New music from degraded media

26-28 JAN 2018
Multiple stages
Tape recorders, record players, gramophones, cd players and walkmans all brought back to life. A liminal glance at sound art and electroacoustic composition, through performances, installations and discussions that explore the unexpected sonic possibilities of failing apparatuses and our timeless relationship with ephemeral sound recording and reproduction media.
Entrance to the event is free and on a strictly first come, first served basis.
New music from degraded media and obsolete technologies. Technologies for the reproduction of sound & image always carry a promise of fidelity, accuracy and stability. Yet, over time, our complex relationship with these reproductive media is coloured more vividly by the inevitable failings, instabilities and inaccuracies that arise through their use.

Since the very beginning of recording technologies, these shortcomings have been consciously explored & creatively amplified by artists that saw in them an emerging field of aesthetic interest, or a set of potent metaphors for the human condition.

This 3-day event aims to showcase the multifaceted aesthetic and conceptual field that has been steadily gaining ground over the past century, as a side plot to the development of ever new technological means of communication and documentation. Detritus presents performances, installations, talks and workshops that will make these concerns and processes visible and also showcase the work of practitioners with significant contributions in this field.


Friday 26 January
Exhibition Hall
21:00 | Sandra Boss: Acoustic Appraiser (30΄) | Sonic performance
22:00 | Giovanni Lami (40΄) | Sonic performance
23:00 | Marc Baron (40΄) | Sonic performance

Saturday 27 January
Exhibition Hall
17:00 | John Cage's 33 1/3 (210΄) | Interactive sonic performance
21:00 | Graham Lambkin (45΄) | Sonic performance
22:00 | Olivia Block: Dissolution (45΄) | Sonic performance

Sunday 28 January
18:00 | Panos Charalambous & Panayotis Panopoulos (30-35΄) | Performance | Exhibition Hall
19:00 | Panayotis Panopoulos, Stephen Cornford, Olivia Block & Graham Lambkin (100΄) | Round table / presentation | Upper Stage | Moderated by Yannis Kotsonis
21:00 | Robert Millis: Indian Talking Machine (90΄) | Presentation & discussion | Upper Stage
The discussions will be held in English.

Friday 26 January - Saturday 3 February
Stephen Cornford: Constant Linear Velocity | Sound installation | Foyer 4+ | All day


With: Marc Baron, Olivia Block, Sandra Boss, Panos Charalambous, Stephen Cornford, Graham Lambkin, Giovanni Lami,  Robert Millis, Panayotis Panopoulos

Curated by: Yannis Kotsonis
Organized by: Pasqua Vorgia


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Sandra Boss (Sonic performance)
Sandra Boss is a composer and sound artist based in Copenhagen, Denmark. In her work, elements from electronic music, classical music and sound art are combined using sound sources as diverse as antique tone generators, hearing test machines and church organs. She has performed at numerous festivals in Denmark and abroad, including the OHNO festival at Cafe Oto (UK), the Spor Festival (DK), the Klangkunst Festival (DE) and LAK – Festival for Nordic Sound Art (DK). Sandra has studied electronic music composition at The Royal Academy of Music, Aarhus, and she is currently working on a practice-based PhD on sound art at Aarhus University. Sandra is part of the sound art duo MASKINEL TERAPI and a member of the artist collective Vontrapp.
The performance Acoustic Appraiser is named after an antique portable German audiometer or hearing test machine. Audiometers are normally used to determine hearing acuity according to a set of carefully selected tones and noises. The machine consists of sine tones corresponding to the different frequency bands of the human ear. Furthermore, the machine comes with masking tones and a German speech test tape. In the performance, the borders between scientific and musical sounds are explored through the machine’s various sound features

Giovanni Lami (Sonic performance)
Giovanni Lami (Ravenna, Italy, 1978) is a sound artist and musician who works within soundscape and sound- ecology boundaries. A graduate of Food Science and Technologies and Photography and a former photographer, he has had exhibitions across Europe and elsewhere, done artist residencies (Basque Country and Norway) and cooperated with several institutions and companies (from Unesco in Lalibela (Ethiopia) to alternative clothing brands like Dead Meat). He is presently working in the field of sound and his experience as a photographer lends itself perfectly to composing his sonic explorations. The infinite universe of sound is as long and broad as the visual possibilities available when using images, working on field recordings and real time signal processing (analog or digital); the infinite universe of sounds all around us and their manipulation is the basis of his modus operandi, related today to the study of resonant surfaces in the field and the limit/interferences of each medium used to record or reproduce a sound.
In 2016, with Enrico Malatesta and Glauco Salvo, he founded MU, an independent association devoted to sound-experiences, acting as a listening platform to develop and disseminate fresh and smart gigs, workshops and listening sessions. Artist in Residence at: Hotel Pupik (Austria, 2015), Khora /Syros Film Festival (Greece, 2015), Forte Marghera /Venice (Italy, 2015), Apache4 /Milan (Italy, 2017 w/ Enrico Malatesta)

Marc Baron (Sonic performance)
Marc Baron, born in France in 1981, lives and composes music in Paris. Since 2008, he has composed music for loudspeakers using tapes and analog processes. This work takes the shape of acousmatics concerts, radio broadcast, records, installations or specific live performances. Some of his compositions and performances have been presented in Australia, France, Switzerland, Belgium, Scotland, Canada.
Some solo albums were released during the last decade: in 2010 and 2012 on the English and Malaysian labels Cathnor Records and Theme Park (“∩” and Une fois, chaque fois, in 2014 on the French label Potlatch Hidden Tapes, in 2015 on Glistening Examples Carnets and in 2016 Un salon au fond d’un lac.
“There are the sounds that I gather, those that I make up, there is all that I first settle with protocols and then deploy. Above all, there is what comes to my ears, sometimes by accident, when the material is processed in the studio, by the tape itself or by the microphone. At the beginning, I am not interested in any sound more than in any other, I simply go where I think I feel something and I delve deeper. The form chosen (broadcasting, performance, record) essentially depends on the music itself. When appropriate, the context or the space of the broadcast can determine such choices. The complexity of qualities, their combination, is the core of my music. Oscillating between a semblance of realism and the desire for greater vagueness, I search for tension.” Mark Baron 2012.

John Cage's 33 1/3 (Interactive sonic performance)
A participatory sound installation in which 8 turntables and 300 LP records are placed around a large room without any chairs. The audience is then encouraged to use the turntables and lps and create chance sound events by simply allowing the recordings to mix arbitrarily. The idea is to let the music and sounds of the turntables mix. In classic Cageian style, this indeterminate work breaks down the barriers between audience and performer, and sound and music, all the while requiring nothing more from the audience/participant than an open ear and curious mind.

Graham Lambkin (Sonic performance)
Graham Lambkin is a multidisciplinary artist based in Upstate New York, who first came to prominence in the early 90s through the formation of his music group The Shadow Ring. Combining a D.I.Y. post-punk ethic with folk music, cracked electronics, and surreal wordplay, The Shadow Ring created a unique hybrid sound that set them apart from their peers and continues to be an influence today. Following the dissolution of The Shadow Ring, Lambkin embarked on a series of striking and highly original solo releases, including Salmon Run (2007) and Amateur Doubles (2012), a critically acclaimed trilogy with experimental tape musician Jason Lescalleet: The Breadwinner (2007), Air Supply (2010), Photographs (2013), and Making A (2013) a collaboration with renowned table-top guitarist and founding member of the AMM group, Keith Rowe. His latest release, Schwarze Riesenfalter, sees Lambkin paired with Wandelweiser composer Michael Pisaro in a musical reimagining of Georg Trakl’s texts.
Lambkin also curates the Kye label, which, since it's conception in 2001, has published audio work by contemporary artists such as Vanessa Rossetto, Malcolm Goldstein, and Joe McPhee, as well as archival collections by the likes of Henning Christiansen, Moniek Darge and Anton Heyboer.
Lambkin’s reputation as a visual artist came into focus during the 1990s, designing record sleeves, t-shirts, posters and flyers for a slew of underground labels and bands including The Dead C, Harry Pussy, and Double Leopards. His playful combination of figurative and abstract elements lends Lambkin’s work a jarring, dreamlike quality, placing childlike totems against a darker adult undercurrent. Five books of Lambkin’s art/text have been published to date: Unfocused Hands (2004), Dumb Answer to Miracles (2009), Dripping Junk (2010) Millows (2012), and most recently Came to Call Mine (2014) a sumptuous collection of illustration and prose for children. To date, Lambkin has had his artwork exhibited in three solo shows: Came to Mine at Audio Visual Arts, NYC (2014), Marble On The Rot, at 356 Mission Gallery, Los Angeles (2015), and Moon Blows Close at Kunstlerhaus Stuttgart, Germany, in 2016.
Lambkin released his fifth solo LP/2CD Community (Kye / Erstwhile) in October 2016, and is working on a collaborative project with Áine O'Dwyer.

Olivia Block (Dissolution: Sonic performance)
Olivia Block is a composer and media artist based in Chicago.
Her recorded compositions combine field recordings, chamber instruments, electronic textures and others. Block creates multimedia installations and performances utilizing field recordings, found sounds from micro cassette tapes, video, and curated 35mm slides.
Block’s current work reflects her interests in site specificity, ethnographic sound, architecture, and found/archival materials from the 1950's-1990's.
Block often performs her own solo pieces, utilizing electronically processed amplified objects, found recordings on tapes, and various techniques inside grand pianos.
Her studio based compositions are published on And/Oar, Cut, Erstwhile, Glistening Examples, NNA, and Sedimental, among other labels.
She has created site specific multi-speaker installations for The Sanitorium in Sokolowsko, Poland, The Jay Pritzker Pavilion in Millennium Park, Chicago, and the Olympics in Turin Italy, among others.
She has performed and premiered pieces in festivals throughout America, Europe, Scandinavia, and Japan.
Block has been interviewed on NPR's Morning Edition, Wire Magazine, Musicworks Magazine, Blow Up, Chicago Reader, and many additional podcasts, publications and radio programs.
DISSOLUTION: The release included a limited edition of clear vinyl LPs with 35mm slides embedded into the records, and a layered 35mm slide object.
In concert, an extended version of Dissolution B is diffused through multiple speakers and mixed live in a dark room, creating an immersive, cinematic experience.

Panos Charalampous & Panagiotis Panopoulos (Performance)
Panos Charalambous is a visual artist and the current Rector of the Athens School of Fine Arts.
Panayotis Panopoulos is an Assistant Professor in the Anthropology of Music and Dance Department of the Social Anthropology and History, University of the Aegean.
Voices, the recorded voices of the dead, the waft of voices, such as the renowned voce passionale of Demetrio Stratos, the voce divina of Maria Callas, the voice of agro-rocker Takis Karnavas, the voice of emigrant Kostis Chronis, they are all more than mere imprints on vinyl; they are sound components that undermine the evanescent stillness…, they create fibrillations, circles, ripples, they startle like the voices of a looming crisis. They scare the wild birds flying south…, the fog lifts, the landscape is cut in two. The black vinyl disc (locus) awaits a sharp point to produce sound, to revive a voice without biblical pomp. With the dogtooth of a predator, the claws of a raptor, the thorn of a rose, with the agave as a needle…The vinyl as a locus of liberation.

Robert Millis  - Indian Talking Machine (Presentation & discussion)
Robert Millis is a founding member of the Climax Golden Twins and AFCGT, and often collaborates with Alan Bishop’s independent record company, Sublime Frequencies. Active in the underground scene of Seattle for twenty years, Millis has composed over twenty musical works. He has written music for the movies, theatre and dance performances, while also putting together and curating sound installations. Along with composing and experimenting with sound, he has also made two ethnographic documentaries about Asian music for Sublime Frequencies. Phi Ta Khon: Ghosts of Isan και This World is Unreal like a Snake in a Rope. He is particularly interested in and inspired by traditional Asian music and early recordings (he collects phonograph cylinders and 78 rpm records). He has also released Victrola Favorites: Artifacts from Bygone Days (Dust-to-Digital, 2008), a 144 p. book with double CD, where he inventories early recordings, ephemera and the music he has garnered through his collection of 78 rpm records. He spent 2012-13 in India on a Fulbright Foundation scholarship, studying and researching Indian music and early recordings in the subcontinent.
Robert Millis’s Indian Talking Machine is a book (+ double CD) about the scratched world of India, about vinyl, grooves, dust, memory. India was one of the earliest non-Western outposts of the recording industry; 78rpms were first made there in 1902. Such recordings! Folk songs and ragas, animal imitations and laughing discs, plaints and comedy routines. Over time, these discs – often featuring exquisite label designs – were smelted and forgotten. But, as Millis argues, “Obscure companies, destroyed master copies, experimentation with regional markets, fragile objects, and catch-all recording policies all lead to rare titles and endless potential for discovery and research.”
Millis will discuss Indian Talking Machine, his work as a sound artist and researcher, and his experiences with musicians, sounds, and collectors in India and elsewhere. Rare 78rpm discs, field recordings, video and more will be featured.

Stephen Cornford - Constant Linear Velocity (Sound Installation)
Stephen Cornford is a media artist and experimental musician who works by reconfiguring consumer electronics into expressive and reflective devices as a means of critiquing the ideologies they embody. He has had solo exhibitions in Tokyo, Berlin, Brighton, Bergen, Ljubljana & London and his work has been included in group exhibitions at the ZKM Center for Art & Media, Karlsruhe; ICC, Tokyo; Haus der Electronische Kunst, Basel; Sigma Foundation, Venice and at Biennales in Lodz and Poznan. Stephen studied at The Slade School of Fine Art and Dartington College of Arts and is currently a PhD candidate affiliated with AMT.
His current research is concerned with image sensors: the now ubiquitous photosensitive semiconductors which transduce light into data in all digital cameras. This project seeks to reveal the structure of the digital image through direct material interaction with image sensors and to provide a new vocabulary of experimental digital video processes, which begins to redress the almost complete lack of in-camera experimentation with the digital medium. To this end, he has exposed the sensors to infra-red laser pulses and hydrofluoric acid, appropriating laboratory processes from the optoelectronics industry in which this microelectronic component is developed.
Constant Linear Velocity: A kinetic sculpture for used computer cases with automated and amplified optical disc drives. The mechanical gesture of a CD or DVD tray opening and closing concisely performs its function as an intermediary between physical and digital space. The addition of a copper coil to each drive enables them to perform their obsolescence aloud. The work is both a monument to the lost physicality of our media formats, and a reminder of the persistent physicality of digital technologies. Each empty metal case has the dimensions of an individual's digital space, evidencing the waste implicit therein.

Yannis Kotsonis
Yannis Kotsonis is a musician, sound artist and improviser living in Athens. He has composed electronic music for theatre, video dance, multimedia installations and film. He gives regular concerts and collaborates frequently with other musicians, including a longstanding improvising duo collaboration with Danae Stefanou, under the name acte vide. He has released seven solo albums, as Sister Overdrive and under his own name and has contributed to several compilations. Since 2009 he has been active as a workshop, residency and concert curator/coordinator (Detritus Festival, Syros Sound Meetings, KNOTmusic, minor act).

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