is featuring these artists
Isabel Arevalo (Spain)
Mira Burt-Wintonick (Canada)
Aniruddha Dutta (India)
Neil Kaczor (UK)
Alexander Kharkovsky (Russia)
Raphael Lyon (USA)
Mike McFerron (USA)
Ailis Ni Riain (Ireland)
Stefanos Pavlakis (Greece)
RijN – Walter van Rijn (Netherlands)
Malte Steiner (Gerrmany)
Eldad Tsabary (USA)
2005, 5 minutes
Where is the limit of the sound?. Where is the limit of being?. I´m searching a correspondence between the limits of sound and the human being. The line where all is too similar, the frontier of the same…
2005, 6:28 min.
A box of old audio tapes dug up from the basement bring my
grandmother Muriel’s memory back to life.
2006, 4 min 24 sec
This piece demonstrates my interest in combining aleatory and pastiche techniques with electronic sounds and textures within a shifting, uncertain tonality. I have created an electronically generated background ‘noise’ that is disruptive yet patterned, which intersects with fluid chord senquences on synthesizer to create an intended sense of dissolution. What can one ‘recollect’ of drowning, that event of intense crisis as well as stasis, when one is precariously poised between the survival instinct and the lure of dissolution of all bodily boundaries? In the face of this impossibility, all I can do is single out moments – of crisis and intense anxiety, but also of melancholia and stasis. That is of course the privilege of memory – to aesthetise drowning as an event which is both the threatening erasure of the basic identity and separateness given through bodily boundaries, and the alluring escape from shackles of all social categories (one need only remember the lure of drowning in the works of Virginia Woolf, for instance.)
Interview for SIP – SoundLAB Interview project
extract VIII – in the air suspended II
(2006), 05:01 minutes
In extract VIII – in the air suspended II (2006) fragments of musical material
and sounds drift in & out of perception – in the same way particles of dust waft
into view through occasional shafts of sunlight – growing in intensity until
gently subsiding. An evocation of vague memories, a reverie.
“Mozart Strasse”. The crucial way after the magic gates of “Zauberflote”.
Granular Trio (Schubert. Sentimental waltz)
2006, running time: 3’01”
“Granular Trio (Schubert. Sentimental waltz)”. All effects are produced by granular synthesis. There are three “melody” lines.
2005, 63 minutes.
PSICKLOPS; A 64 minute “Dark Cinema” Hypno- Drama.
Psicklops (Pronounced Sick-Lops) is the worlds first audio-only experimental feature film.
Designed to be “screened,” Psicklops attempts to make a radical shift away from traditional sound narrative (Radio Drama/Theater) by using the semiotic vocabulary of cinema to build meaning and environments.
Proceeding through a complex series of interlocking stories Psicklops is best understood as a modern redux to Kafka¹s ³The Trial.² Circling the territory of interrogation, pointing to both of the capitalist and homeland security varieties- this dark cinema uses an amalgamation of carefully scripted material, guerilla recordings and experimental sound art. Psicklops
is a unique sound event that.is funny at times and frightening at others- but always disturbing and evocative.
Produced and Directed by Raphael Lyon with over two dozen artists. Hand made covers design by Jim Drain.
9.17.2003 grew out of the idea that one of the primary characteristics of art is that it compresses a large-scale topic into a manageable space, whether that space is physical or time-based. That is, artists begin with a large subject and reduce it to a manageable form. In music, composers address a number of subjects from memorials to rituals to the absolute. The one thing that unites music is that it almost inevitably at its roots comments on something larger than itself.
Whether it’s music, painting, sculpture, or drama, artists use the tool of conservation of means to make a grand comment. For this composition, I invited the Lewis University community to contribute to my orchestra of sounds. I placed a microphone in a busy hallway at Lewis University and recorded sounds for 24 continuous hours. Using the electronic music labs at Lewis University, I created a composition using only the sounds recorded during that 24 hour period. For me, this reflects the attitudes, emotions, and interactions of this day—a summary, or a composition that documents September 17, 2003 at Lewis University.
2006, 4 mins 18 secs
StreetSong – a combination of Sean Nos (Traditional Irish Vocal Singing),
contemporary flute, children’s church choir and bells. Internal memories of
historic voices, floating through the old street of Dublin in song.
“ A Sense Of Belonging”
2005, 4:54 min.
Centered on the belief that alienation is our “collective cultural debris” deriving from Modernity, I produce work exploring forms of geographical, cultural, or social displacement. In a series of ongoing audio-works I am engaging with language and place. In the context of an emerging “global village”, enabled through communication technologies and low-cost air-fares, the struggle to root oneself is represented through the effort to verbally express. “A sense of Belonging” is an exercise in memory and identity taking the form of a lesson in correct English pronunciation.
“Pigment on Bark”
2005, 8:56 minutes
PIGMENT ON BARK – installation producing 2 voices describing a painting :
BRIDGIDI, Aboriginal bark – painting pigment on bark – 42 x 93 cm
Scanning the surface, describing the marks, exploring a culture and identity that uses storytelling and visual art to pass on their cultural history. The memory of the original story is passed on through many transformations and translocations in time and place.
From theYolngu tradition, Arnhemland, Northern Territory, Australia; to 1947-Bishop Otter Gallery Collection, University of Chichester U.K.; to 2005-conceptual artwork PIGMENT ON BARK; to today & now- a listener/viewer experiences it within the (DIGITAL) framework it is presented. I’m only providing a platform for another interaction.
2006 – 4.33
„ident“ exchanges the identity and characterization of different sounds and creates new
soundscapes with partly vocal charactristics although no voicerecordings where involved.
The original sounds are fieldrecordings of abused tincans but by the processing with the
acoustic programming environment pd (aka Pure Data), the sounds where changed
dramatical. The resulting soundpieces where finally put together to the composition „ident“.
God is Good to Daddy
In “God is Good to Daddy” I represent my own blurry childhood memories of my father Haim Sabari. Recollections of my dad’s daily activities, his favorite music, shreds of his poems, and emotionally-memorable moments are all put together in a flowing, fluid mixture of sound and color. The blending of these diverse elements results in a dream-like sequence that follows a
subconscious, free-association-type logic; elements of different nature are melted together through the use of acoustic mirrors, fading in and out, the shifting of effects from one element to another, and, inescapably, a generous amount of reverb. The dream-like sequence culminates in the most dominant of all reminiscences – my father’s untimely death at the age of 44.