Listening and Improvisation : Caroline Kraabel [PAST]

Lecture :

16 December Friday 6:30-8pm [UPDATED from 9 December]

£5 | 12 places only | Please email divfuse@gmail.com for tickets

Workshops :

10 December Saturday 2-4pm PART ONE

17 December Saturday 2-4pm PART TWO

£12 each part or £20 for attending both parts | 6 places only | Please email divfuse@gmail.com for ticketing information

Note : Participants are recommended to attend both parts as PART TWO will be building on the materials delivered in PART ONE. BYO instruments.


Two workshops and a lecture by Caroline Kraabel

Exploring her own practice, along with a wider view of improvisation and identity: even the world of freely improvised music can be experienced as an enclave that excludes, despite the perceived association of improvisation with limitlessness and freedom.

How do people who improvise feel and think DIFFERENTLY from each other on the subject? How do we avoid or alter any dominance of particular groups over the theory or practice of improvisation? Does the experimental nature of improvisation make it easier for members of élites to shine in the field, because they have more pre-existing socio-cultural capital? Or, does improvisation come more easily for outsiders who are already primed to find alternative paths? How are improvisers affected by their musical and cultural histories? How does a group, maybe a large group, of improvisers negotiate space and time, noise and silence in a musical and just way?

For improvisers who have experienced forms of oppression in music making and/or life, is the aim when making music merely to recapitulate existing power structures, but try to place themselves at the top? Or to create new and fairer structures?

References: Gittin’ To Know Y’all: Improvised Music, Interculturalism, and the Racial Imagination, by George E. Lewis, Columbia University

https://www.criticalimprov.com/index.php/csieci/article/view/845/1396

Naked Intimacy: Eroticism, Improvisation, and Gender, by Ellen Waterman, University of Guelph

https://www.criticalimprov.com/index.php/csieci/article/view/845/1396


A Tape Recorder Workshop 2023 : Robin The Fog [Upcoming]

Live sound generation + Tape loop creation

18 March Saturday 6-8pm

Ticket: £10. 10 seats only. To buy tickets, please email divfuse@gmail.com for payment details.

Project DIVFUSE is pleased to present our third event under our curatorial series Sound Meta, which celebrates sound making through performances or workshops. Join us for a 2023 version of this unique event by Robin The Fog where tape loops will take over the entire venue – and the audience will be expected to help hold it all together!

Robin The Fog is a Cumbrian sound artist and audio producer based in London. He is the founding member of Howlround, a project that creates recordings and performances entirely by manipulating sounds on a quartet of vintage reel to reel tape recorders, with all additional effects strictly forbidden – no samples, no synths, no pedals, no plug-ins. Howlround’s eighth studio album was released in 2022.

RobinTheFog.com | Howlround.co.uk

Image by Victoria Hastings

Three-Day Residency : Merkaba Macabre [Upcoming]

Residency

24 March 2023 Friday 6-8:30pm

25 March Saturday 6-8:30pm

26 March Sunday 3-7pm

Free entry. [[Photosensitive Warning]]

Merkaba Macabre presents a new audiovisual project that explores colour to sound synthesis for a three-day residency at Project DIVFUSE. The project maps the perceived colour spectrum to the audible frequency spectrum, allowing each color tone to pair with a unique sound tone. These ‘binary tones’ are performed live as quantized patterns across three digital projectors and a 3.1 sound system. Building upon the artist’s previous research in analogue light-based composition, Merkaba Macabre investigates this field in a purely digital process resulting in a triptych audiovisual expanse.