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A Room That Echoes - Night 2 - Jōse Orozco Mora, Judith Hamman Etc.

Fri Jul 30th, 2021
Audio Foundation,

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The Audio Foundation presents a festival of immersive music, surround sound and deep listening. Through quadraphonic, octaphonic and dodecaphonic sound systems, portable speakers, massive analogue synthesiser arrays, multiple radios and more - the festival promises unique technological listening experiences from a lineup of extraordinary international and local performers and composers.

Night 2!
Josē Orozco Mora (MX)

Natasha Anderson (AUS)

Sergio Merce (ARG)

Judith Hamman (AUS)
Jo Burzynska
Malcolm Riddoch - LIVE
Clinton Watkins - LIVE

José Orozco Mora is a Mexican musician, composer and producer from Chapala,
previously releasing music under the name 'Camedor', having published two LPs
under Seattle's experimental label 'Debacle Records', and his latest album 'Formas
Apparent' with Oakland's label 'Constellation Tatsu'. Orozco is also active as the
synth player in the band Lorelle Meets the Obsolete for their live performances.
With his recordings and live sets, Orozco explores the meditational and trance-
inducing qualities of sound, based on repetition and polyrhythmic
arrangements that create intricate textures, using electronic and acoustic instruments as the medium

Natasha Anderson is an Australian composer, musician and installation artist. She makes instrumental, audiovisual and acousmatic works in a variety of forms; from solo performance and notated scores, to installation and multichannel diffusion. A primary interest lies in creating idiosyncratic, preternatural electronic sounds from acoustic sources, and exploring the relationship between these and their live physical source in composition.

Sergio Merce is a conservatory-trained saxophonist and sound artist based in Buenos Aires, Argentina. He is known to use a prepared tenor sax and a microtonal sax to create rich harmonics and slowly moving tonal works, layering aberrant and alluring tones in restrained configurations that allow each stratum of sound to be distinguished and appreciated, creating mesmerizing compositions of elusive and illusionistic sound.


Judith Hamann is a cellist and performer/composer from Naarm/Birraranga (Melbourne), Australia, now based in Berlin. “Long been recognised as one of Australia’s foremost contemporary-music cellists” (RealTime Arts), Judith’s performance practice stretches across various genres encompassing elements of improvised, contemporary classical, experimental, and popular music. Currently their work is focused on an examination of expressions and manifestations of 'shaking’ in solo performance practice, a collection of new works for cello and humming, and ongoing research surrounding ‘collapse’ and the ‘de-mastering’ of instrumental practice.


Malcolm Riddoch’s sonic arts practice melds experimental electroacoustic technique with phenomenological method: An investigation of acousmatic listening and electronic transformation of soundscapes; notions of indeterminacy in composition for installation and performance; the use of whole acoustic spaces in installation and music performance; and electroacoustic feedback as an embodied, intentional, temporalizing process.
His medium is non-tonal, timbrally focused and technologically organised sound with themes of dissolution

Since 1994 Clinton Watkins has produced artwork that investigates affects that combinations of sonic and visual information can have on an audience. The key conceptual issues of his work are drawn from an interest in constructing immersive experiences through the use of sound, colour and scale of installation incorporating video projection, television monitors and custom-made audio and video hardware. The visual and sound base of his work focuses on the characteristics, structures, phenomena, and processing of sonic and visual material through the exploration of repetition, distortion, colour, duration and form via a minimalist sensibility.
Watkins is also a practicing musician who regularly produces and performs as a solo artist and collaboratively as an active member of the minimal electronic improvisation sextet, Plains and one half of the electronic noise duo 1000.

Jo Burzynska – who also performs and records under the name Stanier Black-Five – is an Australasia-based sound artist, wine writer and curator whose work in these areas has increasingly converged in the production of multisensory art and the design of immersive environments, which include the establishment of the world’s first ‘wine and sound’ bar. As a sound/multisensory artist she has exhibited, performed and released her work around the world.

art/noise, electronic, Jōse Orozco Mora, Natasha Anderson, 
Sergio Merce, Judith Hamman, Jo Burzynska, Malcolm Riddoch, Clinton Watkins

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