurrel.

Stories of radical landownership in North Lewis – full project info

Produced in collaboration with artist Virginia Hutchison this project brings together narratives surrounding the community land buyout of the Galson Estate in 2007. Created during the COVID pandemic in 2020/2021 the project weaves together local audio archives and interviews and brings them into contemporary conversations surrounding community land ownership. With access and social distancing measures in mind the project has taken the form of a series of cast bronze artefacts temporarily sited in the landscape of North Lewis. Embedded with digital QR codes the artefacts link visitors directly to the audio works via mobile phone.

Each of the six objects – a series of cast bronze artworks moulded from cut peat – contain conversations recorded with members of the local community. Two out of six of the artworks remain open as audio project spaces for future conversations.

“If you didn’t know the names of these places you couldn’t talk about them..”

Underpinning the interviews are recitals of the Gaelic place-names that define North Lewis. A gentle call and response between Gaelic and English – though not a direct translation – through the landscape, geography and history of the area.

Looking out onto the Barvas moor visitors can be mistaken for thinking that it is an empty landscape. But listening closely to the Gaelic expressions used to describe the environment of North Lewis gives a sense of the intimate and complex relationship between people and place. A language embedded within local culture and knowledge and not always translatable.

“Space doesn’t become a place until you interact with it. It doesn’t become a place until you name it…and it becomes a place in relation to somewhere or something else..ie. it’s always changing.”

Permeating the voices within the audio works are recordings made from the constant movements and tectonic shifts beneath the Earth’s surface. Produced by artist Stephen Hurrel, the seismic sounds provide layers to the stories and issues that surround engagement with the landscape. Hurrel’s work with Seismic Sounds and with Gaelic speaking communities in Barra, weaves closely into the stories of radical landownership in North Lewis.  Where these conversations meet and overlap presents opportunities for wider discussions around land reform in Scotland.

Many thanks to the Galson Estate staff and community. Special thanks to Agnes and Frank Rennie, Lisa Maclean, Annie MacSween, Iain Gordon Macdonald, Richard Collins (Edinburgh University), Edinburgh College of Art and Blackbay Recording Studios.

This project was produced in conversation with artists Stephen Hurrel and Fiona Rennie.

Virginia Hutchison is an artist based in Glasgow and the Isle of Lewis. Working within a predominantly social context her practice draws on the processes involved in collaborative creative production to explore how different forms of artistic engagement influence the interaction we have with our environments. Virginia currently runs the bronze casting facilities at Edinburgh College of Art and is one part of the duo ’In the Shadow of the Hand’ with artist and film-maker Sarah Forrest.

Produced with support from Community Land Scotland and the Stove Network.

https://www.galsontrust.com/about-clsartproject

[1]Annie Macsween, Faclan 2020, A History with Heart and Soul – The Place-names of North Lewis, Ness Historical Society

[2]Frank Rennie, Dùthcas 2020, The Changing Outer Hebrides – Galson and the meaning of Place

In newconstellations is a piece produced for the digital festival AMPLIFY: Quarantine2020. The piece explores the acoustic and affective residue of domestic tasksand of the recording process itself.

03) Marco Paltrinieri – Together 

From the album ‘The Weaver’.

The Weaver is the debut solo album by the multidisciplinary artist and Discipula collective member Marco Paltrinieri.

Merging spoken words with field recordings, electro-acoustic textures and relics of found melodies, The Weaver brings to life, across 6 movements, the memories and thoughts of a creature living in a world in which the distinction between reality and simulation, as well as between psychic space and external environment seems to have definitely collapsed.

The album stems from Paltrinieri’s ongoing interest in the cognitive and perceptual mutations caused by the irreversible technologization of our lives. Drawing upon the speculative power of fiction, The Weaver aims at creating a multilayered and non-linear narrative in which sounds and words are used to conjure images from an unknown and yet unsettlingly familiar dimension. 

“Journey Through the Auricle” is a voyage through an elevator centring on exploration and internal and external discovery. Stop one consists of a commission from your ears. They have enlisted our help to clear out the clutter and clatter of what is going on upstairs. Stop two takes you to an unknown land, rich in colour and restorative light beams. While stop three nourishes your roots and provides a sound bath for the senses. Throughout this collaborative piece Siobhain channels the imagined environments through dreamlike synths, while Rhiannon uses metallic and machine-like sound and voices that are not her own.

Siobhain Ma is a sound artist who explores themes of identity, environment and (sometimes) the supernatural in her work.

Rhiannon Walsh is a sometimes audio maker, writer and Reiki practitioner. She enjoys producing content centred around the body, nature, rest and meditation – including ASMR.

Voice onceworks with one sound sample as material base for a composition. A recording ofnonverbal vocalisations made while spending time alone in the flat of a friend,is digitally processed and reimagined.

4) Helen McCrorie and Richy Carey– We know a better word than happy,

Rite#1 is the first of a series of works that inhabit the boundary between composition and sound installation, focused on the theme of the relationship Culture-Nature. This pair is made up of two opposed terms that permeate and repel each other at the same time.Rituality, performance, art have often attempted a connection between the two, despite the difficulty of a mutual exclusion. This work is itself a moment ofreflection about the impossibility of this relationship: it tries to establish a specific rituality, a specific language, unifying sound synthesis, naturalistic and urban field recording in a contemplative flow.

 Manfredi Clemente is a composer and sound artist based in Palermo (IT). His aesthetical research focuses on the phenomenology of recorded sound and sound spaces. He often composes for theatre and performances and works as a sound engineer for classical music recordings. His compositions are played all around the world and have received several international recognitions including: 1^st prize at Prix Presque Rien 2019, prize Banc d’Essai 2018 of the GRM, finalist at Prize Franz Liszt 2017, 1^st Prize at Di_Stanze 2014. At the moment he is Professor of Electroacoustic Composition at the Conservatorio Rossini of Pesaro (IT).

 http://www.manfrediclemente.it

Alice Kemp – untitled

Catalina Barroso-Luque & Feronia Wennborg – R-22.2 (cancelled)

Teresa Cos & Tom White – SEELONCE

Alice Kemp (b.1972, UK) explores an idiosyncratic praxis comprising experimental music, audio composition, public/private performance, installation, drawing, writing, and object making. Her cryptic yet coherent work is informed by states of subtle trance, dream and disturbance, evolving a private mythology through stillness, boundaries and aural stimuli. She has presented live art and released audio/musical works internationally. Kemp is a Schimpfluch affiliate and human ex-voto, living and working in Devon, England.

alicekemp.net

alicekemp.bandcamp.com

soundcloud.com/alicekemp

“R-22.2” is a performance collaboratively produced by Catalina Barroso-Luque and Feronia Wennborg. The story follows Refrigerant Gas 22 as they make their way through the distinct environments in a fridge cooling system. R-22 is one and many, embodying both dark and jovial aspects of individual and collective existence. The basis for this domestic sci-fi tale was produced in quarantine using home recordings, noises, voices, and interactions with everyday objects. Originally commissioned as a sound piece for Wysing Broadcast, the story takes new multidimensional form as a performance for Radiophrenia.

Choreography by Salma Françoise Faraji.

Catalina Barroso-Luque is a Mexican artist who constructs narratives, makes images and hosts intimate events. Writing is at the heart of her practice and relies on techniques of performativity and vocality, alongside processes of disassembly, reassembly, and translation. Catalina works with other practitioners. Making is carried across bodies and territories, resulting in artworks that are voiced between tongues. In 2021 Catalina launched She’s a bit much (abitmuch.net) in collaboration with Jude Browning, an online publishing platform that is sensitive, sick and cloyingly sweet. Catalina has also been working with Daniella Valz Gen on Deslices, a correspondence series for Glasgow International 2021, Montez Press Radio (New York 2021) and Desbordes / Deshacer in post[s] (Quito 2022). Other new work include: Berta Esmeralda, a short story about a macaw, Gutter Magazine Vol. 24 (Glasgow 2021;) and Xaxalpa, a Mexican gothic memoir for Bricks from the Kiln V (London 2022).

http://catalinabarroso-luque.com

Feronia Wennborg is an artist, musician and arts programmer based in Glasgow, working interdisciplinary with a focus on sound. Her work collects traces of intimacy and friendship through processes of recording, transcription and digital transformation. She often works in close collaboration with others and is part of the music duo soft tissue together with Simon Weins. In 2019-2021 she was a programme committee member at the artist-run space Market Gallery. Her work has been presented and commissioned by institutions, festivals and artist-run initiatives in the UK and internationally, including: Wysing Arts Centre, West den Haag, ArtVerona, CCA Glasgow, The Pipe Factory, Counterflows & Radiophrenia.

http://www.feroniawennborg.com

Teresa Cos is an artist exploring the processes of memory and repetition underlying history, society and human psychology, similarly to those inherent to sound and image composition. Her interdisciplinary practice encompasses film, video and sound installation, visual scoring, experimental music composition and performance. Teresa has presented and performed her work in various international contexts including: Cafè Oto, 3rd Industrial Art Biennial, Argos Centre for Audiovisual Arts, WIELS Contemporary Art Centre, Casino Luxembourg, bb15, Q-O2, Fondazione Baruchello, Kanal-Centre Pompidou, The Mac – Metropolitan Arts Centre Belfast, Les Ateliers Claus, Centrale Fies, Mostyn Gallery and the 14th Venice International Architecture Biennial. She has released work on Takuroku and Umland Editions/Q-2 and self-releases her ever growing Archive of Loops. Teresa has taken part in several international residency programmes, including WIELS, Jan Van Eyck Academy, Visio-European Programme on Artists’ Moving Images and the Botín Foundation workshop with Tacita Dean.

http://www.teresacos.com
https://teresacos.bandcamp.com/
https://soundcloud.com/teresacos

Tom White is a London-based artist focusing predominantly on sound-based practices such as live performance, installation, recordings, composition for dance and film. He is interested in the physicality and phenomena of sound; how it can be felt by the body and experienced in architectural space. Past projects include commissions and appearances for Radiophrenia, Glasgow (CCA); BRAUBLFF (KRAAK & De Player); Whitechapel Gallery, London & Colour out of Space Festival, Brighton. Recent collaborators include Surface Area Dance Theatre, Maya Dunietz, Ben Knight, Renato Grieco and Lia Mazzari.He has performed extensively across the UK and Europe, traveled to North America & Japan and had work published by labels such as Takuroku (Cafe OTO), Glistening Examples, Vitrine, Chocolate Monk, Calling Cards Publishing and South London Gallery. He won the British Composer Award in 2014 (Sonic Art) for Public Address, commissioned by South London Gallery. In 2016 he founded Apologies in Advance; a platform for artists presenting work in progress performances.

https://tomwhitesound.com/
https://tomwhite.bandcamp.com/
https://soundcloud.com/tomwhites

http://www.collidinglines.com