We’re excited to announce the launch of our new album, Foundry.
Featuring new compositions by Martin Hogg, Vanessa Massera, Chris Bevan, Adam Stansbie, Jordan Platt, Alex Gowan-Webster, and Jonathan Higgins, the album is made exclusively from found sounds and sounds recorded in and around Furnace Park.
In the 1980s, Sheffield became known for its vibrant electronic music scene. Its luminaries drew on and made use of the industrial sounds that could be heard all over the city, emanating from the drop forges, works and foundries. Foundry – the most recent of the plastiCities projects – revisits the sounds of the city, in one of the areas most strongly connected to the now largely defunct industries which gave the 80s their soundtrack – Shalesmoor. The composers and researchers made a series of field recordings which have been archived as a sound bank for others to listen to and use. These materials also served as the basis for a series of seven commissioned sound pieces, which will be presented online and as a limited edition CD.
The compositions extract and re-frame quotations from the acoustic ecology of the area. They reflect months of deep listening and sustained attention to the sounds which are at once constant and everyday, but also, typically, ‘unheard’. Our aim is not to recycle these everyday objects and sounds. By re-casting ‘everyday sounds’ as ‘music’, by hearing harmony in the cacophony of rush hour, we are creating a space in which, quite simply, there is a possibility of imagining how all this might be different.
Chris Bevan, Amanda Crawley Jackson, Alex Gowan-Webster, Jonathan Higgins, Martin Hogg, Jordan Platt, Vanessa Massera, Adam Stansbie, Thom Wilson
The year 1913 was a momentous one in art. From Proust to Stravinsky, Duchamp to Malevitch, Modernism was to recalibrate the way the world was seen; Futurism offered to change the way the world was heard. One hundred years ago, Luigi Russolo published his manifesto, L’arte dei Rumori (The Art of Noises), announcing a new way not only of conceiving music but also how we would hear the world around us. In the future, noises would be the material of music. Russolo’s manifesto, and his strange intonarumori devices, have been fantastically influential in the intervening century, and this event seeks to capture some of those connections, in both discursive and performative modes.
New soundsnew instruments; celebration of speed, war, or the modern city in music, visual art and poetry; Futurist manifestos music and sound artconnections to other artworks and artists in 1913; influences of Futurism in music and other arts.
Proposals are invited for papers on any of the suggested themes, in the form of an abstract or outline of not more than 300 words.
Proposals are also invited for art works – especially performances, installations, sound sculptures, compositions – which are specifically designed to address the themes suggested. The proposal should outline the projected artwork, and should be accompanied by an abstract of not more than 300 words that details the relationship of the work to the themes of the symposium. The proposer will be responsible for supplying all equipment/special resources required for the creation or display/performance of any accepted proposal.
Please send your proposal by 5pm, November 07 by email to firstname.lastname@example.org. The selection panel will meet as soon after this date as possible and inform selected contributors forthwith.
Dr. Paul Hegarty
In collaboration with the UCC Modernisms Research Centre