![]() ![]() In recent years Ecka has performed regularly alongside the likes of David Toop, Malvern Brume, Thurston Moore, Keeley Forsyth, Ex-Easter Island Head and Kate Armitage. Situated between sonic, performative and olfactory disciplines, her work is driven by sensation entwining cello, horsehair harp, voice, eggflute, scent and improvisation into time-based objects expressive of emotional complexity.īoth intimate and exacting, this body-driven practice defies formal constraint and somewhat undoes the limits of genre, allowing for works such as Aequill Sound, a line of niche perfumes composed from soundscape listening, or Promise & Illusion, the album in which Ecka explores internal emotional states using the compositional device of a creaking door hinge (charniére). ![]() As well as working at the London College of Communication as a Sound Art Technician and at Cafe OTO as a Sound Engineer.Įcka Mordecai is a British artist based in London. He co-runs the record label and mail-order distribution Infant Tree with artist Ben Victor Waggett and curates a series of concerts in London between Cafe OTO, Dalston and Spanners, Loughborough Junction. He has worked with and performed at spaces including Cafe OTO, San Mei Gallery, South London Gallery, Hundred Years Gallery, Safehouse Gallery, and in recent years has moved to frequently working outside. His music is formed through experimentations with electronic instruments, field recordings, amplified objects, cassette tape, feedback and voice motivated by a relationship to changing and chaotic environments, objects and scores made from walking.Īs an artist he works mostly with walking, text, feedback systems and participatory projects, often with a focus on actions and performance scores. Rory makes music under various monikers and has released albums with Alter, TakuRoku, Infant Tree, Teeth, MAL, Bison, Kashual Plastik and more. Rory Salter is a musician and sound artist living in London, Born in Banbury. ![]() Their most recent book Sound Arts Now (2021) is an exploration of contemporary artistic practice and theories, and what contributes to or hinders artistic and career development, conducted through a series of interviews with artists and curators, putting the often-unheard voice of the maker at the centre of the discourse.Ĭathy Lane is Professor of Sound Arts at University of the Arts London and directs Creative Research in Sound Arts Practice (CRiSAP) a UAL research centre. ![]() She is inspired by places or themes which are rooted in every day experience and particularly interested in ‘hidden' histories and historical amnesia and how this can be investigated from a feminist perspective through the medium of composed sound.īefore moving over to mainstream education she was involved in a number of community, collective and activist sound and music projects including Community Music The Steam Rooms – a community recording studio in Poplar the Womens Media Resource Project and the Fallout Marching Band, an anti-nuclear street band.īooks include Playing with Words: The Spoken Word in Artistic Practice (RGAP 2008) and, with Angus Carlyle, In The Field (Uniformbooks, 2013) a collection of interviews with eighteen contemporary sound artists who use field recording in their work and On Listening (2013) a collection of commissioned essays about some of the ways in which listening is used in disciplines including anthropology, community activism, bioacoustics, conflict mediation and religious studies, music, ethnomusicology and field recording. She works primarily in sound, combining oral history, archival recordings, spoken word and environmental recordings to investigate histories, environments, our collective and individual memories and the forces that shape them. Through extreme and unprocessed hyperextensions of her voice, she invokes a kind of joint resonant body/space in tandem with a Ciat-Lonbarde Fourses synth, transforming itself in a feedback loop of imagination, touch, vibration, sound and aural sensation.Ĭathy Lan e is an artist, composer and academic. Her practice is deeply intertwined with this act of invocation, calling upon the physical body to remember beyond the limitations of its own memory, beyond its lifetime into generations past, simultaneously echoing into the present and forwards. As a second generation Taiwanese-American living in Berlin and a mother of a biracial/bicultural son, Chen`s work has long dealt with and continues to explore the displacement of story and history due to the migration and integration processes, loss and adoption of language, untold stories, how the past can be accessed and traced through inherited and lived experience and the importance of bringing this kind of sounding reflection and communication into our future generations. ![]()
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