tag:blogger.com,1999:blog-88602682383234674882024-03-14T13:53:44.427+13:00radio cegeste 104.5FM.Unknownnoreply@blogger.comBlogger155125tag:blogger.com,1999:blog-8860268238323467488.post-75502118032146130262024-01-14T15:32:00.005+13:002024-01-14T16:32:42.151+13:00Sterbende Welt redux: field notebook for a failed nature documentary (for Andreas Reischek), commission for Kunstradio (Austria)Title: Sterbende Welt redux: field notebook for a failed nature documentary (for Andreas Reischek).Artist: Sally Ann McIntyreDuration: 50:00----In Vienna I look at a being that can no longer look back. In the bird’s eye, plucked out and long discarded, is the past I cannot access. There is a world there, a way of sensing and moving in the dense green thickets of canopy of the 1880s, which are notUnknownnoreply@blogger.com0tag:blogger.com,1999:blog-8860268238323467488.post-51076451885217877652023-06-24T06:32:00.014+12:002023-10-05T02:13:20.433+13:00Post-extinction huia soundings, Te Whanganui-a-Tara 1912-1924 (moments of history torn away from the movement of history, then returned; no longer quite life, not yet death) Post-extinction huia soundings, Te Whanganui-a-Tara 1912-1924 (moments of history torn away from the movement of history, then returned; no longer quite life, not yet death) is a sonic fieldwork project that extends and recontextualises ongoing artistic research by Sally Ann McIntyre that focuses on the audible traces of charismatic extinct bird the huia. In Collected huia notations (like Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8860268238323467488.post-82659736050762090192022-12-08T02:32:00.007+13:002023-04-15T15:48:28.749+12:00'Nocturne: Sonic Migrations' broadcasting on Radio Amnion, 8-10 December I'm truly delighted to be able to announce that the composition and live site-specific performance work Nocturne: Sonic Migrations, a project developed over two years by curator Eliza Burke and composer-performers Matt Warren, Dani Kirby and myself for a performance on the nipaluna/Hobart waterfront in February 2022, has been thematically and physically extended through a Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8860268238323467488.post-19701554363728786502022-09-05T17:26:00.010+12:002023-04-15T15:49:22.049+12:00marcasite radio (an unstable object for ann ada): further and future experiments. I'm starting writing this today on the 4th September, 2022, a date that marks 12 years since the 2010 Christchurch earthquake. A geological event understood within discourse for a while, after the even more devastating event of 2011, as the 'first' quake. And perhaps some of us reading and listening also believed this. Within the settler imagination and timescales, it was unexpected, and Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-8860268238323467488.post-32653082976328515302022-04-03T14:07:00.009+12:002023-04-15T15:49:53.969+12:00The New Zealand Storm Petrel, transmission for 'Ground' exhibition, at Haus of Vovo A work by radio cegeste is scheduled to be cast over the airwaves of a small-radius transmission art station embedded within Haus of Vovo, a project space in New Norfolk, lutruwita/Tasmania, in an exhibition entitled "Ground," opening next Saturday the 9th April and running until the 22nd May. It joins several other works gathered together on the theme of one of the four known fundamental Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8860268238323467488.post-59809084031076417502022-02-07T02:54:00.014+13:002023-07-21T04:06:10.177+12:00.--. .-.. .- --. ..- . / -.-- . .- .-. (plague year), for Radiophrenia Glasgow 2022A new work by radio cegeste, '.--. .-.. .- --. ..- . / -.-- . .- .-. (plague year)' has been made as a half-hour program for radio art project station Radiophrenia Glasgow. It is scheduled for broadcast on 20 February 2022, 2:00 pm - 2:30 pm, GMT. '.--. .-.. .- --. ..- . / -.-- . .- .-. (plague year)' (2022) is a thirty minute edit of a fifteen part live transmission artwork Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8860268238323467488.post-16598142456593069742019-06-08T16:47:00.000+12:002019-06-10T14:45:24.370+12:00ESC: Sonic Adventure in the Anthropocene
I'm really pleased that some of my audio work themed around the re-collection of museological traces of extinction, the devastation of island ecologies by globalisation, and the sounds/silences of lost birds has been included in a fascinating new work of audio scholarship in the Environmental Humanities called ESC: Sonic Adventure in the Anthropocene.
This 10-part open access Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8860268238323467488.post-84360804479705835602018-11-03T23:29:00.001+13:002020-09-02T02:41:14.108+12:00Twin signals at Silver Stream (fragments of a landscape for specimens #50.766 & #50.767)Drawing on the medium of radio’s ability to connect across time and distance, Twin signals at Silver Stream (fragments of a landscape for specimens #50.766 & #50.767) (2016-18) listens in to the global flows of colonial extractive economies via two minor silences present as traces in the landscape of contemporary Aotearoa/New Zealand. A new performance work and installation Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8860268238323467488.post-37782656298478540182018-08-14T18:25:00.039+12:002023-08-15T18:34:35.704+12:00Between 13-14 August 2018, myself and the Melbourne based sound artist Michael Prior took a 2 day workshop with RMIT students in the course 'Sound, Screen and Materiality,' on building and using a contact mic for recording, at Testing Grounds. the poetics of connection, immediacy + restraint: ground to ground, crystal to signal.Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8860268238323467488.post-32799132806055976312018-08-04T16:13:00.006+12:002023-04-15T22:14:17.331+12:00"study for two unfinished silences (for Len Lye)" in Sensory Agents: Sounds of Len Lye Sculpture, at the Len Lye Centre, Govett-Brewster Art Gallery, New Plymouth, 4 Aug — 18 Nov 2018In July 2018, in the Italian city of Prato, I found a small, antique zither in a local junk store. It was beautiful but in a sorry state. A few of its original 15 thin steel strings were missing, but those remaining had a pleasingly chiming, distinctly mournful sound. I procured it for 20 euro alongside its accompanying twelve yellowed, decaying music sheets that evoked the aesthetics of digital Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8860268238323467488.post-40231161625245666752018-03-12T17:33:00.138+13:002023-04-15T15:50:40.705+12:00In the deep time of the recording: performing with Arthur Allen's 1935 footage of the Ivory Billed Woodpecker
"We speak so much of memory because there is so little of it left."
- Pierre Nora, 'Between Memory and History: Les Lieux de Memoire'Extinction, while conceptually aligned with silence, has mediated histories that trouble and extend what listening to - and looking at - such silence might entail. As a media artist I find it valuable to speculate on the concept of "witnessing" extinction Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8860268238323467488.post-88678639167753782312018-03-06T23:14:00.000+13:002018-05-28T00:48:31.920+12:00'Study for a data deficient species (grey ghost transmission)' at Audiograft Festival, Oxford, UK
Audiograft is an annual festival of Contemporary Experimental Music and Sound Art curated by the Sonic Art Research Unit (SARU) at Oxford Brookes University, U.K. This year's programme ran from the 6th - 18th March and included performances of new experimental music and sound, exhibitions, artists talks and workshops. I could unfortunately not attend, although I did have a piece travelUnknownnoreply@blogger.com0tag:blogger.com,1999:blog-8860268238323467488.post-39237372484432563192018-01-15T18:37:00.000+13:002018-01-30T14:54:48.022+13:00Martin Nutt, TMN. Trichromatic Moiré (score), 2017
It's January, and summer in Dunedin. The empty days are stark and long and bright, and there is a held silence to my part of the city, up on the ridge. A poise, as if the new year is delaying itself as long as it can, not quite ready to begin. Harsh, caustic, white South Island light, framed in the warped late-19th century windows, sketches across surfaces, creating heavily delineated Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8860268238323467488.post-27291064054001125842017-11-12T16:11:00.001+13:002017-11-12T16:33:01.550+13:00radio 33, broadcasting from Domain House, Hobart, as part of the Hobiennale, 3-12 November, 2017.
When operated in politically strategic ways, the contemporary aesthetic use of modernist technologies, like radio, can function as an effective localised antidote to a global technological homogeneity, one that ultimately flattens the field to a narrow bandwidth of expressive possibilities, within a homogenised focus on commercial interests.
Joining other experimental and artist-run stations IUnknownnoreply@blogger.com0tag:blogger.com,1999:blog-8860268238323467488.post-54299620263663125142017-11-05T01:36:00.000+13:002017-11-07T17:41:54.966+13:00'three variations on a study for a data deficient species (grey ghost transmission)' on air at Radiophrenia 87.9FM, Glasgow
I have a radio art piece included in the impressively extensive schedule of radiophonic experiment coming up in the programming of radiophrenia 2017, a temporary project station for radio art, broadcasting 24 hours a day from 6 - 19 November, out of Glasgow’s Centre for Contemporary Arts. This solid fortnight of radio, sound, and transmission art (from friends, peers and many new names), Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8860268238323467488.post-68622405589826271042017-11-04T22:56:00.005+13:002021-09-07T20:23:24.173+12:00a Deaf Cinema for Thylacinus cynocephalus.
“It is not you who will speak; let the disaster speak in you, even if it be by your forgetfulness or silence.”
- Blanchot, The Writing of the Disaster
“…I give you the mausoleum of all hope and desire… I give it to you not that you may remember time, but that you might forget it now and then for a moment and not spend all of your breath trying to conquer it. Because no battle is ever won he Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8860268238323467488.post-53954376898637917652017-10-26T15:26:00.001+13:002017-11-07T03:27:18.789+13:00new writing by Meredith Kooi in Art Papers, Fall 2017 issue.
my work was recently profiled in Meredith Kooi's feature "The Chorus at Dawn: An Aesthetics of the Tweet" published in the Fall 2017 issue of Art Papers magazine. Thank you, Meredith!
here are a couple of excerpts:
""Talking to animals" such as McIntyre's extinct birds by using radio transmission - in what radio artist and theorist Gregory Whitehead describes as an "intricate game Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8860268238323467488.post-22151615037290031412017-09-18T01:37:00.001+12:002018-05-26T22:56:51.536+12:00Medium: Paranormal Field Recordings and Compositions, 1901-2017
An exhibition titled Medium, showing at the Zuckerman Museum of Art, Kennesaw State University, Kennesaw, Georgia, USA, between August 29 - December 3, 2017, will feature recordings from my project collected huia notations (like shells on the shore when the sea of living memory has receded).
The exhibition considers the possibility of communication with the unknown, collecting together Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8860268238323467488.post-79808211932791012822017-05-06T15:05:00.000+12:002017-11-07T03:27:04.548+13:00collaboration with Mark Harwood, 'Liar Lyre' at the Wellcome Collection, London
In early May, London-based Australian sonic artist Mark Harwood and I collaborated on a piece for an event at the Wellcome Collection, organised by academic, poet, film curator and experimental geographer Amy Cutler. Liar Lyre saw "experimental geographers, musicians, field recordists, multi-media artists, poets and composers play with alternate ways of sound-tracking nature documentariesUnknownnoreply@blogger.com0tag:blogger.com,1999:blog-8860268238323467488.post-48062533492046782952017-04-07T14:12:00.002+12:002017-07-17T11:35:29.488+12:00the tūī sings the place, not about the place
It is now Autumn in Dunedin, the gathering days just after the daylight saving change. The tightening of light, where the magic-hour creeps into an earlier time-slot, and becomes a particular hue of grey-green-gold at a certain time of late afternoon/early evening, one that occludes certain colours and makes the khaki land look even more sombre, like a fading bruise with a yellow edge, or a Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8860268238323467488.post-16051529945543573542017-02-13T03:43:00.000+13:002017-03-17T15:30:55.720+13:00QUIET NOISE VI.
on Feburary 12 radio cegeste was invited to perform at Quiet Noise VI, an annual house/backyard show challenging experimental/noise performers to play without amplification, curated by Clinton Green (of Shame File Music) in his suburban garden in West Footscray, in Melbourne, Australia.
taking a somewhat baroque approach to this ideal opportunity to explore the theme of non-electric Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8860268238323467488.post-16353515384199424862016-12-30T17:35:00.000+13:002017-07-18T17:42:06.326+12:00radio feature: "In Prototype Days: sounds and stories from the Sound Preservation Association of Tasmania"
In Prototype Days is an experimental documentary radio feature that details scenes in the everyday life of not-for profit small museum The Sound Preservation Association of Tasmania (S.P.A.T.), located in the quiet suburb of Bellerive, in Hobart, Tasmania. The museum is dedicated to the preservation and display of historic sound technologies, and is a rich repository of devices Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8860268238323467488.post-51630420759359440532016-10-29T16:49:00.040+13:002022-11-29T04:27:10.944+13:00bending the waves #1: a series about radio as instrument, ausland, berlin.
after travelling to Germany to be part of the Radio Revolten festival in Halle, I was invited to play the first of a two-part series of concerts called Bending the Waves: Radio as Instrument.
I invited Berlin resident composer and viola player Johnny Chang to collaborate. Johnny is from New Zealand, and we'd been friends for quite a number of years after I'd met him via my role as one Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8860268238323467488.post-3963931091998685032016-10-05T02:06:00.000+13:002018-06-12T02:59:14.281+12:00'Imagining Extinction: The Cultural Meanings of Endangered Species', Ursula K Heise. I was pretty chuffed to find out recently that Ursula K Heise, author of Sense of Place and Sense of Planet: The Environmental Imagination of the Global has written about my work as a case study in her new book Imagining Extinction: The Cultural Meanings of Endangered Species.
The University of Chicago Press writes the following about the book on its website: "We are currently facing the sixth Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8860268238323467488.post-24079011213769387702016-09-24T18:35:00.000+12:002017-11-07T04:00:33.853+13:00'Das Große Rauschen: the Metamorphosis of Radio' at Radio Revolten Zentrale, Halle.
arriving in Germany to be resident for the month of October in the city of Halle (Saale) to participate in the Radio Revolten International Radio Art Festival, I am joining more than 70 artists from 17 countries who will visit this month to contribute in a variety of ways to the festival, at the invitation of artistic director Knut Aufermann, and co-curators Anna Friz, Sarah Unknownnoreply@blogger.com0