Programme of works – Wednesday 30th September 2020

Streamed live at 7.30pm on: https://mixlr.com/lights-out-listening-group/

1: John Wilde
Title: Two methods of counting
Synopsis: “I count. I count my steps going to and from the station. I count as I pace
the platform waiting to buy a ticket and I count as I walk to where I’m going. Am I
going anywhere?” Part of a curious look at how I count when walking or pacing.
Duration: 5 minutes 45
Biography: John Wilde is a regular if infrequent contributor to LOLG. They are a
writer, director and performer currently working on the planet ZOOM for the most
part. John considers himself to be neurodiverse and is currently exploring this in his
work.
Web: https://soundcloud.com/user418043202

2: John Barber
Title: Beginning-Middle-End
Synopsis: Aristotle was perhaps the first to propose that every story have a
beginning, a middle, and an end. When a ringing telephone is answered, this
improvised sonic micro-narrative begins with the opening line of Beowulf, continues
through its middle with a sample from Radio Ruins of Art by Wojciech Bruszewski, the
longest work of radio art broadcast by a radio station dedicated to radio art, June
1988-November 1989, and concludes with Hugo Ball reciting his Karawane at Cabaret
Voltaire just before its closing in July-August 1916, all with background drone.
Duration: 1 minute
Biography: John F. Barber convenes with The Creative Media & Digital Culture
Program at Washington State University Vancouver. His scholarship, teaching, and
creative endeavors combine digital media art, Digital Humanities, and sound.
Web: www.nouspace.net /john twitter: @radionouspace and @reimaginedradio

3: Eleanor McDowall
Title: I’m So Sorry
Synopsis: Made in response to the Audio Playground prompt to tell a story in the form
of a list. This is a poem made out of a list of apologies I’ve sent in recent emails.
Duration: 2 minutes 5
Biography: Eleanor McDowall is a Director at Falling Tree Productions and the series
producer of BBC Radio 4’s Short Cuts. In her spare time she runs both the Radio Atlas
podcast, an English-language home for subtitled audio from around the world, and
Field Recordings – a podcast where audio-makers stand silently in fields (or things
that can be broadly interpreted as fields).
Web: @ellie_mcdowall https://www.audioplayground.xyz/

4: Julien Ward
Title: Room Study – House Party
Synopsis: I didn’t intend it to be one of these “i’m stuck at home pieces”, really. I’ve
actually moved in a new house and trying to make a home of it. This is what this piece
is all about: daily tasks turned into beautiful sound snippets.
Duration: 4 minutes 42
Biography: I’m still a musician minding his own business in his corner of the world.

5: Chin Li
Title: Love in the Time of Quarantine
Synopsis: Ruminations of a restless mind during these strange times of self-isolation,
where words may yet offer a glimmer of hope.
Duration: 9 minutes 8
Biography: Chin Li was an NHS clinical psychologist for many years, but is now
focusing on writing, and also dabbling in other forms of creative expression such as
audio work.

6: Cyril Lamar
Title: Sound and Vision #1 (Cycles)
Synopsis: The piece emerged out of exchanges and reflections during lockdown times.
It is a collage of field recordings, audio messages, as well as work with modular
equipment and tape delay.
Duration: 8 minutes 48
Web: www.passiveactivism.net

// Interval //

7: Barry Burns
Title: Tangled Predicament Fix
Synopsis: Probably something to do with Covid. I don’t know what.
Duration: 2 minutes 30
Biography: Co-manager of art radio station Radiophrenia which returns to the
airwaves in November.

8: John Barber
Title: Tiny Sounds
Synopsis: An uncurated sound art performance by several persons in a lecture hall at
Goldsmith’s College, London, each person walking about making sounds with small
instruments.
Duration: 2 minutes 30
Biography: John F. Barber convenes with The Creative Media & Digital Culture
Program at Washington State University Vancouver. His scholarship, teaching, and
creative endeavors combine digital media art, Digital Humanities, and sound.
Web: www.nouspace.net /john twitter: @radionouspace and @reimaginedradio

9: Mark Vernon
Title: The Dominion of Din (excerpt)
Synopsis: Originally created for the Amplify 2020: Quarantine Festival, The Dominion of
Din is a radio play made out of recordings from a single fixed perspective over an eighteenyear
period. It is created entirely from field recordings made out of the rear window of my flat
in the West End of Glasgow. In essence, it’s a catalogue of exterior sounds that have annoyed,
disturbed or angered me over the years living at this residence – and sounds that have largely
disappeared during lockdown. The irony is that on the only occasion that these sounds have
ceased for any length of time I’ve spent several weeks doing nothing but listen to them over
and over again whilst composing this piece.
Duration: 10 minutes (excerpt from 50-minute piece)
Biography: Mark Vernon is a Glasgow based sound artist whose practice focuses upon
field recording, the manipulation of environmental sounds and acousmatic presence.
Operating on the fringes of sound art, music and broadcasting, his work explores ideas
of audio archaeology, magnetic memory and the reappropriation of found sounds. A
keen advocate of radio as an art form, he co-runs Glasgow art radio station,
Radiophrenia and has produced programmes for stations internationally.
Web: http://www.meagreresource.com
https://amplify2020.bandcamp.com/album/the-dominion-of-din

10: Richard Taylor
Title: Get Drone
Synopsis: Selected binaural recordings made during a post-lockdown visit to my
hometown of Dronfield, Derbyshire, in August 2020. Some recordings were made
sharing a headset with my mum (she was left and I was right). Others were made
sending my dad off with instructions. With interweaving sampled music, ‘Get Drone’
explores old and new industry, signs of residents frequenting public areas, and
tentative familial intimacy.
Duration: 6 minutes 07
Biography: Richard Taylor is an artist and editor based in Glasgow.
Web: https://rich-taylor.co.uk/ http://www.instagram.com/richard_taylor_artist_writer

11: Joe White
Title: Wherever/Whenever/Whoever I am
Synopsis: Wherever/Whenever/Whoever I am aims to foreground the qualitative and
affective potential of recorded speech. The piece focusses on movements between
inner and outer voices and asks where recorded voices might seem to ‘exist’ when
they are heard back. It also attempts to mentally project towards a future moment of
playback, whilst acknowledging the speaker’s presence during the moment of
recording. The piece lastly explores how sonic manipulations of a recorded voice can
affect its qualities and the listeners impression of ‘who’ is speaking.
Duration: 5 minutes 41
Biography: Joe White is a devising performer, musician and researcher with a
particular interest in the performativity of sound and music technology. He is
currently undertaking a PhD in Theatre Studies at Glasgow University (investigating
concepts of presence through uses of the recorded voice onstage). Joe also performs in
the UK and internationally with percussion group STOMP and works as a freelance
performer/musician on numerous professional projects.
Web: www.clearlyjoewhite.com http://www.twitter.com/joewhiteclearly

12: OOR_Scintilla
Title: in earth, in archive
Synopsis: This is the closing track from ‘The Whiteadder Tapes’ – the culmination of a sonic
archaeology project undertaken by OOR_Scintilla in response to new mapping and excavational
research led by AOC Archaeology in the Whiteadder Water Valley, Scottish borders for the Whiteadder:
Heart of the Lammemuirs community project 2019-2020. Composed solely from field recordings,
instrument sound and the human voice, the record is an exploration of acoustic ecology and the
territories between environmental, human and technological presences in the context of local history
and folk narrative. The album re-works, fragments and builds upon on a number of related Scottish +
Irish folk laments as a basis for exploring dynamics of the voice, placing them within improvisational
terrains of traditional instrument drones, environmental sounds, stray electromagnetic signals,
infrasonic listening… Through a continual tuning in and out of the Whiteadder Valley’s natural material
and unique historical remains (earth, water, winds, streams, stones, mosses, forest, brochs, cairns,
hillforts) together with gestures merging traditional and contemporary music, The Whiteadder Tapes
invites one on a journey through intimacy, distance, the speculative poetics of listening and languages
of place.
Duration: 11 minutes
Biography: OOR_Scintilla (Louisa Love + Clive McLachlan Powell) are an
experimental artist duo exploring the material poetics of sound, voice and place.
Working haptically + with numerous forms of resonance across field recording,
instruments, electronics + the voice, they produce environmentally-responsive work
addressing hybrid and uncertain conditions, often with reference to ancient folk
origins.
Web: https://soundcloud.com/oorscintilla https://www.instagram.com/oor_scintilla/
https://oorscintilla.bandcamp.com/album/the-whiteadder-tapes-2
whiteadder.aocarchaeology.com

// The end //

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