This workshop takes place on Sunday in the Market Place 3.00 – 4.00pm and then again at 4.30 – 5.30pm No need to book, just drop in. Materials will be provided.
Huge and hairy and mute. . .he may be so large that his legs alone have the sizes of tress. His temper when aroused is terrible and his first impulse that of tearing trespasses to pieces. When moved to revenge, he nay make lakes disappear and towns sink to the ground. He devours human beings, preferring unbaptised children, and – according to a belief held in Italian Tyrol and in the Grisons in Switzerland- makes a practice of exchanging his own worthless progeny for human offspring’
Richard Bernheimer, Wild Men in the Middle Ages.
A life drawing class using a semi tame Wild Man as your model. Workshop conducted by Stephen Fowler, an illustrator and printmaker based in London. He runs printmaking and bookbinding workshops and teaches drawing at the Victoria & Albert Museum, Whitechapel Gallery, Wallace Collection, Kingston University, University of the Creative Arts and Oxford and Cherwell Valley College.
A strand of film programming curated by Jason Forrest at Network Awesome.
“A look at the wild stuff that happens way out on the back roads. Wildmen, talking animals, folk tails, and some of the culture that surrounds them all. Our hour long presentation of animations, short films, and video clips is sure to provoke and inspire.”
Network Awesome is a new online TV site that curates the media film, documentaries, and video collections from all eras of broadcast history. It’s free, not full of junk, and it broadcasts 6 new shows each day. The archives are stand-alone repositories of media, available anytime and are, like, totally social so you can share it with your friends. Root around in there! You’ll be amazed at what you find. http://networkawesome.com/
Reverse Karaoke is a collaborative installation by Kim Gordon and Jutta Koether. It consists of a painted Yurt style tent housing a lo-fi rehearsal set-up with guitar, microphone, bass, and drums and a basic PA system. The visitor is invited to play the instruments and record their own music along with a pre-recorded vocal track of Kim Gordon’s voice. The track is recorded live by a sound engineer who burns two CD copies of the track, while the visitor(s) decorate two CD sleeves using materials in the gallery. One copy of the CD becomes part of the piece itself on display in a record box, and the other the visitor takes home.
Reverse Karaoke was commissioned by Electra for ‘Her Noise’, South London Gallery, 2005, and was complemented by a series of evening performances in which artists were invited to use the piece’s set. These events featured Jenny Hoyston (Erase Errata), Heather Leigh Murray, Christina Carter, Ana Da Silva (The Raincoats), Partyline and Spider and the Webs. Since 2005 the work has toured Europe extensively and been exhibited at Magasin-CNAC, Grenoble, France; MAK, Vienna, Austria and Wysing Arts Centre, Camrbidge, as well as being included in the major touring exhibition ‘Sonic Youth Etc.: Sensational Fix’
Electra is a London based contemporary art organisation which curates, commissions and produces projects by artists working across sound, moving image, performance and the visual arts. http://www.electra-productions.com/
Reverse Karaoke will be open over the Supersonic Festival weekend at Eastside Projects.
Modified Toy Orchestra explore the hidden potential and surplus value latent inside redundant technology; a process creating sophisticated new electronic instruments from abandoned children’s toys. They have been at the forefront of a worldwide underground movement called circuit bending, which involves rescuing children’s electronic toys and converting them into new strange and wonderfully sophisticated musical instruments. Taking them apart, they find new connections hidden within each toys circuit that reveal new sounds, thus exposing the surplus value of redundant technology. Toys are reassembled, including switches and dials with which to control this surplus value. The results of this process can be shockingly beautiful, funny and also extreme.
That which is below is like that which is above that which is above is like that which is below to do the miracles of one only thing. And as all things have been arose from one by the awareness of one: so all things have their birth from this one thing by adaptation.
The Sun is its father, the moon its mother, the wind hath carried it in its belly, the earth its nurse.
A performance inspired by the Heavens Above, created by Mark Wagner and Sanna Charles of S&M and Conny Prantera, with the collaboration of Emiliano Maggi of Estasy, photographer Marko Righo and costume designers Kamellia McKayed and Gloria Carlos.
To honour the occasion of Supersonic’s 10th anniversary and the recent discovery of the lost Festival of The Rea, the SOUNDkitchen collective will give a special performance of Earth Ears: A Sonic Ritual by Pauline Oliveros. Known for her ritualistic and meditative approach to sound and listening, Oliveros’ work invites performers and audience to engage in a Deep Listening experience.
For this performance each member of the collective will invoke one of the four classical elements Earth, Air, Fire and Water, central to ancient pagan practices and magic rituals. Each performer will reveal their sonic manifestation through musical actions, recorded representations and improvisation. Through collective expression and meditation we invite you to celebrate the spirit and history of the River Rea in Digbeth as an historic site of community, creativity and mystical energy.
SONICritual will be performed by: Iain Armstrong, Julien Guillamat, Shelly Knotts, Annie Mahtani. Sound engineer: James Carpenter
SOUNDkitchen are a collective of composers and sound artists dedicated to promoting artists working in the medium of sound. Their ongoing series of live events present emerging and established performers from Birmingham and beyond with a focus on current and emerging approaches to experimental electronic music. They also curate and create sound art installations and exhibits, initiate collaborative projects and give live performances.
What started as a fictional band to act as an excuse for the members to go to the pub on a weeknight has become something a bit more proper of late after some shows with Flipper and records in the pipeline. Even though they were probably aiming for something between Pere Ubu, Pissed Jeans and Scratch Acid it’s no surprise, with the members being kids of the early 90s, it ended up sounding like Nirvana. Just don’t call it a mid-life crisis.
Friday 19 October
Birmingham City University, Margaret Street Fine Art Building, Birmingham, B3 3BX
1.30pm – 6.00pm
Supersonic Festival withSound and Musicpresent a half-day extended panel discussion exploring contexts for the presentation of sound works and performances and approaches to listening. Bringing together artists, academics and industry professionals this event is an opportunity for discussion of how artists and producers can best stage work, how audiences can be best encouraged to enjoy it and how we can all become better listeners. Counting In also acts as an informal networking opportunity for artists and producers.
Artist Lucas Abela (aka Justice Yeldman) is notorious for his bloody sonic actions using amplified shards of glass. Lucas will be discussing the balance of sonic and visual elements in his work and his concerns with allowing sound to shine through his visceral performances.
Frances Morgan is deputy editor at The Wire magazine and a writer on music and film. Frances will discuss the different ways in which we experience ‘live’ music and sound, the challenges for journalists writing about it now, and how audience expectations are shaped by context.
Irene Revell is the Director of Electra, an organisation that curates, commissions and produces projects by artists working across sound, moving image, performance and the visual arts. Irene’s contribution to the panel will focus on Kim Gordon and Jutta Koether’s ‘Reverse Karaoke’, an installation that has toured European galleries during the last seven years and is on show at Eastside Projects as part of Supersonic 2012.
Simon Hall is a composer, sound engineer trombonist and Assistant Head of Music Technology at Birmingham Conservatoire, UK. Simon will be discussing modes of listening and the cultural deafness resulting from the sonic overload of our contemporary lives.
Tickets are FREE to weekend ticket holders (places are limited and booking in advance is essential via admin@capsule.org.uk with ‘LISTENING’ in the title) or £10https://www.theticketsellers.co.uk
Our annual programme of big sounds for little people returns! These performances act as an introduction to experimental music for children and their families.
Sunday 21st October 1.30pm
Old Library, Custard Factory Islaja
Her unique vocal style and daring DIY approach to music composition is coupled with a beautiful sense of playfulness. Soulful and icy in one breath, she is one of the key players of the Finnish free folk scene. http://islaja.com/
Saturday 20th October, 1.30pm
Old Library, Custard Factory Flower/Corsano Duo
Corsano is a multi faceted drummer and one of the most exciting improv percussionists in the world. Lightning quick yet with an unconventional approach to rhythm, we’re looking forward to some top notch dancing from the kids for this show. He teams up with multi instrumentalist, free psych player Mick Flower on strings. http://www.cor-sano.com/
Volunteers chopping lemons backstage in 2012 – one of the many and varied tasks to undertake over the weekend!
SUPERSONIC NEEDS YOU!
Capsule’s internationally renowned festival runs 19-21 October 2012 and there are plenty of opportunities to get involved as a volunteer.
We need a dedicated team of volunteers to help deliver Supersonic over the festival weekend (19-21 October) and also in the run up to the festival (early October onwards). We expect a minimum of 12 hours over the festival period in exchange for a weekend wristband.
The festival is small enough for everyone involved as a volunteer to gain an overview of how the festival works, and to give real input and value.
A regular Supersonic volunteer, Ross Cotton wrote this piece about the life working behind the scenes last year, have a look via http://domesticcity.posterous.com/
HOW TO APPLY:
Please click through to download the application form
Completed application forms should be emailed to volunteer[at]capsule.org.uk by 5pm on Tuesday 25th September. Please mark in the subject line of the email VOLUNTEER. If you have any issues downloading the application form, contact volunteer[at]capsule.org.uk and we can email you a copy direct.
The first volunteer meeting will take place on Tuesday 2nd October, 6.30pm at Custard Factory where you will be able to find out more about the festival and meet the team.
NB/ unfortunately we can only consider applicants who are 18 years old and over.
With visual arts being such a huge influence on how I receive live music, I will be awaiting Jarboe’s performance at the festival with extreme trepidation. Also known as The Living Jarboe, she practices what she preaches. As a member of Swans, and consequently Skin, Jarboe’s warbling yet emotive vocals are sure to be situated within a visual atmosphere that will make any attendee weak at the knees. Her performances invite you to be a part of her particular moment, creating shockingly powerful visions through the music itself. It will undoubtedly be one of the performances to watch and I have no doubts that we will be subject to a feast for the eyes and the ears. ‘Lavender Girl’ is within the upper echelons of my favourite tracks of all time, with its ability to create an atmosphere that I feel is almost unique amongst musicians. Examples such as ‘Totem’ and ‘Miracle of Love’bring a slice of the ungodly down to us mere mortals, proving why Jarboe’s career has been such a long and healthy one. Make sure to watch this interview with Swans which dates back two decades!
If you are a fan of Jarboe, then be sure to check out the equally as enchanting artist, Lichens. Lichens is the name of Robert A. A. Lowe’s musical project, that needs to be seen live to be believed. With tracks that trick the mind into a sense of suspension in time, through seamlessly looped wordless vocals, instrumental intersections and a beautiful layering of sound, Lichens epitomises transcendental sound. For Supersonic goers who haven’t listened to his music before, ‘Faeries’ and ‘Shore Line Scoring’ are two of my favourite tracks, and I would urge any fans of Jarboe to check out the music of Lichens before the festival to make sure you do not miss out. Having collaborated with the likes of Lucky Dragons, Alan Licht, Lee Ranaldo, White/Light, Kevin Martin, Tyondai Braxton and Genesis P-Orridge, this guy certainly knows what he is doing.
‘Professor’ Bruce Lacey is perhaps undoubtedly the star in the crown of British eccentrics. Many Supersonic attendees will be too young to remember the era when Lacey’s avant-garde performances that created an on-stage fantasy which juxtaposed a particular British zeitgeist between the 50’s and 70’s. However, let me tell you that Turner Prize-winning artist Jeremy Deller has teamed up once again with Nick Abrahams, and created a cinematic extravaganza that draws consistently on the satirical nature of the nation’s customs.
Lacey’s mechanical constructions have oscillated between robotic sex symbols to tool kits for aspiring shamans to a Flea Circus. However, what remains the same is that he is one of the most exciting performers of the last Century, despite his status as a relative ‘unknown’. Many have attributed this back to his incredible foresight. Much like Ray Bradbury in Fahrenheit 451 who predicted that one day we would all be watching televisions the size of walls, Lacey was unbelievably ahead of his time. He is inter-disciplinary, a collector of talents. His foresight is difficult to comprehend, now that we exist within a sea of celebrities who seem to be a jack of all trades, but a master of none. It is this, amongst other things that Deller and Abrahams have chosen to explore.
The Bruce Lacey Experience celebrates both Lacey’s work and his life, tracing back to how he used his initial training as an electrical mechanic to further his interest in the eccentric world of television. He has worked both backstage and on the stage itself, and it is this hybrid of talents which make him such a riveting object of fascination. There is no doubt that the film will be an addition to the festival line up that will inspire, engage and hopefully encourage a ‘make and do it yourself’ attitude amongst revelers.
If film is your thing, why not have a look at the rest of Supersonic’s amazing cinematic line-up. With ‘Bullshit Detector‘ and ‘The Luxury of Empire’ running alongside the Bruce Lacey Experience, festival goers will experience a selection of sentiments and ideas that differ between each recording. From the DIY ethos of Bullshit Detector, in its understanding of the cultural significance and the legacy of CRASS records, to the intimate portrait of Oxbow on the French leg of their 2009 European tour, each film offers an exploration of the relationship between art and music in ways that will undoutedly stimulate your senses.
Thiswalking tour is now fully booked and we have no places left – it was massively oversubscribed. We’ll have lots more activities for you to get involved with during the weekend of Supersonic – to be announced in the next couple of weeks so watch this space. Why not sign up for Imperfect Cinema’s DIY film workshop and create visuals for Drunk In Hell’s live set at Supersonic.
If you haven’t bought your tickets yet of course now is the time – details of where to get them from areHERE
The response to our callout for photographs of previous editions of the festival has been incredible, it seems there’s a healthy portion of very talented photographers amongst Supersonic’s fanbase!
We’re still on the lookout for more of your snapshots though, so keep them coming! We want to see photos of your very favourite Supersonic memories; whether you managed to sneak a glimpse at Sunn O))) through their trademark fog, captured OvO in all their psychotic glory, or snapped a shot that perfectly sums up the atmosphere and ethos of the festival, we’d love to hear from you.
Please limit your submission to no more than three photographs – we’re looking for the very best photographs that sum up the nature of the festival. If you can, please include a description of the photograph, and the year it was taken.
Images should measure 152 x 203 mm (8″ x 10″) with a resolution of 300 dpi.
Khyam Allami & Master Musicians of Bukkake, by Andy Avery, 2010
There are several exclusive, once-in-a-lifetime collaborative performances taking place at this year’s Supersonic, ranging from Lash Frenzy’s all-star noise ensemble to KK Null’s performance with local tuba-drone pioneers ORE, and of course, the pairing of several string, woodwind and brass musicians with Eugene S. Robinson and Niko Wenner for the much anticipated Oxbow Orchestra. There must be something about the adventurous atmosphere of Supersonic, as the festival has a long history of inspiring musicians to step out of their comfort zones and join forces with one another to contribute something truly special to the festival. Indeed, these one-off spectacles and collaborations are part of what makes the festival so unique, and have provided avid concert goers with a veritable smörgåsbord of cherished memories over the years. Here are just a few of the highlights – which one was your favourite?
2011 – Fire! & Oren Ambarchi
Last year’s edition of the festival saw Swedish avant-jazz trio Fire! team up with Australia’s finest purveyor of drones (and frequent Sunn O))) collaborator) Oren Ambarchi, for an enthralling set that touched on noise, jazz, and musique concrète with the kind of subtle elegance and deft textural sensibility we’ve come to expand from these fine musicians. Evidently these guys enjoyed the performance as much as the audience did, as Fire! recruited Ambarchi once again for their third album, ‘In The Mouth – A Hand’, which was released last year.
2010 – Lash Frenzy VS KK Null
When these two noise titans clashed together two years ago, the results were akin to a nuclear bomb detonation, obliterating all in its path (it’s rumoured that there are still children being born in Digbeth with tinnitus to this very day). Holding the honour of being one of Supersonic’s loudest ever performances (and, as those who have attended the festival before will attest, this is certainly no small feat!), the Library was packed to the rafters for this one-off show, with a lengthy queue of dedicated noise addicts stretching around the block. Be sure to get there early for this year’s special performances to avoid listening from outside!
Providing some respite from the ear-bleeding antics of the aforementioned duo, 2010 also found Iraqi Oud virtuoso Khyam Allami teaming up with mysterious psych-rock collective Master Musicians of Bukkake for this exclusive performance. Named after the Bosphorus Strait that divides East and West, Europe and Asia, this was an extremely diverse set that sought to bridge musical schisms, joining Allami’s meditative Eastern melodies with the Master Musicians’ penchant for acid fried jams, taking the audience on an aural pilgrimage to the furthest regions of their collective psyche and sounding rather fantastic in the process.
2008 –Kikuri, feat. Merzbow & Keiji Haino
The pairing of two of Japan’s most extreme musical exports was never going to make for easy listening, but nothing could have prepared us for the deafening onslaught produced by these masters of their respective crafts. Masami Akita’s torrential outbursts of static and rich, layered walls of feedback provided the perfect counterpoint to Haino’s chilling, ethereal wail and guitar mangling histrionics, resulting in an eclectic and vibrant set that’s often spoken of in hushed tones by Supersonic veterans.
2007 – Oxbow Duo Presents: Love’s Holiday Orchestra
When Oxbow’s Eugene & Niko performed at the festival 5 years ago, they brought along an all-star ensemble (featuring Godflesh/Jesu mastermind Justin Broadrick, Sunn O)))’s Stephen O’Malley and ex-Head Of David bassist David Cochrane) for an unforgettable and thrillingly intimate set, never to be repeated again (but fear not – Oxbow will be returning this year with a small orchestra in tow, and Justin Broadrick will also be putting in an appearance with his new JK Flesh project).
The performance was captured on tape and released on wax as part of Capsule’s limited edition vinyl series. Unfortunately all 1000 copies are long sold out, but there are still a number of great releases available, chronicling Supersonic sets from the likes of Harvey Milk, Tweak Bird and Iron Lung – the perfect way to relive those Supersonic memories and keep your excitement under control during the wait for this year’s edition!
The prolific and ever unpredictable Kevin Martin (AKA The Bug) will once again be bringing his heavy dub basslines and grimey dancehall vibes to Supersonic this year. Kevin has just put out another 7″, and according to the fine folk over at The Quietus, it’s a very heady concoction indeed…
His latest project – the first ‘proper’ new Bug material since 2008’s London Zoo – is another scientific endeavour: an exercise in genetic recombination, triggered by a long-unanswered question that’s apparently been burning in Martin’s mind for years: “What happens if I cross acid house with ragga?” Leading up to the release of his long-awaited new Bug album proper Angels & Devils, his Acid Ragga 7″ series attempts to answer that question via a series of gene splices that transfer traits from each test subject into a new and virulent third form, a sort of Frankenstein’s monster of the electronic dub world that roars along at breakneck speed.
If you like The Bug, then you won’t want to miss out on this year’s performances from elusive electronica merchants Hype Williams and hyperactive dubstep lunatics Devilman.
A 90 MINUTE WALKING TOUR IN THE FOOTSTEPS OF BLACK SABBATH 1948 – 1970
PERRY BARR, WITTON, ASTON & NEWTOWN
Join us for a special Black Sabbath themed walking tour, in the birthplace of Heavy Metal. Along the way you will be walking in the footsteps of Tony, Bill, Ozzy and Geezer and learning about the environment they grew up in and how they formed to be one of the most important bands in music history.
Sign up for a free, guided tour of Black Sabbath’s early environment by music historian Rob Horrocks. Rob was our lead researcher for our Home of Metal project. Read more about him and the walking tour HERE
This special event will take place on Saturday 20th October and is free to all Supersonic weekend ticket holders, but booking is essential as spaces are limited. To do so, email admin@capsule.org.uk with ‘Crossroads of Sabbath’ as the subject title.
You can learn more about the birthplace of Heavy Metal via our Home of Metal project
*NOW FULLY BOOKED – SORRY NO PLACES LEFT*
A 90 MINUTE WALKING TOUR IN THE FOOTSTEPS OF BLACK SABBATH 1948 – 1970
PERRY BARR, WITTON, ASTON & NEWTOWN
Join us for a special Black Sabbath themed walking tour, in the birthplace of Heavy Metal. Along the way you will be walking in the footsteps of Tony, Bill, Ozzy and Geezer and learning about the environment they grew up in and how they formed to be one of the most important bands in music history.
Sign up for a free, guided tour of Black Sabbath’s early environment by music historian Rob Horrocks.
About Rob:
“I was never a metal-er at school. Around the age of 14 (1986) when musical identity lines were drawn I was into punk and new wave. I would argue endlessly with my metal head friends over the merits of 1000 note a minute guitar solos, poodle hair and spandex versus the emotional rawness, honesty and relative poppy simplicity of the stuff that John Peel played. I was increasingly out numbered – Iron Maiden went straight in at number one and Echo & The Bunnymen split up. The outcome of those endless discussions is that I got to know how the whole metal scene fits together. I know my Venom from my Poison.
20 years later I came to an appreciation of Black Sabbath through a band I was working with. Einstellung love Sabbath and many of their colossal riffs are dropped tuned. Soon I too came to appreciate Ozzy era Black Sabbath. That’s an understatement. I have grown to love those first albums.
I read Record Collector magazine, The Quietus blog and occasionally The Sunday Times.”
This special event will take place on Saturday 20th October and is free to all Supersonic weekend ticket holders, but booking is essential. To do so, email admin@capsule.org.uk with ‘Crossroads of Sabbath’ as the subject title.
You can learn more about the birthplace of Heavy Metal via our Home of Metal project
As arelative newbie to noise music, I decided that the easiest route to ‘enlightenment’ that I could take would be through the relationship between music and visual art. One thing that is at the top of my anticipatory list this year is the Vinyl Rally, an installation by Australian artist Justice Yeldham. Justice, AKA Lucas Abela, initially classed himself as a Turntablist with early attempts ranging between stabbing vinyl with Kruger-esque stylus gloves to performing deaf defying duets duels with amplified Samurai swords. Perhaps some of you may be more familiar with his performance work- a breathtaking combination of sound and visuals, whereby he uses a piece of glass to curate an exhibition of cacophonous sound. The performance is not for the faint hearted- Justice eats, smashes and crunches the glass and it is safe to assume that he will probably undertake his show barefoot.
With the Vinyl Rally having previously travelled the Seven Seas and now finally landing in the UK, Supersonic festival-goers are in for a treat. A treat that is sure to tempt the senses into new realms through noise, visuals and most importantly, direct participation. You become the one in control, guiding the car around the track with the attached stylus scratching against the vinyls themselves creating a noise sequence that will never be created again.
In a world where computer games are taking over, what is so refreshing about the Vinyl Rally is that the player is not separated from their game by a lack of reality; you are part of the game itself. Justice Yeldham has chosen to reference old school Arcade games in his choice of seating, controls and general conception, transporting the player down memory lane, perhaps back to childhood. For me, perhaps the most exciting thing about the installation is the chance to quite literally sit back in the driver’s seat, away from the reality of the road and into the imaginary world of the Rally. Make sure not to miss out on tickets for Supersonic 2012 if you are wanting to catch any part of Justice Yeldham’s work.
Why not have a listen?
To find out more about this year’s line-up, read more here.
Wonderful news, we have just reached our 100% target with our We Fund campaign. 80 very generous folks helped us to raise £5000 which will go someway to helping us deliver our 10th birthday edition of Supersonic Festival. We are massively humbled by what a group of people can achieve together. Of course now it’s over to you guys to purchase the tickets. Many thanks and we can’t wait for Supersonic, which will be full of additional surprises.
From all of us at Supersonic HQ – THANKS x
Until then here is a taster from last year.
Folks we have just 5 days left of our We Fund campaign with the aim of raising £5000, the campaign asks those of you, in the position to, to support us by making a donation to Supersonic Festivalthis year. Your donations will help us to continue to put together a highly ambitious festival programme, allowing us to take risks on emergent artists and unique collaborations. We are hoping our loyal audience can help us further our ambition for this unique event. We’re currently at 87% which is pretty remarkable but without reaching the full 100%we get none of the funds raised. So dig deep – every bit helps.
Thank yous include an invite to a very special 10th birthday tea partywhich will take place over the weekend of the festival, and will give you the opportunity to share some sweet treats and a nice glass of fizz to toast 10 years of adventurous music and meet with some of the artists performing at the festival.
In addition there are some limited places left for our Sonic Feast, a unique sound led dining experience, featuring bespoke and unusual concoctions to celebrate the festival’s 10th year in style. Produced by Companis, a nomadic artist and curatorial practice creating bespoke dining experiences that immerse the diner in performance, food and spectacle.
This year Supersonic marks its tenth anniversary and to celebrate this amazing milestone we’re inviting you on a trip down memory lane..
Did you photograph Monotonix when they took over the lake in 2009? Or catch a sneaky shot of Black Sun Drum Corpsas they paraded along Gibb Street? Or perhaps you’ve documented the quirks and subtleties that make Supersonic so special and unique?
We’re looking for photographs from the last ten years that capture the spirit of Supersonic, the best of which will be featured at this year’s festival.
So please, take a look back at your Supersonic photographs and send us your favourites!
Please limit your submission to no more than three photographs – we’re looking for the very best photographs that sum up the nature of the festival. If you can, please include a description of the photograph, and the year it was taken.
Images should measure 152 x 203 mm (8″ x 10″) with a resolution of 300 dpi.
Miasma & the Carousel of Headless Horses by Katja Ogrin
As visually stunning as they are sonically punishing, Sunn0))) by James Singh
The first workshop of the festival has been announced and its an amazing opportunity to learn some new skills, work alongside some truly unique practitioners and creatively contribute to a live performance by Drunk in Hell.
In Imperfect Cinema’s workshop ‘Halide Oxide’, Attendees will be able explore the ‘halide’ of super-8mm film and the ‘oxide’ of audio cassette tape used to capture video, by using redundant camera technologies to capture images which will be processed, prepared and edited by Imperfect Cinema into two distinct visual forms. The first will be the visual backdrop to the lo-fi monolithic grit of Drunk In Hell’sperformance, an experience which should definitely not be missed, and the second is an alternative visual document of the festival which will form a unique part of the archive of its tenth anniversary. Workshop attendees will be joined by renowned sonic and visual artist Nicholas Bullento discuss Imperfect Cinema and its influences.
To book a place, please email admin@capsule.org.uk with ‘Imperfect Cinema’ in the subject line
Last year, Imperfect Cinema with workshop attendees put together this beautiful film, which was screened alongside a live score bySOUNDkitchen.
