Meditation102 installation @ The Yard (Handcock Tower) Boston MA

Shots from my recent installation for Non-Event’s 2018 Showcase @ The Yard (Handcock Tower) Boston, MA

As a meditation on home, this 2 channel installation piece incorporates location recordings made from inside the house. sounds include electronmagnetic recordings from blinking basement lights, water heaters, electronics, transmitted spaces with use of the intercom system, and voice (Alyssa Irizarry)":

“Floating—the tips of my toes grazing the ground. Almost, but not quite. Grounding. Getting to know the slope of crooked floors, the rattle of steamy bones, the smell of each corner. Imprinting on each other—creating new patterns, guided by floorboard grooves.”

Running time: 21.30 minutes.

Learn more about the event and the other artists whose work was also featured here.


a weave / the fragment

Installed at MIT List Visual Arts Center, this 8’x8’ black box features 8 channels of generative audio, audio reactive LEDs, and kente scarves from Ghana. The work probes the complexities of travel as a process of becoming. Alluding to memory, desire, expectation, and the jigsaw of cosmopolitanism, the recollection diffuses an audio collage across a multichannel installation that includes spoken extracts from journal entries, literary references, location recordings, processed samples from Ghanaian musicians and sounds of travel ephemera.


textsound / / Issue 21 :: Sonic Materialities

Happy to be included in the most recent issue of textsound : 

Issue 21 :: Sonic Materialities
curated by Michael Nardone

"This issue of textsound assembles works that blur the distinction between performance, poetry, and the sonic arts. Dialogues, field recordings, talks, electromagnetic arrangements, installations, lyric works, remixes – “Sonic Materialities” explores the fugitive modes of embodiment, inscription, and exchange in phonopoetic practice. Noise and resonance, tuning and texture inform these compositions. So does the grain and splice of the voice. Always with recorded sound, the material contexts reverberate. This is to say that the technical and technological mediations – vibrations engineered into script – are elemental to the compositions; as are the locales of their production, the social and physical circumstances of their pulse, polyphony, dissonance, and replay. They are the substrate we apprehend in listening – the sites, acts, and echoes."

Other contributors include Syd Staiti, Amaranth Borsuk + Andy Fitch, M. NourbeSe Philip, the Unauthorized Narrative Freedom Organization (UNFO) (Dan Richert + Harold Abramowitz), Erin Moure + Lisa Robertson, Julian Hou, Holly Melgard, Stefan Christoff + Kaie Kellough, Eric Schmaltz, Laureen Burlat, Charles Bernstein, Felipe Otondo, José Rivera, Sebastiane Hegarty, Clio Montrey + Klara Du Plessis, Staalplaat Soundsystem (Geert-Jan Hobijn), Michael Hennessey, Elizabeth Cherniak, Patrick Durgin, Christof Migone, Jordan Scott + Jason V. Starnes, Jean-Philippe Antoine, Laura Ortman + Tanya LukinLinklater, Steve Evans, Gary Barwin (Moribund Facekvetch), Oana Avasilichioaei, Mayakov+sky Platform (Nikolaos Omeros Koumoundouros), and Fred Moten.

framework #545: 2016.02.21

I'm fearured in this edition of framework radio:

several physical releases this week along with some online released (or unreleased) work. another lovely project by gruenrekorder, following the river rhine (a few more releases from them coming soon) and two new releases released by daniel crokaert, one on his unfathomless label, and the other on his mystery sea imprint. plus virtual offerings by tom white, proxemia, and david velez, all begun with a framework intro by regular contributor martin clarke.

speaking of which: our intro coffers are running low, folks! if you never have before (or even if you have), now is the time to go out and record a framework introduction and send it in to us! it will get aired! guidelines here, or via the intros button above.

[time/  artist/  track/  release/  label]

00:00 – 03:08/  martin clarke/ framework introduction, recorded in india

01:47 – 09:02/  thomas m. siefert & lasse-marc riek/ vorderrheinquelle (region) – rhein bei tschamut     /  rhein_strom/ gruenrekorder,

06:05 – 16:07/  jérémie mathes/  [extract 1]  /  fallow memory/ unfathomless

14:00 – 24:23/  frans de waard/  [extract 1]  /  courrière/ mystery sea,

15:47 – 33:47/  tom white/  scales/patterns/  –  /  –

17:28 – 21:08/  thomas m. siefert & lasse-marc riek/  staustufe rhinau/  rhein_strom/  gruenrekorder,

19:14 – 30:10/  proxemia/  buildings systems [extract 1]  /  –  /  –

22:34 – 27:02/  marco dibeltulu/  microclima ii/  –  /  –

27:40 – 38:22/  jérémie mathes / [extract 2] / fallow memory / unfathomless

30:04 – 37:16/  thomas m. siefert & lasse-marc riek/  ile de langgrund – staustufe strasbourg/  rhein_strom/  gruenrekorder,

34:09 – 48:12/  frans de waard/  [extract 2]  /  courrière/ mystery sea,

36:32 – 44:10/  david velez/  circadian rhythm disorders/  –  /  –

45:25 – 55:58/  proxemia/  buildings systems [extract 2]  /  –  /  –

49:11 – 58:22/  jérémie mathes / [extract 3] / fallow memory / unfathomless

52:59 – 59:00/  thomas m. siefert & lasse-marc riek/  karlsruhe hafen/  rhein_strom/  gruenrekorder,


"The explicit spatialization of sound not only changes how the physical environment is perceived but also seems to put pressure on the idea of the modern subject itself."

- Joseph L. Clarke


"Space is the register in which sound can happen an sound can have meaning." 

(Sterne, 2010: 91) 

The question of noise

"Regardless of its constructed character, recorded sound strongly searched for the perfection of fidelity to the original event. Noises were a part of the experience to be ignored, but still made their voice heard. In today's digital model, we perceive efficient strategies defining which part of the experience must necessarily prevail. The binary encoding of signal is presented both as a matrix and as a result of listening to a sonorous universe. How is noise absorbed in this new model? Is it still perceived as oppositional? How does it present itself in increasingly sophisticated technological mediation processes?"

jose claudio siquiera castanheira

Amacher archive

I recently learned that Maryanne Amacher was a visiting fellow at the Center for Advanced Visual Studies at MIT. From '72 to 75' she developed some of te projects and ideas that would eventually lead to her ideas of, what she called, perceptual geography. Her experiments into new ways of experiencing sound serve as inspiration as I continue with my own sonic studies. 


Luc Ferrari / / Facing His Tautology

"A film : Luc Ferrari facing his tautology: two days before the end

Luc Ferrari takes out an old score, Tautologos III, to record it at La Muse en Circuit in the Summer of 2005. The "score" is actually a set of three rules:
1. Each musician freely decides on a theme and length of silence to be repeated for 21 minutes.
2. Each musician can fanatically stick to his choice or change it according to what the other musician is playing.
3. Well, there is no third rule."

more at sub rosa

Louis Kahn - The Room, The Street & Human Agreement

"So sensitive is a room.

The plan is a society of rooms.

The rooms relate to each other to strengthen their own unique nature. The auditorium wants to be a violin. Its lobby is the violin case.

The society of rooms is the place where it is good to learn, good to live, good to work.

Open before us is the architect’s plan. Next to it is a sheet of music.

The architect fleetingly reads his composition as a structure of elements and spaces in their light.

The musician reads, with the same overallness, his composition as a structure of inseparable elements and spaces in sound.

A great musical composition is of such entity that when played conveys the feeling that all that was heard was assembled in a cloud over us. Nothing is gone as though time and sound have become a single image."

-This is an excerpt from an essay in A+U January, 1973

Deleuze on life & sound

The important thing is to understand life, each living individuality, not as a form, or a development of form, but as a complex relation between differential velocities, between deceleration and acceleration of particles. A composition of speeds and slowness on a plane of immanence. In the same way, a musical form will depend on a complex relation between speeds and slowness of sound particles. It is not just a matter of music but of how to live: it is by speed and slowness that one slips in among things, that one connects with something else. One never commences; one never has a tabula rasa; one slips in, enters in the middle; one takes up or lays down rhythms.

— Gilles Deleuze, Spinoza: Practical Philosophy

Random Sequence, Collaboration with visual artist, Erin O'Malley

This is our first piece working together. The sound is a combination of my cat licking a yogurt wrapper and a drone loop of highway noise recorded on a reel-to-reel. I also added some experiments with max to get the texture and fluid qualities that change throughout the piece.

From erin_omalley:

This piece began with footage of water splashing around, filmed from a video magnifier. The frames were extracted from their video format and shuffled into a random order, then turned back into a video. I like the erratic yet almost structured way it turned out, a bit of natural chaos melding with computerized randomness.