WIRED OPEN DAY is your opportunity to experience the immense range and creative applications of the 'wires' and The WIRED Lab arts initiative.
Featuring artists from our annual residency program WIRED OPEN DAY presents performances and installations in response to the wires and their immediate environment.
WIRED OPEN DAY includes 15 artists from around Australia who will realise a new composition by Alan Lamb, David Burraston and Sarah Last, with appearances by William Barton on didgeridoo and his mother Delmae Barton on vocals.
Joyce Hinterding and David Haines will expose us to the electromagnetic world(s) that surrounds us. Garry Bradbury & David Burraston present their ‚ÄòDormative Fields‚Äô wire music installation. Chris Watson‚Äôs installation unveils Box Gum Grassy Woodlands habitat through a 24-hour time compression of field recordings.
ALAN LAMB : DAVID BURRASTON : JOYCE HINTERDING : DAVID HAINES : GARRY BRADBURY : WILLIAM BARTON : DELMAE BARTON : SARAH LAST : CHRIS WATSON (UK)
I met Virgie in Bangkok recently on an Art Stalkers tour, and she's an amazing woman. This will be a great book - I hope you'll submit and/or grab a copy once it's published by Seal Press
CALL FOR SUBMISSIONS : FAT-POSITIVE ANTHOLOGY
Editor: Virgie Tovar - author, fat activist/lifetime fat girl, and MA, Human Sexuality
Deadline: November 15, 2011
I‚Äôm seeking personal essays for a fat positive anthology to be released in 2012. I‚Äôm seeking essays that either (1) focus on a specific event/experience that was truly flabulous or (2) tell the story of how you became a fierce fatty. I encourage contributors to hone in on a particular theme‚Äîlike romance, parenting, family, fatshion, dating, performance‚Äîto use as a lens through which to tell your story. Fierce, sassy, thoughtful, authentic, non-fiction, previously unpublished, autobiographical stories from fatties who identify as women are welcome. The vision for this anthology is one of fun, unapologetic fat celebration and love!
Envision the book you would have wanted to read when you started out on your journey to fat positivity. This will be that book for a lot of people. So, share what you know and what you‚Äôve learned, the way you navigate the world, your experiences, and don‚Äôt leave out the juicy parts!
GIRRL, [girrlsound & digitalgirrl], is a new Brisbane based international organization/hub/forum for women working in or around or interested in the digital and sonic arts. Its aim is to provide discussion, feedback and reviews, present research findings, offer networking, project generation, exhibition space, testing and showcasing of work in progress, initiate collaborations, support for women curating, reviewing, making, theorizing and working in the digital and sonic arts. Girrl is for artists, curators, undergrad and postgraduate students and academics from any discipline who would like to be part of a dynamic group of women, and wish to take the opportunity to discuss their ideas, present work and build international networks.
GIRRL hosts a monthly meeting event, held at The Glasshouse, Creative Industries Precinct, where artists and guest speakers meet and present their work and project proposals and projects in development are presented.
GIRRL plans to hold annual symposiums and exhibitions of women's work, their research and develop projects that engage artists at many levels. Based at The Glasshouse at the Queensland University of Technology's Creative Industries Precinct, the first GIRRL symposium will be held in May 2012.
GIRRL is part of Upgrade! International, a large network of web based and real time gatherings, focusing on art, technology and culture.
This lively textual symposium offers a rich harvest of formative research on the culture of global psytrance (psychedelic trance). As the first book to address the diverse transnationalism of this contemporary electronic dance music phenomenon, the collection hosts interdisciplinary research attending to psytrance as a product of intersecting local and global trajectories. With coverage of scenes in Goa, the UK, Israel, Japan, Italy, the US, Portugal, The Czech Republic and Australia, the collection features a dozen chapters from scholars researching psytrance in worldwide locations, employing various methods, within multiple disciplines.
"This stimulating collection of essays by some of the key researchers in the field provides a genuinely insightful and engaging contribution to the study of psytrance, which students, tutors, and researchers will be turning to for many years to come. I warmly and enthusiastically welcome it." --Christopher Partridge, Professor of Religious Studies, Lancaster University, UK
Dancecult: journal - special issue on the DJ, was released on 16 June 2011. Dancecult is a peer reviewed e-journal specializing on EDMC (electronic dance music culture). This issue has articles on DJs at NYC's "The Saint" nightclub, the changing roles of the DJ in Vienna, the "maleness" of drum'n'bass in London, DJs and cyborgs, psytrance DJ Goa Gil, part one of the Nomads in Sound series, a couple of articles on turntablists and hip hop DJs, the techno scene in Stockholm, a look at the EBM/Industrial DJs, as well as book reviews. A bumper issue!
DANCECULT | Journal of Electronic Dance Music Culture
Volume 3 * Number 1 * 2011
SPECIAL ISSUE ON THE DJ
with Guest Editors Anna Gavanas and Bernardo Alexander Attias
Hunter and Mortar released their new album "Fear and Loathing" in May 2011‚Äîthe guys seem a perfect match to release an album together. Written over a few years, there's a range of styles, and fans of either of the two will not be disappointed. My personal favourites are the more introspective songs, such as Mortar's "Expecting to Fly" and Hunter's "Love and Fear" but there are also plenty of hardcore rap songs for the fans to play at parties and bars around Australia. Hunter answered a few questions and replied to comments about the new release. You can find the album in all good stores supporting Australian Hip Hop, and I'd encourage you to buy all of Hunter's and Mortar's albums, including this one‚Äîthe latest chapter in the Hunter SBX story.
I was really excited to hear that Brisbane band Step It Up had a new EP, "Push", out in 2011 on Zyl Records, as I'd loved their earlier work on their self titled album released in 1996 and I'd seen them perform in Brisbane when I lived there in 2000/2001 or so. The new EP has different versions of the song "Push"‚Äîwhich includes a sample from their popular song "Flex" with mixes by Obese Bass Beast and Unison Sound System. There's also a new song called "Nudge" by Blunted Stylus (aka Geoff "Jigzaw" Blunted/ex Resin Dogs/Hydrofunk). The musical lineup has changed slightly over the years, but there's still a range of music styles and techniques explored on this release‚Äîfrom house, to jazz, to drum'n'bass, to bass-music and beats'n'squelch styles. All in all, it's a pleasure to listen to and I'm looking forward to hearing their future sounds, as well as the cache of songs yet to be released. Des Reid was kind enough to answer a few questions about the band and its future directions. Keep an ear to the ground for their live gigs in Brisbane and elsewhere‚Äîyou'll be in for a treat from these talented musicians!
>> for the "borrowed moog and juno mix", song #1 on Push‚Äîwhat's the story here? who'd you borrow the moog and juno from and can you keep them for a while?
> The Moog Prodigy belonged to Manny, our old keys player. I should have bought it when he sold it. The Juno 60 was DJ Damage's. They're both killer synths. I've since acquired a Juno 60 and JX-3p.
>> are there any favourite gigs, or memories of them that you'd like to share?
> The "Vibes on A Summer Day" festivals were always great. They were before festivals became commercial and unaffordable. Bondi Pavilion was a great venue. It's always nice to see a thousand people jumping up and down to your music in the sun from the stage.
>> for your live set: "Their new show has wide variety from instrumental hip-hop through Asian and Arabic influences to banging house". can you talk about some of these influences? particularly, the Asian and Arabic ones
> I have been learning some Arabic music and playing with some great oud players. We have an unreleased track called "√èntefada" and a new one called "Free Gaza". I've always been interested in Indian music since seeing the Mahavishnu Orchestra, although I haven't studied it thoroughly and authentically. One of our best new tunes is an Indian groove tune called "Only One I know". That's partly because it's the only raga I know properly! Rohan plays in proper Indian ensembles in recitals at the Hindu temple in Virginia up here in Brisbane.
>> who are the band members of Step It Up?
> We've had some fantastic players in the past who have left town like Craig Hanicek, Darren MacPherson and Gavin Manikus on sax, Godoy and Steve Falk on percussion and DJ Frenzie. Terepai recorded the drums on "Flex" for us too.
The current line up is :
Steve is a great drummer and is in great demand in Brisbane. He tours with James Morrison too.
Neil Wickham is our great new sax player. He has a brilliant fusion type sound. The sax can't be too mellow in this type of music or it loses the edge and blands it out a bit.
Rohan Somasekaran is on keys. He is an awesome piano player and leads his own straight-ahead jazz outfit too. We're adding more synth to the live sound too.
I [Des Reid] play bass mostly live, but also a bit of guitar and guitar synth. I want to start contributing to the percussion too, but only in a support role‚ÄîI'm only a simple player.
DJ Damage does the cuts on the EP. He's also in Terntable Jediz and The Optimen. He's one of the best turntablists I've ever seen.
Roger Gonzalez is our percussionist. He is a conga and cahon specialist, and a fantastic groove player. Marcelo, who played on the "Push" EP moved to Canberra unfortunately. We have loads of percussion recorded by him in the vaults though. Also heaps by his brother, Luis Schiavi‚Äîa killer timbales player.
Overall we have a giant backlog of tracks which we will be finishing and releasing soon. Although we haven't been playing out as often over the last few years, we never stopped writing and recording. We're sitting on a few albums really. The new label‚ÄîZyl Records will be our outlet now that we're organized.
>> do you improvise during the live sets too?
> There is a lot of improvising live. We follow the jazz tradition of arranged head‚Äîimprovisation‚Äîhead. We try to keep some tightly arranged sections too. One big feature of our sets is the breakdowns. We don't just have horn or keys solos‚Äîwe have big sections where the drums, percussion and DJ are improvising together, feeding off each other. According to Cuban tradition, when two or more percussive players are resonating, that's when the spirits come. We're a bit tribal really.
some links on Bangkok sound art and digital art and other interesting blogs / media
art BAM - Bangkok Art Map - BAM is a printed art map available at galleries, hotels, art-cafes and various other places around the city. there seems to be a different issue each month. I found a copy of the 05.2011 version at the Kathmandu Photo Gallery off Silom Rd in Bangrak. the website has art listings and information also and is definitely worth checking out - you can even download a pdf version of the current BAM if you don't find one on the soi
Kathmandu Photo Gallery - there's books, art prints, and a gallery upstairs. it's a great old pre-war building, painted pale green - which reminds me of the smaller rooms in the old RSL halls in Brisbane in the 1970s where we did ballet classes - even the same pale green paint on the wall boards - it's very fresh and colourful. owned by well-known Thai photographer Manit Sriwanichpoom and artist/filmaker Ing K.
Reflections on Hunter's first three albums:
::: "Done DL" ::: Hunter and Dazastah (2002)
::: "Going Back to Yokine" ::: Hunter (2006)
::: "Monster House" ::: Hunter and DJ Vame (2010)
When Walter Benjamin stated in 1936 that, “the art of storytelling is coming to an end" due to the rise of the printed novel and the lowering value of experience, he hadn't anticipated the rise of the hip hop emcee to revive this craft in our modern world. In all his albums, Hunter shows his skills as a wonderful storyteller. There are tales of growing up, getting into trouble and later returning to his hometown of Yokine, Perth, in the songs "Adolescence", "Going Back To Yokine" and "Yokine (Drugs + Crime)". These are stories of self-discovery, and of changing his life, and of hope — giving up old ways that were not working for him to focus on music, rapping and living a hip hop-infused life instead. "What I Do Best" has the feeling of homecoming to a community of supportive people and finding his place in the world. There are stories of mateship and the value of community with his Syllabolix (SBX) family and crew. There are stories of having children and the specialness that can bring to one's life in "Ultrasound" and "Kids of the Future". Littering his rhymes in "Kids of the Future", "The Big Issue" and "Me Old Man" are stories based on his Dad’s advice, as he contemplates being a father himself.
Techno Lawn Party (Spin'n'Jam Reunion)
16 April ¬∑ 12:00 - 18:00
East Brisbane Croquet Club (Mowbray Park), 19 Park Ave, East Brisbane, Australia
Join the Spin'n'Jam crew for an autumn afternoon of croquet and chilled beats at the East Brisbane Croquet Club (Mowbray Park) overlooking the Brisbane river .
Playing for your aural pleasure shall be:
Frogstar Millennium Experience Live (Melbourne) ‚Äì worldbeat
Quazilocco (fresh from Rainbow Serpent 2011) ‚Äì psy/dub/70s/funk/soul/disco mash
Geriotech ‚Äì tech-house
Funkedub ‚Äì breaks
Neon Princess ‚Äì ambient
plus special guest Sally Allsorts & more to be announced.
Silly hats and outfits encouraged (especially Alice in Wonderland style) but not mandatory.
$10 at the door includes free croquet lessons!
Some snacks and refreshments available but BYO alcomahol.
Spin'n'Jam was an underground community music venue that ran in West End from the mid Nineties to early Noughties, bringing together a diverse range of electronic and live, visual and acoustic artists. It was possibly Brisbane's first regular Open Decks session, and many DJs in South-East played their first public sets there. The original crew are organising this event as both a reunion for the old hands and an inspiration for new comers.
"Love Our Laneways Brisbane hopes to save the laneway precinct and beautiful old building (a 1920's printing warehouse) between Elizabeth and Charlotte Streets in the city, which has just been approved by the city council for imminent demolition. Reminiscent of Melbourne or even Barcelona, this area could be an incredibly vibrant addition to the cultural life of the CBD, instead a glass and steel office tower has been approved to be built for the Australian Tax Office. Amazingly this building is not heritage listed, so the only way to save it is if the developers or the ATO have a change of heart. We are not against the development per se, but respectfully ask them to consider the incredible potential of this site, and amend their building plans to integrate the laneway precinct and heritage building at its rear. It would be a shame to lose this building for the sake of a loading bay and AC plant to service the new development. If you're unhappy your tax dollars are contributing to the demolition of Brisbane's heritage then sign the petition now, and pass it onto your friends, enemies and lovers of laneways everywhere!"
Step It Up are a premier funk and new jazz band, creating music since the 1990's in Australia. Their releases include the classic self-titled first album, plus numerous compilation tracks on labels including Ubiquity, Creative Vibes and One Movement. The band have received much airplay on Australian national broadcasters JJJ and ABC, and also on UK Jazz FM. Their instrumentals have been found to be a perfect match for movies, tv and multimedia synchronisations.
Step It Up's live credits include supports for the legendary Gil Scott-Heron and Ronnie Jordan plus appearances at Vibes on a Summer Day festivals. You can catch them live around Brisbane.
They are back with a developed sound ‚Äì more electro, more uptempo, more driven & danceable. Their new show has wide variety from instrumental hip-hop through Asian & Arabic influences to banging house.
At the MF Doom gig on Friday 1st April, DJ Sheep led a turntablist battle revival in Brisbane. Prior to this gig, there‚Äôd been words ‚Äì DJ Butcher had posted ‚Äúdude.. u know i‚Äôll beat you on the decks.. ur an idiot..‚Äù on OzHipHop.com (24/03/2011). DJ Sheep, following the hip hop code he lives by, raised a challenge to battle on the decks. Unfortunately the challenge was turned down, so spectators only saw one side of the battle, but they left charged. I wasn‚Äôt there to see it in person, but I saw the video and on Sunday morning, DJ Sheep said on Ozhiphop.com, ‚ÄúI‚Äôve never felt better in years after a gig, i got so many daps, and props from people, it felt like the old days again for once‚Ä¶‚Äù, so it sounded like it was a night to remember. The only way I could imagine it being better (in my head), is if there *had* been a battle, or if there had been two sounds (sound systems) on opposite sides of a fenced off outdoor basketball court or a Jamaican dance hall like back in the early days of hip hop DJ battles.
Kodwo Eshun, in his book ‚ÄúMore Brilliant Than The Sun‚Äù, coined the term ‚ÄúSonic Fiction‚Äù when writing about one of the pioneers of hip hop DJing, Grandmaster Flash, and his album ‚ÄúThe Amazing Adventures of Grandmaster Flash on the Wheels of Steel‚Äù. I suggest that the turntablist battles could also be thought of as Sonic Fiction on multiple levels ‚Äì in the sounds produced and performances of the actual turntablist set, and also in the stories behind the battles ‚Äì in some case they‚Äôre personal, in other cases they‚Äôre for competition and showcase. In all cases, they are related to the DJs career and reputation. DJ Battles are the opposite of ‚ÄúFight Club‚Äù ‚Äì everybody (in the DJ community) talks about the battle, and the rules are set. DJ Sheep commented, ‚Äúthe hip-hop code is that when you call someone out or get called out, you either step up or admit defeat. if you say you‚Äôre better and back out, you‚Äôre reputation goes down the drain, that‚Äôs hip-hop. It‚Äôs been like that since the inception‚Äù.
Now back to the set ‚Äì in traditional style, Sheep gave props to the fallen, shouting out RIP to Angus, Jeeps (750) and Sabre (BWP) before he started. Then he got down to business with his message explaining to the crowd that DJs used real records. ‚ÄúIn the history of beef, it‚Äôs usually the Butcher that slaughters the Sheep, but today we‚Äôre going to see the Sheep slaughter the mutherfuckin‚Äô Butcher‚Äù. Sheep then launched into his set ‚Äì beat juggling, chirps, transform moves such as flares and orbits, and the crab. From the video, you can see a brick and sandbag on the table ‚Äì DJ Sheep and Brisbane beat-maker Tigermoth highlighted the large springs in place of the table legs which caused the table to move around, and some skipping of the needles during Sheep‚Äôs set. I think the crowd probably wouldn‚Äôt have noticed this had it not be pointed out. In any case, Sheep took advantage of the moments and paused, giving space to his set and acknowledging the crowd. They gave him plenty of love in return.