The 26th of June was a rainy Friday in New Zealand's capital city, and the aether was filled with reports of Michael Jackson's death (at 11am that day, NZ time), as I prepared a 2pm radio cegeste transmission to the other side of the globe from a lecture theatre at Victoria University of Wellington's school of architecture and design.
26 Jun 2009
"white and aimless signals" : icecast to free103point9's Noise! festival at the Ontological Hysteric Theater, Manhattan
The 26th of June was a rainy Friday in New Zealand's capital city, and the aether was filled with reports of Michael Jackson's death (at 11am that day, NZ time), as I prepared a 2pm radio cegeste transmission to the other side of the globe from a lecture theatre at Victoria University of Wellington's school of architecture and design.
21 Jun 2009
radio cegeste with Motoko Kikkawa at NONE
the first public unveiling of the violin / radio duo with Mo Kikkawa on the 20th of June came at the end of my two month stay in Dunedin, as the closing act of a gig which umbrellaed a variety of new combinations of artists from NONE's dynamic, vibrant improvised music community.
Radio Cegeste from Edie Eves on Vimeo.
Dunedin winter DIY
DIY preamp building on the coldest night of the year... many thanks to electronics wunderkind Nigel Bunn for his inventive circuit bendings...
"rarely has reality needed so much to be imagined...." : residual vistas : alexandra bridge, lake te anau, queenstown
residual vistas, imaginary landscapes: three undated hand coloured framed photographs found in opshop on St Andrews St, Dunedin, June 2009
"My working hypothesis was that any reasonably long memory - like every collection - is more structured than it seems at first. I think that a collection of photographs, taken apparently at random, or postcards, chosen on the spur of the moment, reaching a certain size, will start to draw a route, a map of the imaginary country inside us. By systematically looking through all these images, I am sure to discover behind the apparent disorder a secret map, like one of those treasure maps in stories about pirates."
14 Jun 2009
'in morning, reverberant'*
in morning, reverberant
"The memory of a precise colour in the street bounces back on another country, another distance - endlessly." - Chris Marker, Sans Soleil
as a day unfolds silently and very fast.
as a dawn colour flooding in the lesser lamps and overtaken.
as a boundary of lit shards breaking in radial lines opening to graph the bay and further it.
as a creeping tungsten flared line of warmth and thaw through those eyes already open to it.
as the picture of a street which flutters down a street.
as description and commentary mainly recorded off-site.
as a repeated series of opening blinds cut into dark into light into dark/lit cutting.
as a sequence of bricked pillars arcing the potential for that part of the narrative.
as location footage gathered around this time of day over an indefinite period.
as happening again and again reinforcing the arbitrary site as centre of seeing.
as fiction and nonfiction trees that enable me to go on counting them.
as a never ending loop which drives by like an expected bus on time.
as a sequence of easily memorisable patterns.
as the tendency toward valuing certain small objects.
as a story most likely to be happening now that it is.
as lemon slice and coffee in the cafe breaking into speech, as one city into the memory of another.
as overlaid archival material of birds' upflight from the square as device of remembrance.
as worlds experienced while roaring inside the wild whiteness of feathers.
as angling in with desire's mathematics of storm.
as motioned with you as utterance, shoulder to shoulder.
as the attempt to know, eyes closed, and precisely.
as this detail, a material formerly unembodied, unheard or unpublished.
as nothing existing outside of this recording.
as an instant of what went before and failed to capture it.
as knowing even within the experience that it is already.
as an instance of what we were and merely.
as a series of copies or distortions.
as a repetition turning into and within the excess of language's unravel.
as replay of sequence in rolling sight.
as the same actors every time, the same speech, the same.
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*[first published in the Australian literary magazine Going Down Swinging, issue 28 (2009), p. 7]
10 Jun 2009
owls do cry : field recordings in the grounds of seacliff asylum, dunedin
a field trip to the grounds of the old seacliff hospital on the outskirts of dunedin produced some recordings of local birdlife, and associated reflections on Janet Frame's history on site during the most troubling period of the writer's life. Her first short story collection The Lagoon and Other Stories was published while she was a patient – advance copies arrived on 4 March 1952. Nine months later, in December of the same year she was scheduled for a leucotomy at Seacliff. As Michael King puts it in An Inward Sun – the World of Janet Frame :
6 Jun 2009
Kikkawa/McIntyre/Noyes
the fertile creative laboratories of Dunedin's NONE community continue to provide ample avenues for collaboration, and opportunities to test out the creative instrumental potential of transmission art as one blip on the experimental music spectrum. An improvisatory exercise with violinist Motoko Kikkawa and percussionist Lee Noyes on June 6 lasted for over two hours.