Tuesday 24th May

May 24th, 2016

11am – 6pm. Studio 1. Audio Communications Group, 3rd floor, TU Berlin.

Extraordinary practical workshop with Sukander Kartadinata. Bicycle as Instrument.

Our aim today is to gather an understanding of sensors so that we can select and build appropriate systems to produce meaningful data that can be used to play or transform sounds when riding a bike.
Also an active cyclist and member of the BRI, Sukander takes us through some practical thought on sensor circuitry to computer interface and audio output, where we spend most of the day immersed in Raspberry Pi’s with sensehats and Pd application. As ever, these processes are much longer than anticipated bearing in mind our wide range of skills and the many different ways of doing things. Outcome though is each participant has a pi that will change sounds when rolled around. Great start. With 2 weeks to each make Pd driven sound synthesis progress, we will have a bike hardware follow up session on Wednesday 8th June. 11-6pm. SensorBuild1_Plan

Monday May 23rd

May 23rd, 2016

10am. Studio 1. Audio Communications Group, 3rd floor, TU Berlin. Gemma Corradi Fiumara writes, “Our philosophy is grounded in only half a language, in which the power of discourse is deployed whilst the strength of listening is ignored. We inhabit a culture that knows how to speak but not how to listen….”  Philosopher Sophie Haroutunian-Gordon asks, “..did Plato have a philosophy of listening, and if so, what was it? Listening is the counterpart of speaking in a dialogue, and is no less important. Learning from a dialogue is less likely to occur unless listening as well as speaking takes place.”
Lecture 4. Sociality of Sound.
Digging back into the classical past of experimental music making from the 40’s and 50’s, I’m presenting the electroacoustic work of Pierre Schaeffer(musique concrète) and GRM alongside the same time work across the Atlantic of John Cage. Schaeffer making music as object played in the dark void of familiar contexts and performer yet creating new ones, and Cage presenting live performers following a set of instructions in a space with an audience to witness the happening, the every day actuality of it being vital for the experience. Schaeffer’s music presented as a fixed object of new sound made through recordings, Cage’s events being always different with an increased focus on new composition systems created by chance. Both approaches though requiring focused and reduced listening to experience.

We listen to different versions of “Wonderful widow of 18 springs”(Cage), (with and without video), ” “Imaginary Landscapes no1″(Cage) with video,”Etude de Bruits” & “Etude aux objets” (Schaeffer) closing with “La Création du Monde”(Parmiagani) to exemplify. I confess to streaming the last piece off You Tube and through the studio’s 12 channel Meyer rig, it sounds great plus we can hear its motion. Impressed with streaming capabilities of YTube.

We also discuss what we found from spending 2 weeks listening for 10 minutes every day, writing down what we heard and the experience of no headphones. Responses varied. Some really focused on the task by listening for big sounds that were interesting, consequently always thinking and not really listening at all. Others found the breadth of the landscape they could hear widening. The projector in the studio is also sickeningly loud. We sit and listen to it for 3 mins and it blocks everything out, transforming itself into deep blue layers of shifting, cycling rhythms.

Good to be revisiting these thoughts after all this time. Even better to be doing it with minds of such different approaches.

(image: yesterday, the now empty runway-ed Templehof.  Sounds spread as beach by wind in sun )

Monday May 16th

May 16th, 2016

Micromusik-site_explore Landed back in Berlin last night. Great. Today in the Tiergarten with old friend and collaborator Andrea Neumann, then out with Gregor Holz exploring the neighbourhood around Villa Elisabeth where Sukander and I will be presenting a new sonic bike work for Micro musik Festival in September. Gregor is also showing me the parks as if Suk and I go the ‘bike as instrument’ route for audience, we’ll need wide open spaces for them to wobble around in. Still surprising there are so many green spaces here. And lawd I love the noisy cemeteries where names on headstones are engraved deep in white. In the UK you need to get close to find a dead person’s identity and you’ll be lucky if you can read it after a few years. Why is that?  Strange also to pedal backwards and forwards through that large chunk of land that was the wall – past old watch towers, blocks of flats, windows that could watch the other side.  A stupid amount of totally tasteless, thoughtless architecture now seeps through it. Considering the creativity at play in this city, it’s daft. Bah we are weak for fast reward.the wall line

Wednesday May 11th

May 12th, 2016

Screen Shot 2016-05-19 at 22.49.51 Back in London, now @ToynBee studios with Joe Moran and dancers Helke, Sam, Neil, Kirsty and Chris. We’re continuing the work we were doing at Sadlers in March with Eva Rothschild’s sculptures. Standing rods stark, black plastic rustling, bodies stretching and dashing, each one so different. Fantastic to play with it all. We’ll be presenting the shape of where we’re at tomorrow afternoon in Confusion is why.

Monday May 9th

May 9th, 2016

MindMaps 10am. Studio 1. Audio Communications Group, 3rd floor, TU Berlin. The trick is to ride here then land with breakfast and coffee. The department is silent. Today is exciting. From now on I’ll be presenting considerations for bicrophonic artists that I’ve been growing in the last two years of making. They’re ideas that I have had to research in order to present them. Inspiring stuff and great to now make the time to do it. Today is space.

Lecture 3. Social and technological space. Physical space- a definition;Ma-negative space; visual and sonic perceptions of space; to Henri Lefebvre; Gaston Bachelard; psychogeographer Guy Debord and the Situationists; to dérives and map making.

From the making of 10 sonic bike works, and the compositional decisions and discoveries made, I have come to the conclusion that the bicrophonic artist needs to consider space beyond the physical characteristics that might be at the surface of any outdoor environment, and needs to move beyond the image, the spectacle of the spaces they or their audience might be sent to pedal through. Indeed the consideration of space beyond the surface may also open a door to fresh directions for compositional strategies.

For this session, I presented ways of thinking about space as an entity, a substance, and then focused on the works of three 20th century philosophers.  A critique of space-Henri Lefebvre; Poetics of space and a Phenomenlogy of Architecture Gaston Bachelard, and psychogeographer Guy Debord, dérives and map making. We concluded the session drawing mind maps of our day before 10am.

Students departed with sound diaries to keep daily,(10 minutes), and no headphones to be worn until next session. Monday May 23rd. Next week is a Bank Holiday. I will post my lecture notes.

Monday May 2nd

May 2nd, 2016

MarveloGirl 10am. Studio 1. Audio Communications Group, 3rd floor, TU Berlin. This morning my ride west from Simon-Dach Strasse along the column straight drama of Karl-Marx Strasse to Alexanderplein, left over the Spree, under the Brandenburg gate and right across the Tiergarten took only 32 minutes. It’s sunny and warm. Berlin has space and skies.

Lecture 2. The birth of bicrophonics.  I take us through the ten sonic bike works made since 2012. Not an app but free of the internet. Maps as scores. Different cycling possibilities demanding different routes, different economics in time and money creating different methods. Different atmospheres make different music. Solo or collaboration. Director or composer. Linear routes making linear narratives. Audience choosing path making timeless works.  The often overlooked necessity for not only reliable electronics, but their safe and rigorous installation, eg.tic tac boxes strapped on with cable ties are not enough, and as ever, now that you’ve made it, you need to learn how to play it. Remember how long that takes.

It’s all very simple and somehow fascinating.

Monday April 25th

April 25th, 2016

studio1 10am. Studio 1.  I have arrived at the Audio Communications Group, 3rd floor, TU Berlin and have the delight to meet and present to students in this 8 channel space of sonic precision.

Lecture 1. The background to bicrophonics.
Through my preparation to design and teach this course, I have sat down and revisited my practice from the very beginning. Where did all this come from? It’s now not just about needing to make new music live. It’s about space, and a fascination with it gathered from an ever growing understanding about the power of the space in which we live to influence, even determine our lives from many aspects. It is this subtle, sublime force, that has led me to an enquiry that is still, after all these years, exploring the same thing.  I have a fascination in articulating space.

[ ~ articulation.. the act of speaking or expressing an idea in words ~]

What does articulate space actually mean? To talk about space? To re-identify what is space? To express it through a series of sounds? No, I’m using this term by taking sound through it. And in some way or another, I have been doing this for around 26 years. Curious to transform it.

Air as medium, material, subtle intervention. Listening. Community radio, London 1990’s, net art, public art, live streaming, open source, free workshops. Yes, I begin with the violin, intimate vibrations under chin, physicality in music appreciation and making as a child. Later, sonic world explodes through electronics, samples, late 80’s acid house music. A five year adventure with a midi violin in York then Devon then STEIM, LiSa discovery, co-design, hitting London solo and the freelance world. Off the stage, small live shows worldwide, 6 solo CDs and a growing desire to widen audiences. Moving sounds through space shifted from the concert hall to the streets.  Radio. Air as medium became material. Radio Cycle. The Marvelo Project, five years later providing precision in space through GPS accuracy. No. Not an app. Free of the internet.. Streets as scores. Bicrophonics is born

Sunday April 24th

April 24th, 2016

Screen Shot 2016-04-24 at 22.17.07

Landing #Berlin + spring + long streets to stretch in. @bicrophonics action will there be! @TUBerlin

Friday April 22nd

April 22nd, 2016

RadiocycleNetworks‘ Imagine a bird’s eye view of East London. Imagine the shifting sound map that ebbs and flows with the passage of the day. Imagine a music that infiltrates that. Not just through several homes tuning into the same radio station at the same time, or a host of folk all being into the same cd at the same time. No.  Imagine that piece playing from 50 small speakers, all moving through the streets in choreographed routes, individually, in small groups or together. Quietly infiltrating the everyday noise of the city, like spiders, all in unison, maybe unnoticed, maybe coming together at some street corner to play some weird music or hear a story.  Imagine that those sound pieces are made by you. ‘        Radio Cycle.KM. June 2003.

I’m digging far back into the past and revisiting the ideas and materials I was making and exploring with back in 2003. This was the view from my Andrews Rd Studio and the building on top of which we installed our radio antenna to run Radio Cycle 101.4FM. It was a boiling hot summer and our station ran 24/7 for 10 days, with free sound making workshops, locals coming to broadcast news, beliefs, music, stories, discussions on networks and radio waves, songs, gaming and compositions for streets nearby.

Incredibly, I’ve just discovered that all along,  I’ve simply been attempting to redefine/ articulate /transform experiences of ?/pervert space all along. It’s that simple. Even tracks on cd Eb and Flo (and don’t listen to it on laptop speakers!) reveal that. This period in Berlin has just revealed itself to be coming at the perfect moment.


Thursday 7th April

April 7th, 2016

Screen Shot 2016-04-07 at 23.44.41So the six hammerheads were toning, bending and buzzing their way around the Auricle at dawn UK time this morning, the platform vibrating, the clarity of shark shaped gesture apparently remarkable. Wishing even more we might have been there. As you can see, a special NZ wine has been selected to accompany the experience. O they do so know how to do it down there. Cheers and many thanks all at Auricle for such care..