Wednesday, January 11, 2017

Tuesday, January 10, 2017


Many older people in Russia remember seeing and hearing strange vinyl type discs when they were young. The discs had partial images of skeletons on them, were called 'Bones' or 'Ribs' and originated in the Cold War years of the Soviet Union.

In an era when the recording industry was ruthlessly controlled by the State, music-mad bootleggers had found an incredible alternative means of making illegal copies of forbidden recordings - they repurposed used X Ray plates obtained from local hospitals. 
The X-Ray Audio Project is telling this amazing  story of forbidden music, cold war culture, bootleg technology and human endeavour with an online archive, a book, an award winning documentary, live events and a travelling exhibition. The project is supported by Arts Council England and has received a large amount of PRESS and media coverage.

Go HERE to watch TED talk and other films about bone music and the Soviet x-ray bootleggers 
Go HERE to see and hear images and sounds of  Bones discs 

Friday, July 8, 2016


VOID, Bruit Blanc, 2016.

The site-specific installation Bruit blanc is an aesthetic reflection on the existing discipline of sound archaeology: an attempt to read all the sounds that every surface has absorbed during its history, starting from the idea that sound leaves traces of its interaction with every material by a natural phenomenon of sound erosion. All these sounds draw a picture of the place’s acoustic history: a sound archaeology of the space.

Wednesday, June 22, 2016

Tuesday, March 8, 2016

Satch Hoyt

Satch Hoyt, born in London, currently lives and works in Berlin.

He makes sculptures and installations accompanied with sound as well as paintings and drawings.

This installation is called "Celestial Vessel".

Is a canoe made from 1950s RCA Victor Red Seal 45rpm records that represents the voyage from Africa to the Americas and the importance of music in holding different cultures together during the slave trade. The boat form refers to modes of dispersion, especially eighteenth-century accounts of canoes which were used to transport captured Africans from the inland to coastal slave markets. But it also reads as a ghost ship ready to carry us between realms, from the harsh realities of the physical world to the promise of the afterlife. The red records act as an imaginary archive that speaks to the critical role of music as a means to transmit information and bring people together, as well as to the hardships that African American jazz artists endured in the music industry during the segregated 1950s.

As a mixed race youth growing up in London in the 1960s and early 1970s, Hoyt would eagerly await the arrival of the latest US imports at the record store. It was not only a place to discover new music, but an outlet to another world, where records informed him of the social and political climate in the African American community and helped him shape his personal identity. Hoyt brings his sculpture to life with his sound composition, which samples the records on this canoe and beyond to collage together the richly diverse sounds of Africa, North and South America, and Europe.

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