SoundStage 24

Today there’s sound guided by the hand of the sea, guided by numbers, guided by time. Your word for the day is aleaotoric: headphones on, sit back, it’s time for Craig Gell and The Kokra Family…

Craig Gell – Wave Machine (Radio Edits)

Live sea wave data streamed from a marine observation buoy is transformed into a continually evolving electronic soundscape. A network of buoys around the English coast feed data to a freely accessible online resource.

Using the Pure Data (Pd) programming platform, the various measurements recorded by the buoy are used to shape and control the different parameters of sound. Wave periodicity sets a tempo, while wave height determines the amount of pitch-bend. Wind direction determines the sound’s movement across the stereo field. Sea temperature is indicated by a single modulating tone, with a tremolo effect increasing as the sea warms. The initial tonality of all sound within the patch is determined by the coordinates of the buoy, giving each buoy around the coast a unique sound signature. The buoy records data every 30 minutes and the patch is updated via a live internet connection making it possible for Wave Machine to run perpetually.

Craig Gell is a composer, artist and musician based in Folkestone, Kent. He has created site-specific sound art works, radio art and multimedia installations, largely influenced and informed by his local natural environment and the forces of nature. His work has been exhibited at events and festivals including the Folkestone Triennial, Ramsgate Festival of Sound, and Vernon & Burns’ Radiophrenia – broadcast live from Glasgow Centre for Contemporary Arts.

He has also composed music for a number of animated short films, including Quarantine (2019), directed by long-time collaborator Astrid Goldsmith, which aired on BBC4 and won Best Animated Short Film at London Short Film Festival 2020. Music for the film Red Rover (2020) was composed while on residency at the Red House, Aldeburgh.

Craig has collaborated with other local artists and practitioners including Anna Braithwaite (Montrose Composers Club), eco-poet Chris Poundwhite, filmmaker Jemima Hughes, and the Folkestone Fringe.

https://craiggellmusic.com/

Soundcloud: craiggell

Twitter: @craiggell

The Kokra Family (Line Kramer and Marjolijn Kok) – Waiting at Random

Without realizing it, we spent a lot of time waiting for time. When we got time thrown at us, so to speak, during the lockdown it was almost hallucinating how our time got smashed into confinement. The free time we had longed for was changed into a new kind of duration. We undertook new ways of portioning this new time, the biggest portion was dedicated to ways of collaborative research. Within our artist collaboration we are used to do this during a residency or for a certain project. Now the endlessness of our project confronted us with our use of our time and our living space. One of us has an interest in divination, but sees this as a game of chance as well. The way forecasting is undertaken often resembles a gamble. Fortune telling is comparable with algorithms based on randomness. Why something becomes significant in a series or in our lives is tied to absolute chaos. The 1000 numbers that were generated at the core of this project are related to the ‘mille plateaus’ of Deleuze. The number 1000 is connected with us in different ways. For this song a 1000 numbers, generated randomly from 1 to 10, were transcribed into 10 piano keys. The piece has to be played in 20 minutes, a timeframe that coincided with us coming from another project. This restriction helped us to shape the piece. The 20 minutes can be seen/heard as one take, one stroke. It becomes playful to see this as a refrain that could be remembered and sung by heart.

Instagram: @linkramer

Instagram: @marjolijnkok

Instagram: @kokrafamily

History is in the home and around the corner

THE KOKRA FAMILY (line kramer and marjolijn kok)

Our vlog shows how you can still research the world when confined to your home or neighbourhood. Within 200 yards of our home we can zoom out from tiny personal knowledge, to broader natural disasters, and world events. We start in our home and talk about its history, show how high the water came during the flood of 1953 according to the stories of our late neighbour, then connect and walk to the monument around the corner remembering the fire line (brandgrens) in Rotterdam of May 1940. It shows how the bombardement in Rotterdam, which led to the surrender of The Netherlands, can be found in the buildings, urban myths and official commemoration.

Toy Stage

The myth of the Danish Iron Age goddess Nerthus as described by Tacitus. The statue of the goddess was covered in cloth and driven through the country on a cart drawn by cows.

marjolijn kok (Netherlands)

The Instagram toystage invites everybody to look into their home and find toys to recreate archaeologically themed photographs. In these days when we are confined to the home more than usual, we need to use our homes in new ways. With many people working from the home the border between work and play becomes thin. At the toystage this border is crossed by expressing archaeological practices, ideas and events through the use of toys. So we go beyond creating little excavations, although they are also welcome. In these times of isolation we want to return to what is familiar and social. And the toystage is certainly there to give joy and contentment. It is for all levels of toy and Instagram users and you can make a new account if you are not on this platform. Just post your photographs and if you want a small text during festivalCHAT and use the hashtags #toystage and #festivalCHAT2020 so everybody can enjoy your creations.

Post your contributions to Instagram: #toystage #festivalCHAT2020

@marjolijnkok

 

SoundStage

A sound stage for festivalCHAT curated by Lara Band, Dave Webb and Lawrence Northall (UK)

Hello and welcome to SoundStage. Over the week, every day, we’ll be here introducing soundstronauts, noise makers, musicians and sonic experimenters for all your aural pleasures.

Follow the daily entries as they emerge here:

SoundStage 23

SoundStage 24

SoundStage 25

SoundStage 26

SoundStage 27

Original call for contributions

We’re putting out this call for you to either create something new or share a ready made sound piece. Your piece should be a response to place, space or materiality: You may also want to consider the special themes: Archaeologies of festivals; COVID-19 pandemic; Equality & Diversity; Decolonializing contemporary archaeology; Archaeologies of protest; Togetherness & Fragmentation; Drift.

If you’ve a piece you’d like featured, send us your bio and some words about the piece (max 300 words), a link* and an image (as a separate file named ‘artist name’.jpg) to soundstagechat@gmail.com. Include your social media @s too. We’ll organise submissions into themed sets – using your own words and image as the main texts of the blog. Every day during the week long festival the festivalCHAT website will release a blog with the set as suggested listening for the day.

*Sound pieces with accompanying film are also welcome but you must be able to host this yourself. We envisage that most of you will have your own Soundcloud, Bandcamp, webpage or similar but we can help you set up a free Soundcloud account if necessary.