(no)signal (no)signal is a sound + media art collective operating out of Melbourne, Australia.
Adelle Mills Figures that act with skill wedge their voices in between rolling translations.
Áine O’Dwyer acts of listening and the search for alternative scorings through instruments, drawings, space, time, memory and the body
Alex Cahill the marginalisation of animals by humans, animals as they exist only as forms and recycled clichés
Alex Cuffe Our abject humanness horrifies me, imagine all these people, these skin wrapped containers of meat communicating to each other their thoughts.
Alice Hui-Sheng Chang vocal groups as small social experiments in the diversity in human social interactions
Alrey Batol practical attempts to expose or rupture existing systems that operate and govern everyday life
Amelia Barikin As a material index of acoustic activity, the term 'sound fossil' has gained currency in the field of contemporary art both as a means of accounting for the appearance of the past in the present, and as an embodiment of cosmic time.
Andrew Harper Babel (Azathoth) is a live working of found and hoarded elements (cassette recordings and outdated technology) that is hoped to reflect the disquiet and horror of the artist/performer at the temper of the times, and send a sonic ripple back to the makers of this horror: the present government of Australia (such as it is) and the forces further afield.
Andrew McLellan rather than being slowed down by your brain needing to figure out how to say the words first.
Angie Garrick Listening to my work conjures a feeling of a certain colour, perhaps a blue thats between blue and another, green and or purple. It wavers and moves between. My eyes are closed and this indigo landscape forms a silky texture in my mind. It slowly starts to rain and the colour dissipates into and oxen nothingness. The end.
Anja Kanngieser and Daniel Jenatsch sound and communication are shaped by, and shape, our relations to one another, to the architectures and infrastructures around us, to our larger atmospheres and ecologies, and to the forces of power and governance that we experience and intervene in
Ann Fuata !!CALL OUT!! Performers needed to participate in a live performance. It involves clicking, pausing and clapping. Please contact: firstname.lastname@example.org
Anne-James Chaton phonetic rhythms, texture of words, reverberations into conversational territories
Atong Atem Postcolonial practices in the diaspora, the relationship between public and private spaces and the politics of looking and being looked at
Aura Satz my works explore diagrams and traces; these become abstractions of presence. My previous projects looked at traces of voices, sound inscriptions, and writing techniques. I am primarily interested in traces that look nothing like their source and that give materiality to what is ultimately immaterial or imperceptible
Caroline Anderson Screeds of crystallised information surprised me with its contents, issuing clues as to what was happening within.
Carolyn Connors At one factory, each worker was assigned a piece of wood. Each of the four sides was painted a different colour: black, white, yellow and blue. The piece of wood displayed the colour that corresponded to the quality of the worker’s work the previous day: black was bad, blue was so-so, yellow was good, and white was excellent. The daily colour for each worker was logged in a ‘book of colour’.
COLLINGWOOD COLLEGE SOUND COLLECTIVE They were asked to consider the contradictions in sound, such as those found in film and Foley techniques and to consider that gender may be associated to particular qualities in sound, instruments and/or image.
DIVA FINGER Super friend duo sending wavelengths of creme fraiche scooped offa a pile of sweetened condensed milk in a vortex of TLCWhaleNoise with a contact mic taped between Janet Jackson's buttcheeks, Sadeism and MariahCareyism, equaling the goodness of greasy pizzaonthecouch X 880000000
Eddie Hopely (eg a triad of #branding, #recovery, and #evidence corresponding to then cycling through topos CS, WWAFMSL, E)
Ela Stiles The act of listening to my work is unpredictable, as I never play the same set twice or use all the same sounds or words, they are constantly changing and I myself don't know what I am going to do each time I play live.
Islaja First ever Australian performance by Merja Kokkonen AKA Islaja, the brilliant Finish experimental musician with numerous releases on Fonal Record, Ecstatic Peace, Root Strata and Monika Enterprise.
Ivan Lisyak pop culture appropriation, techno, and heavy industrial aesthetics
Joe Banks the relation between techniques of recording and mechanisms of perception
Joel Maripil Joel Maripil is a traditional Mapuche singer or ülkantufe who have been singing, dancing and playing Mapuche musical instruments in the diverse musical practices linked to religious and non-religious activities held in traditional communities.
Julia Drouhin and Pip Stafford Drouhin and Stafford use radios, transmitters, crystals, hurdy gurdy and field recordings in acts of sound divination and occult listening. Their collective interests lie in radio arts, auditory-spatial practices and the intersection of gender and emergent art forms.
Kandere Kandere is the music duo of artists, Lakyn Tarai and Wahe Kavara
Karli White an energy relative to a loud reverberating clang
Kate Brown The processes ‘the body’ undergoes during a vocal performance are acknowledged by representing the body as a machinic entity via sound to combine present actions and potential connections within a continuum.
Kate Geck animation, textiles, installation, interactive, melbourne, australia m8
Kim Satchell literature of place in the context of the coast and the Anthropocene
Kraus I play guitar, drums, a home-made synthesizer, organ, bamboo flute and tape-loops. I live in Auckland, New Zealand. I like medieval and Renaissance music, Japanese traditional music, psychedelic music, electronic music 1950s-70s and rock and pop of the same era. And, etc.
Kym Maxwell recite verses in rounds expressing the interconnectedness of student to teacher, student to student and class to the community.
Kynan Tan What are the implications of being listened to at all times? What is the difference between being listened to
by: nobody, somebody, a machine, an intelligent machine?
Lara Thoms How to piss off the music industry and the artworld - an exploratory model
Las Chinas Cosmic coincidences lead to the meeting of Chileans Sarita Gálvez and Camila Marambio
Lawrence Abu Hamdan the contemporary politics of listening – its relationship to power, borders, human rights, testimony and truth
Leena Riethmuller By accessing bodily information, participants will be given the opportunity to reflect on tacit knowledge, physical experiences and emotional states.
Marcus Rechsteiner Time travel confuses me. When I see it in movies I get confused and think how is this possible. I also think it would be cool to see if Aliens did build the pyramids. I would also use it to see if Julius Caesar ate Caesar salads.
Maria Moles electronic manipulation of rhythmic structures played on the drum set, focusing on blending both acoustic and electronic instruments and objects
Marian Tubbs There is a party at Minerva 4/111 Macleay St, Potts Point this Saturday from 8pm-9:30pm. We hope you can make it. There will be some recording devices at the gallery.
Mark Brown relentless processes of the dematerialisation of matter despite the human struggle to contain time - the eternal eating machine
Martin Howse discourse, speculative hardware (environmental data in open physical systems), code (an examination of layers of abstraction), free software and the situational (performances and interventions)
Martina Copley Sound, idea, object and modality are collated to set up a structural space for something to exist, a space in which the work moves towards an opening and at the same time asks questions about itself.
Masato Takasaka anyone who says that they're not making music for other people can kiss my ass