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


Hidden Reverb : Maciej Wirmański [PAST]

Sound Exhibition :

2 December 2022 Friday 5-8pm

3 & 4 December Saturday & Sunday 2:30-6:30pm. Artist will be dialling in from Poland for an artist’s chat between 5pm and 6pm on Sunday.

Running time : 30 minutes. Free Entry

This is one of the three exhibitions of work and artists selected from DIVFUSE Sound Archive No. 4 – an Open Call for pieces that are based on field recordings. We are pleased that this round of the Open Call is funded by the Arts Council England and the work was jointly selected by Project DIVFUSE and sound artist Kate Carr.



A Hole in a Wall (2021)

‘When I was at the Sanatorium of Sound Festival in Sokołowsko I hiked a lot. During one of my trips I found the ruins of some old buildings. Ruins were based on a slope of a hill in between meadow and woods. When I came closer I saw black eye of a rusty pipe looking back at me. It went from the outside to the inside of ruins. I put my ear to the dry pipe and I heard a rumble so different from the calm soundscape of the spa. It was so loud but almost unnoticeable even from a short distance. It amazed me so I put a shotgun microphone into the pipe and a pair of omni mics I left outside.’

Early Electro-acoustic music in the empty ballroom (2021)

‘Not so long ago I used to work for the local theatre company. The company owned an old hotel which they meant to renovate for a new stage. Empty space of a ballroom in the hotel was central to the building. Before renovation started I decided to honour the space and its unique reverbnation which was going to be lost soon. I went there at night with my microphones. The night was silent. I’ve decided to provoke reverbnation by using found objects such as broken tiles, scrap and rubble. I moved it on the concrete floor of the room. I recorded all of it on a broken tape recorder and then played it once again into the same space (inspired by “I am sitting in the room” by A. Lucier) and simultaneously playing on rubble once again. The outcome is a microphone performance/field recordings and homage to place which is gone by now.’ – Maciej Wirmański


International Waters Vol. 1 : Michael Lightborne [PAST]

Sound Exhibition :

25 November 2022 Friday 5-8pm

26 & 27 November Saturday & Sunday 2:30 – 6:30pm.

Running time : 25 minutes. Free Entry

This is one of the three exhibitions of work and artists selected from DIVFUSE Sound Archive No. 4 – an Open Call for pieces that are based on field recordings. We are pleased that this round of the Open Call is funded by the Arts Council England and the work was jointly selected by Project DIVFUSE and sound artist Kate Carr.


International Waters (2022) is an ongoing project that explores the porous exchanges and complex entanglements of water, culture and economy around the world.

Part 1: Late Night, Cais do Sodré, Lisbon, Portugal. Containing both the Railway Station and the docks, this area was a notorious vice district. In the course of the last two decades it has been rapidly regenerated. People do not sleep here, and the sounds of music are carried on the wind out over the harbour, mingling with the crashing of waves and the wailing and grinding of metal in the docks.

Part 2: Early morning, La Boca, Buenos Aires, Argentina. The Matanza-Riachuelo river is one of the 30 most polluted places in the world. Factories, tanneries and slaughterhouses pump industrial waste into its waters for miles before it reaches the mouth, La Boca. There are two ways for pedestrians to cross: the footbridge on the highway or the tiny row-boat ferry beneath it. The footbridge is free, while the ferry costs 1.5 pesos. Most people choose the row-boat, bringing them within inches of the contaminated water, free to trail their hands in it, and listen to the gentle lapping of water against the boat mixing with the sounds of heavy industry and transport.

Surfacing : Rachel Musson [PAST]

Sound Exhibition :

18 November 2022 Friday 5-8pm

19 & 20 November Saturday & Sunday 2:30 – 6:30pm. Artist will be on site between 4pm and 6:30pm on Sunday.

Running time : 13 minutes. Free Entry

This is one of the three exhibitions of work and artists selected from DIVFUSE Sound Archive No. 4 – an Open Call for pieces that are based on field recordings. We are pleased that this round of the Open Call is funded by the Arts Council England and the work was jointly selected by Project DIVFUSE and sound artist Kate Carr.


‘I live near the New River, a man-made artficial river in North London opened in 1613 to bring drinking water into the capital. One day I decided to drop a hydrophone into the water in the hope of hearing the underwater sounds of nature, and instead was surprised to hear the sound of tube trains at great volume. It made me wonder what London might sound like from different watery locations. This led to Surfacing (2022), a collection of field recordings from London, made in the autumn of 2022. Each section of the piece consists of two recordings made at the same location, one with a hydrophone under the surface of a body of water collecting water-borne sounds, the other with a condenser microphone recording the ambient air-borne sounds. At times the two worlds appear closely connected in terms of their soundscape, and at others they appear to be worlds apart. ‘ – Rachel Musson

DIVFUSE Sound Archive Open Call No. 4

This Open Call is now closed. Thanks to all the artists who took time to make a submission. Selected pieces will be announced in the second week of November 2022.

***Open Call*** for sound work that is based on field recordings. Deadline for Open Call No. 4 is 27th October 2022

We are thankful that DIVFUSE Sound Archive Open Call No. 3 and 4 are supported and funded by the Arts Council England through the National Lottery Project Grants. For more information on ACE, please visit www.artscouncil.co.uk.

WHAT TO INCLUDE IN THE SUBMISSION:

1) Text on the each piece (250 words maximum). This shall include the name, year and duration of the work, together with brief descriptions on ways of presentation (for example, 2 channels audio through speakers/headphones etc)

2) Artists’ bio (200 words maximum).

3) A link to the work. It could be a link to Soundcloud for example but please do not send us the file to download.

4) Send the submission through by email to divfuse@gmail.com on or before 27th October 2022.

OTHER CONDITIONS:

1) Up to two pieces of work can be submitted by each artist (or group of artists who work together).

2) Each piece shall be at least 12 minutes long and can be made up of different parts.

3) Examples of work include pure sound from field recordings and compositions based on the recorded materials. Visual and other elements may be included if they are part of the work. The work itself should still be primarily sound based.

4) Selected pieces will EACH be exhibited for a weekend (Friday to Sunday) for free in November/early December 2022 at Project DIVFUSE micro digital and multi-media art gallery, London. There is no payment to the artists but Project DIVFUSE will offer the following:

* micro gallery space (5m x 3m) to carry out the exhibition.

* basic equipments for use during the exhibitions inside the gallery, including 4 x small Genelec speakers on stands, a Genelec subwoofer, a projector and a laptop to play the file(s) from.

* management of the exhibition including invigilating the space and promotion on social media.

Venus Smiles : Tabita Cargnel [PAST]

Sound Sculpture Exhibition :

1 & 8 October 2022 Saturday 2:30-4pm

2 & 9 October Sunday 2:30-6:30pm

Free Entry

Live Performances :

Session 1 – 30 September Friday 6-6:45pm | Session 2 – 30 September Friday 7-7:45pm

Session 3 – 1 October Saturday 4-4:45pm | Session 4 – 1 October Saturday 5:30-6:15pm

Session 5 – 7 October Friday 6-6:45pm | Session 6 – 7 October Friday 7-7:45pm

Session 7 – 8 October Saturday 4-4:45pm | Session 8 – 8 October Saturday 5:30-6:15pm

£5 | 8 places each session | Please email divfuse@gmail.com for ticketing

The Venus Smiles sculpture at DIVFUSE will display a minor diminished 9 chord materialised in copper tubes which ring like church bells. In the evenings there will be musical performances on the instrument by the inventor Tabita Cargnel and other musicians coming from classical and experimental backgrounds. Also viewers with and without musical education, especially children, are very welcome to play and join the performances as verbally announced before each piece. The resonating copper tube system – a phenomenon called ‘tensegrity’ – can be played by using your hands, a bow, mallets or your voice. People can experience actively, but intuitively, how sound can make us feel and that regardless of their level of musical education they create immersive music that can initiate a somewhat non-judgemental but healing state of mind full of expression and flow.

The first sustainability focused Venus Smiles sculpture was opened to the public in 2021 with a musical premiere in Schwerte, Germany. Its sound is designed to transition from the newly built, sleek and harsh metal sound to a more warmly coated sound of rust and patina. Sound samples, improvisations and musical pieces played on the German Venus Smiles sculpture will be played through the speakers in the daytime of the exhibition days.