6 August 2015

reFMRL roundup

It started from a series of reflections around curating, as I was thinking of possible ways to present my new book F.M.R.L.
How to curate-generate, instead of curate-control?
How to avoid/play around acquired formats of ‘readings’ and ‘author Q&As’?
How to work with presence rather than absence?
How to combine my ongoing interest in framing and juxtaposing, with live events and performances?

Below are some traces, voices and murmurs and silences, drawn from the events in the series so far. They were generated by asking artists to work with the book as material for further thinking, quieting, performing, writing, voicing, sounding. I am still overwhelmed by the range of responses and by the generosity of all the artists involved – and I look forward to more…

2 June 2015
Conrad Kemp and Maia Urstad, Jeremy Welsh, Signe Lidén
Bergen, Ostre

Conrad Kemp and Maia Urstad:

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6 June 2015
Christian Patracchini, Eleanor Vonne Brown, Georgia Rodger, Jess Chandler, Helena Hunter and Mark Peter Wright
Hardy Tree Gallery, London, at http://www.stevenjfowler.com/mahu

Christian Patracchini  https://www.youtube.com/watch?v=9E_qD4qYRMk
Eleanor Vonne Brown https://www.youtube.com/watch?v=lnpu4LXeJ38
Helena Hunter & Mark Peter Wright https://www.youtube.com/watch?v=XSzGmgCrBYA
Georgia Rodger https://www.youtube.com/watch?v=b0wF6bkV2BE
Jess Chandler https://www.youtube.com/watch?v=NDtrOIp6wLM


25 June 2015
Ora, With Salomé Voegelin and guest readings by Aya Kasai, Clodagh Simonds, Helena Hunter, Joanne Lee, Patrick Farmer.
Resonance 104.4FM

Listen: https://ora2013.wordpress.com/2015/06/29/ora-22-audio/

20 July 2015
Christian Patracchini, Colin Potter, David Toop, Elaine Mitchener, Georgia Rodger, James Wilkes, 
Patrick Farmer and Trevor Simmons
, Richard Skinner, Rie Nakajima, Salomé Voegelin, Steven J Fowler.
Café OTO, London

Elaine Mitchener https://www.youtube.com/watch?v=PAsqtT7ucrA

Christian Patracchini https://www.youtube.com/watch?v=YUy8UfD6sqo

Salomé Voegelin https://www.youtube.com/watch?v=g2o5aGvlMw4

James Wilkes https://www.youtube.com/watch?v=hLAlkhKxPss

Christian Patracchini, SJ Fowler, Richard Skinner, Colin Potter, Rie Nakajima

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** many thanks to SJ Fowler for the videos

3 August 2015

Ora: Multisensory Conflict

Listen to Ora: Multisensory Conflict, a text/sound performance by Salomé Voegelin and I at CRASSH Cambridge, 8 July 2015 – where we played sounds and read texts by Eliane Radigue, Curzio Malaparte, Jackie Kay, P16.D4, Ross Bolleter, Primo Levi, Keiji Haino, John Cage, Kathy Acker, Arturos Bumsteinas, Club Moral, Paul Celan, Yellow Swans, Merzbow, John Fahey, Abdul Basir Watanyar, Adrienne Rich, Coil, Alain Badiou, Hakim Bey, Steroid Maximus, Franco Battiato, Lydia Davis, Ryszard Kapuscinski… No score or preparations – as usual, we brought texts and sounds to the venue, listened and responded to each other’s voices and rhythms:

https://ora2013.wordpress.com/2015/08/03/ora-23-multisensory-conflict-audio/

29 July 2015

Screams, Dreams, Psyche and Pilgrimages / FMRL on Earlid

An in-depth response to F.M.R.L. and an interview in which my voice appears transformed, disconnected and reconnected, are now available on Joan Schuman’s Earlid. Featuring screams, dreams, psyche and pilgrimages:
http://earlid.org
[This is probably the first time when my senseless nervous laughter makes some sense…]

10 July 2015

F.M.R.L. at Café OTO, 20 July 2015

The evening will feature responses to, remixes, readings and re-readings of F.M.R.L. by Christian Patracchini, Colin Potter, David Toop, Elaine Mitchener, Georgia Rodger, James Wilkes, Patrick Farmer+Trevor Simmons, Richard Skinner, Rie Nakajima, Salomé Voegelin, SJ Fowler.

Details: https://www.cafeoto.co.uk/events/daniela-cascella-fmrl/

Tickets: http://www.wegottickets.com/event/319308

This event is the fourth and last in the reFMRL series, that challenges the conventional format of the book launch to work instead with the book as material presence, and to enhance the polyphonies that inhabit and form F.M.R.L.

Christian Patracchini’s practice explores a code of gestures that investigate their potential and modes of existence in relation to their own privation.
www.christianpatracchini.com

Colin Potter is a sound & recording engineer and performer who has been working with unusual music and noises for over 30 years, both solo and as a member of various ensembles, most notably Nurse With Wound.
www.icrdistribution.com

David Toop is a composer/musician, author and curator who has worked in many fields of sound art and music, including improvisation, sound installations, field recordings, pop music production, music for television, theatre and dance.
http://davidtoopblog.com

Elaine Mitchener is a vocal artist working with improvisation/sound-text & movement.
www.elainemitchener.wordpress.com

Georgia Rodger’s works often stage the act of making as a performance, exploring this as a mediation between body and tools.
www.georgiarodger.co.uk

James Wilkes writes poetry, scripts for performance, and criticism. He has collaborated widely with scientists, artists, composers and poets, and is Associate Director of Hubbub, an international interdisciplinary team exploring the dynamics of rest, noise, tumult, activity and work as residents of the Hub at Wellcome Collection.
www.renscombepress.co.uk

Patrick Farmer and Trevor Simmons are thinking of writing about, and drawing, even-toed ungulates.
www.patrickfarmer.org

Richard Skinner is a novelist, poet and Director of the Fiction Programme at Faber Academy.
http://richardskinner.weebly.com/

Rie Nakajima works with sound and space applying kinetics and found objects.
www.rienakajima.com

Salomé Voegelin’s curatorial and writing practice is concerned with listening and hearing as a socio-political practice; her artistic practice involves sound and text works in collaboration with David Mollin.
www.salomevoegelin.net

SJ Fowler is a poet, artist, curator & vanguardist working across text / sound / performance.
www.stevenjfowler.com

 

 

29 June 2015

reFMRL 3 : audio

Listen to reFMRL 3: Ora 22, where Salomé Voegelin and I read from and talk about my book, with guest readings by Clodagh Simonds, Patrick Farmer, Aya Kasai, Joanne Lee, Helena Hunter.

https://ora2013.wordpress.com/2015/06/29/ora-22-audio/

 

 

12 June 2015

Ora 22 : F.M.R.L. / reFMRL 3 : 25 June

Originally posted on ora:

FMRL

Ora 22: F.M.R.L. / reFMRL 3
Daniela Cascella and Salomé Voegelin, with the guest voices of Aya Kasai, Clodagh Simonds, Helena Hunter, Joanne Lee, Patrick Farmer.
8pm, Thursday 25 June
Resonance 104.4FM

This episode of Ora is the 3rd in the reFMRL series, that challenges the conventional format of the book launch to work instead with the book as material presence, and to enhance the polyphonies that inhabit and form Daniela Cascella’s new book F.M.R.L. Footnotes, Refrains, Mirages and Leftovers of Writing Sound. 
On this occasion, Salomé Voegelin has responded to F.M.R.L. through a series of questions and by selecting excerpts read in the studio by both herself and Cascella to prompt a conversation.
Their voices are joined by those of guest readers, that punctuate the conversation throughout.



Aya Kasai is a researcher currently based in Oxford, UK. With a background in clinical and phenomenological psychology, her fascination lies in…

View original 232 more words

21 May 2015

FMRL reviewed on Sounding Out!

Another great review of F.M.R.L. was published this week on Sounding Out! 
You can read it here:
http://soundstudiesblog.com/2015/05/18/so-reads-daniela-cascellas-f-m-r-l-finding-materials-for-remembering-and-listening_/

14 May 2015

F.M.R.L. reviewed by C.D. Rose on 3:AM Magazine

A wonderful review of F.M.R.L., written by C.D. Rose (remember The Biographical Dictionary Of Literary Failure?) is now published on 3:AM Magazine:

http://www.3ammagazine.com/3am/fragments-miracles-recurrences-and-likenesses-a-review-of-f-m-r-l-by-daniela-cascella/

8 May 2015

reFMRL / curating, conversing, drifting

reFMRL is a series of events for which I’ve asked artists, writers, performers, musicians to remix, rewrite, re-read my book: to use the book as raw material. I’m doing this to challenge the frustrating conventional format of the book launch (where two or three people praise a book that nobody else in the room has read), to work with the book as material presence instead, and to enhance the polyphonies that inhabit and shape F.M.R.L.

2 June: Bergen, Østre. With Jeremy Welsh, Conrad Kemp+Maia Urstad, Signe Lidén.

6 June: London, Hardy Tree Gallery, Mahu. 
With Christian Patracchini, Eleanor Vonne Brown, Georgia Rodger, Helena Hunter, Jess Chandler, Mark Peter Wright.

 

25 June: Resonance104.4FM. With Salomé Voegelin and guest voices.

20 July: London, Café Oto. With Christian Patracchini, Colin Potter, David Toop, Elaine Mitchener, Georgia Rodger, James Wilkes, 
Natasha Soobramanien, Patrick Farmer
, Richard Skinner, Rie Nakajima, Salomé Voegelin, Steven J Fowler.

Following last year’s Writing Sound 2 in Bergen and the sense of drift that motivated it and moved it, reFMRL lets the book drift into unpredictable sounds, activities and voices. Curating as a generative activity, rather than a controlled one with predictable results. Curating (like my approach to writing in F.M.R.L.) as channelling, unstable arrangement, transmission and interference.

A few years ago I stopped curating because its contingent demands and constraints had become more and more distant from my initial motives: eventually curating prevented me from writing and asked for a level of control beyond my inclinations and ideas. Then I knew I had to stop.
When I started curating in the late 1990s, it was because of and for writing and because of and for conversations, held in most part as interviews for a music magazine I contributed to. These conversations would end up in a text, they would generate writing and in parallel, they would generate invites for some of my interlocutors to present their work within a series of projects. It was not about displaying: it was another instalment in the conversations, brought into a public context. Today I also start to see curating as a series of performed conversations.
I treasure those encounters and I long for those conversations—the time spent before, during and after, the commitment, the exhilaration and complicity as well as the misunderstandings, dead ends, again, the drifts, to generate and let grow, wait and see what takes form, edit, think, write. I’m looking for them again in this year’s new projects, reFMRL and two more, one bringing reading and translating to a sound art gallery, the other bringing sound, voices and listening to a literature centre. They appear as the inner lining of writing: the counter-space of writing, the space of my intermittent silences where I’m less concerned with plans and control than with listening to the words, voices and sounds of others, from which more words will emerge and contribute again to more conversations and to other writing.

24 April 2015

F.M.R.L., a title, a frame

F.M.R.L. Footnotes, Mirages, Refrains and Leftovers of Writing Sound* is published today.

The title is ‘F.M.R.L.’: not ‘Ephemeral’. I chose this title because of its ambiguity and because it calls to be sounded. I chose it to draw the attention toward language as material; to stay away from any literal understanding of sound as ephemeral, as if unworthy of attention; and to prompt other departures from and into words and letters. To claim invention, intermissions and diversions—responding to a recurring invite that often comes to me from sounds—for example, any time somebody hesitates to pronounce the title of my previous book (or my surname, even). Smiling at the thought of people stumbling upon these letters. How to make all this part of a connective tissue of listening into writing? Language beyond me. That’s why Scratches by Michel Leiris is so present in this book, as he is so receptive to the sounds within phonemes and letters and peels off a whole new layer of meaning by thinking beyond meaning as external referent, but meaning made and remade through resounding deviations and displacements, through listening and through a world of sounds ‘filled with strangeness’. A book that might not appear** as a book about sound, but is very much a sounding book. A way to build a language and most of all, a way of working through arrangements. To become frame.

* While writing the title, I accidentally spelled ‘Writing Wound’. How to ignore this?
** ‘appear’.

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