RED SKY Japan Tour

2017
07 October Concert
John Duncan, Jim O'Rourke, Eiko Ishibashi, Joe Talia
SuperDeluxe, Roppongi,Tokyo

08 October Concert
John Duncan, Jim O'Rourke, Eiko Ishibashi, Joe Talia
Johukuji,Machida,Tokyo Curated by bigtory

09 October Concert
John Duncan, Jim O'Rourke, Eiko Ishibashi, Joe Talia
Sakuraza, Kofu

12 October Concert
John Duncan, Jim O'Rourke, Eiko Ishibashi, Joe Talia
Sake Brewery Yano Shozou/Tatsumi no Kura Saga, Kashima Curated Seitarou Umeki

13 October Concert
John Duncan, Jim O'Rourke, Eiko Ishibashi, Joe Talia
Omuta Club Fuji, Omuta Curated by Shayne Bowden

14 October Concert
John Duncan, Jim O'Rourke, Eiko Ishibashi, Joe Talia
New Combo, Fukuoka Curated by Shayne Bowden

15 October Concert
John Duncan, Jim O'Rourke, Eiko Ishibashi, Joe Talia
Kyushu University Hakozaki campus, Faculty of Engineering old main building 4F&5F, Fukuoka

17 October Concert
John Duncan, Jim O'Rourke, Eiko Ishibashi, Joe Talia
STEREO RECORDS 12th Anniversary
Club Quattro, Hiroshima Curated by STEREO RECORDS

19 October Concert
John Duncan, Jim O'Rourke, Eiko Ishibashi, Joe Talia
Guggenheim House, Kobe

20 October Concert
John Duncan, Jim O'Rourke, Eiko Ishibashi, Joe Talia
SOLMANIA
CONPASS, Osaka Curated by Masahiko Ohno

21 October Lecture +Talk + video screening
John Duncan, Takuya Sakaguchi
"Decoding Duncan Session 3 - The Black Card"
Fukugan Gallery, Osaka Curated by Takuya Sakaguchi

22 October Concert
John Duncan, Jim O'Rourke, Eiko Ishibashi, Joe Talia
Club Metro, Kyoto

MANTRA

2015 - 2017

Premiered at Oboro for Immerson7, Montreal, June 2015
Produced by France Jobin and Oboro

Also performed at:
Flussi Festival 2015, Avellino
Produced by Mimmo

St. Vitus for Swedish Energies V, Brooklyn, December 2015
Produced by Joachim Nordwall, Mats Lindström and ISSUE Project Room

Instants Chavires, Montreuil 28 September, 2016
Produced by JF Pichard

Mayhem, Copenhagen 29 September, 2016
Produced by Tobias Kirstein

Inkonst, Malmö 30 September, 2016
Produced by Elena Wolay

Fylkingen, Stockholm 1 October, 2016
Produced by Joachim Nordwall

Cirkulacija2, Ljubljana 15 October, 2016
Produced by Stefan Doepner

First Street Studio, Austin 12 November, 2016
Produced by Nayantara Bhattacharya Reed and Rick Reed for Antumbrae Intermedia

Flight Gallery, San Antonio 13 November, 2016
Produced by Keri Neff

WATCH THE VIDEO

Photo (top): First Street Studio, Austin © Michael Reust
Photo (bottom): St Vitus, Brooklyn © Peter Gannushkin

RED SKY

2016

Performed by The Kings and Ministers of KREV for the 100 year anniversary of Cabaret Voltaire, Zurich
Produced by KREV and Adrian Notz for Cabaret Voltaire

Also performed at:
AngelicA, Bologna 8 May, 2016 (TERRA AMARA)
Produced by Massimo Simonini

MAXII, Rome
Produced by Chiara Tinonin

Cirkulajica2, Ljubljana 15 October, 2016
Produced by Stefan Doepner

WATCH THE VIDEO

Photo © Nayantara Bhattacharya Reed

NARCOMANTIC

2011 - 2013
Eight-hour all-night surround-sound concerts with multiple video projections in a specially prepared room that encourages participants to sleep during the event

WATCH THE VIDEO

NARCOMANTIC Berlin
Saturday 02 November, 2013
Mindpirates, Berlin
John Duncan: 6-channel surround sound audio
Ursula Scherrer: multi-projection video
Produced by Manuela Benetton and Mindpirates, with support from Pro Helvetia

NARCOMANTIC Köln
Saturday 26 October, 2013
Friedenskirche, Köln
John Duncan: 4-channel surround audio + church organ
Ursula Scherrer: 4-projector video projection
Produced by Georg Dietzler


Photos © Ursula Scherrer


NARCOMANTIC Bologna
1 December, 2012
Raum, Bologna
John Duncan: 4-channel surround audio
Ursula Scherrer: multiple video projection
Audio podcast live by Luca Ghedini
Produced by Daniele Gasparinetti and Silvia Fanti
Dedicated to Andrea Lissoni and Silvia Fanti


NARCOMANTIC FAR
17 February, 2012
Fondazione Antonio Ratti
Como
John Duncan: 4-channel surround audio + video projection
Produced by Andrea Lissoni and Annie Ratti as a part of Dreams of Insomnia Workshop
Produced by Fondazione Antonio Ratti

WATCH THE POST-EVENT DISCUSSION

Notes by Nicola Valentino

Diario durante Narcomantic
All'inizio ho dovuto fronteggiare l'iperstimolazione sonora. Mi sono messo in posizione yoga e mi sono lasciato andare al suono, ad un certo punto il suono mi sorreggeva. Non bisognava sentire il suono con le orecchie ma con il corpo per non rimanerne schiacciati. Poi non reggendo più la posizione mi sono sdraiato. In posizione sdraiata ho sentito come uno sprofondamento del corpo nel pavimento ed ho sentito anche l'energia che mi sorreggeva. Mi sono spostato sul fianco ma non mi sono addormentato. Allora mi sono nuovamente sdraiato pancia in su con le mani poggiate sulla pancia intorno all'ombelico e in questa posizione ho cominciato a vedere delle immagini ipnagogiche: tre automobili in corsa in un tunnel… l'immagine di un edificio tipo un ipermercato, poi un complesso residenziale… un mazzo di chiavi che avevo perso ed altre immagini ancora, che al momento in cui inizio a scrivere al buio questo diario non ricordo più. D'improvviso mi sono svegliato completamente e definitivamente con occhi apertissimi e cervello sveglio e pure il corpo. Mi sono seduto in posizione yoga e le gambe sono stranamente andate subito nella posizione giusta anche il ginocchio dolorante. John ha cominciato a proiettare dei lampi di luce che mi danno molto fastidio, poi di nuovo suoni … al momento percepisco che sono sveglissimo e che questo è uno stato modificato di coscienza da iperstimolazione acustica creato per non spingermi affatto a dormire. Domani mattina dovrei essere sveglissimo. L'attuale movimento delle immagini sullo schermo è proiettivo. Ho visto un uomo faccia a terra. Una persona russa. Non è una immagine proiettiva. Russa veramente. Vedo anche un'ombra dietro sbarre. Un'ombra che si muove. Vedo particolari del corpo. E' ripreso il rumore o suono a volume alto tipo martello pneumatico o quasi. Gli stimoli oscillano, il rumore si è interrotto ora riprende una musica calma il video è spento. Ma ci sono suoni inquietanti e sibilanti, anzi si iniettano nel cervello. Pochissime persone mi sembra che dormano. Ora mi sembra ci sia una suggestione verbale, alcune parole sussurrate ma sono in inglese e non le capisco. Qualcuno russa. Prosegue la suggestione ma è incomprensibile. Nuovamente una accentuazione del suono. Anche se volontaria, il corpo in questa situazione subisce una torsione. Sono venuto come gli altri volontariamente ma non sapevo bene cosa mi aspettava. Si può fare tutto in nome dell'arte? Per l'arte le persone si sono affidate. Ora c'è stata una sovra stimolazione sonora massima. Le persone si svegliano, camminano, escono. John la elimina. Penso che osservi i nostri comportamenti. Di nuovo sollecitazione alta. Rumore altissimo, un tuono costante batte il petto. Al momento ore 12, 45 (di notte) è subentrata la noia. Alcuni ragazzi vicini a me cercano di chiacchierare. Dal nostro lato della stanza sono andati via tutti. Eccesso massimo di rumore. Quale autorità ci tiene qui? Per me ormai è una sfida, una prova di resistenza. Perché resisto invece di andarmene? E dove vado? E' anche tardi ormai. Potrei starmene qui fuori. Andando in bagno ho incontrato una ragazza. Ora se n'è andata a dormire al piano di sopra. Ritiene che questa cosa faccia male a livello cellulare. Immagini fluttuanti. Suono di fondo sordo. Le immagini per chi vengono messe? John le mette per se stesso o per chi si sveglia? Ore 2 sono uscito per mangiare della frutta. In precedenza John mi ha offerto una mela. Mi chiede se voglio un Tè. Ore 3 il suono si è fatto più sopportabile ed induce al sonno. Dopo le tre mi sono sdraiato ed ho dormito.

Notes during Narcomantic
At the beginning, I had to confront sonic hyperstimulation. I put myself in a yoga position and let myself go into the sound, at a certain point it supported me. You couldn't listen with your ears, but with your body, not to be crushed by it. Unable to hold the position, I laid down. Laying down I felt my body sinking into the floor, and I also felt the energy supporting me. I turned onto one side but still couldn't sleep. Now I'm lying on my back with both hands on my stomach around the navel, and in this position I begin to see hypnagogic images: three cars moving in a tunnel… the image of a building like a supermarket, then a residential complex… a ring of keys I lost and other images, which as soon as I start writing this diary in the dark I can no longer remember. Suddenly I'm completely awake with eyes wide open, mind and body alert. I'm sitting in a yoga position and, strangely, my legs went into the proper position right away, even with the painful knee. John has started projecting flashes of light that really bother me, then new sounds … at this moment I'm aware that I'm really awake and that it's a state of consciousness from acoustic hyperstimulation created to steer me away from sleep. Tomorrow morning I have to be wide awake and alert. The current movement of the images on the screen is projective. I saw a man facing the ground. Someone snores. It is not a projection. He really is snoring. I also see a shadow behind bars. A shadow that's moving. I see details of the body. The noise or sound is back at high volume, almost like a jackhammer. The stimuli oscillate, noise interrupted by calm music, the video off. But they're sounds that are unsettling and whistling, as if injected into the brain. Very few people seem to be asleep. Now there seem to be verbal suggestions, words that are whispered, but they're in English and I don't understand. Someone snores. I pay attention to the suggestions but they're incomprehensible. Again an accent in the sound. Even if voluntarily, in this situation the body is subjected to a twisting. I came voluntarily, like the others, without knowing what to expect. Can anything be done in the name of art? For art the people have given trust. Now there's been a maximun sonic overstimulation. People get up, walk around, leave. John eliminates them. I think he's watching our behavior. Again a high stimulus. Really loud noise, a constant thunder hits the chest. At exactly 12:45 (AM) boredom took over. Several kids near me try to talk to each other. Everyone from our side of the room has gone. Extremely loud noise. What authority keeps us here? By now, for me it's a challenge, a test of resistence. Why do I resist and not leave? Where would I go? And anyway, it's late. I could stay out here. Going out to the bathroom, I met a girl. She went upstairs to sleep. She is convinced that this event causes harm at the cellular level. Fluctuating images. Muffled background sound. Who are the images for? Is John playing for himself or for whoever's awake? At 2:00 I left to get some fruit [in the next room]. Before that, John offered me an apple. He asked me if I wanted some tea. At 3:00 the sound became more bearable and induced sleep. Sometime after 3:00 I laid down and slept.

--Translated by John Duncan and Nicola Boari

PRAYER 13

Surround sound audio composed from image files of my toilet translated to audio

John Duncan last night was sublime. Sudden start (and end, no messing with fancy fade-ins or outs), I sensed impatience and a sense of putting things in order. Horror organ cuts, straight through like a giant wound, slowly peeling away into a grand, soothing series of half-spheres and dish shapes...giant scale minimalist architecture, let's say.
--Andy Bolus



Friday 13 September, 2013
l'Echangeur
Paris
Curated by Jérôme Noetinger
Produced by Instants Chavirés

Friday 01 November, 2013
CodaLunga, Vittorio Veneto
Curated + produced by CodaLunga

Thursday 07 November, 2013
Nefertiti, Gothenburg
Produced by Joachim Nordwall

Friday 08 November, 2013
Fylkingen, Stockholm Produced by Joachim Nordwall

Saturday 09 November, 2013
Mayhem, Copenhagen
Produced by Tobias Kirstein

Wednesday 13 November, 2013
ZKM Klangdom, Karlsruhe
Produced by Till Kniola

Tuesday 19 November, 2013
Einstein Kultur, München
Produced by Horst Konietzny

Tuesday 26 November, 2013
Auditorium Comunale, Cagliari (photo)
Produced by Alessandro Olli for Signal Festival: da dove sto chiamando
Photo © Stefano Guzzetti

Friday 9 May 2014
Alte Schmiede, Vienna
Produced by Volkmar Klien
Recorded live for 4-channel broadcast over Kunstradio, ORF on Sunday 11 May from 23:03 UTC+2
Produced by Elisabeth Zimmermann

Joe Talia, Jim O'Rourke and Oren Ambarchi with John Duncan

13 March, 2013
Super Deluxe, Tokyo
Produced by Mike Kubeck

Live recording of the first performance of STAY ALIVE included on YEAH LP released on iDEAL, Gothenburg

Photo © Mike Kubeck

HIJOKAIDAN + JOHN DUNCAN

10 March, 2013
Super Deluxe
Tokyo
Produced by Mike Kubeck
Photo © Yuko Under

JOHN DUNCAN at SUPER DELUXE

Solo 4-channel surround concert
10 March, 2013
Super Deluxe
Tokyo
Produced by Mike Kubeck
Photo © Yuko Under


LIVE at BLACK BOX

20 January, 2012
Black Box
Los Angeles
Solo concert curated by Liz Glynn in cooperation with Pacific Standard Time, produced by The Getty Institute


Photo © Fredrik Nilsen

THE LOWEST FORM OF MUSIC:
LAFMS at Beaconsfield

23 - 25 January 2009
22 - 24 October, 2010
Beaconsfield
London

Solo concert with videos in exhibition and member of Joe Potts' AIRWAY

Also performing: AIRWAY, Tom Recchion, Extended Organ, Dinosaurs With Horns, Le Forte Four, Smegma, The Tenses, Hijokaidan, Incapacitants, Morphogenesis, Mark Durgan with Spoils and Relics, Raionbashi & Kutzkelina, Bill Kouligas with Joseph Hammer

Produced by Harbinger Sound, Second Layer Records, No-FI and Sound And Music in cooperation with LAFMS.com


AIRWAY sets up: (left to right) Rick Potts, Takuya Sakaguchi, Tom Recchion, Dennis Duck, Vetza Trussell, Ace Ferren Ford, John Duncan, Danny Gromfin


Photos © John Wiese

The GRATEFUL

21 November, 2009
Gramercy Theater
New York

John Duncan and 30-voice chorus included in A Fantastic World Superimposed on Reality: A Select History of Experimental Music
Performa festival 2009
Curated by Mike Kelley
Produced by Mark Beasley for Performa

Chorus included Andria Alefhi, Floanne Ankah, Katherine Bauer, Ed Bear, Lea Bertucci, Miranda Bushey, Amanda Boekelheide, Victoria Cho, Laura Cossa, Tyler Dusenbury, Melissa Guerrero, Pedro Jimenez, Mikey IQ Jones, Sarah Ann Karp, Maria Levitsky, Kelsey McFalls, Leyla Mesic, Billy Miller, Jen Poueymirou, HaQuyen, Melissa Rocha, Chris Rice, Urban Schwegler, Matthew Silver, Jim Thirlwell, Tradon Turner, Sasha Vine, Anna Gurton-Wachter, Randal Wilcox and anonymous audience members.

Unexpectedly, the entire theater goes completely dark.
For several seconds everyone sits in silence, blind.
Duncan and the chorus members, sitting throughout the audience, begin to to whisper to themselves.
In a moment, continuing to whisper, they stand up in the dark and undress loudly enough for the strangers sitting near them to hear. Nude or semi-nude, they turn to the strangers and start screaming.
Some stand up and scream back. Cellphone camera strobes flash throughout the audience. Screaming and strobes continue for several minutes.
Then whispering again, Duncan and the chorus move through the crowd to the exit to end the event.

NOCTURNAL DENIZENS

20 June, 2009
John Duncan and Carl Michael von Hausswolff
Wilton's Music Hall, London
Included in Cut and Splice festival
Produced by Richard Whitelaw for Sound and Music in association with BBC Radio 3
Participants included Brandon LaBelle (with Matthew Lee Knowles), Jason Lescalleet, Bob Levene, Alvin Lucier (with Anthony Burr), Aki Onda


Photo © Robert Worby

The HIDDEN

21 February, 2009
Lampo
Chicago

Cinema for the blind.
4-channel surround solo concert for white noise, distortion, voice and controlled feedback.
Produced by Andrew Fenchel


Photos © Alex Inglizian

Comments from Bryan Lewis Saunders' blog:
This was my first feasible chance to see John Duncan perform live, and it was well worth the 10 hour plus drive.

As "The Hidden" was to be presented in 4-channel surround sound, John instructed Nicole and I to sit as close to the middle as possible. I closed my eyes and as soon as it began, my thoughts became focused solely on my own physical presence and remained so throughout the duration of the performance.

The first 10 minutes were loud and caused an unsettling swelling pressure in my upper torso. It felt like I was being "acted upon" as Nicole put it, but unlike an assault, the sense of imminent danger was somewhat limited. Within a short amount of time the physical pressure began to move slowly but fluidly, and it felt as if the empty spaces between my organs were being filled with plaster, bonding my heart, lungs, liver and diaphragm into one solid mega-organ. The correlation between the physical sensations and the sound was really strong, and as the loud sound moved around and dissipated, so too did the enormous tension in my chest, but the now heightened awareness of it never left. In the beginning, I opened my eyes for a split second several times, but because the main part of the audience was divided into two closely seated sections, facing each other, it became impossible for me to keep my eyes open. The sonic experience at times seemed to warrant me opening my eyes, but whenever I did so, I saw the squadron of seated strangers facing me, and I found myself trapped in a psychological space that was unnerving to say the least and I would look down and close them again instantly. So back into the dark I went and back into the body (Afterwards, Nicole noted a similar experience with the seating, so I know that it wasn't just me).

The next wave of sound brought the tension to my spine and it rapidly advanced up the back of my neck through the base of my skull, uniting the spinal chord and lower brain into a single entity. Surprisingly, the forebrain remained separate and seemingly unaffected, oblivious to any stress, feeling light and even delicate. I say "surprisingly" here because it was extremely unusual to feel such a thing, in only the back half of my brain.

Then a narrative of instructive vocals was introduced. By now I was entirely preoccupied with what was happening to me physically, so the words were for the most part disregarded, though certain words did jump out at me from time to time only to enhance the physical awareness of my body. For example, upon hearing the word "temperature", I became conscious of the heat that this sound/stress had been generating. The upper torso was hot, my Central Nervous System was now hot, and the third and final wave of stress/sound had localized itself in the pit of my stomach, and now all three regions seemed to be burning. Having suffered from debilitating stress for most of my life, I welcomed a new idea that such a dreaded phenomenon could actually be interpreted in a positive light, as a heat generating source of vitality and energy and life, and my thoughts then turned even more positive and to that of the chakras, and I so hoped that the remaining groin and forebrain regions would be "acted upon" next and quickly and I now resigned myself to yield to a grand spiritual experience.

But all that was thwarted when the word "cold" snapped me back and I was instantly drawn to the fast dropping temperature loss in my extremities, skin, legs and arms and then a great thermostatic battle ensued within me. The heated Inner parts remained isolated, disconnected and thriving unto themselves, yet caught up in competition with the surface and outermost parts of my body which were now amalgamating to form a cold and lifeless shell around me. I remember thinking, "If the hot parts lose I'll be dead". I then began to take in some of the push/pull repetitive directional words I was hearing like "forward" and "back" and I heard a footstep, and thinking that it came from right next to me, I tried to make some of my own footsteps but couldn't, I even tried lightly stomping and became frustrated that I was deaf to my self.

So my mind continued to be pushed and pulled around, confined to the inside and outside of my body and then a wonderful surprising cascade of white noise rained down upon me, giving me chills and a much welcomed spectacular pressure release unifying my entire physical self, leaving me with a warm extremely pleasurable feeling of well being, as if I had just had a Turkish Bath.

Looking back now I see even more similarities between the two. In the context of a social gathering, the awkwardness of being nude amongst strangers and the urge to not look or be looked at in a Turkish Bath, was replaced by the uncomfortable, to not look or wish to be looked at "face off" seating arrangement during "The Hidden". I can also see similarities in that both could be thought of as a sort of ritual cleansing. There are several stages to the process of a Turkish Bath: First, one enters a sauna like "warm room", then an almost unbearable "hot room", and then the splashing of cold water over one's self followed by a full body wash, and a "push/pull" type of massage, and lastly one spends time in a relaxing "cooling room". Throughout the performance I experienced these same rooms in almost precisely the same order, the only difference being that these rooms came in the form of sound waves and never once did I have to move. I don't regret forfeiting the majority of dialogue presented, the physical journey I undertook was by itself enlightening and the parts of dialogue that did get through in fact made "The Hidden" that much more enriching.

The GROTTO

30 August ~ 2 September, 2006
Palazzo Appiano, Piombino

4-channel surround sound concert to accompany the audio installation with six channels in a room of the Palazzo Appiano rendered completely dark. Inside the installation: shortwave mixes and a consenting adult couple having long, very satisfying sex.
Included in Piombino eXperimenta 2, sponsored by the City of Piombino.
Produced by Marco Formaioni. Curated by Gianluca Becuzzi.

THERE MUST BE A WAY ACROSS THIS RIVER
A Valentine's Day Dedication

14 February, 2009
Sant'Andrea degli Amplificatori, Bologna

Solo concert for voice, controlled feedback, 2-channel open-reel tape and active room refrigerator
Produced by Luciano Maggiore, Dominique Vaccaro and Domenico Grenci

In the coldest season of the year with subzero temperatures outside, an industrial room refrigerator steadily turns the air of the windowless basement space from cold to colder, then colder still. The room is lit by a single candle, extinguished when the audience has finished moving in to sit on the tile floor. In total darkness, they hear these words repeat and fade from the tape looped across the ceiling:


There must be a way across this river

A corridor leads to a descending ramp,
to a larger chamber,
to another corridor,
always sloping downward.
The temperature grows colder as we descend,
moving deeper underground.
The cold becomes unbearable.
We turn around to go back --
but the corridor has changed,
turned into larger rooms that lead
to a vast, cavernous sanctuary,
a place of worship,
much larger than any structure we have ever imagined.
The entire hall is deserted.
The air is warm but the devotion to worship feels naïve;
to grow it is necessary to move on.

Now I find myself with a woman I know and do not know,
my tongue sliding slowly inside her,
taking pleasure from giving her pleasure.


Poster design by Domenico Grenci

The CARNIVAL

Premiered 07 February, 2009 at Area Sismica, Forlì
Manuel Zurria, piccolo
John Duncan, oscillators

Composed by Manuel Zurria and John Duncan

Based on the inner-ear effects of tinnitus, amplified and interwoven to interact aggressively with the acoustics of the performance space.


Photos © John Duncan

PHANTOM BROADCAST acoustic


Arranged for and with the musicians of
Ensemble Phoenix Basel


Premiered 05 June, 2008 at Gare du Nord, Basel
Photo © M. Pasut
Performance at Dampfcentrale, Bern on 6 June, 2008
Produced by Daniel Buess

Composed and conducted by John Duncan

Christoph Bösch, flute
Daniel Buess, perussion
Michael Büttler, trombone
Rafael Camenisch, saxophone
Aleksander Gabrys, double-bass
Maurizio Grandinetti, guitar
Jürg Henneberger, prepared piano
Thomas Peter, electronics
Toshiko Sakaibara, contra-bass clarinet
Beat Schneider, cello


16 May, 2009 at Teatro San Leonardo, Bologna
Included in Angelica Festival 2009
Produced by Massimo Simonini

Conducted by John Duncan

Christoph Bösch, flute
Daniel Buess, perussion
Aleksander Gabrys, double-bass
Maurizio Grandinetti, guitar
Jürg Henneberger, prepared piano
Thomas Peter, electronics
Toshiko Sakaibara, contra-bass clarinet
Beat Schneider, cello
Samuel Wettstein, Hammond organ





JDXO

John Duncan and Extended Organ
14 July, 2007 at Five Thirty Three, Los Angeles


Extended Organ:
Joseph Hammer, tape, electronics
Mike Kelley, perussion, voice
Paul McCarthy, voice
Tom Recchion, laptop, zither
Joe Potts, optagon

John Duncan: solo

All: percussion jam



Photos © Wild Don Lewis

SOMETHING LIKE SEEING IN THE DARK

25 January, 2007 at Palazzo Re Enzo for Netmage 07, Bologna

John Duncan: 4-channel surround audio, 4-screen video projections, voice
Leif Elggren: voice

All texts written by Leif Elggren and John Duncan
DVD video of the event produced by Studio Alquestions, Bologna


Photos by Luca Ghedo

John Duncan and Alfredo Costa Montiero

John Duncan: 4-channel surround audio
Alfredo Costa Montiero: harmonica, turntable

Premiered 27 May, 2006 at the Musica Generica festival, Szczecin
Also performed on 26 November, 2006 at the Church of St. Giles, Cripplegate, London for the Atlantic Waves festival


Photo at Atlantic Waves © David Maranha

ONE HOUR AS IF IT WERE PASSING IN SECONDS

Solo radio broadcast
ONE HOUR AS...
Produced by Ben Green
Resonance FM, London