Saturday 28 March – doors 7pm – music 7.30pm | £8 adv / £10 otd | BUY TICKETS
For their first event of 2020, Corpora Aliena is pleased to present a concert of diverse experimental music based on the theme of ‘Digital Voices’ – and will be exploring the relationship between experimental music and the human voice/spoken word. This innovative ‘Digital Voices’ concert features leading international and pioneering composers, musicians and sound artists, including:
Sebastiane Hegarty, who will give a multimedia lecture presentation of his ‘Tapping the air: landscape, ghosts and technology’. Tapping the air is an on-going research project based on a series of covert residencies at Marconi’s Lizard Wireless Telegraphy Station (Cornwall), Fog Signal Building (Dungeness) and other sites associated with communication history. Listening in on these ethereal landscapes, each residence concludes with a live micro-FM transmission, broadcasting to an unknown and unknowing audience. In a choreographed apparition of field-recordings, imagery, text and voice, this performed essay discusses the transmissions and their relationship to landscape, tangibility and loss. The ghost voices of the technological aether mentioned in the lecture will set the context for the rest of the compositions and performances that take place within the ‘Digital Voices’ evening;
Bernhard Living will give a live performance of his ‘Composition 2020.11 (Object World)’ – which includes a digital voice program ‘reading’ his original prose/poems against a multi-layered texture of evolving sounds;
‘Unconscious Archives’ is a new work by Lucie Stepankova (aka Avsluta) that explores dreams, faded memories and altered states of (un)consciousness. This composition uses spoken word and metamorphosed movie samples to fabricate a phantom field of sonic (un)reality potent with emotions; and
Kate Carr will present a soundscape made from read fragments of love letters. Originally commissioned by the The Verb program on BBC Radio 3 – the composition consists of people reading a sentence from a love letter that was either sent or received.
Kate Carr has been investigating the intersections between sound, place, and emotionality both as an artist and a curator since 2010. During this time she has ventured from tiny fishing villages in northern Iceland, to the flooded banks of the Seine in a nuclear power plant town, recorded wildlife in South Africa, and in the wetlands of southern Mexico. She works with field recordings, instruments, objects and happenstance.
Sebastiane Hegarty is an artist, writer and lecturer. His research explores the perceptual geographies of sound and listening, through field-recording, live radio transmissions and the production of phonographic objects and actions. Sebastiane has exhibited, performed and broadcast across the UK, Europe and Canada. Recent transmissions include First Spark: Sound Art Radio (Devon, 2020), Deep Wireless Festival of Radio and Transmission Art (Ontario, 2019), Radiophrenia, (Glasgow, 2018) and Datscha Radio (Berlin, 2017).
Since 2017 he has been performing live [unheard] micro-FM transmission from sites related to listening and communication history. Based on these broadcasts, his sound work Séance for six radios has been performed at venues across the UK, including the John Hansard Gallery, Southampton (2019).
Bernhard Living is an experimental music composer, curator and former multi-instrumentalist (playing alto saxophone and flute). He studied composition under the South African-born composer professor Stanley Glasser at Goldsmiths College, University of London, and philosophy under professors Jonathan Reé and Peter Dews at Middlesex University, London.
Bernhard Living’s digitally-based compositions have taken minimalistic compositional techniques to what he considers to be their logical conclusion, with his music being characterized by sparse textures, long periods of silence, maximal repetition and minimal variation. The compositions are often devoid of musical elements such as melody, harmony and rhythm, and as an alternative they explore the use of sound color and sonic textures.
Influences for Living’s work range from the historical avant-garde, including John Cage, Morton Feldman and Edgard Varèse; American minimal art, Agnes Martin, Donald Judd, Rosemarie Castoro, and Carl Andre; to contemporary loop-based dance music, particularly techno. In many ways, his music could be considered as an evolved non-dance form of techno, but one that exists within a different cultural context and along a different time continuum.
Composition 2016/06 (The Mysteries of Concrete) at Poetronica 15.12.2016 (Curated by Pavel Zhagun), National Centre for Contemporary Arts (NCCA), Moscow
Composition 2018/08 (Violin Stories) at Poetronica 21.04.2018 (Curated by Pavel Zhagun), National Centre for Contempoary Arts, Moscow
Lucie Stepankova (aka Avsluta)
Lucie Stepankova (aka Avsluta) is a London-based Czech-born electro-acoustic composer, improviser and sound artist exploring genre-fluid deep listening situations, real-life and imaginary sonic environments and emotive potentialities of sonorous collage. She mainly works with analog synthesis, field recordings and object and material-oriented improvisation.