Julian Day

University of Oxford, The Ruskin School of Art, Graduate Student

Yale University, Film and Media Studies, Graduate Student

Columbia University, School of the Arts, Alumnus

The University of Sydney, Sydney College of the Arts, Alumnus

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artist / composer / writer
Supervisors: Seth Cluett, Joyce Hinterding , Onyeka Igwe , Caleb Kelly , Miya Masaoka, and Harold Offeh
Phone: +1 9294240738
Address: New York

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Papers by Julian Day

Disco Demolition Night (what you do to me)

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24 Hour Choir: Towards a Civic Ethics in Improvisation

Contemporary Music Review

24 Hour Choir was a participatory sound project in which over one hundred members of the public s... more 24 Hour Choir was a participatory sound project in which over one hundred members of the public sustained the human voice, uninterrupted, across an entire day. The location was the politically fraught area of The Rocks in Sydney, Australia, from which long-standing social housing tenants had recently been evicted. 24 Hour Choir responded to this situation by establishing a sonic means to build solidarity. Singers followed several open-ended instructions that required them to develop individual cooperative strategies inducing a form of civic duty. The results, sonically influenced by the shifting ambience of the city, became a real-time mapping of social relations. 24 Hour Choir is part of the project Super Critical Mass which brings together temporary communities to undertake shared sonic actions in public spaces. Each event is a structured improvisation in which participants’ skills become the parameters for a memorised, behavioural algorithm, extending precedents by Cornelius Cardew and Pauline Oliveros.

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Simon Whetham, et al.ROBIN HAYWARD: Stop Time. Robin Hayward (tuba), Pieter Matthynssens (vc) and Bertel Schollaert (sax.). Important Records IMPREC436

Tempo, 2016

and bringing them to a close that is undeniably human. Moore’s works are gradually yet constantly... more and bringing them to a close that is undeniably human. Moore’s works are gradually yet constantly morphing into new states, so that you shake your head and realise you have arrived somewhere entirely different, without realising how you got there. Rather than a simple movement from A to B, her musical structures feel like a vast framework of gears through which one may shift in multiple dimensions – not so much a straight line, then, as a spiral, and at the pit of the spiral it opens out, and we are yet again standing at the edge, looking out.

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From You to Me and Back Again: Interdependent Listening and the Relational Aesthetics of Sound

Leonardo Music Journal, 2016

ABSTRACT This article outlines a mode of contemporary performance based on “interdependent listen... more ABSTRACT This article outlines a mode of contemporary performance based on “interdependent listening.” Interdependent listening involves creating performative feedback loops in which players respond directly to the sounds they hear others make. Most ensembles deploy such listening to some extent; however, the distinction between general ensemble playing and interdependent listening is structural, describing situations in which the interdependence generates the content. This socially driven approach can be observed historically in works by Christian Wolff, Cornelius Cardew and Pauline Oliveros and underpins recent works by the author of this article, particularly within the project Super Critical Mass. In Super Critical Mass events, temporary communities use homogeneous sound sources to create works whose structures evolve from the performers’ interconnections.

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Sensing Sound: Singing & Listening as Vibrational Practice by Nina Sun Eidsheim. Duke University Press, 2015. $89.95 (cloth); $24.95 (paperback)

Tempo, 2016

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Disco Demolition Night (what you do to me)

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24 Hour Choir: Towards a Civic Ethics in Improvisation

Contemporary Music Review

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Simon Whetham, et al.ROBIN HAYWARD: Stop Time. Robin Hayward (tuba), Pieter Matthynssens (vc) and Bertel Schollaert (sax.). Important Records IMPREC436

Tempo, 2016

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