Diverse Ecologies I am delighted to be guest-editing the next issue of Soundscape; The Journal of Acoustic Ecology. The issue, Sounds emergent: Diverse Ecologies, considers how we work with and define notions of ecology and to illustrate the variety of diverse approaches within and around recent sound practice and scholarship. The issue will feature an new interveiw with celebrated sound studies author Jonathan Sterne as well as a special guest essay by cultural theorist and one of today’s leading writers on ecology, Timothy Morton. Additional essays by the writers and artists Leah Barclay, Hethre Content and Sarah Lewison.
Moving Sounds Phylis Johnson and I are Co-editing a new book with McFarland Press titled Moving Sounds: A Cultural History of the Car Radio. We are excited about the variety of perspectives and are hoping to develop a companion radio series as well.
Performances and Exhibitions 2016
Premiere of Radio Piano
Melvin Severy and George Sinclair's 1916 patent documents for the Choalcelo provided inspiration, not for the technical extension of the piano, but for what the fluid graphism of the circut becomes, a wildly futurist map of the unseen. Alex Kirt's interview with me for Lightlife has additional background.
For the April 2nd performance, I'll be utalizing many portable radios, various handmade electronics and a good deal of revivied technology clustered around the piano on the stage of Shryock Auditorium. Rob Spahr, Todd Birdsong performed Twittering Machine.
Curator and fellow collaborator Eric Leonardson curated a selection of radio works for radioCona in Ljubljana Slovenia.
Chantal Dumas 86400 Seconds – Time Zones
Christopher DeLaurenti To The Cooling Tower, Satsop
Jay Needham Listening at the Border
Anna Friz Collecting Clocks and Losing Time
From Eric’s curatorial statement:
“I selected five works dedicated to the Earth’s orbit around the Sun, and its audible manifestation in rich metaphors that spring forth when we listen in the dark. By withdrawing from the rhythms of daylight, we are drawn to the deeper, more primal nature of our soundscape…”