Irene Revell: “These are scores…”

On August 23rd 2018, Irene Revell led a talk and workshop that brought together collective reading, group discussion and performance to explore the score anthology publication Womens Work (1975 – 78).
Womens Work [sic] is a collection of textual, instructional and propositional scores by twenty-five women, edited and self-published in New York by Fluxus artist Alison Knowles and composer Annea Lockwood over two printed issues, bringing their work into relation with the feminist movement through the medium of the score. With its decisive feminist framing, the Womens Work collection presents a significant challenge to the male-dominated history of the avant-garde performance score and in turn a formal challenge to the feminist art movement of the 1970s that tended to focus more on visual media.


Taking its title from the first line of the introductory page of the first issue of 1975, “These scores are ready for you to do”, curator and researcher Irene Revell has developed this workshop as a means of sharing and discussing these special works, and the possibilities posed by score-based performance works in a feminist context. This workshop focused on the first issue of 1975 which contains more than 35 scores by the 16 contributors, whose disciplines span composition, sound art, choreography, fine art performance, painting and astrology – with works accordingly diverse, some simple and immediate and others requiring a varying degree of interpretation, arrangement and staging.

Jez Riley French: The Choreography of Perception

The resonance of spaces, structures and situations is an increasingly important element in the creative use of located / situated sound. Working with extended field recording techniques, such as the use of contact microphones, electromagnetic coils, geophones for infrasound (low frequency) and detectors for ultrasonics (high frequency), one can not only explore this democratic development of the sonic arts but, importantly, also re-question the roles of technology and experiential listening in ones own work and the response of potential audience.


In this workshop on June 20-21st 2018, participants explored things such as the psychology of the listening response, the role of duration, the gendering of sound, the need to listen through the technology not to it, the choreography of perception (both imposed and expansive) and the line between documentation and creative individual voice.

Maile Costa Colbert: Expanded Sound Design

This workshop was an immersion in critical sound making for documentarians, sound artists and scholars. It began with a grounding discussion of sound and how it relates to time, space and place, and from there to “expanded sound design” using field recordings and archives, and later onto listening and its relationship with recording. Colbert introduced Sound Walk Walk a score for engaging with sound in the environment.

Alessio Castellacci: Sound as Touch

In this workshop Alessio guided participants through a short introduction to the science of Cymatics and the impact of sound vibration onto matter, followed by a physical warm-up to activate different ways of listening through the body. This was followed by a score for partners in which voice drones were toned directly onto the body’s vertebrae along the spine, allowing participants to experience the vibrational and tactile nature of sound.

Exploring Resonance in Metals

Exploring Resonance in Metals was a workshop that took place in February 2018 in the Royal Danish Art Academy, which involved talks by Carla Zaccagnini, Ursula Nistrup and Hans Beck, and an exploration of the resonance in metal materials. Students worked with various shapes and metals to find interesting resonances. And a chladni plate was created that could be bowed and also stimulated by an exciter with a variable oscillator.