Touch Quadraphonic @ The Ace Hotel | 14th January 2017

Desert X and VOLUME present an evening of collaborative soundscapes at Ace Hotel
& Swim Club.

STARTS AT 6:00pm

The event will present a quadrophonic sound installation of work by Jana Windren, Chris Watson, Philip Jeck, BJNilsen, Mark Van Hoen, Yann Novak, Achim Mohné and Claire M Singer. The event will will also feature performances by Geneva Skeen and Bethan Kellough that will begin at 7:30pm.

FREE

Ace Hotel & Swim Club
701 E. Palm Canyon Dr.
Palm Springs, CA 92264

www.acehotel.com

Lend Me Your Ears | 2016 Roundup

This year’s list has been unusually challenging since a number of key labels were in overdrive. Grand projects have multiplied too. So our self-constraining methodology became even more masochistic.

How, to take an especially painful example, to choose between Bethan Kellough’s Aven & Claire M. Singer’s Solas? Two exceptional releases that each expanded notions of sound palettes & what could be done with them, but both on Touch (about whom more shortly…).

& that’s to exclude Yann Novak’s Ornamentation, Simon Scott’s Floodlines, Anna von Hauswolff’s Kallan (Prototype) & Fennesz’s Mahler Remix, despite all four clearly demanding recognitition as part of the year’s ‘best’.

earslend.blogspot.co.uk/2016/12/capelli-camicia.html

TOUCHLINE 9 | Ipek Gorgun – “Aphelion”

touchline9

Digital Download – 8 audio tracks – 48′ 23″ + mpg + pdf (1.2Gb)
The link to the .zip can be found in your email receipt [also in your account history]

1. Kairos 5:28
2. Fata Morgana 4:42
3. Bloodbenchers 8:54
4. Lethe 2:54
5. Martyrs 8:22
6. Dendrite 4:20
7. Nightingale 9:20
8. Troubling Speech 3:50 [bonus track]

Kairos video: Noetic Works
PDF photo book: Ipek Gorgun
Recording and Mixing: Ipek Gorgun
Mastering: Barkin Engin

“The dictionary describes aphelion as “the point in the path of a celestial body (as a planet) that is farthest from the sun”, which i reckon is a suitable title since it reminded me of the night time, when I recorded and edited the majority of this work.

The night makes me think about openness and gathering. To me, it is a state of togetherness in which things are allowed to keep their own identity, yet they are covered under the veil of darkness. From time to time we may recognise such things as they are, but the night also evokes the so- called luxury of intuition, helping us become aware of their existence without using our sense of sight.

One might feel that the night has a disturbing, chaotic and uncontrollable character. I can relate to that since it becomes harder to see; our ocularcentric modern ways of living are being challenged. Contrary to the sunlight that helps us divide, analyze and govern, the night tends to reveal our most primitive selves, as well as uncovering our deepest thoughts, untold dreams and memories. In addition, in such state of openness, the lack of light provides more space for the activation of other senses.

This is when hearing becomes so acute – as well as touching and smelling. I still think about smell, but hearing can also be associated with touch, since we are literally touched by sound in the form of waves through space, and they become audible in the range between 20Hz. and 20kHz. The night makes this contact even more obvious.

Such communication is the most intimate that two complete strangers (who will probably not meet again) can be. And I’m once again grateful for my own personal aphelion (2:44 AM, GMT+2) at the moment for helping me write this to you, beloved listener.”

Buy & download Ipek Gorgun – “Aphelion” [.wav + pdf] in the TouchShop – The link to the .zip can be found in your email receipt [also in your account history]
You can read more about TOUCHLINE here

Continue reading

TOUCHLINE 8 | Gravitas – “a frequency crescendo in 11 movements”

Download only – 1 track – 27′ 34″

Photography by Heitor Alvelos, design by Jon Wozencroft
Release date: 21st October 2016

touchline8

Track listing and notes:

1. a frequency crescendo in 11 movements 27′ 34″

Heitor Alvelos, digital frequencies
Anselmo Canha, bass, field recordings
Anabela Duarte, treated voice
José Maria Lopes, guitar
Jaime Munárriz, guitar, trumpet, electronics
Jono Podmore, theremin
André Rocha, arduino-activated lemon tree (concert)

“Gravitas” is a studio re-construction and re-consideration of a sound performance that took place at the futureplaces medialab on October 24, 2015, in Porto, Portugal.

Woven and edited by Heitor Alvelos, Oporto, August – September 2016
Mastered by Jono Podmore, Köln, September 2016

The words that bookend the piece belong to Bernadette Martou (1962-2015)

The original plan was to release the gig itself, but a series of technical and aesthetic drawbacks, affecting both the performance and the recording, rendered this undesirable. The state of exhaustion of some of the participants, after a four-day marathon running multiple fronts of the medialab, certainly did not help: yet all reasons boil down to a simple evidence – every performer has at some point found him/herself in a situation where all the ideal ingredients seem to be there, and yet the momentum just does not follow. This was one such evening. It happens.

However, the ingredients remained very much present, and so did the commitment of all involved. A decision was thus made to pay justice to what had not been.

The process towards “Gravitas” rebuilt, the present piece, began with each contributor revisiting their own sounds through their own means, while being allowed to change them further, if desired. One rule applied onstage, and that one rule remained: each individual contribution should be a crescendo from infra-sound to ultra-sound (voice mercifully exempted from this rule). During this second process, individual tracks were not shared with others until finished by each contributor.

The source material was abundant and opened up a wealth of possibilities, as it would; so in good paradoxical fashion, the choice was made to be sparse and surgical in its use, and open up as much of a reflective and introspective mood as possible. The concert recording is also in there, minimally, whenever it made sense for it to be. Other variations of “Gravitas” may surface, as there is substance in much of what was left out; for the time being, however, this is the gig that could have been.

Why “Gravitas”?

Every year since 2008, futureplaces gathers media creatives, thinkers and researchers in an attempt to see and act further beyond the immediate digital allure: firstly by acknowledging that so much of today’s technology has yet to deliver on its promise of personal, social and cultural emancipation, and then by picking up from this evidence in various hands-on fronts. Futureplaces has been a purposefully chaotic meeting point where media research meets citizenship, in contextual, tangible projects that rehearse unorthodox uses for new media. Viral epiphanies, one could say.

This mission, at the core of futureplaces since its inception, observes and interprets current trends and developments. Every year a motto is proposed, an answer to the zeitgeist. Gravitas is, we believe, an antidote to the hallucinatory abandonment and volatility of the present times; a call for wisdom, for grounding and sobriety. And as with a wider set of choice words that seem to have vanished from our vocabulary, it is a largely absent term whose meaning – whose role in our consciousness – has paradoxically never seemed so decisive.

Through gravitas we emerge and soar: thus the journey from infra-sound to ultra-sound. From rootedness to elevation.

Buy & download Gravitas – “a frequency crescendo in 11 movements” [.wav + pdf] in the TouchShop – The link to the .zip can be found in your email receipt [also in your account history]
You can read more about TOUCHLINE here

Tone 55 | Yann Novak “Ornamentation”

Compact disc in wallet – 1 track – 49:00

Artwork & photography by Jon Wozencroft
Release date: 11th November 2016

Track listing and notes:

1. Ornamentation

Presented live in Los Angeles. Source material includes field recordings captured throughout the United States and Canada from 2006–2016 and modular synthesizer recordings, all digitally altered.

Yann Novak is a multidisciplinary artist based in Los Angeles. Ornamentation is Novak’s first physical release on Touch and continues his investigations of presence, stillness and mindfulness through the construction of immersive spaces, both literal and figurative. On Ornamentation Novak resists modernism’s problematic relationship to race, class and labour, and attempts to decouple contemporary minimalist sound work from this historical precedent. The title refers to Adolf Loos’s notorious 1913 manifesto, ‘Ornament and Crime,’ in which the author argues that the desire to adorn architecture, the body, objects, etc., is a primitive impulse, and the proper and moral evolution of Western culture depends in part upon the removal of ornamentation from daily life. Loos devalued the labor traditionally associated with aesthetics and beauty, and equated ornamentation with the degenerate. In this context, one could consider ornamentation as a way of viewing decay. His examples as such (tattoos, fashion, style, painting, et al.) predictably fell along divisions of race and class, coding modernity as the next outward manifestation of white, capitalist patriarchy. Throughout the process of creating Ornamentation, Novak attempts to sidestep some of Loos’s modernist intolerances by focusing on the labor of composition itself, rather than particular processes or structures. Novak began by incorporating specific field recordings from his archive, deliberately selected for their poor quality; awkward interruptions, low fidelity smartphone recordings, problematic frequencies. The selection of these difficult sounds, processed alongside recordings of his modular synthesizer, created a unique set of challenges for Novak where the familiar, reductive approaches would fail to be useful and ultimately abandoned in favor of more dynamic, additive, and laborious process. Unlike minimalism with its roots in modernism, or “sound art” with its conceptual biases, Novak creates a work that acknowledges these conventions, yet stands apart as a meditation on beauty, labour, and aesthetics; Ornamentation as an adornment of time itself.

Order Yann Novak’s “Ornamentation” [CD + 24bit DL] in the TouchShop
www.yannnovak.com

Spire live on NTS Radio | 7th October 2016

organ-reframed-art1

TO:102 | Lustmord “Dark Matter”

Compact disc in digifile – 3 tracks – 70:38
Artwork & photography by Jon Wozencroft
Release date: 30th September 2016

Track listing and notes:

1. Subspace
2. Astronomicom
3. Black Static

Conceived and Produced by B.Lustmord
Recorded in Los Angeles October-December 2015
Artwork & Photography by Jon Wozencroft

Derived from an audio library of cosmological activity collected between 1993 and 2003. It was gathered from various sources including NASA (Cape Canaveral, Ames, The Jet Propulsion Laboratory and Arecibo), The Very Large Array, The National Radio Astronomy Observatory and various educational institutions and private contributors throughout the USA

Lustmord writes: “The Universe we inhabit is a vast expanse far larger than we are able to comprehend. As we attempt to understand its underlying structure and as we gain new insight into the nature of matter, new questions arise and further gaps in our understanding are revealed.

Behind the world that we experience lies a veil of darkness and much is hidden between, beyond and unseen.

We are limited by our inability to truly grasp the infinite breadth of the Universe, the time scales involved in its measure and our insignificant position within.
Some things will always be unknowable, and existence does not begin or end with man’s conception.

Everything that has ever been observed by man, even with our most sophisticated instruments, amounts to less than five percent of the Universe.

Approximately sixty-eight percent of the Universe is unseen dark energy and approximately twenty-seven percent is unseen dark matter. We have yet to discover what dark matter is, and only know the things it is not. Although it has not been directly observed, its existence and properties are inferred from its effects on visible matter, its influence on the Universe’s large-scale structure, and its effects in the cosmic microwave background.

The universe began of darkness, not of light.

While space is a virtual vacuum, it does not mean there is no sound in space. It exists in space as naturally occurring electromagnetic vibrations, many well within the range of human hearing while others exist at different regions of the electromagnetic spectrum and these can be adjusted with software to bring them within our audio range.

The recordings of these interactions in space come from several different environments including radio, ultra violet, microwave and X-ray data and within these spectra a wide range of sources including interstellar plasma and molecules, radio galaxies, pulsars masers and quasars, charged particle interactions and emissions, radiation, exotic astrophysical objects, cosmic jets and flares from magnetars.”

About Lustmord:

Widely credited as the originator of the “Dark Ambient” genre. Credits on over forty motion pictures including The Crow and Underworld. One of the two composers for the Turtle Rock/2K game Evolve. Worked with John Balance, Chris & Cosey, Clock DVA, Current 93, Paul Haslinger, Maynard James Keenan, Melvins, Nurse With Wound, Tool and Wes Borland amongst others.

Pre-order Lustmord’s “Lustmord” [CD] in the TouchShop
www.lustmord.com

Spire live at Organ reframed | 8th October 2016

The 17th Spire will take place at Union Chapel, London on 8th October 2016 as part of the ORGAN reframed Festival (7-9 October 2016)

Union Chapel and Touch are proud to present…

Spire
Union Chapel, London
700pm – 1030pm Saturday October 8th 2016

Spire: organ works past present & future performed by

Charles Matthews (organ)
Philip Jeck (turntables)
Fennesz (organ & electronics)
Simon Scott (Electronics)
John Beaumont (Tenor)
Claire M Singer (Organ & electronics)
The Eternal Chord (Organ)
Continue reading

Tone 54 | Bethan Kellough “Aven”

Compact disc in slip case – 5 tracks – 27:54
Limited edition of 500 copies

Artwork & photography by Jon Wozencroft
Mastered by Denis Blackham
Release date: 26th August 2016

Live at Volume, Los Angeles, 30th April 2016 as part of Touch Conference

Track listing:
1. Descent
2. Vision
3. An Opening
4. Canopy
5. Low

The word ‘Aven’ refers to an underground shaft that leads upward from the roof of a cave passage.

Recorded with SoundField SPS200 & JrF C-Series contact microphones, Sennheiser ME64, Sound Devices 788T, Elektron Monomachine, RME Fireface UCX, and Cockos Reaper. Field recordings from Iceland, June 2015 and South Africa, November 2015.
Strings performed by Bethan Kellough.

Bethan Kellough creates sound worlds that weave together instrumental materials, sound design and ambisonic field recordings. Her composition ‘Aven’ is based on a recording made in Iceland in 2015, which features the booming sound of underground geothermal activity escaping to the surface through a small shaft. “Looking down into the darkness, there was a sense that a whole world existed in an unknown space beneath. The sound world of Aven is a journey through such an imagined environment.” The composition is driven by this sonic encounter, but enters the imagined worlds beneath through the instrumental material developed throughout the work. These melodic passages predominantly feature violin, which Bethan has played since childhood exploring traditional Scottish music, rock violin, free improvisation and classical studies. The field recordings used in Aven were made in Iceland during the Wildeye sound recording workshop with Chris Watson and Jez riley French, and in South Africa during the Sonic Mmabolela residency with Francisco Lopez and James Webb. Each of the recordings explore a world of sound beneath a surface, reflecting upon the initial recording environment at the geothermal site. In South Africa, an approaching storm was heralded by wind blowing through bushes in the savanna, underneath which was hidden a Soundfield microphone. A contact microphone on a fence in South Iceland revealed the tones of the wind contained inside the wires, and in an Icelandic nature reserve the wind was also captured by microphones buried underneath a layer of grass – a miniature world sheltered by the strands of dry straw.

Bethan Kellough (formerly Bethan Parkes) is a sound artist and composer. Her work spans across ambisonic composition, field recording, sound design and multichannel sound installation practices, drawing a focus on sonic spatial experience. Her works are designed to open out spaces with sound, exploring spatial aesthetics and the interactions between sonically and visually articulated spaces. The immersive sound-worlds she creates inhabit the boundaries between music and sound design, weaving together instrumental materials, sound design and ambisonic field recordings.

She holds a PhD in Sonic Arts from the University of Glasgow. In 2015 she joined the Touch Mentorship Programme.

Her works have been exhibited and performed internationally, including at Touch Conference, Los Angeles, USA; Gallery of Russian Art and Design, London, UK; Resonant Forms Festival, Los Angeles, USA; Borealis Festival, Bergen, Norway; Jardins Efemeros Festival, Viseu, Portugal; Spazio Bocciofila, Venice, Italy; The Global Composition International Conference, Dieburg, Germany; Symposium on Acoustic Ecology, University of Kent, UK; Sound Thought Festival, Glasgow, UK.

Order Bethan Kellough’s “Aven” [CD] in the TouchShop
www.bethankellough.com

TOUCH vs TOUCH VINYL | Los Angeles 30th July 2016


Mark Van Hoen
Bethan Kellough
Touch

TO:101 | Claire M Singer “Solas”

Double CD – 7 tracks – 68:11
Mastered by Denis Blackham at Skye Mastering
Artwork & Photography by Jon Wozencroft

Track listing:

CDOne

1. A Different Place 06:35
2. Ceò 05:39
3. Solas 10:50
4. Dìobaig 04:47
5. Eilean 11:36
6. Wrangham 06:47

CDTwo

1. The Molendinar 25:57
and Aisir (Bonus track) (download only)

All tracks written & performed by Claire M Singer

Solas, Wrangham & The Molendinar were recorded by Iain Berryman at Union Chapel, London 26-27th February 2016 on the organ built by Henry Willis in 1877
Mixed at Bennachie Studios, Aberdeen and EMS Goldsmiths, London
Violin extract on Eilean from “Land of the Standing Stones” composed and performed by Paul Anderson
Eilean was commissioned by Aberdeenshire Council and The Molendinar by Civic Room, Glasgow and Union Chapel
Solas (‘Light’ in Gaelic) is Claire M Singer’s debut album spanning 14 years of her work in acoustic and electronic composition. In recent years she has focused on writing and performing a mix of organ, cello and electronics with regular performances at Union Chapel where she is Music Director, running a diverse programme of concerts and educational workshops around the Chapel’s Henry Willis 1877 organ.
Other performances include the Roundhouse London by The LCO Soloists; a’ fàs soilleir, an audio-visual work, exhibited at Tate Modern London, XMV New York City and Ceremony Hall Austin TX and she has performed as part of Spire at Muziekgebouw, Amsterdam, Kunst-Station Sankt Peter Cologne and many more.
The Molendinar, which was co-commissioned in 2015 by Civic Room, Glasgow and Union Chapel, London to celebrate Glasgow’s Molendinar Burn Project was performed on the 14th June 2016 at Glasgow Cathedral to conclude the weekend festival.

Order Claire M Singer “Solas” [2xCD] in the TouchShop
www.clairemsinger.com

Tone 53 | Simon Scott “FloodLines”

CD – 1 track – 30′ 51″
Mastered by Denis Blackham at Skye Mastering
Artwork & Photography by Jon Wozencroft

Track listing and notes:

1. FloodLines

Recorded live at Cafe Oto as part of “Touch presents…” on 31st January 2016

Simon Scott is a sound ecologist and multi-instrumentalist from Cambridge, England. His albums ‘Insomni’ (Ash International) and ‘Below Sea Level’ (12k/TouchLine) are out now (see above). His work explores the creative process of actively listening, the implications of recording the natural world using technology and the manipulation of natural sounds used for musical composition. He plays the drums in Slowdive and has recently collaborated with artists James Blackshaw, Spire, Taylor Deupree (Between), Isan + many more.

This is his first physical release for Touch.

Source material recorded in The Fens, East Anglia.

Simon Scott’s blistering live set from London follows his 2015 album ‘insomni’ but features his field recordings of areas of The Fens in East Anglia that cartographically are below mean sea level. They’re complimented by underwater hydrophone recordings taken on field research trips, making the unheard audible and brings the unseen to the surface. It’s a flat landscape that was devastated by the draining of The Fens in the 17th century. The ecosystem was damaged but these areas have been left to reflood and re-establish it’s vernacular wildlife, replete with its own instrumentation and orchestras. Tapping into these, Scott’s vision encourages us to explore the fertility of the flatlands of England.

Order Simon Scott’s “FloodLines” [CD] in the TouchShop
www.simonscott.org

Touch Conference on Touch Radio

Three of the recordings from the Touch Conference series of events have now been posted on TouchRadio

TouchRadio 125 Philip Jeck – Live at The Battery, San Francisco
TouchRadio 124 Mark Van Hoen – Live at The Battery, San Francisco
TouchRadio 123 Daniel Menche – Live at Chapel Space, Seattle

Landscape and Perception update | Stonehenge site investigations

Landscape and Perception is a research project set up by Jon Wozencroft and Paul Devereux to explore the role of sound and acoustics in prehistory, and in particular, to propose that the sonic properties of the bluestones taken from Preseli to Stonehenge might have been a key factor in their transportation from Pembrokeshire to the Salisbury Plain.

Following the discovery of abundant acoustic activity in the project’s main point of focus in the Preseli Hills in Wales, landscape-perception.com has been updated to include documentation of the site investigations carried out at Stonehenge in July 2013.

landscape-perception.com/stonehenge

Touch Conference | USA 30th April – 10th May 2016


You can visit the Touch Conference micro-site, updated daily with photographs and recordings, here

A series of conferences featuring Touch artists on the west coast of America presenting and demonstrating their work to a discerning audience:

Touch (est. 1982) is one of the last surviving labels from the turbulent new wave period in London, which uniquely fused art, design and music. Hear artists from the label roster present and demonstrate their work to a discerning audience.

Philip Jeck uses turntables and sampler to create a unique sonic improvisation, both emotionally captivating and technically involving.

Mark Van Hoen, with modular synth and software pushed the analogue/digital envelope to create damaged melodies, drones and dense claustrophobia.

Simon Scott explores the creative process of actively listening, the implications of recording the natural world using technology and the manipulation of natural sounds used for musical composition.

Daniel Menche – In a genre known for its randomness and chaotic structure, Daniel Menche has established himself as a musician with an uncharacteristic sense of focus and determination. Rather than creating “noise,” he strives for order and cohesiveness. Aural intensity is not a representation of confusion or the chaotic, but a concerted effort to provoke and stimulate the listener’s imagination by generating intensely powerful sounds and music.

Bethan Parkes – Her work spans across field recording, sound design, ambisonic composition and multichannel sound installation practices, drawing a focus on sonic spatial experience. Her works are designed to open out spaces with sound, exploring spatial aesthetics and the interactions between sonic and visually articulated spaces.

April 29th, Aeterna Gallery, Los Angeles
Philip Jeck
Jon Wozencroft (photography exhibition, part of Touch Retrospective April 9th on…)
Touch
Jon Wozencroft will not be present
Further details on Facebook and in Artillery Magazine

April 30th, Volume, Los Angeles
Philip Jeck
Mark Van Hoen
Bethan Parkes
Touch
Location: 5240 Alhambra Ave., Los Angeles, CA 90032
Tickets

May 1st, Aquarius, San Francisco
Philip Jeck
Mark Van Hoen
Simon Scott
Touch

May 2nd, The Gray Area, San Francisco
Philip Jeck
Mark Van Hoen
Simon Scott
Touch
Tickets

May 3rd, private location (invitation only), San Francisco
Philip Jeck
Mark Van Hoen
Touch

May 4th, Holocene, Portland
Philip Jeck
Mark Van Hoen
Simon Scott
Daniel Menche
Touch

May 7th, Chapel Space, Seattle
Philip Jeck
Mark Van Hoen
Daniel Menche
Touch

May 10th Dublab, Los Angeles (Radio)
Philip Jeck
Touch

www.philipjeck.com
www.markvanhoen.com
www.simonscott.org
danielmenche.blogspot.com
www.bethankellough.com

You can read a feature in Adventures in Sight and Sound here

Jon Wozencroft | Aeterna Gallery, Los Angeles April 2016

Exhibition with limited edition prints of Jon Wozencroft ‘s album art. Show opens 9th April 6-10pm until 21st May (click on the image above to see a brief video)

Aeterna Gallery
949 Chung King Road
Los Angeles CA 90012
Tel: 213 457 3404

If you wish to purchase any of the prints, please contact the gallery directly – aeternalosangeles.com @AeternaGallery

Cover photos include:

Oren Ambarchi – Insulation | Fennesz – Black Sea | Hildur Gudnadottir – Without Sinking [see above] | Philip Jeck – Stoke | New Order – Video 5-8-6 | BJNilsen – Invisible City | Scala – Beauty Nowhere | Spire Live – Fundamentalis | Mika Vainio – Behind the Radiators | Various Artists – Touch 25 | Various Artists – Touch Sampler 3 | Chris Watson – Stepping into the Dark | Jon Wozencroft – Touch & Fuse

Tone 45.6D | Anna von Hausswolff – Källan (Prototype)

Digital Download – track – 39′ 57″ [24bit/48kHz wav]

Track listing and notes:

1. Källan (Prototype) 39′ 57″

Artwork & photography by Jon Wozencroft

Organ: Anna von Hausswolff. Recorded live at Lincoln Cathedral, 19th October 2013.
Performed at Frequency 13 Lincoln Digital Culture Festival as part of Touch presents…, (which also featured Chris Watson & Hildur Gudnadottir). Recorded live by Mike Harding using 2 x dpa 4060s onto a Nagra Ares Pll digital recorder. This recording is unedited from the original raw file.

Though she now lives in Stockholm, Anna von Hausswolff grew up in the once vibrant, bohemian neighbourhood of Haga in Gothenburg, Sweden, in a family who counted amongst their ancestors Bernhard Reynold von Hausswolff, an 18th Century governor of Falun, Sweden, who helped bring an end to the burning of witches. Although Anna has achieved acclaim with her song-based albums ‘Ceremony’, ‘Singing from the Grave’ (both first released on Kning Disk in Sweden) and the latest ‘The Miraculous’ (released on her own label, Pomperipossa Records), she has always had an ear for the radical approach, and this is the first step in a long-term collaboration with Touch.

Download Anna von Hausswolff “Kallan (Prototype) [Digital Download] in the TouchShop
www.annavonhausswolff.com

Touch is 34 Today

Today, 11th March, is the official 34th anniversary of the founding of Touch in 1982…

First contact with New Order after their concert at the Newcastle Mayfair on 11th March 1982…

You can follow our progress year by year here…

TOUCHLINE | A new online resource

TOUCHLINE is a new online audio-visual resource for “emerging” artists. You can read more on the website here and you can buy these resources in the TouchShop

Releases now available:

December 2016
Ipek Gorgun – Aphelion

October 2016
Gravitas – a frequency crescendo in 11 movements

March 2016
Jez Riley French – Portable Music

Previous releases still available:

February 2016
Iain Chambers – Bascule Chamber Concert

November 2015
Aino Tytti – Millennium Mills

October 2015
Mark Van Hoen – Artefacts l

April 2015
Yann Novak – Scalar Field (9a00ff, ff6600, ff0066, fe0000)

March 2015
Budhaditya Chattopadhyay – Decomposing Landscape
Simon Scott – Below Sea Level

Ash 11.8D | Jana Winderen “The Wanderer”

Digital download available from janawinderen.bandcamp.com.
Stereo version of multi-channel installation: 31m21s.

Zooplankton and Phytoplankton are organisms which drift in the oceans, seas and bodies of fresh water. The word ‘zooplankton’ is derived from the Greek zoon (ζῴον), meaning ‘animal’, phyto is derived from the Greek words φυτόν (phyton), meaning plant and planktos (πλαγκτός), meaning wanderer or drifter.

Mammals, fish and crustaceans feed on zooplankton and they in turn feed on phytoplankton. Phytoplankton need two things for photosynthesis and thus their survival: energy from the sun and nutrients from the water. In the process of photosynthesis, phytoplankton release oxygen into the water. Half of the world’s oxygen is produced by phytoplankton photosynthesis.

Local abundance varies horizontally in the water column, vertically with ocean drifts and seasonally with the light.

The Wanderer is a sound composition created from hydrophone recordings from the realm of these creatures in the Atlantic Ocean, made by Jana on her travels from the North Pole to the Equator.

The Wanderer was produced for the Lorch Schive Art Prize, Trondheim Kunstmuseum in 2015. Originally released on a USB Stick in an edition of 50.

Download from janawinderen.bandcamp.com
www.ashinternational.com
www.janawinderen.com