Alma Laprida is an Argentinian artist specialising in Electroacoustic, experimental and field recordings.
There was a bit of a buzz on Twitter today about a list compiled on RYM website covering women in electroacoustic, minimalism, tape music, musique concrète, free improvisation, and related genres which I highly recommend.
This is a brilliant work in progress and although there are many artists I know there are many that I do not. Never missing a chance to discover new music I began to look through and just followed the links.
In doing so, I came across Todays Discovery – Diane Thome.
Here is a wonderful collaboration she did with Robert Austin. He states on the Soundcloud page –
This is a collaboration with my longtime collaborator, Seattle composer Diane Thome. I designed sounds for her (usually hundreds), from which she selected a subset, and arranged the samples into an audio collage, typically 8-16 tracks. I would then nip, tuck, re-synthesize, adjust dynamics and panning etc. We would pass it back and forth until we both agreed that it was ‘done’. I would sometimes write sections for pieces myself, and the goal was to produce a computer-synthesized tape which could stand on its own, though typically a solo instrument would play together with the tape. “Estuaries” was scored for oboe and computer synthesized sound, and here is the latter.
Her work is based on improvisation and exploration, involving the capture of sounds and soundscapes (field work) as well as programming and editing (based on the canons of film sound) of sound sequences originated from unorthodox sound sources – wood and metal objects, stones, different instruments (prepared bass guitar, Hexluth – electrified luth, Moog and Micro Korg synths) or the exploration of sound possibilities in spaces with uncanny acoustic characteristics – the same sound sequences at a later time edited and sequence according to soundtrack assemblage composition, breaking the borders of experimental sound and music in cinematic space.
The creativity and pure inventiveness of Eli Gras :)) An artist well worth watching all the videos and checking out more. Courtesy to Yeah I Know it Sucks for this overview.
Eli Gras is a multidisciplinary artist active in lots of creative fields, but mostly known for her excellent career in experimental underground music since the early eighties. Her experimentations have covered all kinds of musical paths, from pure experimentalism to electropop, minimalism, funk, and so much more. What is striking to me from this artist is that she invents her own instruments, which of course brings a completely new and unique sound perspective to the ears and minds.
There are lots of videos of her live performances playing her inventions, which of course is an exciting thing to see and hear on the digital highway; but its even better and more exciting when you can hear and see her performing live in front of you. In a couple of days (upcoming Saturday 14th November) she will be doing her magical thing on the experimental cozy toxic grounds of Gifgrond.
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Here is a sublime piece that sonically fits the day from my Artist of the Week
Naomi Kashiwagi is an award-winning artist who produces sound works, installations, performances and works on paper, that draw upon her cultural heritage, an intrinsic fusion of two cultures, British and Japanese. Drawing is central to Kashiwagi’s practice and she makes drawings using a range of media including diamonds, typewriters, gramophones and pianos, as well as graphite and pen.
The reason this artist is my Todays Discovery is her work with Gramophone records entitled – Gramophonica
Some interesting thoughts here and includes sound artists Susan Philipsz and Louise K Wilson
Different spaces resonate in different ways.
The materials of a space will alter how a space sounds which also has an effect on how a space feels.
Sonic qualities of different spaces will all differ, whether the space is open and large, small and confined or outside and windy.
The environment can affect sound which is why if the same composition was played in a bedroom as opposed to a large hall, the listening experience would be completely different.
Materials can either reflect or absorb sound; reflecting surfaces provide and echo where as absorbing surfaces can dampen a sound.
Whilst visiting the Hamburger Bahnhof in Berlin last February, I experienced Susan Philipsz work ‘Part File Score’- 2014. Exhibited in the converted train station part of the gallery, Philipsz used the stations pillars to install speakers, thus almost hiding them away and revealing the true architecture of the space…
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