AAS present Holectics: Team 1/2/3

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Holectics: Team 1/2/3

Saturday 26th / Sunday 27th July 2014

dd information to walls. write out “sum of current knowledge
egins (green areas

ntext of the occult, is in concerned with the loss of individual identity in exchange knowledfunctions within a coge though summoning some supernatural presence and following its will. See also:AcéphaleCthulhu Mythos cultsnding through creating a collective consciousness ructures. See also: Anti-psychiatryThe Borg, ext concerand critiquing poleadership holo sness ructures. Officer class. See also: Excectuve funciton a

Note: this feels a lot like consuming people….

Be ready to be recorded
Be ready to record
Be ready to walk
Be ready to eat

Tickets required (free):
Join Team One
Join Team Two
Join Team Three

Part of Fear+Trembling_

Five Years, 66 Regents Studios
8 Andrews Rd
London
E8 4QN

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Radio programme: The Radiophonic Laboratory of Antimatter (SoundFjord / concertzender, Netherlands)

Earlier in the month I invited people to my studio to translate the abstract painting processes  of Situationist “Pinot” Gallizio into abstract audio. On Wednesday 23rd July, Dutch radio station Concertzender will broadcast a documentary programme I’m making about the process, featuring recordings from the workshop. The programme was curated by SoundFjord as part of Martijn Comes’ Inventions for Radio.

The show airs at 10pm UK time or 11pm CET. You can listen through the Concertzender website. Full details below:


In the series Inventions for Radio, July 23rd 23.00 CET the first of a triptich episodes curated and presented by SoundFjord London. Sound artist Graham Dunning explores the work of engineer, botanist, chemist and artist Giuseppe “Pinot” Gallizio in “The Radiophonic Laboratory of Antimatter”.

RLAM

Concepts of eternity and immortality will disintegrate, and the woes of eternalization of matter will be reduced ever more to nothing …the stripteases of the constellations, the rhythmic dances of asteroids and ultrasonic music of thousands of fragmented sounds will supply us with moments worthy of demigods.

During the late 50s and 60s, founding member of the Sitationist International, Giuseppe “Pinot” Gallizio – an engineer, botanist, chemist and artist – developed a technique known as Industrial Painting. In a collaborative effort – a critical perversion of the assembly line – artists, scientists and local people used primitive machines to fill long rolls of canvas with abstract-gestural paintings. These mass-produced but unique objects were intended to be sold en masse, cut up by-the-metre, to usurp the art market.

Through an ongoing project, sound artist Graham Dunning explores Gallizio’s work by analogising the visual and auditory realms. This radio programme documents the latest stage in the process: The Radiophonic Laboratory of Antimatter. Here Dunning invites participants to a workshop at his London studio, the aim, to create abstract-gestural audio by transposing Gallizio’s original techniques into sonic equivalents.

Today man is a part of the machine he has created and which negates him and by which he is dominated. We must invert this non-sense or there will be no more creation; we must dominate the machine, force it to make the unique gesture — useless, anti-economic, artistic — in order to create a new anti-economic society, one that is poetic, magical, artistic. 

After lengthy discussions on how the process might possibly be achieved, the group builds a sound-making machine from record players, tone generators, elastic bands, kitchen implements and musical instruments. Working within and pushing against parameters set out in the preliminary discussion, the operators release the ghost in the machine. A collaborative exorcism: mixing desk as ouija board.

All quotes in italics:
Discourse on Industrial Painting and a Unitary Applicable Art
Giuseppe Pinot-Gallizio, Internationale Situationniste #3 (December 1959)

Artist Biography:
Graham Dunning’s art is tempered by his background in experimental music. This framework is a means to consider his preoccupations and negotiate concerns of thinking, making and doing within his practice. Graham is unrestricted by medium, though time and again he is drawn to working with sound, or found objects.

Experimentation and play are integral elements within the manifestation of his work. So too the desire to define boundaries, and assert restrictions – as one might conduct a scientific experiment. Noise, as unwanted sound – record crackle or tape hiss for example – is an ongoing motif within Graham’s work. Likewise, its visual equivalent, that of dirt, dust, decay. Analogy between sensory mediums, such as audio to visual and vice versa is a process and production method that Graham often works towards.

In his work, Graham considers Time as a concept, as well as its personal implication on everyday life. He is fascinated by how people store their memories – in personal archives: photographs, audio journals, post-it notes – and what becomes of those archives. Graham is a collector and is fascinated by how and why others collect. Discarded objects hold a particular interest as for him they are vessels for stories, suggested or inferred.

www.grahamdunning.com

SoundFjord
SoundFjord is a creative venture specialising in the production, curation, exhibition and promotion of sound, trans-media art and related research and practice. In 2013, SoundFjord unshackled itself from its North London studio and became a fully-fledged nomadic concern. Unfettered by the specificity of a single space, location or architecture, SoundFjord’s work is now to be found online, on air and in situ in a variety of places.

www.soundfjord.org

Producer: Martijn Comes

 

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The Radiophonic Laboratory of Antimatter (London)

RLAM

The Radiophonic Laboratory of Anti-matter

Concepts of eternity and immortality will disintegrate, and the woes of eternalization of matter will be reduced ever more to nothing …the stripteases of the constellations, the rhythmic dances of asteroids and ultrasonic music of thousands of fragmented sounds will supply us with moments worthy of demigods.

In the late 50s and early 60s, early Situationist Giuseppe “Pinot” Gallizio, an engineer, botanist, chemist and artist, developed Industrial Painting. In a collaborative effort – a critical perversion of the assembly line – artists, scientists and locals used primitive machines to fill long rolls of canvas with abstract-gestural paintings. These mass-produced – yet unique – objects were intended to be sold en mass, cut up by-the-metre, to usurp the art market.

In this Apiary Sunday Salon you’re invited to become part of an audio-homage to Gallizio’s process. Join forces to create a chaotic, unpredictable, abstract-music-making-machine. Lee “Scratch” Perry described Dub as “the ghost in me coming out.” Together, we will perform a live Dub on the sprawling contraption: to summon and liberate the “Ghost in the Machine”. All hands simultaneously on the controls: mixing desk as ouija board.

Today man is a part of the machine he has created and which negates him and by which he is dominated. We must invert this non-sense or there will be no more creation; we must dominate the machine, force it to make the unique gesture — useless, anti-economic, artistic — in order to create a new anti-economic society, one that is poetic, magical, artistic.

Bring instruments, contraptions, noise-making objects, broken drum machines, found tapes, bits of wood, air horns, tape loops, cat gut, dental floss and traffic cones… kitchen sinks. We will plug everything together to make our machine.

Each person will feel the joy of color, of music; architectonic airs of colored gasses, hot walls of infrareds that provide eternal springtime – we will make it so that man plays from the cradle to the grave, and even death will be nothing but a game.

Experience is a burden – no musical technique is required. No “playing” of instruments; just play itself. Total, egalitarian production. If you can make a noise you’re doing it right.

So great will be the artistic productions that machines will produce, compliantly bending to our wills, that we will not even be able to fix it in memory; machines will remember for us.

On Wednesday 23rd July, Dutch radio station Concertzender will broadcast a documentary programme I’m making about the process, featuring recordings from the workshops. The programme was curated by SoundFjord as part of Martijn Comes’ “Inventions for Radio.”

Not even the habit of establishing time will be preserved.

From now on, time will be merely an emotive value, a newly minted coin of shock, and will be based on the sudden changes arising in moments of creative life, and upon rare instants of boredom.

Event starts at 4pm and finishes some time after that.

All quotes in italics from:
Discourse on Industrial Painting and a Unitary Applicable Art
Giuseppe Pinot-Gallizio, Internationale Situationniste #3 (December 1959)

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Live synth drone/noise set for The End (Power Lunches, London)

New-synth

On Monday 30th June I’m playing a solo set using only the home-made synth above, mixing board and effects. The synth itself is intended as a test-tone generator, but switching some capacitors has given it some unusual and unpredictable characteristics.

The End
Monday 30th June
doors 8pm
Power Lunches
446 Kingsland Road, London E8

Full details and line up on the facebook page here.

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AAS Triple Solstice Ritual – Collecting / Transforming / Releasing (secret location / Birmingham / Birmingham)

aas-solstice

The Triple Solstice Ritual spreads underfoot and fruits in the coloured light of the prism sun.
Over three assemblings, AAS will transform matter into spirit, moving from one stage to another, via the liminal space of ritual.
The esoteric and the collective are there at all points, but the balance will change between and during each event.
Separation, Limiality, Reaggregation: stages of piercing the veil, allowing transference between earthly and invisible zones
A collective statement of becoming will be produced through action.

Triple Solstice Ritual Pt. 1 (Collecting): The Earthen Disc
21 June 2014, secret location.
“Frequently visit and discipline the inner realm to discover the secret jewel”

Frequently, when two penetrate, they heterogeneous into frenzy
and are the discipline repeated mutually.
Other first, the every incomparable without is inner day worlds at the realm of One. Once profane to weeks is entering world.
Discover fail that into where relations second secret leave.
With that jewel in daily extraordinary of life powers.
Sacred could the drags that things such conviction wearily excite experiences
that along with him as there but to these really the especially exist cannot point.

Triple Solstice Ritual Pt. 2 (Transforming): The Emerald Tao
27 June 2014, Birmingham Institute of Art and Design.
http://cfar-biad.co.uk/index.php/497-cfar-conference-twice-upon-a-time
“Upon examination the interior of matter contrives rules to conceal its position”

Upon Rehabilitation, The Separated examine ‘Transforming Bill’.The contrivances of the Emerald Rules reform community Tao. The Sun at its liminal position.The plan named ‘Rite Offender’ changes the Rehabilitation,
transforming mother, transformation Bill.Extended emerald preparation delivered supervision Tao for consultation.
Release a third Transforming Progress Machine,
serving and transforming short substances of revolution.
Pulverising Triple Solstice Earth Ritual
that we may greater manage the flexibility of elements

Triple Solstice Ritual Pt. 3 (Releasing): The Blue V.I.T.R.I.O.L.
5 July 2014, Ort Gallery, Birmingham.
http://ortgallery.co.uk/
“Visit the underworld regularly to reach the hidden stone.”

Visit plane relationships across fresh, underworld, matter space
and regularly become STARS.
Peak pooling continues and Grindhouse’s trough fracturing exemplary disc.
Hidden giving work, preserving stone; the action.A sensation.
The moods wet and blue, and earth function crystal realm mystery machine of vibration
splitting separating beneath
The beings. The gorgeous original molecule.
Continual earth film.
Cinematography One.
Changing is offering.
The Scoring, singularity forming, revealed the SWIMMER.

 

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Live solo set at Cafe Oto (London)

STEPHEN CORNFORD + GRAHAM DUNNING + JOHN MACEDO

Monday 2 June 2014
Door Times : 8pm
Tickets : £6 adv / £7 on the door

A night of tactile and mechanical electronics with three solo performances by Stephen Cornford, Graham Dunning, and John Macedo. 

Following from my set at Stryx and show-and-tell for If Wet for Supernormal I’ll play  my first solo live set at Cafe Oto.

“Situationist Giuseppe Pinot-Gallizio built machines to make abstract expressionist paintings on long rolls of canvas. My ongoing project, Music By The Metre, is an audio homage to Pinot-Gallizio: music making machines that fill spools of tape with abstract music. Lee Scratch Perry described dub as “the ghost in me coming out.” By performing a live dub on a music making contraption I will release the ghost in the machine.

Vinyl dissonance for lost memories: a live rhythmical collage made of squeezed record crackle, analogue synthesizer, dubplates of field recordings, dusty shellac records and clumsily triggered drumsynth. Mechanical techno, ghost in the machine music.” – Graham Dunning

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Live solo set at RACKET, Stryx Gallery (Supersonic Festival) Birmingham

 RACKETwebStryx are delighted to present ‘Racket’, our first appearance at Supersonic Festival and afternoon feast of noise, experimental and live sonic art offerings from a diverse roster of sound artists who utilise extraordinary objects and techniques to inform their sound making.
Serving up a taste of some of Manchester and Birminghams’ most exciting sound artists, the bill includes; Graham Dunning, Sarah Farmer, Manoli Moriaty , Rosanne Robertson , David Birchall , Debbie Sharp with many of them participating on Saturday’s ‘If Wet’ Salon.

£4 entry on the door or £3 with Supersonic ticket.

Unit 13
Minerva Works
Fazeley Street
Digbeth
Birmingham
B5 5RS

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