Q-O2 Winter School
In light of the theme ‘Interpretation’, Farmer and Hughes present two separate interpretations of the 2011 Compost and Height project based on George Brecht’s Water Yam. They each elaborate on individual research interests, the role that Compost and Height plays in the development of such interests, and their own accounts of collaborative practice. By welcoming any chance repetitions, contradictions and diverging interpretations of the project, the authors propose a point at which contraries can meet.
Histories, Theories and Practices of Sound Art
Sound art curating conferences hosted by Goldsmiths University and the Courtauld Institute of Art. Sarah Hughes presented a paper, entitled The Continuum of the Field, outlining parallels between John Berger’s little known essay Field and the Compost and Height project focussing on Michael Pisaro’s score Only [Harmony Series #17]. A version of this essay is available in Wolf Notes #7.
October 2013. American composer Michael Pisaro’s July Mountain, is a translation of the Wallace Stevens poem of the same name, into sound. It is a dense combination of strictly timed, crossfaded field recordings, sourced on this occasion from areas around the UK, and a slew of percussion sounds and the bowing of a prepared vibraphone. Ricefall, another piece by Pisaro was originally written for the percussionist Greg Stuart and realised in the studio with a great many overdubs. Its performance at the Roundchapel Auditorium consisted of 16 performers positioned around the venue, each adhering to a series of timings, whilst letting fall constant streams of rice onto a series of different objects. Composer Tim Parkinson performed the UK premiere of Piano in Person I (2006) by Makiko Nishikaze.
Writing Sound Symposium
November 2012. Writing Sound explored connections between listening and writing, sound and text, audition and record. Patrick Farmer – curator of Writing Sound 2012 – invited practitioners from the fields of visual art, cultural geography, experimental composition, and sound art, to join him in sharing their thinking and writing, their approaches to recording the experience of reception, and negotiating the complex and subtle relationship of location, action, sound and word. Writing Sound is a project of the Sonic Art Research Unit (SARU) that takes the form of an annual symposium, initiated by Paul Whitty.
New Works: Manfred Werder | Ben Owen | Patrick Farmer
February 29th – March 21st 2012. As part of Audiograft 2012 Compost and Height curated an exhibition of new works at Oxford’s Old Fire Station.
Gino Robair. Improvising Strategies for Large Ensemble
This interdisciplinary workshop examined a number of techniques you can use when improvising within a large group, focussing on global awareness and listening, while exploring strategies for achieving maximum variety and avoiding stagnation.
May 27th 2011. Koboku Senju are Toshimaru Nakamura | Tetuzi Akiyama | Eivind Lønning | Martin Taxt | Espen Reinertsen (No Input Mixing Board, Guitar, Trumpet, Tuba, Saxophone) + Stephen Cornford | Patrick Farmer | Sarah Hughes (Feedback, Turntable, Chorded Zither
Lecture at Oxford Brookes University, organised in collaboration with the Sonic Arts Research Unit
Sarah Hughes, Patrick Farmer and Kostis Kilymis spent March 2010 at Q02, Brussels exploring field recording, composition, improvisation and visual work.