the ambience in iceland


photo by soni cheng

A short journey and field recordings at Jökulsárlóni, Iceland

That’s a 9 days trip in Iceland. It is too short for listening and spreading time to be there ,just in a daze.
The ambience sound in Iceland is so significant, which is made by wind and elements in the nature . The immersive and impressive feelings of Iceland which could not merely recorded by images.

ftarri Jam

  1. Ftarri Jam (33:16)

Yuma Takeshita: electro-bass
Yuji Ishihara: drums
Atsushi Arakawa: electric guitar
Fiona Lee: DIY electronics, objects

高島正志:drums, G.I.T.M.
竹下勇馬:electro-bass
石原雄治:drums
荒川淳:electric guitar
フィオナ・リー:DIY electronics, objects

Recorded live by Hiroyuki Ura at Ftarri, Tokyo, May 5, 2017
Mastered by Hiroyuki Ura

2017年5月5日、東京、水道橋「Ftarri」にてライヴ録音
録音・マスタリング:浦裕幸


即興音楽専門のCDショップ / レーベル、Ftarri が東京、水道橋に実店舗を開いて5周年となるのを記念して発売するCDの第二弾。2017年5月5日、Ftarri でのコンサートに出演したミュージシャン5人が最後に全員でおこなった集団即興演奏、33分の全1曲を収録。福島県郡山市在住の高島正志 (ドラムス、エレクトロニクス) はドラマーであるとともに作曲家としても才能を発揮し、作曲と演奏で参加したCD『Astrocyte』を2016年に Meenna レーベルよりリリースしている。同じく郡山在住の荒川淳 (エレクトリック・ギター) は、大友良英との共作LP のリリースで即興音楽シーンでも話題を呼んだトリオ編成ロック・バンド、RedTemple のメンバーでもある。竹下勇馬 (改造ベース・ギター) と石原雄治 (ドラムス) は、共に東京を中心に活発な演奏活動をおこなっていて、ここ数年は、Tumo という名前でデュオ・プロジェクトも続けている。フィオナ・リー (自作エレクトロニクス、小物) は、近年注目を集める香港在住のサウンド・アーティスト。Asian Meeting Festival 2016 への出演をはじめ、既に数回来日公演をおこなっているが、Ftarri へはこの日が初お目見えとなった。おそらく最初で最後の希有な組み合わせ。それぞれの発する音の数々が重なり合い有機的に結合し、躍動感溢れる好演となった。200部限定、通し番号付き。

It’s been five years since Ftarri, an online CD shop and record label specializing in improvised music, opened a physical store of the same name in Suidobashi, Tokyo. This is the second title in a four-CD series celebrating the store’s fifth anniversary. The single 33-minute track is a group improvisation by all five musicians who appeared at Ftarri on May 5, 2017, performed at the end of the concert. Masashi Takashima (drums, electronics), who lives in the city of Koriyama in Fukushima Prefecture, is a talented composer as well as a drummer. He participated as a composer and player on the CD Astrocyte, which was released on the label Meenna in 2016. Atsushi Arakawa (electric guitar), who also lives in Koriyama, is a member of RedTemple, a rock trio which gained attention on the improvised music scene for its LP release in collaboration with Otomo Yoshihide. Yuma Takeshita (remodeled bass guitar) and Yuji Ishihara (drums) perform together frequently, mainly in Tokyo. For the past several years they have been performing as the duo project Tumo. Fiona Lee (self-made electronics, objects) is a Hong Kong-based sound artist who has recently been gaining widespread recognition. She has performed in Japan several times, including at the Asian Meeting Festival 2016, and this was her first appearance at Ftarri. The concert that day was probably the first and last by this rare combination of musicians. The many sounds produced by each of them overlapped and combined in an organic way in this lively and impressive performance. Limited edition of 200, consecutive numbering.

ftarri de solo


即興音楽専門のCDショップ / レーベル、Ftarri が東京、水道橋に実店舗を開いて5周年となるのを記念して発売するCDの第三弾。本作には、東京在住のすずえり、香港在住のフィオナ・リーという、自作楽器を操るふたりの女性サウンド・アーティストのソロ演奏、全2曲を収録。1曲目は、すずえりが2017年3月18日に Ftarri でおこなったライヴ演奏 (14分30秒)。自作楽器のほかにアップライト・ピアノ、トイ・ピアノ、各種小物を使用。一方のフィオナ・リーは、2017年5月5日、Ftarri でのライヴ演奏 (23分)。自作エレクトロニクス、各種小物、水を使用。両者とも、独自の楽器から個性豊かなサウンドを生み出し、彼女たちならではの唯一無二の音楽世界を構築することに成功している。200部限定、通し番号付き。

It’s been five years since Ftarri, an online CD shop and record label specializing in improvised music, opened a physical store of the same name in Suidobashi, Tokyo. This is the third title in a four-CD series celebrating the store’s fifth anniversary. The two tracks are solo performances by female sound artists who play self-made instruments. Track one is a live performance by Suzueri, which took place at Ftarri on March 18, 2017. In addition to self-made instruments, she uses an upright piano, a toy piano and various small objects (14 min. 30 sec.). Track two is Fiona Lee’s performance at Ftarri on May 5, 2017 (23 minutes) using self-made electronics, various small objects, and water. Both musicians produce highly individual sounds using unique instruments, and succeed in constructing singular musical worlds. Limited edition of 200, consecutive numbering.

Purchase through the link below:

http://www.ftarri.com/ftarrilabel/887/index.html

http://fionaobscura.com/wordpress/product/ftarri-de-solo/

SELF-CRITICISM @ inside-out museum , Beijing

Inside-out Museum

Date : 27 May, 2017 – 17 Sep, 2017
Opening Reception : 14:00, Saturday, 27 May, 2017
SELF-CRITICISM
Conveners: Carol Yinghua Lu, Luo Xiaoming, Su Wei
Every few days we have our reality updated by news of yet another terrorist attack somewhere in the world. This creates a profound impact on each of us; when the frontline and battlefield are virtually everywhere, it feels like there is no longer a clear distinction between victim or soldier, enemy or friend. As we realize that we are living in this permanent state of emergency, we start operating as if our minds are in a constant state of alarm. This violence also spreads around the world as social disturbance. Inequality, corruption, and discrimination have been given legitimacy and normalized in daily life, providing a rationale for testimony on what appears to be given to us naturally.
On this level, the intellectual position finds itself facing a severe challenge head on. The basic critical perspective is actually unproductive in the face of reality as such, for it seems to easily descend into a zone of moral nihilism, lacking the competence or rigor to take action. However, the ethical views on political society and the understanding of political morality are conventional ideas that have shaped our ways of thinking. The subconscious predisposition underlying these ideas is transforming the self, which turns out to be cultivating self as if by constructing an intangible barrier from an inappropriate dialogue between the self and reality. In some historical periods or regional histories, when ‘religious’ institutions cooperated with government, this transformative cultivation of the self would be useful to avoid a disconcerting self-criticism, and provided a shield for those last bastions of serenity and self-identity.
As such, this inherited and habitual predisposition to avoidance perpetuates the position of ‘other’, while we celebrate and perform the system of capital and its power relations to which we are then attempting to turn our questioning. In fact, we compose not only the object of the challenge but also the challenge itself. This inheritance has become an unbearable burden imposed on reflective practice that has made it a tool of abuse. We have become unaware of the explicit reality where the self dwells, and the implicit connection between the self and any conventional discourse. The self is multifaceted, such that it should encourage us to re-think the landscape of the self, and to “self-criticize” in this state of emergency: As a cultural producer, how is one to re-project the self-position of knowledge production into the possibilities of the many realities and connections?
Self-criticism is essentially about cultivating a relation between a concept of the self and a state of the self. It is to discuss how to make a return to the self, as well as how not to be assimilated into the other. Considering self-criticism as a practice, its association with self-action and self-reflection is highly significant. On the one hand, self-action, ‘an ancient enmity’ remaining at a distance from reality, and is inclined to butt up against the logic of the text and the arguments of morality. On the other, self-reflection maintains the mind and body, the concept and the context, in an uncoordinated tension. We live within “systems”, and yet these “systems” are comprised by humans much like ourselves. In this regard we retain a position from which to criticize in relation to them. It is when these systems impose rules of judgment and define standards of value that self-criticism can help to read the resulting urges, and inspire conversation as a process of change-making.
Image, sound, and text should not simply reside in the inspiration of anger or the release of carnival. We argue for a constructive recognition of self-criticism in the process of cultural history, recognizing that it can provide fundamental theoretical premises for real actions.
This exhibition brings together artists, curators, and cultural critics, acting concurrently as a team, and concerning themselves with the implications of the proposed question, rather than merely explaining around the topic. Each project established under the proposed question devises for itself a constellation of thought where various ideas and key concepts are located in specific parts of their activity. This exhibition shifts from a stress on works consistently echoing a topic, to conceive of an open relationship between works and subject matter, without favoritism. We adopt the experimental titles Convener and Responder for the participants in the exhibition, so as to accentuate the taking of action, aside from emphasizing the general state of political emergency.
Respondents
(Beijing Youth Art) Office
Curator Respondent: Wang Youshen
(Beijing Youth Art) Artists: Chen Bo,Liu Zhe,Lu Beifeng,Situ Xiaochun,Tian Hu,Wang Hu,Wang Yupeng,Yang Gen
Border, Expedition and Inspection
Curator Respondents: Guo Juan, Hao Jingban
Artists: Dong Xing, Hsu Chia-Wei
How Much Time Is Being Wasted?
Curator Respondent: Lee Kit
Artists: Wong Mei Ling, Nicole Wong
Grounds for Sound
Curator Respondent: Edward Sanderson
Artists: Elaine W. Ho, Fiona Lee, Rong Guang Rong, Zhang Liming
Adequate Instructions
Curator Respondent: Salt Projects (Yuan Fuca, Han Xinyi)
Choreographer: Alvin Tran
Romantic City: Through the Practice of Aesthetic Criticism Today
Curator Respondent: Project ViA (Youmi Kang, Jeong Eun Kim, Sue Kim, Jongeun Lim)
Artists: Andeath, Seung Woo Back, Cha Jae, Wolsik Kim, Jaebum Kim, Dongwook Lee, Suk Kuhn Oh,Han Soo Yun
Bonsai Garden
Respondent / Artist: Han Lei
War After War
Respondent / Artist: Simon Leung
SELF-CRITICISM
Opening:
2017.5.27 14:00
Exhibition dates:
2017.5.27-2017.9.17
Venue:
Inside-Out Art Museum, No.50 Xingshikou Rd, Haidian District, Beijing100195 China
Organizer:
Beijing Inside-Out Art Museum
Supported by:
Beijing Cultural Development Foundation
Beijing Inside-Out Art Foundation
Goldstone Law Firm
Korea Arts Management Service