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Pauline Oliveros In The Arms Of Reynols:
Alan Courtis remembers an unlikely collaboration

The Argentinian guitarist talks about telematic improvisations and Reynols’s noisy collaboration with the late composer

Anla Courtis

Microtonal Drifts, Anla Courtis 2014.

April 1994, Pauline Oliveros was in Buenos Aires making her only visit to Argentina. Her Deep Listening workshop took place over a whole weekend exploring diverse techniques for listening and producing sound. I remember an exercise called “Angels And Demons”, in which all the participants walked around casting out demons and angels through their voices. The room was full of sounding presences. This inspiring experience was the starting point of a friendship that has been going on ever since.

In her book Sounding The Margins Pauline described in detail her encounter with “a couple of intense and punkish looking young men”. That unusual confluence was followed some years later by the release of the remix album Pauline Oliveros In The Arms Of Reynols (White Tapes, 1999).

Somewhere on the inserts of its first edition – which included a spraypainted tape and a small bag of sand – you could read: “The Heavy Deep Listening Metal Band”. The phrase sounds somewhat funny but reading it now it set my mind wondering. How could this gentle lady be interested in collaborating with 20 year old guys coming from a totally different background? Why did she allow us to use bootleg cassette recordings of her solo concerts and process them with a bunch of distortion pedals? How, being a well-known meditation music figure, did she embrace all those noisy sounds?

The possible answer is: Pauline was one of the most open-minded persons I’ve ever had contact with. Mircotonalist? Electronic musician? Accordionist? Composer? No, she was actually beyond categories. I mean she was always searching for new horizons and very curious about everything. Intense and gentle, precise and creative, sometimes she’d come up with something happily unexpected:

“I have dropped the d! Can you hear the sound of the d dropping?
dddddddddddddddddddddddddddddddddddddddddddd!”

But at the same time she was truly coherent and extremely active, not only playing and composing but also teaching, writing, publishing and coordinating many activities at her Deep Listening Space or somewhere on the worldwide network of deep listeners she helped to create.

Furthermore, we shouldn’t forget Pauline’s innovating approach to technology. She has always been interested in the new possibilities opened up by computers and new media. Some examples: she developed her own Expanded Instrument System (EIS); contributed to the development of music software for people with disabilities (AUMI); and worked with diverse collective music projects through the internet like The Avatar Orchestra Metaverse or The Telematic Circle. In the last field we both had a singular experience, playing a duo show via the internet which came to be called “Between Dreams: A Telematic Exchange”. That was in October 2009 for Pauline’s partner Ione’s Dream Festival, with Pauline playing at The Shirt Factory in Kingston, New York, while I was at my home studio in Buenos Aires, with the strange results being streamed live. After the netcast, we were thinking and joking together via email about the oneiric and phantasmatic qualities involved in telematic improvisation, especially when it comprises several seconds of latency between the improvisors.

However, digital technology wasn’t everything for her. In fact she was also very connected to acoustic sounds, often employing acoustic instruments as a seashell horn, a just intonation accordion and of course the wonderful overtone singing of her own voice. In addition she also composed instrumental pieces for many different instrumental line-ups, revealing the the full breadth of her musical range.

I was obviously shocked when I received the sad news. During this year we’d been in touch quite frequently since I was translating – along with Ximena Alarcón – some of her texts into Spanish. She was always kind, enthusiastic and supportive about this project, replying to every single mail which, considering her age, was in itself remarkable. During the last few days many images of Pauline have come to mind: I remembered her playing... calmly driving along the beautiful landscapes next to the Hudson River... slowly swinging in her garden’s hammock... or just breathing.

“Have you heard the sound of atoms dreaming in a new orbit?” Honestly, Pauline, I’m still trying to hear it, but wherever you are now I’m sure you’re tuned to that sound.

Info
Info
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Liquid Archi­tec­ture is an Aus­tralian organ­i­sa­tion for artists work­ing with sound. LA inves­ti­gates the sounds them­selves, but also the ideas com­mu­ni­cated about, and the mean­ing of, sound and lis­ten­ing.

Our pro­gram stages encoun­ters and cre­ates spaces for sonic expe­ri­ence, and crit­i­cal reflec­tion on sonor­ity and sys­tems of sonic affect. To do this, we host expe­ri­ences at the inter­sec­tion of con­tem­po­rary art and exper­i­men­tal music, sup­port­ing artists to pro­duce per­for­mances and con­certs, exhi­bi­tions, talks, read­ing groups, work­shops and record­ings in art spaces, music venues and other sites.

Liquid Archi­tec­ture is cura­to­ri­ally driven and our method­ol­ogy embraces research, col­lab­o­ra­tions and imag­i­na­tions. We want to echo beyond local con­ver­sa­tions, prob­lems, debates and ques­tions, to rever­ber­ate across media and dis­ci­plines, and so to sound out new dis­courses about the audi­ble world, and beyond.

We acknowledge Aboriginal and Torres Strait Islander people as the first sovereign owners of this unceded country. We pay our respects to their Elders, past, present and becoming.

staff

Joel Stern
CEO / Artistic Director Joel Stern is a curator, researcher, and sound artist, concerned with theories and practices of sound and listening. He is the Artistic Co-Director of Liquid Architecture, a leading Australian organisation that stages encounters and creates spaces for sonic experience and critical reflection on systems of sonic affect, at the intersection of contemporary art and experimental music. Stern is part of OtherFilm, an artist collective driven by a central curiosity about the limits of the moving image. He has initiated the experimental residency Instrument Builders Project in 2013. Stern is a PhD candidate in Curatorial Practice at Monash Art, Design and Architecture, where he teaches Sound (in the Space of Art).
Danni Zuvela
CEO / Artistic Director With Joel Stern, Danni is Artistic Director/CEO of Liquid Architecture. Since 2004, Danni has co-directed the artists’ collective OtherFilm (co-founded with Joel Stern [Melbourne] and Sally Golding [London]). In 2013 she joined forces with the Gold Coast-based artist-run gallery The Walls, where worked as the Secretary, Curator and Deputy until 2018. At The Walls, she led programming and strategic initiatives, and she continues to generate socially-engaged experimental projects on the Gold Coast. Danni has an academic background, with a research PhD on experimental film and art history, teaching extensively into her field, and publishing critical writing across a range of publications. Danni’s research informs her curatorial work with interests in feminism, activism, ecology, language and performance.
Georgia Hutchison
General Manager Georgia works across creative disciplines with communities, businesses, cultural institutions and policy-makers. Her education and experience spans arts management; industrial design with a social, sustainable and systemic approach; curatorial and cultural leadership. For the last fifteen years she has worked between universities, studio and non-profit environments—most recently researching artist run economies with All Conference; and communicating the built environment with U-P. As an artist Georgia performs and photographs encounters with material scenarios and social currencies.
Debris Facility
Administrator Debris is a speculative corporate entity working from one human body. The Facility entered into partnership with Liquid Architecture to oversee Administration in 2018 onwards. Participation in events organising alongside practice lead research and exhibition productions pushes Administration into an performative medium. Maintaining an active exhibition profile alongside residencies, teaching, collaborations and contracts, the Facility works to amplify it’s reach through the oscillation of signal to noise ratio’s of im/material contexts of exhibition production, media, performance,wearables, installation and interventions.

board

Jennifer Barry
CHAIR JENNIFER BARRY has over 25 years’ experience leading arts organisations, managing creative projects, consulting, producing the work of artists nationally and internationally, and curating public programs. Previous positions include: Manager of Public Programs at Federation Square, Executive Director of Shunpike (Seattle), Director/CEO of Footscray Community Arts Centre, Founder/Director of Keep Breathing, and Executive Producer/Co-CEO of Chunky Move, among others. As a consultant, Jennifer’s clients have included the Australia Council for the Arts, Arts Victoria, the City of Melbourne, the Australian Art Orchestra, and the Australian Network for Art and Technology, among others. She has served on numerous boards and industry panels and is currently Project Director for the Royal Children’s Hospital 150th Anniversary.
David Chesworth
MEMBER DAVID CHESWORTH is an artist and composer, known for his experimental, and at times minimalist music, who has worked with electronics, contemporary ensembles, film, theatre and experimental opera. Together with Sonia Leber, Chesworth has created installation artworks using sound, video, architecture and public participation. Exhibitions include ‘56th Venice Biennale (2015), ‘19th Biennale of Sydney (2014), ‘Melbourne Now’, National Gallery of Victoria, Melbourne (2013-14). Festivals featuring Chesworth’s music and sound works include Ars Electronica, Festival D’Automne de Paris, Bang on a Can Marathon, New York, Sydney Biennale, Adelaide and Melbourne Festivals and MONA FOMA. Early in his career he was co-founder of post-punk band Essendon Airport and for five years was coordinator of the Clifton Hill Community Music Centre in Melbourne. David Chesworth joined the Liquid Architecture Board in 2015.
Dr Michael Graeve
VICE CHAIR DR. MICHAEL GRAEVE is a sound and visual artist and educator. Michael joined the Liquid Architecture board 10 years ago at the time of incorporation in 2007 and was President and Chair from 2011-2017. Michael has been committed to artist-run culture, developing small arts organisation expertise first as a founding committee member of Grey Area Art Space Inc (1996 -1999) and then as board member and program manager at West Space Inc (2000 – 2004). He exhibits, performs, curates and teaches internationally and teaches in the Sound, Sculpture and Spatial Practice Department, Expanded Studio Practice, Honours and the MFA Program at RMIT University, and has previously taught at The School of the Art Institute of Chicago, Monash University, The Victorian College of the Arts and Victoria University.
Andy Miller
MEMBER ANDY MILLER currently works as the General Manager of Multicultural Arts Victoria. Initially trained as a painter at the Canberra School of Art, Andy Miller worked in theatre for a number of years before working to establish arts programs in the community sector. Following a few years as an arts and cultural officer at two local governments, Andy began a career in the state public service in various senior roles at Arts Victoria and Creative Victoria and was seconded for a period with Creative Partnerships Australia, as Senior Programs Manager. As well as a Bachelor in Fine Arts, he has a Masters in Public Policy and a Graduate Diploma in Arts Management from the University of Melbourne.
Phip Murray
MEMBER PHIP MURRAY is an independent writer and curator, and a part-time academic in the School of Architecture and Design at RMIT where she lectures in the history/theory of art, design and architecture. Phip was Director of West Space from 2008–2012 and, prior to that, an Associate Producer for the Next Wave Festival. Phip has a particular interest in interdisciplinary art practice, and has curated projects such as Time Has Come Today, a program exploring sound, moving image and performance projects (West Space, 2012) and Tyger, Tyger, a new commissions series including projects by Philip Brophy, Constanze Zikos, David Chesworth, and Juan Davila (West Space, 2011-2012).
Mark Nolen
TREASURER MARK NOLEN is a Certified Practising Accountant with extensive experience in the creative industries sector. He is currently Management Accountant at the Australian Centre of the Moving Image, having previously worked in a similar role at Film Victoria. Along the way he has helped countless singers, actors and even clowns get their taxes in order – no laughing matter! When not crunching numbers, you can find Mark sitting back with a fine drop of Scottish Whisky soaking up some even finer tunes.
Kristen Smith
MEMBER KRISTEN SMITH is a legal practitioner with over a decade of experience focused on large scale commercial litigation and class actions. She currently works as an Investment Manager for international litigation financier, IMF Bentham, having previously worked for Slater and Gordon in their Commercial and Project Litigation team. She has also worked at Dundas & Wilson (now CMS) in Scotland and as an Associate to the Supreme Court of Victoria’s Associate Justice Efthim. In 2004, she was awarded the Victoria Law Foundation Chief Justice’s Medal for Excellence and Community Service. She has previously served on the boards of the Australian Communities Foundation and the EastWeb foundation and is currently a member of the M.E.S.S advisory board.

technical

Charlie Freedman
VIDEOGRAPHER
Keelan O’Hehir
PHOTOGRAPHER
Benjamin Portas
MOTION DESIGNER
Jacqui Shelton
PHOTOGRAPHER
Lauren Squire
SOUND ENGINEER
Josh Watson
VIDEOGRAPHER
Public Office
GRAPHIC DESIGN and DEVELOPMENT

comrade

Elena Betros
Clare Cooper
Asher Elazary
Nathan Gray
Jason Heller
Anabelle Lacroix
Paris Lettau
Sarah Mccauley
Dr James Parker
Mino Peric
Anatol Pitt
Jessica Row
Emily Siddons
Sezzo Snot
Beth Sometimes
Mathew Spisbah
Cara Stewart
Darcy Wedd
Makeda Zucco
Ece Yavuz

Support

Liquid Archi­tec­ture is a non-profit cul­tural organ­i­sa­tion with Deductible Gift Recip­i­ent (DGR) status. We sup­port artists work­ing with sound.

Your sup­port helps us insti­gate more pro­grams, con­duct more research, stage more exten­sive exper­i­ments and more exchanges with artists, and gen­er­ate more dia­logue. And more sound.

You can sup­port us by vol­un­teer­ing your time, coming to events, donat­ing to us directly, or becom­ing a patron of an artist, or a ques­tion.

Contact

info@​liquidarchitecture.​org.​au
FB, IG, YT, SC

PO Box 12315
Mel­bourne
VIC 8006
AUS­TRALIA

LIQUID ARCHI­TEC­TURE SOUND INC
ABN 73128090237
ASN A0050679K

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Liquid Archi­tec­ture (LA) is com­mit­ted to pro­tect­ing the pri­vacy and secu­rity of per­sonal infor­ma­tion obtained and stored about its audi­ence or clien­tele, includ­ing users of this web­site. We under­stand and appre­ci­ate that our audi­ence or clien­tele and users of this web­site are con­cerned about their pri­vacy and the con­fi­den­tial­ity and secu­rity of any infor­ma­tion that may be pro­vided to us.

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The fol­low­ing are exam­ples of how per­sonal infor­ma­tion may be col­lected by the organ­i­sa­tion:

  • Sub­scrib­ing to LA’s e-newslet­ter via the web­site, in-person or other means
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LA col­lects per­sonal infor­ma­tion in order to ser­vice the needs of its audi­ence or clien­tele. All details are kept secure at all times and any indi­vid­ual may request their infor­ma­tion is not used for direct mar­ket­ing, research or any other pur­pose. If you opt-in to become a LA e-newslet­ter sub­scriber you are giving us per­mis­sion to send you infor­ma­tion about upcom­ing pro­grams and ser­vices offered by LA and its part­ners and your details may be retained and used for the fol­low­ing pur­poses:

  • To make rec­om­men­da­tions to vis­i­tors about other ser­vices that LA offers that may be of inter­est
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LA will not sell, lend, dis­close, or give per­sonal infor­ma­tion of its audi­ence or clien­tele to exter­nal indi­vid­u­als or organ­i­sa­tions with­out first obtain­ing the customer’s con­sent, unless required by law. LA may, how­ever, con­tact the audi­ence on behalf of other organ­i­sa­tions to offer infor­ma­tion regard­ing their prod­ucts. These organ­i­sa­tions may include, but are not lim­ited to other arts organ­i­sa­tions or gov­ern­ment depart­ments.

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LA is com­mit­ted to ensur­ing all per­sonal infor­ma­tion it col­lects is accu­rate, com­plete and up-to-date. How­ever, the accu­racy of this per­sonal infor­ma­tion to a large extent depends on the infor­ma­tion pro­vided by its clients. LA asks that all clients:
advise us if you become aware of any errors in your per­sonal infor­ma­tion.
advise of any changes in their per­sonal details, such as address, email address and phone number.

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The LA web­site con­tains links to other sites. LA is not respon­si­ble for the pri­vacy prac­tices of other sites. LA encour­ages users when they leave the site to read the pri­vacy state­ments of each and every web site that col­lects per­sonal infor­ma­tion. This pri­vacy state­ment applies solely to the activ­i­ties of LA

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When you look at this web­site, our Inter­net Ser­vice Provider makes a record of your visit and logs the fol­low­ing infor­ma­tion for sta­tis­ti­cal pur­poses only – the user’s server address, the user’s top level domain name (for exam­ple .com, .gov, .au, etc), the date and time of the visit to the site, the pages accessed and doc­u­ments down­loaded, the pre­vi­ous site vis­ited, and the type of browser used. No attempt is, or will be, made to iden­tify users brows­ing activ­i­ties except, in the unlikely event of an inves­ti­ga­tion, where a law enforce­ment agency may exer­cise a war­rant to inspect activ­ity logs.

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The pro­vi­sion of all per­sonal infor­ma­tion is vol­un­tary, but if that infor­ma­tion is not pro­vided LA may not be able to pro­vide its clients with the prod­ucts or ser­vices requested. LA reserves the right to change its Pri­vacy Policy at any time. At any time LA clien­tele have the right to access, change or cor­rect their per­sonal infor­ma­tion or the organisation’s pri­vacy prac­tices. To make a request or inquiry write to info@​liquidarchitecture.​org.​au

Events
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Lin Chi-Wei: Tape Music

Sun, 21. May 2017(Add to Cal)
vocalists in a spiral formation pass a ribbon-score, singing as they go, generating a ‘human tape machine’
Collingwood Art Precinct
67-71 Johnston St
Collingwood
VIC
3PM - 5PM
FREE

Lin Chi-Wei is a legend of Tai­wanese sonic art, whose prac­tice incor­po­rates folk­lore cul­ture, noise, ritual, and audi­ence par­tic­i­pa­tion. He is a found­ing member of Zero and Sound Lib­er­a­tion Orga­ni­za­tion, pio­neer­ing groups for exper­i­men­tal music in Taiwan, and in 2012 pub­lished Beyond Sound Art: The Avant Garde, Sound Machine and the Moder­nity of Hear­ing, which analy­ses the aes­thetic con­di­tion of sound and art in a post-colo­nial East Asian con­text.

At Colling­wood Art Precinct, Chi-Wei will ini­ti­ate an iter­a­tion of his par­tic­i­pa­tory sound work, Tape Music, in which vocal vol­un­teers pass a ribbon score con­tain­ing 666 words from hand to hand, read­ing and vocally respond­ing as the ribbon passes, becom­ing a ​‘human tape machine’.

LA: We have observed a cer­tain ten­sion weav­ing through your work Tape Music. This piece rep­re­sents an ongo­ing attempt by you to explore how a group of humans may be assem­bled into a ​‘machine of sound’, but it does this, crit­i­cally, through a poly­phonic process that is con­sti­tu­tively social, tac­tile and com­mu­nal (i.e. kind of ulti­mately and irre­ducibly human)? How do ten­sions between the machinic and human play out in your work?

“Well, I think these are exactly the essen­tial ques­tions the Tape Music raises.

Between 2004 to 2013, Tape Music has only been played by audi­ences. There have been around 100 ses­sions and more than 2000 people have par­tic­i­pated. People from pri­mary schools, tem­ples, churches, fac­to­ries, local gov­ern­ments, neigh­bor­hoods, folk music groups, empow­er­ment groups, train­ing groups, and also vis­i­tors and audi­ences of muse­ums, music fes­ti­vals, bars and venues. As you can see, there are indi­vid­ual par­tic­i­pants (such as in the museum) and people from dif­fer­ent com­mu­ni­ties in dif­fer­ent occa­sions.

For me the inter­est­ing thing is to see how these tem­po­ral gath­er­ings turn into an aural com­mu­nity in a very short time! As a rule of the game I nor­mally give no expla­na­tion nor instruc­tion to the audi­ence. I just pass the ribbon with embroi­dered words made of mean­ing­less pho­net­ics (with­out pitches) to the audi­ences and see what is going to happen. As you can imag­ine, people must react to it firstly by direct instinct (not every audi­ence likes to do the per­for­mance by them­selves), then by seeing how the others react to it, and trying (or refus­ing to try) to find a role in the play­ing.

To give an exam­ple: In 2007 in a Tape Music ses­sion in a local com­mu­nity in Stock­holm, most of the (elder) people had nat­u­rally found their own place in the har­monic series, while a younger girl made annoy­ing cat noises all the time (which was not part of the nota­tion). In the artist talk after the per­for­mance, the par­tic­i­pants were delighted when I told them they made prob­a­bly the most ​“har­monic” per­for­mance I had ever expe­ri­enced. They started a long talk after my com­ments con­cern­ing the ideas of the Swedish term lagom (which means ​‘just the right amount’). The idea may also relate to the Viking prac­tice of equal food divi­sions as well as modern Swedish democ­racy! For me per­son­ally, I think the meow­ing girl was doing her job per­fectly.

There are also con­tra­dic­tory cases: In a Japan­ese elec­tronic fac­tory of Shen­zhen, China, a folk music group (sup­ported by the fac­tory owner, whose mem­bers are also labour­ers in the enter­prise) were invited to par­tic­i­pate in the ses­sion in their rep­e­ti­tion room. Through­out, no-one emit­ted a word, they just silently trans­ferred the ribbon with­out making any noise for 15 min­utes. The fact is that they were paid to work as musi­cians-labour­ers, and if there is no instruc­tion given, they just won’t work ….. It is essen­tial to see how the com­mu­nity organ­ises and also how they don’t organise….In Hong Kong I found another rad­i­cal ver­sion of Tape Music for no-one ever to hear or dare to do!

If we con­sider soci­ety as a machine, Tape Music could prob­a­bly work as a kind of sonore dia­gram of the inner cir­cuits.”

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Print mate­r­ial designed by U-P

We acknowledge the Wurundjeri, Boonwurrung, Taungurong, Dja Dja Wurrung and the Wathaurung people of the Kulin Nation as the custodians of the land in which this event takes place, and we recognise that sovereignty was never ceded. We pay our respects to their Elders, past, present and emerging.

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Harriet Kate Morgan
Helen Grogan
Helm
Hextape
Hi God People
Hikashu
Holly Childs
Hong-Kai Wang
Hou Hanru
Hsu Chieh
Hyui Ines Rmi
Rosalind Hall and Dave Brown

Is There A Hotline?
Islaja
Ivan Lisyak
id m thffft able

Dr James Parker
J'Ouvert Ft Makeda and The AM Trio - Ece Yavuz, Alvin Rostant and R
Jack Prendergast
Jackson Eaton
Jacob Kirkegaard
Jacqui Shelton
Jake Goldenfein
Jake Moore
James Grant
James Rushford
James Utting-Webb and Riley Lockett
Jannah Quill
Jared Davis
Jasmine Guffond
Jason Haggerty
Jason Kahn
Jaye Carcary
Jeff Henderson
Jen Bervin
Jennifer Stoever
Jennifer Walshe
Jenny Ruth Barnes
Jeph Lo
Jess Sneddon
Jikuroux
Joanna Anderson & Michael Prior
Joe Banks
Joe Musgrove
Joe Talia
Joel Maripil
Joel Spring
Joel Stern
Johannes Kreidler
Johannes S. Sistermanns
John Grzinich
John Jenkin
John-Joe Wilson
Jon Rose
Jonathan Kemp
Jordan Lacey
Julia Chien
Julia Drouhin and Pip Stafford

Anja Kanngieser and Daniel Jenatsch
KK Null
Kai-Cheng Dai
Kalinda Vary
Kalle Hamm and Dzamil Kamanger
Kalle Hamm and Lauri Ainala
Kandere
Kane Ikin
Kangaroo Skull
Karli White
Karolin Tampere
Kate Brown
Kate Geck
Kaya Hanasaki
Keith Fullerton Whitman
Kent Macpherson
Kiah Reading
Kim Satchell
Klein
Kraus
Kusum Normoyle
Kym Maxwell
Kynan Tan

Lacking Sound Festival
Lady Erica
Lara Thoms
Larrie
Las Chinas
Laurie Ander­son
Lawrence Abu Hamdan
Leah Barclay
Leena Riethmuller
Lei Lei Kung
Leighton Craig
Leila El Rayes
Leila El Rayes x Poison
Libby Harward
Lilian Steiner
Lilly Kane
Lin Chi-Wei
Linda Dement
Lionel Marchetti
Lisa Lerkenfeldt
Lizzie Pogson
LoVid
Lonely God
Lorna & Aunty Jenny Munro
Louis Kennedy
Luciano Chessa
Lucid Castration
Lucreccia Quintanilla
Lucy Cliche
Lukas Simonis
Luke McConnell
Snack Syndicate (Andrew Brooks and Astrid Lorange)

Joseph Jordania and Nino Tsitsishvili with Melbourne Georgian Choir
M J Grant
MTLDA
Madboots
Madelynne Cornish
Magic Steven
Makeda
Makiko Yamamoto
Manus Recording Project Collective; Michael Green, André Dao, Jon Tjhia, Abdul Aziz Muhamat, Farhad Bandesh, Behrouz Boochani, Samad Abdul, Shamindan Kanapathi and Kazem Kazemi
Marc Behrens
Marco Cher-Gibard
Marco Fusinato
Marcus Rechsteiner
Maria Moles
Marian Tubbs
Marie Craven
Mark Andrejevic
Mark Brown
Mark Harwood
Mark Pollard
Marly Luske
Martin Howse
Martina Copley
Mar­grethe Pet­tersen
Masamitsu Araki
Masato Takasaka
Match Fixer
Matka
Matthew P. Hopkins
Matthew P. Hopkins & Julie Burleigh
Matthew Sleeth
Matthias Schack-Arnott
Mattin
Maysa Abouzeid
Media Lab Melbourne
Megan Alice Clune
Mehera San Roque
Melissa Deerson
Menstruation Sisters
Michael Pulsford
Michel Chion
Michelle Xen
Miranda Liebscher
Misbach Daeng Bilok
Monica Gagliano
Monica Monin & Astrid Lorange
Monica Winther
Moopie
Moor Mother
Music Yared
Mutual Making
mOwson+M0wson

(no)signal
Nat Grant
Natasha Tontey
Nathan Gray
Nathan John Thompson
Neil McLachlan
Neil Morris
New Waver
Nicholas Kuceli
Nicky Crane
Nicola Morton
Nikola Mounoud
Nina Buchanan
No Sister
Noel Meek and Olivia Webb
Norie Neumark

OK EG
Okkyung Lee
Omahara
Operant
Oren Ambarchi

Pan Daijing
Papaphilia
Pauline Vetuna
Perfume
Perlonex
Peter Brötzmann and Heather Leigh
Peter Szendy
Phil Dadson
Philip Brophy
Pia Van Gelder
Pip Stafford
Pjenné
Plants and Animalia (CES and Felicity Mangan)
Poppy de Souza
Primitive Motion
Prim­i­tive Motion
Prophets
Public Assembly
Public Office
Puce Mary

Queens of the Circulating Library

Ragtime Frank
Rashad Becker
Rebecca Jensen
Rebecca Ross
Renata Buziak
Richard Dawson
Richie Cyngler
Rita Revell
Rob Thorne
Robin Fox
Robin Hayward
Robin James
Romy Seven Fox
Rosalind Hall
Rosie Issac
Roslyn Helper
Ross Bolleter
Ruth O'Leary
Ryan Jekabson
radio cegeste

Saba Vasefi
Sage Pbbbt
Sally Ann McIntyre
Salomé Voegelin
Sam Kidel
Samaan Fieck
Samson Young
Samuel Karmel
Sara Mikolai
Sara Ramshaw
Sarah Byrne
Sarah Edwards
Sarah McCauley
Sarita Gálvez
Saskia Doherty
Scott Morrison
Sean Baxter
Sean Dockray
Seth Kim-Cohen
Severed Heads
Sezzo Snot
Shani Mohini-Holmes
Shelley Lasica
Sheridan Palmer
Shi Chao Lai
Sibling Architecture
Simona Castricum
Slime
Sondes
SoundWatch
Sovereign Trax
Steph Overs
Still Nomads
Straightjacket Nation
Subterranean Rain
Susan Schuppli
Suzanne Kite
Sweat Tongue

T.Morimoto
TT SKTLS
Tara Transitory
Teiji Ito
Teila Watson
Tessa Laird
Th Duo Trio
Thanh Hằng Phạm
The Charles Ives Singers
The Donkey's Tail
Thembi Soddell
Theresa Wong
Tiafau + Will D. Ness
Ting Shuo Hear Say
Tom Ogley
Tom Smith
Tomoko Momiyama
Tralala Blip
True Strength
Tzu Ni
Tzusing
this mob

U-P
Uncle Joe Kirk
Unconscious Collective
Undine Sellbach & Stephen Loo
Ur 1st Luv
Ute Meta Bauer

Various Asses

WDK
Waterhouse
Werner Dafeldecker
White Fungus
Will Foster and Sabrina D’Angelo
William Blackstone
Wukir Suryadi

Xia Lin

Yen-Ting Hsu
Yuya Tsukahara

Zac Segbedzi
Zach Blas
Zoe Scoglio

Archive
Archive
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