SoundStage 30

It’s been a fabulous week here on SoundStage sending sonic tendrils out to you festivalCHAT goers. We hope you’ve discovered some new artists to tickle your ears (and eyes), sounds to excite you and sounds to soothe you. Maybe both even. At the same time. So without further ado, here’s the penultimate SoundStage, the scritchy scratchy sounds of…..

Jon Lloyd/Walthamstow Home Keyboard Laboratory – Unparalleled Sound Pressure

Compiled from dictaphone and digital field recordings and tape loops.

https://experimentalsoundart.bandcamp.com/track/unparalleled-sound-pressure-waterworks-festival

The pieces I produce are unashamedly broken, incomplete, imperfect.

They are created quickly, seeking to capture a moment.

Unparalleled Sound Pressure was an attempt to document an event that hadn’t happened, and subsequently, never happened; the controversial Waterworks Music Festival in London in 2020. The piece intended to predict an outcome, but instead stands as false testimony to an event that never transpired. It was a protest piece for a cause that was won only through pandemic intervention.

The Walthamstow Home Keyboard Laboratory, involves childrens’ home keyboards from the 1980s and 1990s. These are the toys of my youth, but they were things I never had and could never afford until they were for sale at carboot sales and charity shops. Except, this is a conceit, because I’m very middle class, and could probably have asked my parents to buy them for me. Many of the purchases I made in my twenties I subsequently sold and have since re-purchased at inflated collectors’ rates, from Ebay.

Nevertheless, I seek to accurately portray their sonic characteristics, without the luxuries of digital intervention or external effects. Tracks are improvised, sometimes echo-ing the equipment’s time-period in a broadly Hauntological fashion, and sometimes forging more abstract noise-based arrangements. The pieces flow and each layer follows the last. The tracks are presented chronologically as they were recorded – piecemeal, over a week or so – and demonstrate a level of development in my understanding of how to use them. They are a personal exploration of the material culture of my (perceived) youth.

Twitter: @homekeyboard

Bandcamp: Walthamstow Home Keyboard Laboratory

And now…..the SoundStage finale you’ve all been waiting for……the piece made by YOU….a big round of applause please………it’s……(keep that screaming down please!)…..it’s….

Postcards from All Edges

Arr. Dave Webb with Lara Band, Jobbe Wijnen, Laura Aish, John Tierney, Dan Lee, Antonia Thomas, Rachael Kiddey, Lawrence Northall, Ursula Frederick, Jacqui Mulville, Ben Philcox, Hilary Orange

Tiny sound pictures charting your journeys to #festivalCHAT2020: A front door in East London. Late night seagulls at Ramsgate Harbour circling the fishing boats. An echoey street in Gelderland, so noisy that every falling hairpin can be heard inside, listening to some radio, going outside, a family had just passed, and then a 1950 Mercedes car passed by.

A walk through overgrown graveyard in West Cork – Kilbrogan has one of the oldest ‘modern’ headstones in Ireland dating to 1623 – the mortuary monument appears to be Protestant and it represents the divided and contested landscape of the Bandon area since the town was founded in 1608.

The sea at Dingyshowe, Deerness. The beach is a tombolo between The East Mainland and Deerness (‘nearly an island’). This beach on the east side faces the North Sea. The tide was high, and the weather calm, and small waves were breaking over a small sand shelf at the top of the beach. Sometimes the waves would wash over to the top of the sand. Nearby is a large broch mound, hence the ‘howe’ placename of the beach. Willow and Bee, the kittens purring.

A calf mooing and a bit of owl, a windy and rainy old morning, near Dartmouth, south Devon, UK. Breakfast at Zest Cafe, Ramsgate. A trip for coffee in Canberra with the general bustle of birds, people walking past, hum of building sounds (electricity?). The River taff on a  morning run, CV19 defences. And a laptop falling off a desk….

Credits, Thanks + Shoutouts

festivalCHAT was brought to you by the CHAT Standing committee:

Dan Lee (Festival working group lead, website design)

Hilary Orange (Chair, Festival working group, web content editor)

Miriam Rothenberg (Festival working group)

Þóra Pétursdóttir (Festival working group)

Rebecca L. Hearne (Festival working group)

Jaime Almansa-Sánchez

Emma Dwyer

Rachael Kiddey

Nota Pantzou

Carolyn L. White

Jobbe Wijnen

Bill Caraher

Thanks to: Katy Whitaker (festival map), Sponsors (Archaeopress, SPMA)

Shout outs: All of the festivalCHAT contributors!

BAR Publishing

30% DISCOUNT! BAR Publishing is delighted to offer festivalCHAT members 30% discount on all BARs. Quote ref: FES20 at checkout (valid until 27th November 2020)

CLICK HERE to access deals!

Interesting in publishing in the CHAT series? Join the Campfire Conversations with the co-editors of the CHAT/BAR series on Tuesday 27 October 16:00-17:00 GMT.

pubCHAT Europe + Africa

Real ale handpumps. Source Wikipedia.

Rachael Kiddey and Hilary Orange are hosting PubCHAT on 20:00 BST (21:00 SAST) Friday 23 October

Hilary Orange and Emma Dwyer are hosting PubCHAT on 19:00 GMT (21:00 SAST) Friday 30 October

Join these social events and link up with people in Europe and Africa.

Come CHAT with us! PubCHATs are designed to be an informal way to meet other contemporary and historical archaeologists and to talk about life, research, and interests! There is no formal programme, so just show up with your favorite evening beverage or meal and be prepared to socialise. These PubCHATs are timed to be accessible for those located in Europe and Africa, but everybody is welcome! This is part of a series of three events being held in association with the Festival in different timezones (including the Americas and Asia/Oceania).

We will send out the Zoom link via the CHAT JiscMail (CONTEMP-HIST-ARCH@jiscmail.ac.uk) a few days before the event. You can sign up to join this mailing list HERE by clicking the ‘subscribe’ button.

Note: There is no official language for pubCHATs and while it is likely that many of those who come along speak English, we welcome speakers of all languages.

Campfire conversations with the editors of the CHAT book series

Rachael Kiddey (UK) and Bill Caraher (US)

Meet the co-editors of the CHAT/BAR series on Tuesday 27 October 16:00-17:00 GMT

You’ve enjoyed the hustle and bustle of festivalCHAT…you’re tired and want to sit and chew the fat…take in the scene from the edge for a bit…You’ve had ideas percolating for years about exactly how contemporary and historical archaeology can contribute meaningfully to improved equality for all and global social justice.

Please, take a seat around the campfire and discuss your ideas with us. We have a cauldron of hot chocolate and a never-ending hip flask of single malt Scotch. Kick back and let’s reflect together, as the stars prick through the night-sky and the flames of possibility lick our toes…you’ve come to the right place.

About Studies in Contemporary and Historical Archaeology

Studies in Contemporary and Historical Archaeology is a series of edited and single authored volumes intended to make available current work on the archaeology of the recent and contemporary past in a timely fashion. The series is published as part of the British Archaeological Reports (BAR) series of monographs.

The series brings together contributions from academic historical archaeologists, professional archaeologists and practitioners from cognate disciplines who are engaged with archaeological material and practices. The series includes work from the traditions of historical and contemporary archaeology and material culture studies from Europe, North America, Australia and elsewhere around the world. It promotes innovative and creative approaches to later historical archaeology, showcasing this increasingly vibrant and global field, and celebrating its diversity, through extended and theoretically engaged case studies. The proceedings of CHAT conferences are normally published as part of joint or individual edited volumes in the series.

“The show must go on!”: how the ‘Made in Migration’ team adapted community archaeology methods in light of Covid-19 restrictions

Rachael Kiddey (UK)

Live talk event Friday 23 October 18:00-19:30 BST (London); 13:00-14:30 (New York)

The ‘Made in Migration’ workshop was supposed to be a 5-day face-to-face community archaeology event held in Oxford. The event would have brought together 12 refugees from 8 countries, to work collaboratively with researchers, artists, a poet, an architect, and a film- maker but, sadly, Covid19 put pay to this. Forced to move everything online, as a transdisciplinary team, we spent three months reshaping the event so that it is now taking place over Zoom, as an ongoing series of fortnightly 3-hour online meetings. Aside from finding ways to meaningfully co-interpret data gathered over two years, we are working across 3 time-zones and 7 languages. The ‘Made in Migration’ team is multi-national, multi-
generational, and of mixed gender, religious beliefs, and sexual orientation.

The initial project set out to blend established community archaeology research methods and practices with architectural spatial mapping techniques, creative writing and film-making, to reflect on the objects, places, journeys, people, and things which people encounter during lived experiences of forced displacement across three countries in Europe – the U.K., Greece, and Sweden. By the end of the 5-day intensive workshop, we intended to have co- designed the primary layout of a public exhibition.

Working remotely since March 2020, we have become a smaller collective. In this co- presented talk we share some of the reflective pieces of work that we’ve produced so far. They are works-in-progress – short films, unfinished maps and poems. We are open to respectful discussion about what works and what is less clear. We champion ‘arts-as- research activism’ – using material culture to advocate for better rights for refugees; to articulate what it is like to be ‘Made in Migration’.