Monograph book by Harley Aussoleil, reflecting on the thematic and conceptual frame offered by Woven All of Dream and Error, which was first presented at Hošek Contemporary in September 2024. (Estovers Editions 2024, 84 pages, 21 x 21cm).

Woven All of Dream and Error began through a process of walking. Over the course of four years, Kata Kovács and Tom O’Doherty undertook a series of walks along the paths of now-disused railway routes in Berlin and Brandenburg, which they filmed as they walked. In these walks, they also carried portable speakers, playing the sound of machine-learning-generated audio of invented trains: sound that has been hallucinated by contemporary computational technology. The films on view are selected from the documentation of these walks. These films are explorations of traces left behind, cinematic studies of incisions in the land. They present two types of scenes. The first of these are forward-facing scenes, in constant motion, moving at a walking pace, following the traces of disappearing layers. The second are still, painterly scenes, in which a figure paces across the land, holding a speaker as they go, playing the strange and uncanny digitally-generated sounds.

The accompanying book for the exhibition Minute/Year: Seven Years, with excerpts from texts by Agnė Auželytė, Annika Haas, Ana and Sophia Tabatadze, Gabriela Gordillo, Kassandra Valencia, and Jasmina Al-Qaisi.

The works in the exhibition Minute/Year: Seven Years present excerpts from the archive generated by Minute/Year. However, beyond simply displaying serial remnants of a larger whole, they also attempt to reinterpret and reimagine this corpus in their own right. This archive can be considered as an incrementing accumulation of ghostly fragments. Through its sheer duration and magnitude, it resists attempts at direct observation. As such, any attempted excerpt is also a betrayal of the whole — a view that is more a glimpse than a gaze.

These works attempt to incorporate this paradoxical sensibility. The screen-printed works, for example, reveal, in their slight analogue imprecisions, the inevitable ambiguity that accompanies all hand-made retracings of the digital. The implicit drag and friction of the palimpsest is present, creating not so much a copy as an echo, a trace, a dub. In doing so, they reinforce the layered and recursive logic of Minute/Year as a whole, itself eternally repeating one day into the next.

Ana and Sophia Tabatadze · Curators, Halfsister Berlin · From the essay Minute/Year: Seven Years (April 2023)

A poetic essay by Gabriela Gordillo, on the threads of connection between Minute/Year and her father’s practice of taking photographs of the moon.

Both the moon and Minute/Year are part of other rhythms outside of themselves. The moon orchestrates tides, magnetic fields, and menstrual cycles; it visits many nights around the globe every twenty-four hours. Minute/Year listens to the sounds of nature, to urban environments, to indecipherable human language and humming machines. It computes from a Raspberry Pi, synchronizes with the internet, with digital platforms and with power supplies.

Essay, in Spanish, by Kassandra Valencia about Minute/Year, as part of the Revista 404 essay series of the Centro de Cultura Digital, Mexico.

Las restricciones que establecen lxs artistas al evento sonoro funcionan como una abertura fraccional desde la cual se observa el andar de la vibración sonora. La obra está en continuo desenvolvimiento y opera de manera relacional con otras fuerzas, con otros materiales oscilantes.

Introduction to the Signal Tide — Two Passes audio mix, and accompanying interview about Signal Tide, published by Los Angeles County Museum of Art as part of the 2020 LACMA@home series.

A few years ago LACMA’s Art + Technology Lab hosted a series of special music performances featuring a call and response with a live satellite. Titled Signal Tide, the work was developed to be a poetic reply to the erratic signals of LES-1, a defunct spacecraft that ceased to function in 1967 but unexpectedly started transmitting again in 2013. Signal Tide was essentially a sound and extraterrestrial radio installation, which combined the satellite’s wavering signal overhead with a special generative musical score rising up from a bed of speakers resting on the ground.

Article by Annika Haas about Minute/Year at grüntaler9 in 2019. Presented as an accompanying text for the Minute/Year: Open Minute #2, 2019 event on 20. May, 2019. Translated into German by the author as Auf die Minute kommt es an.

Minute/Year allows a remembering of the previous day, while at the same time it spurs thoughts of the following one: what will happen in this space tomorrow, at the exact same time, when today’s recording will be played back to it? This particular minute of the day can suddenly become an important moment for those who experience it in the space. Every day anew this minute holds the potential to record the most eventful — or the least interesting — archive of a particular day. Over the course of the year it becomes one of 365 snippets logging the specificity of the everyday.

Text by Josie Thaddeus-Johns, accompanying the presentation of Carried Bells at Hošek Contemporary in October 2019. Published by Textur in September 2019.

Watch from the outside; can you see the molecules shake? No, and none of us can.

Post on LACMA’s Unframed blog by Joel Ferree (Program Director, Art + Technology Lab, LACMA), coinciding with the presentation of Signal Tide in September 2017.

In developing their ‘response’ to the satellite’s ‘call’, Kata Kovács and Tom O’Doherty looked into the regional tradition of sacred harp singing, a type of choral music that traces its roots back to 18th-century New England. “The LES-1 satellite can be considered, anthropomorphically, as a weary pilgrim on a repeating journey, having left Boston in 1965 and travelled ever since,” the artists explain. “Signal Tide will allow the satellite to be serenaded with music derived from the place that it is originally from.”

Article published by the Copenhagen Architecture Festival as part of their ‘corona essays’ series about covid-19 and the built environment. An account of Remote Voices, an intervention in Minute/Year organised by Gabriela Gordillo at bb15 in Linz, Austria.

Talk given at the third biennial PARSE Research Conference, at the Faculty of Fine, Applied and Performing Arts, University of Gothenburg, Gothenburg, Sweden.

Artist talk about Carried Bells, given at Ponderosa, Stolzenhagen, Germany, in August 2019.

As part of Scope Sessions #66.

Minute/Year (2016) is an artist’s book, compiling together a series of daily notes that were written throughout 2016, the first year that Minute/Year was active as an ongoing durational work. These notes, written as daily reflections on each day’s recording, give thoughts about these recordings, about the process as it developed, and about the implications of the work – artistically, socially, personally. The book presents every spectrogram image from the entire year, and accompanies each one with the thoughts that contextualise and explain it. This writing is sometimes diaristic, sometimes conceptual, sometimes whimsical. It represents an attempt to distill thoughts about the nature of this work as it emerged, during the first year in which it ran.