ordinary digital interfaces and technological machines as materials to generate new experiences reinterpreted from the intended consumer use of the digitally banal

Jannah Quill is a Sydney and Melbourne based artist whose experimental approach to the uncasing of electrical processes manifests in installation, performance and recorded sound. 

In her live performances, she sculpts cracked everyday electronics into pulsating, beguiling and menacing fields of static and tone. Her approach to sound-making is heavily influenced by her interest in dance and club music apparatus and the ways in which this can blend with experimental, improvisatory and collaborative music.

Jannah’s music and art practice embraces ordinary digital interfaces and technological machines as materials to generate new experiences reinterpreted from the intended consumer use of the digitally banal. In her hands, solar panels generate audio signal from off-the-shelf lighting products; a laptop’s text-to-speech function becomes vocal samples on thumping techno driven tracks; and game development programs are used to create installations of deconstructed digital imagery.

Jannah Quill is a Sydney and Melbourne based artist whose experimental approach to the uncasing of electrical processes manifests in installation, performance and recorded sound.

Jannah Quill

I play guitar, drums, a home-made synthesizer, organ, bamboo flute and tape-loops. I live in Auckland, New Zealand. I like medieval and Renaissance music, Japanese traditional music, psychedelic music, electronic music 1950s-70s and rock and pop of the same era. And, etc.

Kraus

Reel to reel tape, live radio samples, loops, vintage synth and homemade and modified sound trinkets

Botanic Gordon

Questions of social life and cultural agency, using sound, performance, text and sited constructions.

Shall we play dead?
Shall we run?
Shall we find the exit?
Shall we continue to dream?
Shall we honor the fallen?
Shall we storm the gates?
Shall we capture the flag?
Shall we wait?
Pause
Hesitate
Occupy
-
Shall we scratch the surface, or dig deep?
Shall we create another territory?
Shall we hold hands?
To carry the weight...
Together
The street the night the hand, extending to float to collapse to exit the center, only to come up again to balance between the vague idea and the concrete form, to lose to search to find the softness of nothing, and everything
-
Shall we turn the other way?
Shall we strike?
Shall we refuse to pay the rent?
Shall we build an underground culture, secret?

Brandon LaBelle is an artist, writer and theorist. His artistic work explores questions of social life and cultural agency, using sound, performance, text and sited constructions. This results in situational and contextual projects that create forms of intervention in public spaces, acts of translation and archiving, as well as micro-actions aimed at the sphere of the (un)common

Brandon LaBelle is an artist, writer and theorist. His artistic work explores questions of social life and cultural agency, using sound, performance, text and sited constructions. This results in situational and contextual projects that create forms of intervention in public spaces, acts of translation and archiving, as well as micro-actions aimed at the sphere of the (un)common

Brandon LaBelle

Drouhin and Stafford use radios, transmitters, crystals, hurdy gurdy and field recordings in acts of sound divination and occult listening. Their collective interests lie in radio arts, auditory-spatial practices and the intersection of gender and emergent art forms.

Julia Drouhin and Pip Stafford

Treat Every Experience as a Lesson... To Open your Mind & Heart.

Magic Steven

songs both chucklesome and tragic, rooted in a febrile imagination that references worlds held dear and worlds unknown

English singer and guitarist Richard Dawson is a skewed troubadour at once charming and abrasive. His shambolically virtuosic guitar playing stumbles from music-hall tune-smithery to spidery swatches of noise-colour, swathed in amp static and teetering on the edge of feedback. His songs are both chucklesome and tragic, rooted in a febrile imagination that references worlds held dear and worlds unknown.
Richard Dawson spent years incubating his singular art, becoming a quiet legend on the Newcastle experimental scene before exploding across the UK and Europe with the delicately observed personal lilt of his breakthrough 2012 album The Magic Bridge. Invitations followed to perform at Kraak, Supersonic, and Latitude festivals as well as being lauded by The Wire magazine, Late Junction, The Quietus, The Guardian, Pitchfork and more. Subsequent albums The Glass Bridge (2013) and his latest Nothing Important (2014) have fulfilled and extended the promise of his earlier work, meeting unanimous critical acclaim.

Richard Dawson

Amniotic reminiscences and mutated mummy rhythms transmute in home video holy matrimony.

Rita Revell

Re-imagining. Individualistally-marketed spectacles. Towards a future public

Unencumbered by
Austerity's Petty Fascists and
Logo enforcing
Common recognition; the
Outsourcing of giving (one's ear)
Marketing mediated through the body
Multitudes manifesting an
Uncommon recognition;
Not a thing in itself
Inconsistently
Teetering on the edge of oblivion
Yes. You!
Mobilising the
Under-sung uncertainty; a
Strangers’ seminar
Insistently
Creating comradeship

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Ritual Community Music

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