madeleine l’engle – instruments (1978)

Hold me against the dark: I am afraid.
Circle me with your arms. I am made
So tiny and my atoms so unstable
That at any moment I may explode. I am unable
To contain myself in unity. My outlines shiver
With the shock of living. I endeavor
To hold the I as one only for the cloud
Of which I am a fragment, yet to which I’m vowed
To be responsible. Its light against my face
Reveals the witness of the stars, each in its place
Singing, each compassed by the rest,
The many joined to one, the mightiest to the least.
It is so great a thing to be an infinitesimal part
of this immeasurable orchestra the music bursts the heart,
And from this tiny plosion all the fragments join:
Joy orders the disunity until the song is one.
___
In The Weather of the Heart (1978).

calvin and hobbes dustspeck

lliezel ellick – risk (2017)

([Inaudible] text for our performance at Edge of Wrong tomorrow night.)

a bus stop. it is raining, minimal visibility so the sounds are amplified, almost threatening. not really seeing where the sound is coming from…or seeing what is making it…grinding metal, gaping mouth. colliding, hurtling, braking to avoid. I wait…my head is busier than my body in that moment. and moments similar to these always draw out thoughts of suffering, mortality, irrational fear, my loved ones dying painfully. the idea of being alone seems squared, cubed, today. waiting offers no solace, no purpose… especially when you are drenched, your shoes are squelchy. a dim floating orange comes floating through the hazy emptiness, the led display on the front of this bus is illegible but the glow is not long enough to suggest that it is going to my destination. it stops…grinding metal, the scent of brake fluid, badly maintained machinery. a door creaks open, outdated hydraulic movements. for the first time this morning, I catch a glimpse of something that reminds me of interaction. someone on the bus uses their hand to open a gap on the window. for a moment, just as the bus pulls away, their hand stops circling against the glass. I feel exposed, seen and wonder whether raising my hand in a wave would be the appropriate reaction. the bus disappears into the now empty haziness.

diane cluck – content to reform (2014)

From Boneset. 

I am a place you can still get to
with your body and my here coordinates
my mind keeps my corporeal self subordinate
in answer it withers away…
and I was a room and I had thick walls
kicking them in till everything falls
they’re fixing me up as i wander the halls
oh will I be back here again ?
and I die and I die, discarding my skulls
crushed into powder and spun into bowls
made into mortar for plugging up holes
content to reform and to break again
I die and I die, sloughing off cells
sea creatures crawl from out crowded shells
clappers fall out from big, rusty bells
everything spends out its day and then
its content will reform until it breaks again

http://dianecluck.info/

edge of wrong 12 this week!

The Edge of Wrong invites you to join us for our twelfth annual festival of experimental, uncompromising and dangerous music.

Expect a variety of sonic and visual explorations of the edges from a huge range of international and local artists: drumming ensembles, thunderous noise musicians, avant-pianists, drone ensembles, ambient artisans, post-post-punks, sonic clay sculptors, algorithmic composers, fringe poets, sound theatre, dance, live painting, the melodies of knitting patterns.

In collaboration with Contour Vinyl we will also be launching our first vinyl series: 12 highly limited lathe-cut 7″s containing exclusive works by the artists performing at the festival. These 7″s, each available in a micro-run of only 10 copies, will be available for purchase at our 2017 events.

“An edge is a special kind of being-in- place; it marks the transition between something and nothing. Edges are limits, and also shape-defining margins. To be at the edge is to exist in the “in” of the “in-between,” in the instant between one time and another. An edge cuts and changes whatever it encounters. It is where movement must stop or turn in a different direction; it is where people plummet into the abyss, or learn to fly. Things end, and begin, at this place—but nothing stays at the edge forever. Edges mark the boundaries of empty space, but they also represent the transformational places where new possibilities open up again.” – David Novak, Japanoise: Music at the Edge of Circulation

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FULL LINEUP

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WED 26th Amuse Cafe, 34 5th St, Linden, Johannesburg, 19:00
– Healer Oran
– Datsrok [Norway]
– MONOMORT [Norway]
– Thomas Holme [Norway]

THU 27th The Bijou, 178 Lower Main Rd, Cape Town, 20:00
– Jill Richards
– Coila Enderstein / Daniel Grey
– Darkroom Contemporary (short film)
– DATSROK (Kenneth Korstad Langås, noise) [Norway]
– Dolly Turing [UK]
– Khoi Konnexion

FRI The Bijou, 178 Lower Main Rd, Cape Town, 20:00
– Daniel W J Mackenzie [UK]
– Aragorn23
– RISK (lliezelellick, nonentia, choir, four drummers)
– As Is with Didi Didloff and Vasti Knoesen
– Belinda Blignaut and Jacques van Zyl
– Cara Stacey and Hanan Benammar [Norway]

SAT 29th The Common Room, 135 Albert Rd, Woodstock, Cape Town, 19:00
– Justin Allart and Thomas Holme [Norway]
– Gareth Dawson and Rhea Dally
– Jason Stapleton, Lucy Hazard (projection to audio by Justin Allart)
– Chantelle Gray and Anastasya Eliseeva
– MORKEN [Norway]

SAT Afterparty at the Common Room
– DJ’ing by 3EYE, Violet Beausoleil and Kenneth Angerhand [UK/SA/UZ]

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EXHIBITION

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Hanan Benammar (DZ/FR) – Giraffes don’t Whistle

Giraffes don’t Whistle is a silent karaoke video installation made in collaboration with the students of Brendon Bussy’s class at the Dominican School for Deaf Children.
The videos will explore the relationship between dream, landscape, night activities and perceived sounds from the narratives of the participants.

Mattias Cantzler (SE) – Marius Stocking Blues

Marius Stocking Blues is an experimental sound installation consisting of a self made busker organ.
The organ plays automatically by using a handle and based on a traditional Norwegian knitting pattern called the Marius pattern.
The knitting pattern used in the project is translated into braille, a script for blind people. Inspiration for the project is taken from phonography, cryptography, geometry, mosaic and textiles. The work relates to older forms of communications like for example telegraphy, smoke and light signals, but also has similarities to early computer technology.

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DETAILS

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R100 suggested cover charge per event (more or less according to means).

Right of admission reserved. Cellphones to be switched off during performances.

STUFF TO BRING: A comfy cushion you don’t mind getting dirty. Your own drinks. An open mind.

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A BIT MORE ABOUT EOW:

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HUNTER THOMPSON ONCE SAID that there is no honest way to explain the edge, “because the only people who really know where it is are the ones who have gone over.”

It is a kind of hidden place that is revered and feared by some – the hellish underbelly of the world. Yet it is also a place searched for, written about, and found in the music of the strange. And it is this edge we want to bring to you by creating a space which allows musicians to etch out the edge of wrong, pushing the boundaries so that new sounds might be found.

The EDGE OF WRONG festival is currently in its twelfth year and serves mainly to facilitate cultural exchange. Though it has become an established production network it is forever evolving, intent on creating a sustainable environment for quality art of an exploratory nature.

SITE: http://www.edgeofwrong.com/sa
FACEBOOK PAGE: http://www.facebook.com/edgeofwrong

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Perfection is death, as it leaves nothing to be desired.