WOHESC 2024!!!

This year we are going to be featured at WOHESC 2024!

FREE POPCORN

and admission. Doors at 4.

Fairhaven Auditorium

Sunday, December 3rd

Heaven and Earth Magic

with live score by Swil Kanim and Lori Goldston

plus student art showcase and panel discussion.

FREE FREE FREE

Recoder: Heaven & Earth Magic

The program is evolving and will not be finalized until showtime. However, what is known is that we will begin with a live performance and screenings from music and art students at Western, following by a introduction to and discussion on Harry Smith’s work and impact, culminating with the much anticipated performance by Lori Goldston and Swil Kanim, who will create a live score to Smith’s film Heaven and Earth Magic. Doors 4. Show 4:30. Approximate run time 2 hours & 45 minutes.

Light refreshments will be available.

There will be two short breaks before and after the discussion portion.

Panelists will include:

Bret Lundsford, Felicia Youngblood, Mark Miyake, Swil Kanim, Lori Goldston. Moderated by Sasha Petrenko.

Contact: Sasha Petrenko

This event and Sound.Out.Radio are generously supported by WWU’s Sustainability, Equity and Justice Fund. Thank you SEJF!

Heaven and Earth Magic 12/03/2023

Sound.Out.Radio presents

Recoder: a new sonic event series where we relook and listen to recover and recode with creative reparative action.

Lori Goldston & Swil Kanim performing a live score to Heaven & Earth Magic

With a dynamic mix of sincerity and irony, Seattle composer Lori Goldston and violinist, native storyteller, Swil Kanim present original cello and violin score to films by Harry Smith in honor of his birth centenary year, inspired by his work as framer and amplifier of the sublime craft and beauty of organic indigenous, folk and underground cultures.

Harry Smith on Heaven and Earth Magic

“The first part depicts the heroine’s toothache consequent to the loss of a very valuable watermelon, her dentistry and transportation to heaven. Next follows an elaborate exposition of the heavenly land, in terms of Israel, Montreal and the second part depicts the return to Earth from being eaten by Max Muller on the day Edward the Seventh dedicated the Great Sewer of London.”

HARRY SMITH CENTENNIAL RUMINATION!

Time & Location

December 3rd, 2023

Doors 4:00, Show 4:30 – 7:30

Fairhaven Auditorium, Fairhaven College

Western Washington University, Bellingham, Washington, 98225

THIS IS A FREE EVENT. SPACE IS LIMITED.

WHO WAS HARRY SMITH AND WHY SHOULD WE CARE

Harry Everett Smith (May 29, 1923 – November 27, 1991) was  an underground influencer of 20th century music, art and film. He  grew up the Pacific Northwest (Bellingham & Anacortes), then left in the late ’40s to participate in the San Francisco Beat and Greenwich Village creative communities. Smith’s impact on American culture continues, and has accelerated since his death in 1991, with numerous books, music events, museum exhibits, albums and documentaries devoted to his work.

A Grammy winner for lifetime achievement, he was “famous everywhere underground,” in the words of Allen Ginsberg, who recalled: “He was given a moment to make a speech and said very briefly that he was happy to live long enough to see the American political culture affected and moved and shaped somewhat by American folk music, meaning the whole rock-n-roll, Bob Dylan, Beatnik, post-Beatnik youth culture.”

From the Whitney Museum of American Art’s 2023 Harry Smith exhibition: “Fragments of a Faith Forgotten:  the Art of Harry Smith”

“Over the course of fifty years, Smith made renegade and innovative use of the changing recording and distribution technologies, from his voracious approach to record collecting to experiments with early tape-recording systems to groundbreaking manipulations of abstraction and collage in film. Smith was an innovator in collecting, organizing, and sequencing images and artifacts that structure the ways we understand and share culture and experiences today. He created a life and practice largely outside of institutions and capitalism, offering an eccentric model for engagement with a society today even further dominated by these systems. Vitally, Smith brought to light and wrestled with—sometimes imperfectly—facets of America’s rich histories, tracing and sharing underappreciated veins of culture often invisible to mainstream society. Very much outside of his time, Smith nonetheless created his own rich vein of American culture that says more about this country, its arts, and its diverse creative communities than nearly any other artist of his time.”

PROGRAM:

Doors 4

Show starts 4:30

Begin with a Student Showcase from the Departments of Music and Studio Art, then a Conversation with Artists and Scholars on Harry Smith, life and work, Followed by an expanded cinema performance by Lori Goldston and Swil Kanim.

Light refreshments will be available.

ARTIST BIOS:

Lori Goldston is a cellist and composer from Seattle. Her voice as a cellist draws connections between far-flung ideas and explores timbral thresholds of her instrument, driven by a restless curiosity and informed by a long, widely varied history of collaborations with bands, ensembles large and small, composers, film makers and choreographers including Earth, Nirvana, the BBC Scottish Symphony, Mirah, Black Belt Eagle Scout, Helms Alee, Jim Fletcher, Christian Rizzo, Maya Dunietz, Jherek Bischoff, Jessika Kenney, Eyvind Kang, Ilan Volkov, David Byrne, Lonnie Holley, Stuart Dempster, Shelley Hirsch, Ghedalia Tezartes, Ellen Fullman, Lynn Shelton and many, many others. Referred to by UK’s  The Quietus as a “ a hugely important character in contemporary music history”, she  performs in the US and abroad, and has released recordings on on Sub Rosa, Woodland Fauna, Marginal Frequency, Yo Yo, K Records, Second Editions, Sub Pop, Mississippi Records, Eiderdown, Substrata, Ed Banger, PIAPTK, SofaBurn, Broken Clover, and No Sun.

Swil Kanim is a US Army Veteran, classically trained violinist, native storyteller and actor, is a member of the Lummi Nation. Because of his unique ability to inspire audiences to express themselves honorably, Swil Kanim is a sought-after keynote speaker for conferences, workshops, school assemblies, and rehabilitation centers. He travels extensively throughout the United States, enchanting audiences with his original composition music and native storytelling. Swil Kanim considers himself and his music to be the product of a well supported public school music program. Music and the performance of music helped him to process the traumas associated with his early placement into the foster care system. Swil Kanim’s compositions incorporate classical influences as well as musical interpretations of his journey from depression and despair to spiritual and emotional freedom. The music and stories that emerge from his experiences have been transforming people’s lives for decades.

Bret Lundsford is an American vocalist, songwriter, guitarist, author and founding member of the influential band Beat Happening and D+. In addition to his own musical endeavors, Lunsford owns and operates Knw-Yr-Own Records, an independent label based in Lunsford’s hometown of Anacortes, Washington, and manages What the Heck Fest, an annual music festival featuring independent and local musicians. He is also a writer of cultural criticism, and author of Images of America, Anacortes. From 1990 to 2005, Lunsford was the owner of The Business record store in Anacortes. In 2021, Lundsford’s book Sounding for Harry Smith: Early Pacific Northwest Influences is a biography of Harry Everett Smith (1923-1991) that explores the mysteries of his Salish Sea youth during the Great Depression years in Anacortes, Washington, was published.

Felicia Youngblood received her PhD in Musicology from Florida State University in 2019, where she was a member of the Fellows Society, a Krebs Scholar, and a graduate assistant with the Program for Instructional Excellence. Her current work evaluates how music sustainability efforts can be used to reclaim traditionally underrepresented voices, for which she received a Presser Foundation Graduate Music Research Award in 2017. In particular, she collaborates with the Club per l’UNESCO di Galatina to analyze how the contributions of women to a centuries-old Southern Italian ritual, known as tarantism. Dr. Youngblood’s research explores how the Club’s tarantism festival and reenactments highlight the voices and essential roles of these women as cornerstones of Apulian identity. An article on this topic, “On Un-Silencing Voices: Tarantismo and the Gendered Heritage of Apulia,” was published in the journal Folk Life in March 2019. Youngblood is associate professor of Musicology/Ethnomusicology, Musicology Area Coordinator at Western Washington University

Mark Y. Miyake is Assistant Professor of Music and Society at Fairhaven College and leads the program in Audio Technology, Music, and Society at Western Washington University. He also currently serves as the Chair-Elect of the Board of Trustees of Humanities Washington (the WA state humanities council), on the Board of Directors of the Federation of State Humanities Councils, on the National Recording Preservation Board of the Library of Congress, and holds a rotating executive position with the Northwest Chapter of the Society for Ethnomusicology. More locally, he is also on the boards of the Center for Washington Cultural Traditions (the Washington State agency charged with supporting community and traditional arts in the state), Make.Shift Art Space (Bellingham’s primary non-profit all-ages space for music and art), and Bellingham Girls Rock Camp. He has also recently served on several major awards and grants panels for the National Endowment for the Arts, ArtsFund, the Washington State Department of Commerce, and most of the organizations listed above.

Moderated by Sasha Petrenko, Associate Professor of Sculpture and Expanded Media at Western Washington University in Bellingham. where she also runs Sound.Out.Radio with amazing student TAs and volunteers

 

 

 

FLOW Live Broadcast 11/4 + 11/5

Sound.Out Radio is hitting the road and going to Tacoma’s Puget Sound University to participate in and broadcast live! Yes, we are back after a long summer hiatus and thrilled to have some wonderful events and sounds to share in the very near future.

Flow: Art and Ecology in the Time of Global Warming and Concurrent In the Flow Exhibit

Symposium, November 3-4, 2023

University of Puget Sound

Flow: Art and Ecology in the Time of Global Warming is a two day symposium at the University of Puget Sound on November 3-4, 2023. The symposium includes an affiliated Kittredge Gallery exhibition, In the Flow: Art, Ecology, and Pedagogy. 

The exhibit features the work of nine artists and collaborative teams working in the Salish Sea Watershed and Columbia River Basin. The artworks explore how land and place can help us connect and build new kinds of relationships in the face of accelerated climate change.

The symposium includes workshops, and facilitated conversations and presentations that engage with place/land based ways of knowing around the Columbia River basin and Salish Sea while contending with climate change. Nine individuals, listed below, co-organized this two day gathering,  integrating reflection, discussion, and hands on interactive programming. 

Flow explores ways to integrate, embody, and enact intersections between art and ecology through direct engagement with matter and materials such as dyes, pigments, and mycelium, multi-sensory guided walks, reflection on positionality and place, and critical examination of language and classification’s role in creating a sense of place and displacement. Guiding themes and questions include:

  • What is the role of the artist as healer and maker in navigating this current moment?
  • How can approaches to reparative work and re-imagining be taught through creative practices?
  • How can place/land based knowledge teach us how to connect and build relationships?
  • How do we practice remediation and utilize loss? 

Further information and context can be found here.

Flow: Art and Ecology in the Time of Global Warming co-organizers: 

Melonie Ancheta, Director Pigments Revealed International, researcher, artist, educator

Natalie Baloy, Assistant Professor of Cultural Anthropology, Western Washington University

Cynthia Camlin, Professor, Art and Art History, Western Washington, University

Heidi Gustafson, artist and ochre specialist

Beverly Naidus, Emerita Professor of Interdisciplinary Studio Arts, University of Washington, Tacoma

Daniela Naomi Molnar, independent artist and poet

Matt Reynolds, Associate Professor of Art History, Whitman College

Elise Richman, Professor Art and Art History, University of Puget Sound

Cara Tomlinson, Professor Art, Lewis and Clark College

Additional Participants:

Rachel DeMotts, Professor, Environmental Policy and Decision Making, University of Puget Sound

Dann Disciglio, Visiting Professor of Digital Media, Lewis and Clark College

Amanda Leigh Evans, Visiting Assistant Professor, Art, Whitman College

Cleo Wölfle Hazard, Assistant Professor School of Marine and Environmental Affairs, University of Washington

Yixuan Pan, Assistant Professor of Interdisciplinary Studio Arts, University of Washington, Tacoma

Sasha Petrenko, Assistant Professor of Sculpture and Expanded Media, Western Washington University

Renee Simms, Associate Professor & Leadership Team Member, African American Studies, and the Race and Pedagogy Institute, University of Puget Sound

Robert Yerachmiel Sniderman, Assistant Professor in Socially Engaged Art, Fairhaven College of Interdisciplinary Studies, Western Washington University + Visiting Professor, Institut für Kunst im Kontext, Universität der Künste Berlin (2023-24)

Banu Subramanium, Professor & Chair, Women’s and Gender Studies, Wellesley College

Arianne True, Washington State Poet Laureate (Choctaw, Chickasaw)

Lewis and Clark Art and Ecology course students: Sophie Abbassian, Miriam Baena, Summer Dae Binder, Owen Clark, Allison Clarke, Mallory Dubois, Margo Gaillard, Liv Ladaire, Gillian Largay, Paloma Richeson, Gabriel Rosenfield, Stella Scheffer, Anthi Sklavenitis, Ezequiel Walker, Lila Ward, and Aiden Wilkson

Western Washington Art and Ecology Students

5.16.23 Distortion Playlist

Here’s the playlist from last Tuesday! Distortion and bitcrushed vibes.

-N7♬

Made in Hong Kong, Fennesz, Endless Summer, 2001

Pour Down, Yuma Takeshita, On a Rainy Day, 2019

Countdown, Andrea Polli, Sonic Antarctica, 2009

YWMD, Natasha Karkoski, 2019

Stratosphere, Duster, Stratosphere, 1998

Ambient Throw, Deston Peterson, 2020

Nowness poem, Bryce Peterson, 2023

Afraid to be touched, Natasha Karkoski, 2020

 

Something broke, Natasha Karkoski, 2018

Vinylika, Pogelio Sosa, An anthology of noise and electronic music vol.5 – fifth a-chronology 1920-2007, 2007

HAVE FUN, Natasha Karkoski, Noisesoft tape, 2020

5.14.2023 Playlist Ambiente

Here’s the weekly ambient playlist tracks! Playlist is every Sunday from 10 AM – 7 PM for the next couple weeks, I added a few more songs that weren’t there last week – enjoy! (୨୧•͈ᴗ•͈)◞ᵗʱᵃᵑᵏઽ*♡

-N7♬

Aero Deck, Oval, Systemisch, 1996

Up the Flagpole, CEP, Drawing the Target Around the Arrow 2017

Forgive, Burial, Self-titled, 2006

Tape Hiss Orchid, Deerhunter, Cryptograms, 2007

Trade Winds, White Heat, Tim Hecker, Radio Amor, 2003

VGS, Natasha Karkoski, 2020

Secret Soda Machine, Blithe Field, Face Always Towards the Sun, 2016

Cricket Voice, Hildegard Westerkamp, Transformations, 1996

Fdbck lwr vbrtns, Natasha Karkoski & Deston Peterson, 2021

20190127, Mac Demarco, One Wayne G, 2023

By This River – Phantom, Ryuchi Sakamoto & alva noto, Summvs, 2011

Luft, H.Takahashi, Raum, 2017

102121 – Natasha Karkoski, 2021

Untitled nov 5 song 2, Natasha Karkoski, 2019

Flashback Monday!

Hi Friends! To celebrate the last week of the exhibition, here’s a post from a few weeks ago, when we started this show. Thanks for listening. New stuff coming tomorrow!

April 7th, 2023

76Cascades is a little something new made at workshop I lead back in March at Jack Straw Cultural Center in Seattle. I had the great pleasure of working with some talented folks ranging in age and ability. We sonified some data taken from tree rings across the Cascade Range. Our data set, or our song started around year 1776 and the numbers came up with a pretty spooky cool chord progression. The rest is just me jamming with folks, 5, 6, 14 and 16 years old! This is certainly just a rough mix. More to come including a new work made in collaboration with Whatcom Middle School Students. Listen for it!

Let’s Party!

A special playlist today, starting at 10AM we replayed Ambient Mondaze. You can find the tracks in post 4.3.23.

Please enjoy. Thanks for listening! Sasha

All tomorrow’s parties, Velvet Underground, feat. Nico, 1966

I don’t have the data, Sonic Antartica, Andrea Polli, 2009

Cricket Voice, Hildegard Westerkamp, 1996

76Cascades, Sasha Petrenko  w/Jack Straw Cultural Center, 2023

Construction sound recording, Professor Ashley Mask and students, 2022

Lessons from the Forest, Part 3, Sasha Petrenko, 2019

CRUSH, Ryan Lien, 2023

I’ll Call You Back! Claire Kaveney, 2023

SoundPoem, Max Marsh, 2023

Sachsenhausen Music in the Void by Taran Wilkewitz, 2022

sound project version 1, Aiko Enomoto, 2022

The Pacific Banana Slug, Tilly Bishop, 2022

Bats in East Finchley, Ryan Fisher, 2022

Summer rain in midnightsun, Elin Mar Oyen Vistor, 2021

Black Sun, Sasha Petrenko, 2016