7.53pm 01.03 - 7.04am 02.03

NEW SOUND @ The EMU Space in association with soundsitesaeaf [no 2*]


tom hall
"..explorations into place, space and time.."
with ambrose chapel, jason sweeney and tristan louth-robins

when: thursday 20 may 8.00pm sharp

where:The EMU SPACE, Electronic Music Unit
5th Floor, Schulz Building, University of Adelaide

(enter via the Scott Theatre lifts behind the Schulz building, Kintore Avenue, Gate 15)
Map: http://emu.adelaide.edu.au/contact/

how:$15 / $10 (concession) entry

It has been in excess of 2 years since Tom Hall's last full length solo release. Since that release Hall has crossed the globe a number times playing in excess of 250 live shows, experimenting and honing many of his techniques for producing live sound and image performances. However, during this time Hall has been working away on one record, 'Past Present, Below', whether it's been sitting on planes 35,000 feet above the earth or hidden away in a warehouse in San Francisco, this album is the 'record' of 2 years of experimentation, honing and life experiences drawn from almost every area Hall has visited, played,tasted or experienced.



Ambrose Chapel is a music project by Ian Rogers (of AXXONN and No Anchor). Forged in the sweltering spare rooms of Brisbane summers, Ambrose Chapel finds Rogers exploring new sounds, production techniques and modes of performance.

Jason Sweeney is an Adelaide-based composer and the founder of the quartet, Panoptique Electrical. He is a sound artist and musician who has recorded and released works internationally since 1996. He is also one half of Pretty Boy Crossover.

Tristan Louth-Robins (aka: red_robin) is an Adelaide-based Australian sound artist working in areas of electronic music and new media art. His works utilise assorted media and technologies to realise concepts and ideas associated with sound and its signification in various contexts.

Supported by the Elder Conservatorium of Music and the University of Adelaide.




soundsitesaeaf no 1*

journey to the surface of the earth

(the idea of light and love)

stephen whittington (toy piano) janette ho (body)

tony yap (body) domenico de clario (piano)

when: from 7.53 pm (moonrise/sunset) march 1 2010, until 7.04 am (moonset/sunrise) march 2 (full moon apogee 3.08 am march 2)

where: madley studio and forecourt, university of adelaide, adelaide, south australia

how: enter through university of adelaide gate 14, kintore avenue. entry is free

When Dr Elizabeth Presa, from VCA’s Centre for Ideas, invited me to participate in a project entitled Journey to the Surface of the Earth in May 2009. The invitation included an outline of its parameters. I was firstly intrigued and then moved when I read the following:

‘Our explorations will encompass the microscopic to macro as we move from the surface of our skin, to the latitude of our backyards and beyond. Our task as explores is to negotiate and illuminate what is around us, to seek out what lies unnoticed or hidden form view, and to discover new vistas, terrains and ways of experiencing them.’

The various dynamics that bind micro to macro and visible to invisible continue to engage me in unexpectedly compelling ways. If the animating idea of Dr Presa’s project was to journey to the surface of the earth in order to be able to more closely observe its micro-nature I immediately wondered whether it would be possible to embark upon a return journey.

That is, I wondered whether travelling away from the surface of the earth might return us to the inward journey’s original beginning point. But where might that be? I have found that looking up at the night-sky and contemplating its reach always seems to provide simple answers to most questions. And is not the night-sky the perfect oracle for questions regarding the relationship between micro and macro?

I have been recently reading Giorgio Agamben’s ‘The Idea of Prose’, in which he discusses various seemingly simple notions mostly through the identification of what might not constitute the central core of each idea. Paradoxically this typically elegant Agambenian strategy leads the reader each time to the idea’s very centre.

The following two texts from ‘The Idea of Prose’ seem to me to cogently address the relationships I referred to above.

The Idea of Light

I turn on the light in a dark room; naturally the lit room is no longer the dark room; I have lost it forever. Yet isn’t it the same room? Isn’t the dark room the only content of the lit room? That which I can no longer have, that which infinitely flees backward, and likewise thrusts me forward is only a representation of language: the dark which light presupposes.

But if I give up the attempt to grasp this pre-supposition, if I turn my attention to the light itself, if I receive it - what the light gives me is then the same room, the non-hypothetical dark. That which is veiled, that which is closed within itself is the only content of the revelation - light is only the coming to itself of the dark.

The Idea of Love

To live in intimacy with a stranger, not in order to draw him closer, or to make him known, but rather to keep him strange, remote: unapparent – so unapparent that his name contains him entirely. And, even in discomfort, to be nothing else, day after day, than the ever open place, the unwaning light in which that one being, that thing, remains forever exposed and sealed off.

Perhaps as you sit or stand or walk around Madley Studio on this first evening of the autumn of 2010 you might reflect on these texts. Perhaps as you undertake the outward journey from the self to the surface of the earth the increasingly intensifying light of the rising full moon might render some transparency to your considerations. This light may even illuminate in part the dynamic animating the relationship between visible and invisible, and between micro and macro.

As you move through the garden or even inside a room under moonlight you may hear the sound of piano keys, both large and small, being touched by a blindfolded sitter as well as by one who sees. There are also two people moving through all of this space whose bodies are singing in and out of sequence. But in reality there is no sitter, seer or otherwise; neither are there are bodies singing. There is only the sound of piano keys being touched, of leaves rustling, of footprints being left behind, of birds nestling and nesting and of moonlight intimately penetrating each and every thing, for ever exposed, yet sealed off.

The blindfolded sitter touching the keys could be any one of us; each of us is able to transmute the seeming silence of the inaudible into its audible manifestation. All that is required to facilitate this is an abandonment of the idea that the phenomenological world consists of visible forms when it is simply illusory manifestation of invisible content.

This evening inside this multi-dimensional space the opportunity exists for each of us to journey, under the clarifying rays of the full moon (light is only the coming to itself in the dark), from the core of one’s self to the very surface of the earth, perhaps even returning from that destination. This world has always been and continues to be an ever-open place.


Domenico de Clario


Thank you: Stephen Whittington, Tony Yap, Janette Ho, Miles du Heaume, University of Adelaide; performance recorded by Miles du Heaume


sounsitesaeaf is a series of sound events including performances and installations, in collaboration with EMU (electronic music unit) Elder Conservatorium of Music, University of Adelaide