A blogpost over at the main Miraculous Agitations blog introduces two very different projects I recently contributed to. One of these projects is titled Project Symbiosis, and, as it happens, the process of symbiosis forms the underlying theme of that blogpost (which is prefaced by a meditation on perceived ‘impossibilities’ pervading acts of promotion in my own recent wrigglings).
Project Symbiosis is a CD+booklet curated by Brighton-based audiovisual artist/author/filmmaker/circuit-constructor Ian Helliwell. It contains ten different interpretations of the same graphic score, including the original recording by the score’s composer, Malcolm Pointon. The exploratory score, Symbiosis, was published in Practical Electronics magazine in 1975 as an exercise in electronic music-making, intended to be realised on a ‘Minisonic’ synthesiser – its circuit also published by the magazine a year earlier. A supplementary booklet gives details on all the different versions (available via Public Information). I supplied a microtonal version of Symbiosis.
From the experimental to the (nominally) chart-bound: this year I was given the opportunity, to paraphrase David Cronenberg’s Videodrome, to patch myself back into the world’s mixing board of humanity by reworking a radio-friendly track about human relationships (whatever they are), entitled ‘Floundering’ by musician and sound artist Kalou aka Samuel Shelton Robinson. It appears on Kalou’s new album The Sculpture Garden, idealised as a cassette release (but also available as download). Kalou’s output ranges from postmodern experimental montage to quirky pop, zested with neurosis. The Sculpture Garden is Kalou’s most commercial release, and it rather obscures its creator’s deeper interests in offbeat sound engineering.
Ian Helliwell, and surprisingly, Kalou too, touched upon issues of visibility, audience engagement and ‘undergroundness’ on two separate broadcasts on Resonance FM last month, on William English’s Wavelength.