Saturday 28 March 2015

ENTANGLEMENT submissions for listening

A listening room is a place where we listen and talk about what we hear.

Our third listening session is under the heading of "Entanglement." Today, in networked societies we are bound to become entangled with a myriad of things, people, and processes that can play on multiple aspects of artistic practice. Sound in essence is entangled, through spatial, physical, therefore harmonic and aesthetic inclinations it entangles separated from its source in air to produce the thing that ends up touching us. Yet entanglement need to necessarily refer to media, entanglement is everywhere, and not only conceptually, for example different plants entangle as they grow, snakes weave into each other as they hibernate. Every type of variation of entanglement is possible on many levels in both the digital and analog realms. So, what is entanglement? How are we related through it? What aspects can sound or music reveal of this as we listen? How can we hear it?

The call is open to everyone, and we will listen to everything that is sent to us. Sessions normally last from a few hours to a day, and everyone is free to come and go as they please. If you wish to submit sounds or music please email us clearly stating as your subject ENTANGLEMENT SUBMISSION to alisteningroom (at) if you wish to submit something which is not online please wetransfer (etc) it to the same address, again clearly stating the subject. If you wish to write something about your submission please feel free to so do.

Ongoing submissions.

Sunday 1 March 2015

ORGANISATION submissions for listening

A listening room is a place where we listen and talk about what we hear.

ORGANISATION submissions for A Listening Room. A total of 17 pieces, including single works as well as albums and scores, a total of approximately 2.5153 hours. The theme is curated by Timo Tuhkanen.

Why should something feel more organised, or better organised, then something else? This sensation of things being in order has always been fascinating and has fascinated many fields or art and research. But what does this mean for the ears for which things unfold over time, like objects that pass before ones eyes one at a time? Visually organisation is in the focus point of the eye and the subsequent somewhat cyclical movement of the eyes around the composed materials. This when it calms the mind appears as "organised". Is it possible to "view" music in this sense? Is there something natural in musical organisation? Must this organisation be connected to development, something that is naturally fostered in music? To have an idea into what ones senses are always led into over and over again? Can this be thought of as the definition of a sense of a tonal center as it appears in traditional harmony?

Here the idea of organisation idealizes the focus of the sonic and musical elements in each piece, a graceful simplicity in the way in which things relate and morph in the total of a composition.

1) Leonie Roessler
Wissenschaft 03:03

2) Riku-Pekka Kellokoski
Avara 08:20

3) Astoreth cult
Barren 06:29

4) Jamma!
La mia anarchia 07:40

5) Massimo DavĂ­ & Monica Miuccio
Iride Project - Portas do sol 08:10

6) Joshua Banks Mailman
Murmurs of the Moist 11:11

7) Pablo Sanz
 Maghrib prayer 11:32

8) Juan Carlos Vasquez 
Collage 9

9) Matthew Burtner
Glass Phase" (Part 2) 03:58

10) Alessio Rossato
Veglia 11:57

11) Elizabeth A. Baker
Impressions of Ancient Earth 19:38

Three compositions for Piano and electronics 19:37

12) Elizaveta Sanicheva

13) Clare McNulty
The story of us in polycrystaline parts 03:42
14) Anne-Marie Turcotte
Amor, tu vedi ben

15) John Starosta
ACV-H20 09:24

16) Maria Romanova
 Scenes of pagan rites of the ancient Slavs 19:02

17) Nailah Nombeko
Children playing and birds chirping 06:05

18) Janne Nummela
Amskomoutator 21:47