In part 2 of Guy Baron’s Norient series on his practice-based music research project «Post-Euphoria», he thinks about compositional strategies to interpret themes of recollection and reimagination.
How Rio has shaped its music over the centuries and invented its future through the vision of artists, creators, and scholars.
What is real and what is imagined? In her text inspired by a Laurie Anderson lecture, our writer thinks of listening as a possibility to become a stranger to oneself.
An experimental podcast full of samples from KMRUs music, and snippets from an interview conducted in his house in 2020, just before the COVID-19 Pandemic. Currently sound artist and experimental ambient musician KMRU lives in Berlin.
In a 4-part series, Guy Baron reflects upon the making of his album «Post-Euphoria». Utilizing practice-based research, he examines notions of nostalgia in relation to lost experiences and club music.
How some of the most forward-thinking contemporary musicians and visual artists from the Bay Area have been shaped by the region’s social, cultural, and political landscape and how they work with these limitations and contradictions.
In this essay, the composer Constanza Bizraelli reflects on the potential of technology to channel sound practices as radical participatory action, inspired by the workshop «Resonation: To Infinity & Beyond» of the One Beat residency program.
The Festival International de Música de Alturas (FIMA) is a pioneering Peruvian initiative that brings together, promotes, and integrates the music and culture of the mountains of the world. Listen to their most recent podcasts in Spanish and Quechua.
In the essay collection «Nothing Sounds the Way It Looks» 30 writers from 17 countries reflect on their worries, dreams, and hopes in the 21st century. Inspired by the films of the 10th Norient Film Festival, divided into 8 central Norient Topics.
Musicians operate in a market that demands constant productivity and innovation. After her participation in two workshops at the One Beat Virtual residency program, musicologist Monika Żyła calls for new modes of artistic production, based on sharing rather than competition.
The term tradition has often reinforced an essentialist notion of an artist’s relationship to their origins. In an essay inspired by the «One Beat» residency program, musicologist Rim Jasmin Irscheid is struck by musicians cultivating musical heritage as empowerment.
