Sydney
24 – 27 June 2009

Liquid Architecture 10 will be a landmark occasion for the festival and for sound culture in Australia. Celebrating its tenth consecutive year, the Liquid Architecture sound arts festival will be held across three city venues, The Performance Space, the University of Technology Sydney and Hermann’s Bar, presenting an exciting program of contemporary sound arts. With a decade of experience to draw upon the diverse program features live events and installations showcasing the highest quality sound work in an intense, focused listening environment.

In Sydney, Liquid Architecture 10 presents a program of performances, installations and artist presentations. The breadth of diversity of artists and artistic practices includes meticulous recorded work, improvised instrumental performance, new sound for screen work, radical uses of digital technology, inventive self-made sound making devices and historically informed practices.

Sydney Directors: Jennifer Teo & Shannon O’Neill
Production Manager: Sarah Davies

liquidarchitecture.org.au

Program

Download the LA10 Sydney Program

Download the LA10 Sydney Program [Flyer] [6.6Mb]

WED 24 JUNE

Exhibition: Correspondence @ Performance Space

Wed 24 – Sat 27 June
FREE

Opening Wed 24 June (6:00pm)
Performance by Ruark Lewis & Rik Rue

Scott Arford (USA), Ruark Lewis & Rik Rue, Lauren Brincat, Vicky Browne, Josie Cavallaro.
Memory Flows: Nigel Helyer, Greg Shapley, Maria Maranda & Norie Newmark, Jacqueline Gothe & Ian Gwilt.

A composition of works interrogating ideas of sound, music, conversation and silence. In Memory Flows, artists from the UTS Centre for Media Arts and Innovation collaborate around the shared theme of rivers, accessing the flow of memories via objects, sounds and projections.

THU 25 JUNE

Forum & Performance @ Bon Marche Theatre, UTS

Forum: Sustainability of Sound Arts in Australia
3:00 – 5:00pm
FREE

Julian Knowles (Queensland University of Technology)
Paul Mason (Australia Council for the Arts)
Sarah Last (Australian Network for Art & Technology)
Somaya Langley (Electrofringe)
Nat Bates (Liquid Architecture)
Gail Priest (RealTime) via Skype

Julian Knowles will be joined by a panel of leading voices from Australian sound culture to discuss important
issues around the sustainability of contemporary sound arts practice in Australia.

* Image Ecologies Launch – Level 4, Tower Building, University of Technology Sydney, Ultimo 6-8pm

Memory Flows Performance: The Field
8:00 – 9:00pm
FREE

Chris Caines
Shannon O’Neill
Jessica Tyrrell

Artists improvise together on themes of memory and water, responding to each other and to audiovisual material from sources including the ABC’s Pool website. This performance will also be streamed live online at http://www.communication.uts.edu.au/centres/cmai/.

FRI 26 JUNE

Concert One @ Performance Space

7:30 – 10:30pm
$25/20

Thomas Koner (DE)
Garry Bradbury (SYD)
Cat Hope (WA)
Alex White (SYD)
The full spectrum of sound will be explored in this concert, from noise and infrasound, to intricate detail and atmospheric ambience.

SAT 27 JUNE

Concert Two @ Performance Space

6:00 – 9:00pm
$25/20

Asmus Tietchens (DE)
Plump (Dave Brown/ Phil Samartzis/ Marc Rogerson) (VIC)
Whirlpool (Chris Abrahams & Kraig Grady) (SYD)
Somaya Langley (SYD)
New instruments, new approaches to traditional instruments, and a major figure in the history of electronic and experimental music.

10 Year Anniversary Celebration @ Hermann’s Bar

10:00pm – late
$20/$15

The Evolution Control Committee (USA)
Buttress O’Kneel (VIC)
Puzahki (QLD)
Atone (SYD)
Loom (SYD/ACT)
DJ Lieutenant Colonel Spastic Howitzer (SYD)
DJ Corporal Leper (SYD)

Come and celebrate Liquid Architecture’s 10th birthday at this special late night show, featuring the pioneers of the mash-up, the Evolution Control Committee (USA). A night of breakcore, cabaret, dub and more, with some of Australia’s finest underground talents.

Tickets

SPECIAL Season Pass $50/$40
Both concerts + entry to closing night party at Hermann’s Bar.

BOOKINGS:
For Festival Pass, Concert One & Concert Two
Ticketmaster http://www.ticketmaster.com.au

For Hermann’s event only
The ACCESS Centre, Level 1 Manning House, University of Sydney Ph: 9563 6000 Email: info@usu.usyd.edu.au

Venues

Performance Space, Carriageworks
245 Wilson Street, Eveleigh
Access info: http://www.carriageworks.com.au/visiting_us.php?subpage=getthere

University of Technology Sydney
UTS Bon Marche Theatre, 755 Harris St, Ultimo
Access info: http://www.fmu.uts.edu.au/disability/cbaccess.html

Hermann’s Bar
Cnr City Rd & Butlin Ave, University of Sydney, Sydney.
Access info: http://www.hermannsbar.com/About/FAQ/Default.aspx

Accessibility

All venues are wheelchair accessible. Accessible toilets.

Festival Partners & Supporters

Liquid Architecture 10: Sydney is proudly presented by Performance Space, Centre for Media Arts Innovation (UTS), Alias Frequencies and Plum Industries.

Liquid Architecture is assisted by the City of Sydney, NSW Department of the Arts, Sport and Recreation, and the Australian Government through the Australia Council, its arts funding and advisory body. Additional support from Goethe Institute & Sound Travellers.

The Artists

Asmus Tietchens (DE)
Asmus Tietchens is a composer from Hamburg Germany and has been creating music since 1965 when he began manipulating tape-machines. In 1971 he bought a synthesizer, began exploring its possibilities, and has never looked back. In the 70’s he became involved with Sky Records, appearing for example on the album titled, “Cluster & Eno”, but it was not until the 80’s that Tietchens’ own music was released, of which several early Lp’s appeared on Sky. These records were of playfully rhythmic, often melodic music, but are not actually representative of Tietchens’ ideas about music. In 1984 United Dairies issued “Formen Letzer Hausmusik”, an album of more powerful concrete and industrial compositions, shedding a new light on the composer’s work to both listeners and other musicians unaware of his powerful music. Since then an abundance of material has been issued (close to 20 releases in various formats and about 30 compilation appearances) all in a highly experimental vein. While having a large influence on the explosion of industrial music during the past 15 years, Tietchens has never belonged to any of its musical, philosophical movements, or styles and has never really attempted to create a “style” of his own. Tietchens’ releases are simply the musical exploration of the studio, idea, or collaborative situation at that given time. Website: http://www.tietchens.de

Thomas Koner (DE)
Thomas Köner attended the music college in Dortmund and studied electronic music at the CEM-Studio in Arnhem. Until 1994 he worked for the film industry as editor and sound engineer. He extended his concept of time and sound colour to images, resulting in video installations, photography and net art. His point of departure was composition of sound in which aspects of a performance and visual language were gradually integrated. At first in the collaboration with film artist Jürgen Reble and the live performance Alchemie (1992). Following this, he started to compose film soundtracks and music to accompany historic silent films for the Louvre Museum and the Musée d’Orsay, Paris. 2000 the Montreal International Festival New Cinema New Media awarded him the “New Media Prize”. 2004 the Prix Ars Electronica awarded him the “Golden Nica”, and he was awarded the “Produktionspreis WDR / Deutscher Klangkunst-Preis” (German sound art award). His media installation “Suburbs Of The Void” received the Transmediale 2005 award in Berlin and was presented at La Biennale di Venezia, Teatro La Fenice as a live performance in the same year. Köners video “Nuuk” received the Tiger Cub Award (best short film) during the International Filmfestival Rotterdam 2005. The Rimbaud Museum commissioned Thomas Köner five permanent sound installations for five rooms of the “Maison Rimbaud” in Charleville-Mezières, France. Several significant museums acquired his audiovisual works for their collection. In 2008 he was a participant of the Media Art Biennal in Seoul. Website: http://www.thomaskoner.com

The Evolution Control Committee (USA)
An experimental music band from Columbus, Ohio founded by Mark Gunderson in 1986, The Evolution Control Committee (ECC) typically uses uncleared and illegal samples from various sources as a form of protest against copyright law. They are one of the pioneers of the mash-up, where two or more songs are mixed together into a new track. The ECC also produces numerous audio experiments, often involving the disfiguring of compact discs, and has produced a few video works as well, ranging from re-edited 50’s corporate shorts to a Teddy Ruxpin reciting the works of William S.Burroughs. Website: http://evolution-control.com

Photo by Michael Blamey.

Plump (aka Dave Brown/ Phil Samartzis/ Marc Rogerson) (VIC)
Plump is a trio comprising sculptor Marc Rogerson and sound-artists Dave Brown and Philip Samartzis. Their project is to synthesize the spatial art of illuminated sculpture with time-based sound art. Attracted to immersive environments, Plump attempts to create a sensory envelopment of the audience where light pulsed through site-specific sculpture is juxtaposed with sounds dispersed throughout a surrounding speaker system.

Cat Hope (WA)
Cat Hope is an accomplished composer, sound artist, performer, songwriter and noise artist whose practice is an interdisciplinary one that crosses over into video and installation. She has written soundcsapes for dance and theatre companies as well as completed commissions to write music for film (winning the Pandora’s Box Film Festival Best Score award in 2000) and pure music works. Cat is a classically trained flautist, with a BMus Hons, but also a vocalist and experimental bassist who plays as a soloist and as part of small ensembles, such as Gata Negra, Lux Mammoth and more recently, the noise improvisation bass quartet, Abe Sada. She has directed and edited numerous short music videos and created audiovisual installations. Cat is an active researcher and has conducted extensive funded research into communication technologies, audio recording in forensics, noise notation and surveillance techniques for use in performance, and maintains an active interest in challenging the relationship of image and sound. She is part of the sound art research collective Metaphonica and curates new music events Club Zho and Sound Spectrum. She runs a music label and production company, Bloodstar and is the founder of the Totally Huge New Music Festival Conference and editor of the associated proceedings, Sound Scripts. She is a PhD candidate in SOUND at RMIT University where she is looking at creating installation that focus on low frequency sound and lectures at WAAPA, ECU in music technology, 20th century music history and composition. Website: http://cathope.com

Buttress O’Kneel (VIC)
Buttress O’Kneel is the P!nk of the electro-activist world, or perhaps the Negativland of breakcore, or, perhaps even more accurately, the Mother Theresa of bio-anarchic post-grrl underculture. She has two main passions in her work: the destabilisation and reworking of corporatised pop, and the demystification of mass-media bias. She deals with these two main metapolitical prongs by dividing her work into the overtly-political “audio documentaries”, and the plunderphonic “compop” series (”compop” being a word coined by her to describe her musical “pop compost”). Website: http://www.myspace.com/buttressokneel

Alex White (SYD)
Alex White is a sound artist hailing from Sydney, Australia who seeks to create music that teeters on the brink of complete chaos whist retaining barely discernible fragments of form or melody. Alex is also a community arts worker and currently co-directs Serial Space in Sydney. Alex co-directed Electrofringe in 2007 and 2008 and the Sydney leg of Liquid Architecture in 2008.

Garry Bradbury (SYD)
Garry Bradbury has been active in Sydney’s experimental music scene since 1979, specialising in manipulation of reel to reel and tape decks, as well as customising pianola rolls. From 1981 to 1985 he was a member of Severed Heads. In 1988 he released his first solo album, Drug Induced Sex Rituals. This was followed by “Ruffini Corpuscle” and Instant Obvillian, released on Dual Plover . His project with Jason Gee, Size, released the album Actual Size in 1997. Bradbury has also composed music for theatre productions and curated the experimental music program of the Big Day Out.

Chris Abrahams (SYD)
Chris Abrahams is perhaps best known for his work with the improvising trio The Necks. He has also released 5 solo albums, 5 albums of songs (with the singer Melanie Oxley), as well as many collaborative projects with artists such as Clayton Thomas, Mike Cooper and Stevie Wishart. He has also composed for the screen and has been nominated for two Australian Film Institute awards for best soundtrack in a feature film. He has also worked in radio, both as producer and as composer, collaborating with sound artist Sherre Delys and the writer Rick Moody, amongst others.

Kraig Grady (SYD)
Kraig Grady is a composer/decomposer/sound explorer. Since 1975 he has pursued the formation of ensembles of acoustic microtonal instruments of his own design/modification to explore both an interaction with environmental space, the contextual influence of visionary space, and psychoacoustical pitch phenomena. Not content with specialization, he has also has engaged extensively as a shadow puppeteer, tuning theorist, filmmaker, world music radio DJ and concert promoter. His compositions include interactions with his own silent films and shadow plays. 1993 saw Grady’s first work connected to the activities of The North American Embassy of Anaphoria Island and more recently The Austronesian Outpost of Anaphoria. Both organizations promoting the visionary geographical culture of this island. Despite the fact that the nature and size of his instruments make touring difficult and rare, his work has been presented at Ballhaus Naunyn Berlin (Germany), the Chateau de la Napoule (France), the Norton Simon Museum of Art, the UCLA Armand Hammer Museum, and the Pacific Asia Museum to name a few.

Somaya Langley (SYD)
Somaya Langley is a sound and media artist (www.criticalsenses.com) who has presented her work in various festivals and conferences in Australia, Europe, Canada and Asia. She performs live sensor-based electroacoustics under the pseudonym ID-i/o, and previously, was a member of the sensor-trio HyperSense Complex and the duo MetaSense. Her media arts practice focuses on embodied and immersive experiences mediated by technology, to initiate socio-political dialogue, such as the Suspect Backpack. She is currently the Australian Music Centre’s Online Project Officer and Co-Director of the Electrofringe festival. Website: www.criticalsenses.com

Puzahki (QLD)
Puzahki is the alias for Brisbane based electronic music producer Craig Parry. Craig runs the netlabel digitalmixdown.com and releases other styles of EDM under the titles Gumsneaker, Craig LP, and Ligature. The music of Puzahki would best be described as frenetic, cut up jungle or glithchy, although new material is shifting into bass orientated breakstep. Puzahki will make you burn up the floor.

Atone (SYD)
Atone are a couple of dub space pirates consisting mainly of Stanislavski and Andy Fitzgerald, working with Kye (from Budspells) and Ali Omar. Atone have been producing and performing a myriad of eclectic electronic dub styles of music in Sydney since the early 90s and are part of the electronic arts collective Clan Analogue. They have played to crowds at the Big Day Out, Vibes on a Summer Day festival, World Party festival @ Great Yarmouth (U.K.), the Hacienda (Manchester) and many similar events, and have supported bands such as Tackhead, The Stone Roses, Adrian Sherwood, Audio Active, ACR, The Happy Mondays, DJ Scanner, ON-U SOUND SYSTEM to name a few.

Loom (SYD/ACT)
Loom is some kind of disco disaster, originally from Canberra and now based in Braidwood, NSW. They combine music, performance and costumery into a single hyperactive mixed media messup, with driven electro beats underneath. Khye McCann on the mic and sample-guy Dan MacKinlay on beats.

DJ Lieutenant Colonel Spastic Howitzer (SYD)
Adrian Bertram has many names and Lieutenant Colonel Spastic Howitzer is indeed one of them. As a multi-instrumentalist and chronic abuser of sound active in Sydney since the early 1990s he has been involved in a wide variety of projects spanning live to air radio collage, orchestral work, bands, plunderphonic diatribes and extended instrumental techniques and (mis)treatments. Recently he has been primarily concerned with the development of the Spastar.

DJ Corporal Leper (SYD)
Brooke Olsen aka Corporal leper is an experimental radio producer and record collector from Sydney. She has been involved in specialist music programming and experimental program making on various community radio stations for a number of years, most recently as executive producer for ‘Sunday Night at the Movies’ on Fbi 94.5fm. Brooke’s varied radiophonic creations have been broadcast on 2ser, Fbi and Abc Radio National. Her ailas Corporal Leper fixates on collecting (and broadcasting) the unbroadcastable: strange and forgotten musical relics of bad times long gone.

Exhibition: Correspondence

‘7 Illinois Street’, 2006 (?Video? 17′ 25″)

Scott Arford (USA)
Scott Arford has been an active figure in the San Francisco Bay Area underground noise and international media arts scenes since 1994. He has produced numerous works for sound and video including multichannel sound and video installations, live performances, CD and DVD projects. He was awarded an Honorable Mention in the 2005 Prix Ars Electronica. Arford’s performances and videos have been featured in numerous venues including the Eyebeam Center For Art and Technology, New York; Govett-Brewster Art Gallery, New Plymouth, New Zealand; San Francisco Museum of Modern Art; Dissonanze 7 in Rome, Italy; LUFF Festival in Lausanne, Switzerland; Observatori Festival in Valencia, Spain; the Sounding Festivals in Guangzhou, China and Taipei, Taiwan; the LEM festival in Barcelona, Spain; Liquid Architecture in Melbourne, Australia; the Festival de Video/Arte/Electronica in Lima, Peru; Sonic Light in Amsterdam; and the Center for Contemporary Arts in Kitakyushu, Japan. Arford received a Bachelor of Architecture from the College of Architecture and Design at Kansas State University in 1991. He has taught courses in sound and media art at the California College of Arts in Oakland, CA. He is currently a Designer at EHDD Architecture. In 1995 Arford founded 7hz, a warehouse/performance space. From 1995 to 2002, 7hz was San Francisco’s leading venue for noise and experimental music.

Photo by Alan Pryke.

Ruark Lewis
Ruark Lewis b.1960 is a visual artist and writer producing in a wide range of media such as painting, installation, public art, performance, audio and video art. His art tends toward conceptual language, exploring the poetics of spatial history, involving chance procedures and architectural strategies of improvisation. He often collaborates in a method he calls transcription (drawing), with poets, experimental and radiophonic composers, anthropologists, & other visual artists. He has made significant projects in partnership with Paul Carter, Nathalie Sarraute, Angelika Fremd & Ingaborg Bachamann, Rainer Linz, Jutta Hell & Dieter Baumann and Jonathan Jones. 2003 commissioned by the Berlin Poetry Festival to make a dance work Banalities. 2006 he participated in the Biennale of Sydney. 2007 at Carriageworks he worked with the choreographer Alan Schacher on The Babel Project, an installationHomeland Illuminations with Jonathan Jones and made a site-specific installation Post-Museum Singapore called An Index of Kindness. In 2008 he created a public art installation and sound work Euphemisms for The Intimate Enemy (with composer Rainer Linz) for the City of Toronto in Nuit Blanche Festivaland International Electroacoustic&Polymedia Art Festival Belgrade. Early in 2009 he installed 3 out-of-gallery works Housing The Seafaring Nation in the City of Sydney that focused on the subject of homelessness and inner-city public housing. His published works include 2001 False Narratives, NMA 1999 Depth of Translation-The Book of Raft NMA 1997 Just for Nothing Barbarism & Monograph Press.

Rik Rue
For Rik Rue, environmental sounds have always provided abstract and subconscious pleasure and an inner understanding of the physical. Since the early 1980’s, he has been involved in composing with environmental and found sounds. Utilising analogue and digital technology in a variety of recording techniques through a wide range of natural settings from Bushland to urban areas, he transforms these recordings into soundscapes that have eventuated into radiophonic works, sound installation compositions and live performances. Rik Rue also uses ‘live tape’ and digital manipulations in various performance projects with Jon Rose, Mind/Body/Split, Social Interiors and as a member of the contemporary Australian music group, Machine For Making Sense, where he uses sampling and the recording medium itself as an instrument. http://rikrue.net/

‘Rim Shot’, 2009 (DVD 4:34 mins & Drum kit)

Lauren Brincat
Lauren Brincat was born and bred in the suburbs of Sydney. In 2004, she graduated with First Class Honours from Sydney College of the Arts in Painting, and received Her Masters in 2006. Currently working with a more performative and sculptural manner predominantly focused on the drum kit. Her growing understanding of its role and language within the context of art has seen it feature heavily in and around her work and often is disempowered or destroyed. Laurens concerns are the artistic crossovers of rock’n’roll and painting, each constantly being referred to as dead, and each constantly being reinvented. The style and attitude of the each form of art and its figureheads also fuels the fascination in the motivation and impact that each has had on society and history respectively. Lauren currently lives and works in the Inner West of Sydney, she has featured in the Helen Lempriere Travelling Art Scholarship exhibition in 2005, 2006 and 2007. Lauren has exhibited in Melbourne and recently in Adelaide as well as extensively in her native Sydney. In 2008 she won the Mosman Westpac art prize.

Vicky Browne
Vicky Browne is primarily an installation artist with an interest in sound art on a domestic, lo-tech and everyday level. Her work uses everyday sound devises like iPods, mobile phones, CD players and walkmans. These gadgets are manipulated, broken, reinvented and reused to expose their meaning and relevance to the world. Vicky has exhibited in Sydney, Melbourne and New Zealand for the past 8 years and lives in the Blue Mountains.

Josie Cavallaro
Josie Cavallaro’s practice is informed by the built environment, technology and the social systems that manipulate human exchange in public spaces. Speculative research based on direct observations between people, technology and environment; underscore the common-place references in her work. Her practice is predominately sculpture based, occasionally incorporating video, sound and electrical components within her work. Cavallaro is a Sydney based artist who has exhibited extensively in galleries, museums and alternative spaces. Past projects include; Like talking to a brick wall, Canberra Contemporary Art space, It’s a new day, Artspace, Sydney and Junket, Cultural Institute of Baja California, Tijuana Mexico. http://awkwardsilenceproject.wordpress.com

Memory Flows (Centre for Media Arts Innovation, UTS)

In this project from the Centre for Media Arts and Innovation (UTS), artists collaborate around the shared theme of rivers and memory flows. Australia has been suffering one of the worst droughts ever, making water an especially poignant and pressing concern; but water has always run deep in the Australian imaginary and reality. For tens of thousands of years, water has played a crucial role for Indigenous people, as they used their extensive knowledge of underground river systems for sustainable water management. But now the Great Artesian Basin is being interfered with below ground; and above ground, too, through abuse and mismanagement, rivers are dying – some alive only in memory. Australian rivers are also conduits that are emblematic of networking systems, travel systems and survival systems. We will look at and listen to memory as it is borne along the currents, embedded in the flora and debris, traced along dried up riverbeds. As artists collaboratively access the flow of memories from above, from the shoreline and along the rivers’ currents, the stream of memory will flow together. http://memoryflows.net/mambo/

Artists include:

Ark by Nigel Helyer

Nigel Helyer
Nigel Helyer (a.k.a. Dr Sonique) is an independent Sydney based sculptor and sound artist with an international reputation for his large scale sound-sculpture installations, environmental sculpture works, museum interactive installations and new media projects.His practice is strongly inter-disciplinary, linking a broad platform of creative practice with scientific research and development in both academic and industrial contexts. His activities include; the development of the Sonic Landscapes virtual audio reality system in collaboration with Lake Technology (now Dolby Australia) and the ongoing AudioNomad research project, in location sensitive Environmental Audio, at the School of Computer Science and Engineering at the University of New South Wales, where he is a Professorial Visiting Fellow. Nigel is the current Radiophonic Fellow at ABC Radio National. He maintains active links with The Exploratorium Museum in San Francisco and the “SymbioticA” biotechnology lab at the University of Western Australia.Nigel is a co-founder and commissioner of the International SoundCulture organisation. He was a Fellow of the Australia Council for 2002/3, the winner of the Helen Lempriere National Sculpture Award in 2002 and curator of Sonic Differences part of the Biennale of Electronic Arts Perth in 2004.

Maria Miranda & Norie Neumark
Maria Miranda and Norie Neumark are Sydney based new media and sound artists collaborating as Out-of-Sync. Their work ranges across medias and sites; it includes performance, video, Internet, installation, CD-Rom and curation. They have been awarded numerous international prizes and artists’ residencies. Their networked performance work, Séance: a networked glossalalia, was exhibited at ISEA 2004. Recent work, developing their interest in interdisciplinary and performative media arts, includes Searching for Rue Simon-Crubellier with the internet work, The Fourth Floor, and Talking about the Weather, with the blog, Weathertalk. These works and/or their internet and video components, have been exhibited in Australia, Europe, the USA, and the UK in galleries and media arts festivals and events. They play between the actual and imaginary—actual searches for imaginary places and imaginary solutions to actual problems.

Greg Shapley
For the past two years Greg Shapley has been director of the Sound of Failure Festival and the Don’t Look Gallery. His art practice spans a number of media, including contemporary classical composition, new media art, and kinetic sculpture. His documentary (with Chris Ho), “The Empires New Clothes” (narrated by Susan Sarandon, music by Philip Glass) recently screened in the Human Rights Watch International Film Festival, and his work for six tubas “Machine” was played by the UNITUBA Ensemble, University of Northern Iowa.

Jacqueline Gothe
Jacqueline Gothe is an artist/designer engaged in practice led research in the area of information and visual communication in the context of transdisciplinary approaches to sustainable landscapes. Current projects include collaborations with interdisciplinary teams in issues of catchment management and the long term partnership with indigenous communities in Cape York – Communicating Shared Traditional Knowledge Project. Recent exhibitions include Worldviews at DAB Lab Research Gallery UTS and participation in a group show 888 at China Heights Gallery.

Ian Gwilt
Ian Gwilt is a Digital Artist, who has shown interactive art installations and digital print work at a number of international new media events and galleries including, Transmediale Berlin, Siggraph USA, Mila France and ISEA. He was the recipient of the Adobe Innovative Interface design award at the RCA, Circuit show in 1995. He is currently completing a practice-based Ph.D. at the College of Fine Arts, UNSW, which examines the theory and practice of mixed-reality artworks.

Memory Flows Performance: The Field

Performers Chris Caines, Shannon O’Neill & Jessica Tyrrell improvise together, responding to each other and to audio-visual material from sources including the ABC’s Pool web site.

Shannon O’Neill
Shannon O’Neill is an artist, academic and curator who works across music, radio, Internet, film, performance, video and installation. He works as a Lecturer in Media Arts at the University of Technology, Sydney and is currently completing a PhD in music at the University of Wollongong. Shannon is the founder of Alias Frequencies, an Australian organisation that promotes and publishes music and media art. He has been a director of the Electrofringe festival (2001-02) the Disorientation series (2003), and the Sydney Liquid Architecture festival (2005-07).

Chris Caines
Chris Caines teaches and co-ordinates subjects in the UTS Media Arts program covering digital cinema history/production, online media and writing/development as well as supervising postgraduate and honours candidates. He joined the fulltime MAP staff in 2003 and previously worked as a freelance media producer alongside lecturing at a range of other universities including ANU, UOW, UWS and AFTRS. His films, installations and locative media works have been screened /exhibited in broadcast media, in museums and at festivals across the world including MoMA and Cannes. These works have been funded from a wide range of sources including the Australia Council, the British Council, the Australian Film Commission and the NSW Ministry of the Arts. Chris has been artist in residence at Hull Time Based Arts (UK), Sydney Olympic Arts, Advanced Telecommunications Research, Kyoto (Japan) and Chulalongkorn Uni in Bangkok as an Asialink recipient. His current research involves locative audio work for pedestrians and motorists and the intersection between live cinema performance and the language of the moving image.

Jessica Tyrrell
Jessica Tyrrell is a Sydney-based new media artist who works at the intersection of installation, audio/visual performance, sound, video, online & locative media. Fusing a cinematic sensibility with a love of poetic text, she creates works that draw out fragmented narratives and often incorporate documentary elements. Jessica is currently engaged in creating physically immersive environments that experiment with the affect of interactivity and space on narrative, poetics and spectatorship. Jessica’s work has been included at various festivals in Australia, such as Liquid Architecture, Real Life on Film (ACMI), & Electrofringe and she has recently exhibited at Carriageworks & Chalkhorse Gallery in Sydney.

Forum: Sustainability of Sound Arts in Australia

Sarah Last (Australian Network for Art & Technology)
Sarah is an artist and independent curator who has been based in regional Australia for the past nine years. She is currently the Australian Network for Art and Technology’s Embracing Sound Program Manager and a PhD Candidate at the Queensland University of Technology.

Date: 19 June 2009
Time: 19:00 – 21:00
Location: Auditorium, Wollongong Conservatorium, Glennifer Brae
Street: Murphys Avenue
Town/City: Wollongong, Australia

Description: Melbourne improvisor Adam Simmons playing saxes, clarinets (including contrabass), flutes, shakuhachi, fujara and a few toys.

“One of this country’s most electrifying multi-instrumentalists, Adam Simmons defies classification.”
– Leon Gettler, DVD Review, June 2004, The Age.

Support act – Wollongong Anarchist Noisemakers Kollective, featuring Gary Butler, Houston Dunleavy, Warren Burt and special guest WANKer Shannon O’Neill (and Adam again)

“… for all out crazy chaos, nothing quite beats the free-spirited approach of the Wollongong Anarchist Noisemakers Kollective (WANK)” Cat Hope, “Experimental Music: Audio Explorations in Australia”

$10/$5

Facebook page.

Idea of South – Call for Field Recordings from the Southern Hemisphere

Do you have any field recordings of remote locations in the Southern Hemisphere ?

As part of an ongoing psychogeographic web map and experimental radio project, sound artist Roger Mills is looking for field recordings from locations throughout the southern hemisphere. These will be added to the Idea of South web map interface as it gets updated online at http://www.eartrumpet.org/projects.html#ideaofsouth

Selected recordings will also be included in the Idea of South experimental radio multicast being broadcast live simultaneously on 2SER Sydney 107.3 fm, FBI 94.5 fm and Shoutcast stream from Idea of South Website on Sunday 14th June at 22.30.

To contribute field recordings (no more than 2 minutes long), please email stereo WAV files to roger [AT] eartrumpet [dot] org via ftp host yousendit.com. For those with access to a server, I am also happy to download from them.

Please also include the following details:

• Location with latitude and longitude coordinates.
• Description of location, time of year and emotional responses/observations at time of recording.
• Name and contact details.

All contributors will be credited in the final work and by submitting recordings I assume your permission to use the material in the manner outlined. All contributions are governed by Creative Commons Attribution-Share Alike 3.0 license.

Recordings from outside Sydney and Melbourne particularly welcome and I would like to thank everyone who has contributed files to make ‘Idea of South’ what it is so far.