Listen With Others No.11 – August 7th 2026
1. f (a/a) concert stereo redux by Nicolas Bernier (19’28”) 2019
“The piece frequencies (a / archives) is a composition based on sounds from the scientific archives of Rennes 1 University (France). This impressive collection of antique scientific apparatus includes one of the few remaining “Grand Diapason” built by Rudolph Koenig circa 1880. The two gigantic forks of the Grand diapason can generate acoustic vibrations between 32 and 48 hertz. This range of frequencies are (barely) heard in the composition, among other sounds from the archives, mainly tuning forks. The piece is metaphorically building a sonic bridge between past and present, like a lullaby in memory of those scientists, inventors and objects to whom we owe the history of sonic research.”
https://901editions.bandcamp.com/album/frequencies-a-archives
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2. overture + part 1 by SIX MICROPHONES (17’51”) 2019
Six Microphones illustrates the simplest and most legible diagram of feedback—a microphone pointed at a loudspeaker. The piece transforms the gallery from a space in which sound simply propagates, to the medium required to bring sound into being. While not site-specific, Six Microphones is fully site-determined: no sound is generated, it is only amplified. All tones and modulations produced during a performance emerge from the continual interaction between the system and the space itself.
https://lineimprint.bandcamp.com/album/six-microphones
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3. Calligraphy by Tomoko Sauvage (20’33”) 2017
“Musique Hydromantique is the second solo album by Tomoko Sauvage archiving many years of her performance-based practice on the waterbowls – the natural synthesizer of her invention, composed with porcelain bowls filled with water and amplified via hydrophones (underwater microphones). While her first album Ombrophilia (released on and/OAR in 2009) was studio-recorded /composed work, Musique Hydromantique is about experimentation and improvisation with the environment – acoustics affected by the architecture, temperature, humidity and the human presence.”
https://tomokosauvage.bandcamp.com/album/musique-hydromantique
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4. Proximities by STEVE RODEN (42’22”) 2011
“Proximities was recorded in 2010 during my time as the artist-in-residence at the Chinati Foundation in Marfa, Texas. I began by recording a performance of a series of tones played on an old battery powered Paia Oz, that were determined by the letters A-G as found in a text by minimalist sculptor Donald Judd. I recorded the tone sequence several times during sunrise, amidst 50 of Judd’s stainless steel sculptures in an old army barracks that has been converted into a museum. The performances were recorded with an H4 digital recorder, my iPhone and also a cheap Sony micro-cassette recorder.
During several of the performances these small devices were emitting the sounds of previous performances from their tiny speakers. At times I also hummed. All of the processing in the recordings was generated by the extremely resonant physical space. The occasional popping sound, which can be heard at the end, are the sounds of Judd’s sculpture expanding while the sunrise changed the temperature within the space.”
https://lineimprint.bandcamp.com/album/proximities
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