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First Light's Third Space #8 - KMRU & Beau Beaumont

Each month, First Light Records invites two artists to take an unplanned journey with a microphone around their city to curate an hour-long mix. Each show captures the unique sounds of a city from each artist's perspective, through music and found sound.

This month's very special episode of Third Space pairs two forerunners of the contemporary ambient scene, Nairobi-born, Berlin-based KMRU and Liverpool's Beau Beaumont.

In a Third Space first, all the music you hear throughout the show has been created by the artists themselves, offering an intimate window into their relationships with their cities.

Prodigious and fast-rising star of the underground electronic community KMRU takes the reins for the first half of the show, exploring the sonic character of Nairobi through his vast library of field recordings and luscious synth meditations.

Meine Nacht curator Beau Beaumont (fka Breakwave) takes over for the second hour, premiering a piece called 'L8' - a journey into the vibrant city of Liverpool through the lens of her fine-tuned creative practice.





Down To The Gorge
Soundwalk
21/01/2020
35’
CAD+SR Residency, 2020

          

        
Photo courtesy of Adam Sings, CAD+SR Residency, 2020

Score + Manifesto of  Listening Archive


  • Collective listening and field sounds can create relational autonomous archives. We propose a ‘de-colonial’ mode of listening.

  • Autonomous archives have the potential to decolonize knowledge and invisible memories.

  • The world is constructed by what we listen to.

  • Conscious, radical listening is labor.

  • We are conscious of the ways our subjectivity impacts our listening.

  • The ways we interpret what we hear, is predicated on who we are.

  • Sounds express themselves with agency impacting earth’s biosphere and beyond.

  • Every sound object is heard and archived with the subjectivity of who is making the record.

  • Radical listening is building. It’s connecting and merging worlds between the human and more than human worlds.

  • Listening can transcend boundaries.

  • We are always at the center of our listening, but our listening is sometimes dictated by authoritarian sources.

  • We look out not only for sound’s unique ways of being remembered, but also of holding remembrance.

  • Embrace the new in the context, time and space in which you listen to the things.

  • To be part of the recording & the listening experience: if something strikes you as strange or incomprehensible, don’t panic. Welcome the confusion and enjoy the sounds without preconceived ideas or predetermined goals.

  • Time is not outside of the sound archive; it is in it.

  • Enforced listening can be an exercise of power. Not listening can also be an exercise of power.

  • Listening is not always a good thing. Freedom of speech is like freedom of listening. We advocate for the freedom to listen and the freedom to not listen.

  • The listener is always historically and socially situated. Listening is not an equal playing field unaffected by our individual subjective positions.

  • Not listening can be an active choice. When we are “sounding” it is difficult to listen.

  • Technology can help us to listen. It can also help us not to listen.

Collectively Written by: 
Mary Ellen Strom,
Michelle Angwenyi, Joseph Kamaru




ideas of the gryllo‘
17:21’
10/10/2020
Webspace Workshop : "Listening, Walking and Sounding Place"  w/  Salomé Voegelin and Mark P. Wright


Walk score:

Walk outside. Wait for a moment, listen.

Travel on foot for a few minutes in the direction
less often travelled.

What surprises you?

Turn and return.

As you arrive, stop for a moment.

Has anything changed?




Listening Sessions: Who Does Sound Belong to? / with Joseph Kamaru and Sven Kacirek



The discourse surrounding postcolonialism and its public understanding is currently strongly biased towards the restitution of material cultural goods. But there are questions concerning the idea of “ownership” even with regard to intangible items of cultural heritage and who is authorised to handle them. It is essential to take a closer look at structures, which are characterised by colonial developments, for instance in the music industry.
In terms of music and sound, what value should we attach to original, copy, amalgam, bricolage, (un)authorised appropriation, mix and sample? Working with a variety of sound objects in a “blindfold” situation with groups of up to 10 people, Joseph Kamaru and Sven Kacirek investigate whether aesthetic dominance can be heard, the role played by “authenticity”, and whether cooperation projects lead to a mutual penetration of art that is genuine and equal.