Audiograft Preview Podcast

• Main Authors: Ford, Felicity, Lee, Ray, Blow, Mike, Dibley, Paul, Pegna, Shirley, Eastley, Max, Cornford, Stephen, Hughes, Sarah, Davies, Rhodri
• Other Authors: Sonic Art Research Unit, Creators, performers, and institutions as appropriate
• Format: Audio
• Language: English
• Published: 2011
• Subjects: audio recording; podcast; Arctic; Grinder; Tuck
• Online Access: https://radar.brookes.ac.uk/radar/items/bb9f100e-4fc0-077c-ecad-90a7e8d06be3/1/; https://radar.brookes.ac.uk/radar/file/bb9f100e-4fc0-077c-ecad-90a7e8d06be3/1/2011-audiograft_preview.mp3

This 31 minute long podcast previews some of the works that will be seen at the Audiograft Festival in 2011. Here is the tracklist: 1. Vox pops “What is Audiograft?” The idea is explored by SARU practitioners Ray Lee Shirley Pegna Stephen Cornford Mike Blow Paul Dibley Paul Whitty 2. Introduction to Audiograft by Felicity Ford The sounds in the background were taken from Ray Lee‘s “Murmur” installation, shown at the Liverpool Biennial Mike Blow‘s oyster shell work (featured in this video) Paul Dibley‘s works with spectral carving processes the opening bars of “Organ Grinder” by Paul Dibley which can be heard here 3. Shirley Pegna talking about geophones and “Ground Sounds;” one of the works she will be exhibiting at Oxford Brookes during Audiograft. You can hear very low sounds here if your speakers or headphones will play low frequencies – the same track that Shirley has presented here has been used throughout the discussion. There is also a recording of a car engine starting up here; it was made by Felicity Ford during her explorations of her commute along the A4074 road in Oxfordshire 4. Mike Blow talking about the interactions between objects and sounds that he has been exploring in recent installation works. In the background you can hear the shower recordings used in the installation that he describes 5. Paul Dibley talking about spectral carving processes, whereby .bmp files are ‘carved’ onto the spectrum of an existing soundfile 6. Max Eastley talking about matsukaze – the Japanese term for wind moving through pine trees – and Aeolian phenomena In the background, you can hear a recording by Felicity Ford of wind in the forests around the A4074 road mixed with “Aeolian Arc and Strings” from Max Eastley’s “Installation Recordings” release 7. Stephen Cornford talking about his modified reel-to-reel ALBA tape player. In the background you can hear the tape player playing itself 8. Shirley Pegna presenting information about “Ground Sounds” Footsteps recorded by Shirley Pegna using a geophone, and Felicity Ford, using a stereo microphone 9. Mike Blow describing his installation plans and multi-modal perception Reverb effects and dripping tap noises by Felicity Ford, mixed with Mike Blow‘s shower installation recordings and the resonant water dripping recordings that he located inside a tiny oyster shell 10. Paul Dibley discussing the concerts planned for the Jacqueline Du Pres building, on Friday 18th February In the background, more of Paul Dibley’s spectral carvings 11. Max Eastley foregrounding his forthcoming performance at Audiograft with Rhodri Davies in Modern Art Oxford In the background, sections from “Dark Architecture” by Max Eastley and Rhodri Davies, mixed with “Arctic I” from Max Eastley’s “Arc” release 12. Vox pops “At Audiograft I am looking forward to…” Paul Whitty Stephen Cornford Mike Blow 13. Stephen Cornford and Paul Whitty discuss their performance together in which Cornford will dismantle his tape-player, and Whitty will sonically explore that destruction by feeding the sounds of the process through a series of effects pedals. Stephen Cornford also discusses the print works which he will be exhibiting in the RHB at Oxford Brookes parallel to this performance; the prints were made by inventorying and scanning all the component parts of a reel-to-reel player 14. Shirley Pegna talking about another installation work she will be presenting at Audiograft called “Through Walls,” which explores how sounds travel through walls 15. Ray Lee talking about “Siren” and “Murmur,” and the new ideas in his practice In the background you can hear an excerpt of Ray Lee‘s “Siren” – found here – and then a section of “Murmur” as exhibited at the Liverpool Biennial 16. Felicity Ford talking about “The Sonic Tuck Shop” & “Tea” Museums, which she will be installing in the Richard Hamilton Building at Audiograft, along with audio commentaries to describe and contextualise their contents In the background you can hear “Taste Sensation,” an early electroacoustic composition which grew out of the whole idea for “The Sonic Tuck Shop,” and the popcorn sounds which were used in “Popworks,” the video which Ford describes here. There are also recordings of AlkaSeltzers, popping mouth candy, cabbage being chopped and other sonic tuck used to illustrate the concept – all recorded by Felicity Ford 17. Felicity Ford discusses “The Tea Museum” that she will be presenting at Audiograft. “The Tea Museum” grew out of all the sonic adventures in tea that Ford enjoyed while collaborating with Mundane Appreciation to create “The Fantastical Reality Radio Show in association with Mundane Appreciation,” back in 2008. Edward Ford discusses his preference regarding attainment of perfect tea In the background you can hear recordings of tea being made, recordings of Felicity Ford’s teasmade, and recordings created by Felicity Ford for the Cut and Splice Domestic Soundscape podcast series, commissioned in 2009 by Sound and Music. Alvin Lucier has a score – “Nothing is real” – in which a teapot is employed to impart certain sonic qualities to recorded, musical phrases 18. Paul Dibley discusses the Audiograft jukebox, which you can contribute works to,via Paul Dibley’s SoundCloud dropbox 19. Paul Whitty and Sarah Hughes talk about Wandelweiser In the background, you can hear Sarah Hughes playing her autoharp with a glass tumbler 20. Outro, featuring a reprise of the sounds and Vox pops from the start of the podcast