From Wednesday 13th May at 12 noon Soundart Radio will broadcast a short weekly series of radio hours I have put together called ‘constrained radio show’. The shows feature poetry, text, voice, sound, music, and audio work in a variety of styles and genres loosely gathered under formal or thematic headings. The ideas that guided my choices for the first episode of ‘constrained radio’ were a sense of working within constraints or rules or limitations, or responding to those rules perhaps by resisting them. In the second show ideas of repetition and transposition run through the selection, with a mix of vocal, verbal, textual and sonic loopings, versions, layers, and reuse. Track listings will be posted here.
From 21st September I will spend 2 weeks in Glasgow working with Rosanna Irvine on developing new work. We have time and space to work on extending the performance piece Material+Transition which we presented as part of Breath Pieces, at Tramway in June last year.
Material+Transition works with the material possibilities of sound prior to the emergence of language using a compositional structure that involves deep listening, progressive, embedded transitions and ‘melding’ of sounds – so displacing the individual voice. We will take this approach to develop compositional methods for working also with gesture and towards language, to create ‘some variations’ that seek always to exceed the dualism of two: the binary of you and me.
Through the second week we will be at The Workroom in Tramway, and we plan to share some of the outcomes of our working on Friday 4th October at 6.00pm.
An essay of mine contextualising my performance ‘his voice’ has just been published online in the latest issue of the journal Hyperrhiz: New Media Cultures. Edited by Anne Karhio and Álvaro Seiça, the issue gathers proceedings of the Other Codes / Cóid Eile conference held at NUI Galway in the Summer of 2017.
From the Abstract:
Taking a route through voice and utterance and audience, by way of the body, this essay offers a contextualisation of Mark Leahy’s performance work “his voice” (2015). Following a brief overview of theorisations of “voice” and of “utterance”, the essay draws on discussions across linguistics, music and technology. Into this is folded a consideration of the processes and concerns at work within Leahy’s performance practice. […] In “his voice” the material spoken in the performance is a transposition of a sequence of tweets, harvested live from Twitter. This splitting or splicing of utterance, body and voice, is discussed, and the essay considers how it raises questions for understanding relations of the digital and utterance.
The essay can be read online at:
‘flat-head self-tapping’ engages with questions of speaking in public, of being on show, of being heard, and displaying coded behaviour. Deriving elements from Bell’s Standard Elocutionist and online dictionaries, the performance text stitches fragments, word lists, letters, and gestures into a display of awkward flapping interrupted by gnomic expulsions.
Originally presented as a live performance at Arnolfini, Bristol, this version for screen was developed with sound, video and editing by Neil Rose; the trailer is available at Vimeo here.
The screening is on Facebook at https://www.facebook.com/events/496149960903200/
I will perform’ threaded insert’ as part of the three-day programme for STREAM: a Series of Transdisciplinary Rituals & Experiments in Art & Music at Dartington on Friday 7th September 2018. My performance will take place in Studio 6 and the adjoining spaces from 2.00pm on the Friday. There will be live work, projected and installed works and social events across the weekend. The event is coordinated by Sarah Gray to mark the 10 year anniversary of the closing of Dartington College of Arts at the Dartington Campus. Work will be presented by alumni and former faculty members across music, performance writing, visual performance, dance and theatre.