Great review for the latest album “Rivers & Streams” by Lubomyr Melnyk co-produced by myself and Robert Raths from Erased Tapes Records. Very happy to have also co-written Ripples in a Water Scene and Sunshimmers with Lubomyr on this. The whole album is a great journey. Please have a listen to it! Or even better, buy it!
“Lubomyr Melnyk is one of the world’s fastest yet little-known pianists and, since his 2013 album Corollaries finally opened him up to a new audience, the fact that he can play up to 19.5 notes per second has been touted as his defining quality. The effect is of iridescent notes that could be a thousand wind chimes, caught between turmoil and serenity. Melnyk’s titles are often fitting: Parasol sounds like sunshades spinning in the daylight, and Ripples in a Water Scene like ripples in a water scene; the crushingly sombre The Pool of Memories might well induce a pool of tears. He adds acoustic guitar to some pieces, and flute on the final two tracks, which are dedicated to the Amazon. The finale sounds like a spa relaxation CD gone off on an unhinged, psychedelic tangent, as if he’s trying to conjure the elements. While that may not strictly be possible, Melnyk’s truly defining quality is surely the constant tingle that his music leaves in your heart”.
With the intrepid Leah Borromeo and Katherine Round from Disobedient Films, Climate Symphony was co-created for The Serpentine’s Transformation Marathon.
Climate Symphony takes climate data and sonifies it. Nothing more, but it gets emotional. Originally broadcast on 17th Oct 2015, it asks the questions “what is the sound of a dying planet”, and “does data have emotion?”.
Click the soundcloud above to hear the entire radio show, the file below is the piece without the chatter.
Timeline: 1994 – 2014 Cello – arctic ice sea extent Noise – Co2 levels Piano / Gamelan – migrant routes across the Mediterranean. Percussion – floods in Pakistan
Read more about the Serpentine Marathon Series at this link:
Reflecting on the transformative power of radio in the history of the 20th century, for the Transformation Marathon, Serpentine Radio invites artists, activists, musicians, writers, philosophers, poets, filmmakers and scientists to intervene in all aspects of the broadcast, including news, talk shows, time announcements and radio plays. Serpentine Radio is presented in collaboration with the Goethe-Institut, London.
Celebrating the tenth anniversary of the Serpentine Marathon series, this year’s Transformation Marathon invites artists, sociologists, anthropologists, writers, musicians, architects, scientists and philosophers to address cultural, political and physical shifts. The Transformation Marathon invokes the hidden knowledge of magic and alchemy. It investigates the strategies of cyborgs, magicians, parasites and storytellers to consider how to represent and effect change in the face of complexity. How can the arts and sciences reimagine aesthetics and politics? How are these individual and collective actions reflective of a precarious landscape? This year’s Marathon also addresses the history and transformation of the art institution, with a series of interventions devised by Tino Sehgal and Dorothea von Hantelmann.
Returning to the 24-hour format of the inaugural Interview Marathon in 2006, the Transformation Marathon takes place at the Serpentine Sackler Gallery on Saturday, October 17 from 10am to 10pm and continues from midnight until noon on Sunday, October 18 on the first-ever Serpentine Radio broadcast and presented in collaboration with the Goethe-Institut, London.
The Transformation Marathon is curated by Hans Ulrich Obrist, Co-Director, Exhibitions and Programmes and Director of International Projects; Lucia Pietroiusti, Curator, Public Programmes; Ben Vickers, Curator of Digital and Claude Adjil, Assistant Curator. Curatorial Assistants: Chris Bayley, Taylor Le Melle, Sophie Oxenbridge, Cory Scozzari and Nefeli Skarmea. Radio.SerpentineGalleries.org designed by Folder; Marco Ferrari, Elisa Pasqual, Alessandro Busi, Michela Di Cristina, Aaron Gillett and Alice Longo, developed by Kei Kreutler.
The Serpentine Marathon series was conceived by Co-Director Hans Ulrich Obrist in 2006 and is deeply intertwined with the annual Serpentine Pavilion commission, launched by Director Julia Peyton-Jones in 2000.
Participants include Jumana Manna, Haunted Machines, Jalal Toufic, Jude Crilly, Helen Benigson, Disobedient Films, Jamie Perera, Julieta Aranda, Bill Kouligas, Deep Lab, Nil Mutluer, Ayşe Gül Altınay, Steven Warwick Heatsick, Rachel Rose, Alexandra Kleeman, Julia Tcharfas, Holly White, Lorenzo Senni, Judy Chicago, William Pope L ., Rosi Braidotti, Mica Sigourney, CAConrad, Time is Away, Mark Waldron, Lucy Mercer, Liz Berry, Ken Cockburn, Francine Elena, Alec Finlay, Harry Gilonis, Declan Ryan, Anthony Arthur Long, Federico Campagna, Peter Adamson, Charles Hope, Patrick Mudekereza, Nick Bostrom, Aram Saroyan, John Densmore, Koki Tanaka, Helen Hester, Katherine Angel, Jaakko Pallasvuo, Roy Boswell, Tim Etchells, Candice Lin, Gil Leung, Samson Kambalu
The Unist’ot’en camp in North-Western British Colombia, Canada, is front and centre in a global battle for climate and energy justice. Since 2011 they have been maintaining a check-point controlling access through their territory to stop government and industry plans to build several gas and oil pipelines through their territory. These pipelines form part of an energy corridor that will serve to unlock the vast energy reserves of the tar sands and transport fracked gas with disastrous implications for the climate. The camp was established to oppose these projects, to defend the sacred headwaters, the salmon that spawn there and to maintain their autonomy over their unceded lands.
This video, filmed at the camp in 2013, reveals how the Unist’ot’en camp is succeeding in stopping up to 7 pipelines, holding up billions in investment and keeping millions of barrels (and cubic metres) of fossil fuels under the ground. It also show how the camp, beyond being a simple movement of resistance is creating a new intentional community, informed by a millennia old relationship with the territory and natural law, but through a constant process of re-iminagination.
As of Fall 2015, the camp continues on high alert amidst multiple incursions from the companies trying to build the pipelines. Yet while under attack, the camp enjoys wide support and solidarity. As this video highlights, the Unist’ot’en form part of a networked “corridor or resistance” of numerous justice movements who are increasingly willing to take action to oppose extreme energy projects and who are building energy sovereignty from the ground up.
Welcome to the gateway of meaningful decolonization
Corridors of Resistance is an EJOLT Video directed by Leah Temper, edited by Siobhan McKeon and Claudia Medina with camera by Fiona Becker and Leah Temper. I helped with the music sourcing.
It accompanies a report on Climate Justice: Refocusing resistance for climate justice. COPing in, COPing out and beyond Paris
Including an article on the camp with the title: Decolonising and decarbonising: How the Unist’ot’en are arresting pipelines and asserting autonomy (Leah Temper and Sam Bliss)
The scenarios in this innovative, gaming-style video are drawn from real-life testimonies of children in War Child’s projects across Africa and the Middle East, who have witnessed and experienced the most unacceptable violations to their rights.
The HELP campaign is urging reform in the humanitarian system which currently neglects the needs and rights of children in war.
The hard-hitting ‘Duty of Care’ video is at the forefront of War Child UK’s HELP campaign. It subverts first person shooting games by showing the horror of war through the eyes of Nima, a nine-year-old girl.
The creative team behind the video were Heydon Prowse from BBC3’s The Revolution Will Be Televised, Creative Directors Guy Davidson and Daniel Clarke from London-based agency TOAD, Director Daniel Luchessi and the post production team at H&O and OgilvyOne.
The purpose of the campaign video is to engage people to sign the petition which calls on the UK Government to become champions for children in war, such as those Nima represents in the video.
Providing protection can reduce and prevent atrocities against children. Yet a shocking new statistic released by War Child UK reveals that less than 3% of humanitarian funding is spent on protecting children in war zones, despite them making up more than 50% of the population.
The campaign is targeting the upcoming World Humanitarian Summit to ensure that this unjust disparity is addressed. The greater the level of support, the more difficult it becomes to ignore the protection of children in war when world leaders meet at the World Humanitarian Summit next May.
Been wanting to get involved in a campaign for our privacy for some time now. Really loved working with Bob, Nathan and the Amnesty team for this film.
State intelligence and security agencies are using indiscriminate mass surveillance to hoover up our emails, calls, internet searches, contact lists, phone locations, webcam images and more.
When governments spy on us like this, they abandon long-standing legal principles. They treat us all like criminal suspects, and every detail of our personal lives as suspicious.
Our politicians tell us they need more spying powers so they can catch “terrorists”. But there’s no evidence that mass surveillance will help them. Governments already have vast powers to target those they suspect of doing something wrong. There’s no justification for them spying on all of us.
“Privacy is for the powerless, but transparency is for the powerful,” says former security analyst Edward Snowden, who revealed the shocking extent of secret electronic spy programs in June 2013. “When we live in periods of conflict, where we face serious foreign adversaries, it’s important to protect our values. It’s in times of panic that we lose rights.”
I’m very happy to say that Surviving Sandy Hook will be screened at Doc Fest 2015. Details below:
Showroom Cinema 12:45pm – ITN Source Showroom 4
Sheffield DOC/Fest presents
Surviving Sandy Hook (18)
Director: Jezza Neumann | Producer: Sarah Foudy | Country: United Kingdom, United States | Year: 2014 | Duration: 90 MINS
A year on from her six-year-old son’s death, Scarlett Lewis is on a mission of healing. “I think guns are a symptom of a greater problem that we have,” she asserts. Jesse was one of 27 victims killed in a shooting spree at the Sandy Hook Elementary School in Newtown, Connecticut in November 2012. Filmed around the first anniversary of the horrific event, the documentary shows four families trying to move on courageously and tentatively. While the details of the day are revisited piecemeal and painfully, we never actually learn the name or intent of the killer; the focus is on life continuing, on the dangers of firearm possession, and on a crumbling health and welfare system that fails to care for the mentally ill in the United States. Jezza Neumann’s latest documentary is an examination of how people make amends that questions more broadly the country’s policies of gun control.