Core Principles is a taxonomy of movements essential to everyday life and functioning in digital environments; a typology of actions synonymous with platformed existence. Core Principles draws on the scientific management techniques of Frank and Lillian Gilbreth, contemporaries of Frederick Winslow Taylor. In the 1910s Gilbreth compiled a series of 'motion studies’ designed to optimise the movements of workers and maximise their productivity. Core Principles transposes the Gilbreth’s motions into the always already optimised field of digital labour. Core Principles takes inspiration from a long history of documentary filmmaking depicting everyday labour, including the Lumiére Brothers' Workers Leaving the Factory, Louis Malle’s Humain, trop Humain, Jean Luc Godard’s British Sounds, and Harun Farocki and Antje Ehmann’s Labour in a Single Shot.
… is a forum for digital sound,
art and design.
- Core PrinciplesTom Smith (+)
- I Can Still Hear the Strong...Mara Schwerdtfeger (+)
- Local TimeBec Fary (+)
- Object AnimacyPatrick Hase & Asher Elazary (+)
- Propositions for ListeningByron Dean & Polly Stanton (+)
I Can Still Hear the Strong Winds Outside emerged from a place of frustration. While making field recordings in the East Fjords of Iceland, the continuous wind infiltrated and obstructed sounds that were, at the same time, being generated by the wind. Drawing inspiration from Norse Mythology, I Can Still Hear the Strong Winds Outside embraces the wind as an anthropomorphised element; a performer of the earth’s surface. Similar to the god of the North Wind, Kári, the wind becomes a singer and an activator of sound. Using field recordings and electronic music techniques, the sounds have been translated from physical movement into chance composition via code. I Can Still Hear the Strong Winds Outside shifts into the inner sound space of the winds forthright presence, pulling them apart both digitally and musically. By placing this new environment within a webpage and having the physical experience of wearing headphones, what is inside or outside becomes confused. Allowing the wind to be understood as a performer gives a greater spectrum to how it is felt and heard. It is awakening the sounds around us.
Local Time is a durational listening experience exploring the presence and absence inherent in place-based sound. It was developed from Bec Fary's deep listening and field recording in their local area, on Woi Wurrung and Boonwurrung land in and around so-called Footscray and Melbourne’s inner West. These listenings explore sonorous urban environments — public space, wildlife, regenerated vegetation and echoes of everyday industrial and domestic noise. Longform field recordings — interspersed with perceived sonic microdisturbances and interruptive temporalities — are programmed algorithmically to play overnight approximate to sunset—sunrise in July 2020 in the UTC+10 timezone. Through these acoustic entanglements, Local Time unfolds the complex interrelations between a recordist and a place, and their human and non-human neighbours.
Object Animacy is a tactile audiovisual web app developed to interact with digital slime mould. The site prompts the user through calibration of a personal interface agent, providing a custom feel for communicating with non-human intelligences.
Propositions for Listening is a browser-based sound work that explores the contingent moments of fieldwork as a generative space of listenings. Drawing from field research undertaken during an artist residency at the Hepburn Wind farm in Victoria Australia, the work presents the field as an assemblage of networks between bodies and events, revealing the multilayered transformation of local phenomena. Juxtaposing sound, text and imagery as a shifting and iterative articulation, Propositions for Listening situates fieldwork as a productive space of knowledge making - where interplays and relationships coincide to make something new.
This work was created on the unceded territory of the Dja Dja Wurrung people. The artists acknowledge the Traditional Owners of country and recognise their continuing connection to land, waters and culture. We pay our respects to their Elders past, present and emerging
Audition - Listening bodies, listening environments
Audition #4 - Listening bodies, listening environments
Amias Hanley and Patrick Hase presenting Sonic Entanglements: Bodies of the Valley, SUNKLAND, and SUNKLAND.XYZ
Convener: Ben Byrne
Fri, Nov 4, 6pm for a 6:20pm sharp start – FREE by RSVP:
RMIT Melbourne City campus. BUILDING 12, 394 - 412 Swanston Street
To gain access to Black Box Theatre please meet outside Little Bang Cafe or RMIT Tram stop (eastern side) on Swanston street.
Audition #4 will feature Amias Hanley and Patrick Hase presenting a body of work that enfolds listening bodies and ecologies. Hanley will present their audio works Sonic Entanglements: Bodies of the Valley (2018) and SUNKLAND (2021), using the Black Box’s 24.2 spatial audio system. Alongside this, Patrick Hase will lead a live Let’s Play of the pair’s collaborative interactive audio work SUNKLAND.XYZ (2021).
Amias Hanley is an artist currently living on Wurundjeri Country in Melbourne, Australia. Their practice uses sound and media to explore relations among queer ecologies, attunement, situatedness and speculative practices. Engaging forms of performance, installation and collaboration, Amias’ work is interested in audition as an affective practice and the possibilities of sound and technology to support and alter the sonic expressions of humans and more-than-humans.
Patrick Hase is an artist and researcher focused on digital interaction design in audio-visual browser based projects. His practice often leads to the construction of playful and collaborative digital interfaces grounded through previous experiences working in music production & performance, 3D animation and VR.
Sonic Entanglements: Bodies of the Valley (2018)
Sonic Entanglements: Bodies of the Valley is a practice-based creative research project that uses the theoretical framework of queer ecologies and an iterative audio recording/playback methodology to problematise the inside-outside distinction between listening-hearing and self-environment.
The research practice is inspired by Alvin Lucier’s I am Sitting in a Room (1981), though my research is conducted in the Brunswick Valley, known as Moonee Moonee or Moonee Ponds Creek, Victoria, Australia. This work aims to enact an embodied listening experience that stimulates an awareness of the interdependence and multiple temporalities of bodies and environments.
The intention of the project is to compel a listener to critically consider how an awareness of the permeability of boundaries between bodies can challenge us to rethink the anthropocentric concept of “Nature”— to consider humans and technology, not merely in relation to the environment, but rather as part of the environment.
SUNKLAND imagines a speculative swampland wherein multiple species, forms and forces are transforming through a series of open-ended vocal exchanges. This work is a sonic fabulation that is informed by a pre-colonised Carrum Carrum Swamp, settler governance of watercourses and the drainage of wetlands in the area where McClelland Sculpture Park exists, Bunurong Country. The swampland is a slice of tangled time—it carries both remnants of the past and feelings of futurity, which coalesce in a kind of nonlinear discontinuous present.
This work draws on queer perspectives of non-biological kin and the sonic body as a site of becoming and ambiguity. Exploring the poetics of care and exchange through themes of hybridity and heritage, the work invites listeners to imagine the ways that kinship might be felt through embodying the expressions of another species or form—questioning, how might these events allow for listening to the worlds of others in ways that matter?
This work was originally composed for 24.2 channels by Amias Hanley and first exhibited at Liquid Architecture’s Unheard Relations, as part of McClelland Sculpture Park and Gallery’s Site & Sound: Sonic art as ecological practice 2021.
SUNKLAND.XYZ is an experimental web app for being with a multichannel audio composition, first published by Disclaimer journal. The work invites users to move through, explore and respond to the composition of sounds, textures and spatial arrangements, providing navigational agency to engage in nonlinear, repetitious, permeable and static ways.
Patrick will be presenting a live Let’s Play of SUNKLAND.XYZ and discussing the adjunctive digital spaces that facilitated its collaborative creation.
AUDITION is a new event series for sonic research and practice. It is a collaboration between researchers and artists at three RMIT University labs: Sound Art & Auditory Culture (School of Art), Screen and Sound Cultures (School of Media and Communication), and Design & Sonic Practice (School of Design). Programs will take place at RMIT and external venues, each event convened by a different group member.
RMIT University acknowledges the people of the Woi wurrung and Boon wurrung language groups of the eastern Kulin Nation on whose unceded lands we conduct the business of the University. RMIT University respectfully acknowledges their Ancestors and Elders, past and present.
Ben Byrne | /OPT
/OPT employs a laptop, shell scripts, Pure Data, VLC, and found files to navigate information architectures as compositional structures, listening in to the sounds of data, software, and circuitry.
Developed, programmed, and produced 2016-2022
Thanks to Miyuki Jokiranta, Alex White, Daniel Green, Sam Bruce, Peter Newman, Peter Blamey, Darrin Verhagen, Patrick McMahon, Adrian Lucas-Healey, Jon Tjhia, Dale Gorfinkel, and Ivan Lisyak for listening along the way.
Mastered by Ivan Lisyak
Avantwhatever Festival 2020
Avantwhatever Festival 2020 was hosted online at avantwhatever.com. Comprised of a program of live streams, audiovisual premieres, Q&As, workshops and browser-based works, the festival focused on creating online situations for listening. Hosted on a specially designed site, produced in collaboration with Paul Mylecharane from Public Office, it utilised dedicated independent streaming and video conferencing servers based in Australia. The festival was funded by the Australia Council for the Arts and presented entirely free and open to all.
Patrick Hase & Asher Elazary
Byron Dean & Polly Stanton
Mara Schwerdtfeger | Frustration Practice
Constructed of field recordings taken in Seydisfjordur, Iceland, Mara Schwerdtfeger’s record Frustration Practice was a challenge to embrace the frustrating presence of wind that constantly infiltrated recordings.
This is a companion composition to I Can Still Hear the Strong Winds Outside, a web installation for Avantwhatever Festival 2020 now available as a subdomain here.
01 Frustration Practice
Arek Gulbenkoglu | The Musician's Aid
Arek Gulbenkoglu’s record The Musician’s Aid.
These two pieces are intended as tools to assist musicians in the production of their own works. They are meant to be listened to prior to commencing work to concentrate the ears and mind. The pieces can be listened to from any point for as long or short a duration as required. They should be listened to on studio monitor speakers at a moderate to loud volume.
Recorded on 16 March 2016 direct to hard disk with oscillators and Red Panda Particle pedal.
01 Warm up piece 2
02 Warm up piece 3
Avantwhatever Festival 2018
Avantwhatever Festival 2018 oscillated around creative, and destructive, approaches to consumer electronics. It was held across the Triple R Performance space, the Alderman, Merri Creek, Fleming Park, and a lounge room in Brunswick, Melbourne. Co-presented by Triple R FM, it was funded by the Australia Council for the Arts.
Pia van Gelder
Keith Fullerton Whitman
Gabrielle Losoncy | Salvia
Gabrielle Losoncy’s record Salvia, as presented at Avantwhatever Festival 2016 in Melbourne, Australia
Ignaz Schick & Eliad Wagner | Yemen Breakfast
Ignaz Schick & Eliad Wagner’s record Yemen Breakfast brings a visceral physicality full of bizarre humour and roguishness.
01 honky tonk magic
02 Green landing
03 That is your belief
04 The messenger
05 Nomadic disasters
06 He belongs to the pygmy race
07 The land of Nubia
08 music without words
09 Dragons, lilies, buckshots, beards
10 Asphalt High
Walking Brunswick was a series of soundwalks of varying kinds led by a diverse group of artists, all with connections to the Brunswick area.
It was presented by Avantwhatever, and supported by the Australian Forum for Acoustic Ecology and Moreland Council.
Francisco Meirino & Yan Jun | The Blind Match
In 2012 Franciso Meirino and Yan Jun met in Lausanne during Luff Festival. They started to brew a collaboration based on materials from live concerts: live recordings, soundcheck recordings, field recordings and so on. In January of 2014, Francisco sent his one hour track to Yan. After about six months Yan made his own, when he had almost forgotten what Franciscos track sounded like. They kept this pace of working/forgetting/working until 2016, producing two more tracks and a few adjustments. Finally, they turned back to a simple mix of the first two tracks, this record The Blind Match. It keeps a slow pace, as if we have all the time we need.
01 The Blind Match
Francisco Meirino: field recordings, electronics
Yan Jun: field recordings, feedback
Avantwhatever Presents Simon Charles
Launch for Simon Charles’s record Erasing Architecture at Chamber in Brunswick.
Simon Charles | Erasing Architecture
Simon Charles’ record Erasing Architecture dissolves the distinction between figure and ground. Inspired by architect Kengo Kumas desire to erase architecture, it eschews foreground and background in favour of depth and entanglement. Elements in the compositions dont distinguish themselves so much as extend and reflect each other, creating an intimate sonic environment.
01 Erasing Architecture
02 Is He the Children 1 & 2
Ben Byrne | Malfeasance
Ben Byrne’s record Malfeasance is the sound of everything but nothing in particular.
Limited edition lathe cut 7 inch record, only available as a gift.
Avantwhatever Presents Jérôme Noetinger & Liz Racz
Jérôme Noetinger & Liz Racz performed their durational piece Revox Paper Scissors upstairs at the Alderman, Racz marking time as lines on paper with Noetinger manipulating the sounds of her movements using Revox B77 and electronics.
Richard Kamerman | Now it seems that even the scar has faded away
Richard Kamerman’s Now it seems that even the scar has faded away was recorded live during Sux By Suxwest 5: The Final Suck at Club 1808 Annex, Austin, TX on Sunday March 22nd, 2015 at approximately 6:15pm.
01 Now It Seems That Even the Scar Has Faded Away
- Avantwhatever Monthly - September 2016 Sep. 2016 Performance
- Avantwhatever Monthly - August 2016 Aug. 2016 Performance
Avantwhatever & Repressed Records Present Jason Lescalleet
Jason Lescalleet in Sydney with local artists as part of his tour for Avantwhatever Festival 2016.
Avantwhatever Presents Jason Lescalleet
Jason Lescalleet in Brisbane with local artists as part of his tour around Avantwhatever Festival 2016.
Avantwhatever Festival 2016
Avantwhatever Festival 2016 experimented particularly with recording technologies and their place in music and performance. It was held in the Triple R Performance space and at Merri Creek in Brunswick, Melbourne. Co-presented by Triple R FM, it was funded by the Australia Council for the Arts.
Martin Kay | Stadium
Martin Kay’s record ‘Stadium’ records the crowds of voices that fill the iconic Melbourne Cricket Ground (MCG), a body public.
01 Ponsford Stand, ground level seating bank, MCG
02 Metal barrier separating the MCG’s southern thoroughfare from rail yards
03 MCG elevator
04 Ventilation system in the middle of the Ponsford Stand’s seating bank, MCG
05 Highest point of the Olympic Stand’s seating bank, MCG
06 Metal fencing separating a nearby tennis court and the MCG
07 Bridge crossing the Flinders rail yards, East Melbourne
08 Drainage system beneath Rowena Parade & Rotherwood St, Richmond
09 Residential living room, Richmond Terrace, Richmond
10 Iron fence separating Batman Avenue from the banks of the Yarra River
11 Saint Ignatius Church, Richmond
- Avantwhatever Monthly - June 2016 Jun. 2016 Performance
- Avantwhatever Monthly - May 2016 May. 2016 Performance
- Avantwhatever Monthly - April 2016 Apr. 2016 Performance
- Avantwhatever Monthly - March 2016 Mar. 2016 Performance
- Avantwhatever Monthly - September 2015 Sep. 2015 Performance
DUNLOP/SLAZENGER, 9-15 BOWDEN ST, ALEXANDRIA, NEW SOUTH WALES, AUSTRALIA, 2015 (ACCESS THROUGH CARPARK AT 17-21 BOWDEN ST, ALEXANDRIA, NEW SOUTH WALES, AUSTRALIA, 2015).
A document of Dunlop/Slazenger, 9-15 Bowden St, Alexandria, New South Wales, Australia, 2015.
- Avantwhatever Monthly - August 2015 Aug. 2015 Performance
- Avantwhatever Monthly - July 2015 Jul. 2015 Performance
- Avantwhatever Monthly - May 2015 May. 2015 Performance
Avantwhatever guest programs at Tempe Jets in Sydney
- Avantwhatever Monthly - April 2015 Apr. 2015 Performance
- Avantwhatever Monthly - March 2015 Mar. 2015 Performance
Ilia Belorukov & Peter Vrba | Library Meeting
Ilia Belorukov & Petr Vrba’s raucous record Library Meeting.
01 One Member Audience
02 Botanical Garden
- Musikunst Presents... Nadir Oct. 2014 Performance
- Avantwhatver Monthly - July 2014 Jul. 2014 Performance
- Avantwhatever Monthly - June 2014 Jun. 2014 Performance
- Avantwhatever Monthly - May 2014 May. 2014 Performance
Rosalind Hall | Carriage of the Voice
Rosalind Hall’s ‘Carriage of the Voice’, which explores how a space can form an extension of her body, her limbs and saxophone evaporating from consciousness as the music she plays transforms the surrounding environment.
01 Carriage of the Voice
02 A Chain of Suspensions
- Avantwhatever Monthly - April 2014 Apr. 2014 Performance
Avantwhatever Presents Rishin Singh
Launch show for Rishin Singh’s record ‘Three Weevils’.
- Avantwhatever Monthly - November 2013 Nov. 2013 Performance
- Avantwhatever Monthly - October 2013 Oct. 2013 Performance
Rishin Singh | Three Weevils
Rishin Singh’s Three Weevils, which presents an artist exploring how he is part of his sonic environment, treating himself as soluble rather than individual. Instead of playing with the sounds around him Singh plays inside them, his voice gradually lost in the flood.
- Avantwhatever Monthly - September 2013 Sep. 2013 Performance
- Avantwhatever Monthly - August 2013 Aug. 2013 Performance
- Avantwhatever Monthly - July 2013 Jul. 2013 Performance
- Avantwhatever Monthly - June 2013 Jun. 2013 Performance
- Avantwhatever Monthly - May 2013 May. 2013 Performance
- Avantwhatever Monthly - April 2013 Apr. 2013 Performance
Avantwhatever Monthly - March 2013
Avantwhatever Monthly ran at the Alderman in Brunswick, Melbourne from 2013 to 2016, taking a different curatorial approach each year, from curated evenings with three sets, to invited artists being asked to invite others and co-create a program, to pairings of two performances per event, and back.
Avantwhatever Presents Mike Majkowski
Launch show for Mike Majkowksi’s record ‘Tremolo’.
Avantwhatever Presents Ernie Althoff
Launch show for Ernie Althoff’s record ‘Tide-shelf’.
Ernie Althoff | Tide shelf
Ernie Althoff’s record Tide shelf, which gathers recordings from across twenty-five years. Including some of his most recent work alongside other previously unreleased pieces, it draws together tributaries running through his installation, instrument building and performance practice. Demonstrating his ongoing interest in playful kinetic explorations of the interplay of materiality, rhythm and texture, it is an album of vital contemporary music.
01 Northbrook House Installation
02 Twenty-three windchimes
03 Do the Fandango
04 Tide shelf
05 Declivities II
The Birds & The Bees
Launch for Anthony Magen and Christina Tester’s record The Birds & The Bees.
Anthony Magen & Christina Tester | The Birds & The Bees
Anthony Magen & Christina Tester’s record The Birds & The Bees, a special edition lathe cut and mp3 release that draws together a piece from each artist, playfully destabilising the boundaries between artificial and natural, mediated and live and male and female.
01 The Birds
02 The Bees
Avantwhatever Presents Peter Blamey
Melbourne launch show for Peter Blamey’s record ‘Forage’.
Peter Blamey | Forage
Peter Blamey’s record Forage, which documents a forage for signals from a small electrical environment created by using eight salvaged computer motherboards, tangled bunches of exposed copper wire and some small amplifiers to form a feedback network.
Avantwhatever Presents Peter Blamey, Jim Denley & Sam Pettigrew
Sydney launch show for Peter Blamey’s ‘Forage’, Sam Pettigrew’s ‘Domestic Smear’ and Jim Denley’s ‘Your Breath On My Lips’.
Mike Majkowski | Tremolo
Mike Majkowski’s record Tremolo based on a number of sonic possibilities, both harmonic and textural, that may be extracted from the use of this technique.
Avantwhatever Presents Jim Denley & Sam Pettigrew
Launch show for Jim Denley’s record ‘Your Breath On My Lips’ and Sam Pettigrew’s record ‘Domestic Smear’.
Sam Pettigrew | Domestic Smear
Sam Pettigrew’s record ‘Domestic Smear’ uses the bass as a theatre to question stereotypical roles, including the artist as performer, the listener as audience and identity as independent, gendered and individual.
Jim Denley | Your Breath On My Lips
Jim Denley’s record ‘Your Breath On My Lips’ mingles inside and outside into an astonishing intimacy.
01 Your Breath On My Lips
Avantwhatever Presents Pimmon
Rare Melbourne show for the incomparable Pimmon.
Avantwhatever and Peer Pressure Present Anonymeye
Andrew Tuttle’s Anonymeye with locals at the Gasometer
Avantwhatever Presents Embedded
Embedded at Artbeat in North Melbourne, and with locals.
Matt Earle, Jason Kahn & Adam Sussmann | Concerts Melbourne+Sydney
Matt Earle, Jason Kahn & Adam Sussmann’s record ‘Concerts Melbourne+Sydney’, dense with frequencies and activity but possessing a remarkable stillness.
Avantwhatever Presents A Night of Compositions
A night of compositions at Tape Projects.
Avantwhatever Presents Ivan Lisyak
Launch show for Ivan Lisyak’s record ‘South West Line’.
Ivan Lisyak | South West Line
Ivan Lisyak’s ‘South West Line’ tears flatlines of feedback from the carcass of a guitar to strip rock n roll bare.
Avantwhatever Presents Alex White
Melbourne launch show for Alex White’s record ‘Genuine Instability’.
Avantwhatever Presents Laura Altman & Peter Farrar
Laura Altman & Peter, with Nigel Brown & Matt Davis, and Arek Gulbenkoglu at Open Archive.
Avantwhatever Presents Blip
Melbourne show, with locals, at Artbeat for Jim Denley and Mike Majkowski as Blip.
Avantwhatever Presents Alex White
Launch show for Alex White’s record ‘Genuine Instability’.
Alex White | Genuine Instability
Alex White’s record ‘Genuine Instability’ is a series of complex drones and hung oscillations which fold in on themselves.
01 Genuine Instability
02 Customer Service Experience
03 Event Loop
Avantwhatever Presents Ben Byrne
Launch show for Ben Byrne’s record ‘Disposition’.
Ben Byrne | Disposition
Ben Byrne’s record ‘Disposition’ asks listeners to chart their own path as the music constantly emerges from and disappears into a mess of signals, actions and noise.
01 Part I
02 Part II
03 Part III
04 Part IV
05 Part V
Avantwhatever Presents Dale Gorfinkel & Arek Gulbenkoglu
Launch for the Gulbenkoglu Gorfinkel record Vibraphone-Snare.
Gulbenkoglu Gorfinkel | Vibraphone/Snare
Dale Gorfinkel & Arek Gulbenkoglu get up close to the mechanisms of their respective instruments with their record ‘Vibraphone/Snare’.
Avantwhatever Presents a Month of Stutter
Avantwhatever curated a month of nights as part of Stutter at Horse Bazaar.
Avantwhatever Presents Matt Chaumont
Launch show for Matt Chaumont’s record ‘Linea’.
Matt Chaumont | Linea
Matt Chaumont’s record Linea- sub-bass explorations of sine functions, difference tones and space.
Difficult Music Festival
Three solo sets in a packed and sweaty barbershop in Sydney.
Avantwhatever Presents Valerio Tricoli
Valerio Tricoli guesting as part of Avantwhatever’s launch at Serial Space in Sydney