Audio 041209 is part of SoundLAB IV “memoryscapes”. This was included in Hipersonica Festival which is a part of FILE, Electronic Language Festival Sao Paulo, Brazil, August 2007.

SoundLAB IV will now also be included at FILE, Electronic Language Festival Rio de Janeiro, Brazil, 26 February – 29 March 2008.

The participating artists:
Martin John Callanan (UK), Matthew MacKissack (UK), Jeff Morris (USA), Timo Kahlen (Germany), Tobias van Veen (Canada), Jesse La Flair;(USA), Sean O’Neill (USA), Jay Needham (USA), Andrew Burrell (Australia), Eloisa Escudeiro (Brazil), Paul Magee (UK), Dan Mikesell (USA), Dimitri Strakovsky (USA), Chad Eby (USA), Dario Lazaretto (Italy).

I’ve lost track a bit of where SoundLAB are showing 041209 Audio; you may find it in unexpected places.

Insidesmusic (USA), release 070317 Audio:

Reaction to spending three months in the former Soviet Republic of Latvia as artist-in-residence. Not speaking either official language of Latvian or Russian made life confusing. Complied using: mobile phone field recordings from both my home city, London, and Riga; output from experiments using and combining speech translation software with BBC digital radio broadcasts received in Riga, from the UK, via the Internet.

Listen & download here

From August 13 to September 9, FILE – Electronic Language International Festival, promotes its eighth edition at SESI Art Gallery, with installations, performances, screenings, documentaries, and lectures with artists and scholars from 30 countries. With free admissions, FILE offers one of the major events of the kind in Brazil, exhibiting the latest production in world Art & Technology.

There is something entirely understated and beautiful about Martin’s work with sound. It verges on a kind of abstract harmony that is only sensed through a complete destruction of one’s immediate aural senses. One tunes in like a quiet child who is observing the events around him and never becomes part of the soundscape except for certain parts in 041209-09 when Martin’s voice interjects in surprise but before it can be recognised, it is already gone and one wonders if his voice was heard at all except on perpetual repeat.

There is something entirely understated and beautiful about Martin’s work with sound. It verges on a kind of abstract harmony that is only sensed through a complete destruction of one’s immediate aural senses. One tunes in like a quiet child who is observing the events around him and never becomes part of the soundscape except for certain parts in 041209-09 when Martin’s voice interjects in surprise but before it can be recognised, it is already gone and one wonders if his voice was heard at all except on perpetual repeat.