12″ White Label vinyl + 320 kbps MP3 download of the tracks
Cut by Jason @ Transition
Track listing:
Side A: Quanta of Light l 19:24
Side B: Quanta of Light ll 21:35
The fifth in the series of limited edition vinyl in the Tone 45 series. 100 copies only are available in the TouchShop…
Artist’s note: the distortion on the run in groove on side a is intentional…
Café Oto, London, England 02.04.2012
An evening celebrating Touch’s 30th anniversary and the release of Oren Ambarchi’s striking new album Audience of One – a four-part suite which moves from throbbing minimalism to expansive song-craft to ecstatic free-rock. Ambarchi will perform alongside the unparalleled aural intensity of Daniel Menche and BJ Nilsen’s layered sound environments.
www.orenambarchi.com
danielmenche.blogspot.com
www.bjnilsen.com
www.cafeoto.co.uk
Congratulations to Sohrab, who got married on March 16th 2012…
Radio Boredcast is a 744-hour continuous online radio project – running from 1st March to 31st March 2012 – curated by artist Vicki Bennett (People Like Us) with AV Festival. In response to our ambiguous relationship with time – do we have too much or not enough? – Radio Boredcast celebrates the detail, complexity and depth of experience lost through our obsession with speed.
On 16th March 2012 at 5:57am, Touch takes over Radio Boredcast for 30 hours of programmes curated by Mike Harding and Jon Wozencroft, as a celebration of Touch.30. Many rare recordings are to be aired, including a number of Touch’s earliest cassette releases in full. Jon Wozencroft presents “TouchRadio 1987” – a compilation prepared in 1987 for private distribution on cassette… In those days, mix tapes were a very common way of sharing one’s own musical tastes on an informal basis. Half of this episode is presented here. Mike Harding also contributes three hour long “TouchAVRadio” transmissions, “Language”, “Sound” and “Time”, especially created for AVFestival.
In addition, many Touch artists are featured on other days of the month-long transmission, alongside shows submitted by Ash International and The Tapeworm. Special broadcasts from the likes of Chris Watson, Phill Niblock, Fennesz and BJNilsen are scheduled.
You can listen continuously for a month, or for hours, minutes or seconds. Online 24 hours each day, at www.avfestival.co.uk or www.thepixelpalace.org. The schedule for the whole month is listed here, with details of each show and information about the artists. You can also subscribe to the Radio Boredcast podcasts.
Radio Boredcast schedule at www.avfestival.co.uk
www.peoplelikeus.org
The source of the Stonehenge bluestones is widely accepted to be the Preseli Hills, in Pembrokeshire, SW Wales, a heritage site seldom studied but rich in sonic phenomena, notably the lithophones that litter Carn Menyn, the main rocky outcrop on the Preseli range.
A central premise of the Landscape & Perception project is to question the hierarchy between vision and sound in the building of prehistoric monuments, in particular the sacred sites of Avebury and Stonehenge, whose acoustic dimensions have never been properly assessed.
Supported by the Royal College of Art, Paul Devereux and Jon Wozencroft present this updated report on their findings. The website is designed by Rebels in Control and represents five year’s worth of research into these two “power spots”.
Touch.30 USB flash drive + title card in velvet string bag
Flash drive contents: .mov + text & images (2GB) – 32:30
Track list:
1. Liquid Music
Jon Wozencroft writes:
“Liquid Music was made in 2001, in conjunction with the music Christian Fennesz was developing during that fertile period when the future was still a good idea. The first version – this is it – was premiered during the Touch tour of 2001, the time of Fennesz’s Endless Summer and the steady movement towards Venice.
The footage for Liquid Music originates from Prague, Paxos, Crete, Cephalonia, Messinia, London and one short clip from Monterey Bay. It was filmed on Hi–8 and mini–DV between 1995 and 2001. The main idea was to film everything through the lens, with no post production other than the compilation of many years work into a coherent whole. Fennesz’s music, and its ascendent quality, made that a pleasure. The optical quality is on the cusp between analogue and digital resolution. In many respects it’s an exchange of values as much as working methods.
I feel it’s one of the best works we did in the last 10 years. The Brighton concert, where the audio comes from, was a key moment on the Touch 2001 tour. The PA was Loud. Everything worked. The film, as on all nights, was played in parallel, it is not sync’d in the conventional sense. Every time is was shown it was different. On this night, the second night of the tour, the audience was shocked in a way that shock rarely happens these days.
This very same year, industry experts got together in California to set the MPEG compression codes for DVD mastering. MPEG4 algorithms basically sample 3 frames out of the PAL 25 frames-per-second standard, and interpolate, which is OK if you’re trying to get a drama onto a DVD, but hopeless if the film involves very fast movement and transitions. Liquid Music is in some respects a laptop response to the celluloid flicker film from the 1960s – Paul Sharits, Tony Conrad, Stan Brakage – Peter Kubelka’s Arnulf Rainer. We tried everything Soho facilities houses had to offer but there was no way the film was going to master accurately onto the DVD format.
The movement of water is a difficult thing to film, and to sonify. For years the only way Liquid Music could be shown was either as a live projection or a dedicated screening – these have taken place at Tate Modern, the BFI, Austria, Hungary, Germany… Ten years later, the satisfactory outcome is to see what it looks like on an iPad or an iPhone, and then to imagine it on the big screen.”
Thanks are due to: David Metcalfe, Kamal Ackarie, Steve Connolly, Andrew Lagowski, Philip Marshall and Denis Blackham.
See also: Callum Coats, Living Energies – An Exposition of Concepts Related to the Theories of Viktor Schauberger, Gateway, Dublin 1996.
Today, 11th March, is the official 30th anniversary of the founding of Touch in 1982…
First contact with New Order after their concert at the Newcastle Mayfair on 11th March 1982…
One year after a triple disaster hit Japan, an internet-video platform entitled Sound of Sirens (SOS), created by the artists Edgar Honetschläger and Sylvia Eckermann, will go online. It calls on people worldwide to reflect onto the consequences of the catastrophe in cinematic form. All participants will take part in a contest which will result in a feature-length film and opera production.
Win a prize, share your story – make a film about how 11/03 changed your life. Use your cell/webcam/digicam – anything that captures running pictures and shoot up to 7 minutes. Upload at www.sound-of-sirens.net (click right top for English version.)
Start 11th March 2012 – End 11th July 2012
2012年3月11日に日本を襲った悲劇、アーティストのエドガーホネットシレーガーとシルビアエッカーマンで制作したSOS =サウンド・オブ・サイレンスのビデオ·プラットフォームがオンライン化されます。このプロジェクトに参加してくださった 方達には、コンテストの一参加者になっていただき、最終的に長編劇映画とオペラプロダクションに反映されます。
サウンド・オブ・サイレンスコンペテション。賞を勝ち取ってください。あなたの物語をシェアして ください。3月11日にあなたの生活がどのように変化したか。携帯、ウェブカメラ、デジタルカメラ、7分以内に撮影したもので、アップロードできる映像なら何でも大丈夫です。アップロードは www.sound-of-sirens.net でお願いします。
Following Touch: Isolation which covered the first lockdown period in the UK, Touch: Displacing as a full album is now available; the focus falls on longer-form compositions, originally released on a monthly basis over 2020-2021 and featuring artists for whom duration is a key feature of their work.
Full album now available - 28 exclusive tracks recorded by Touch artists,
with the final track delivered on 25th May 2020. A photographic counterpoint by Jon Wozencroft, the view from Hampstead Heath during the London lockdown.