Good morning. Great. Nice seeing you all here. It's an early morning start. But lovely that we do have the room half, or getting fuller and fuller. Yes, nice. So I'm really happy to be herding you all in here for this first session here at AMRO, starting off with a bit of a discussion. We will have first a presentation by Elliot, who will be talking about today's workshop. So that's also a kind of a call-out. That's also a kind of a call-out for the workshop today. I think it's two o'clock. For anyone who wants to come along, the weather is, I think, pretty perfect. It's going to be a walk through Linz, so Elliot will introduce you in a minute to the workshop. And then I will introduce you quickly to two presentations. One is going to be a film screening, about half an hour with a kind of a lecture performance and then we have another discussion around the material dimension of clouds. So the first one is on insurgent flows, trans, decolonial and black Marxist future videos. That's the future, that's the video. And then the second one and Flows, Trans, Decolonial and Black Marxist Futures Videos. That's the future, that's the video. And then the second one is going to be about the material dimensions of the clouds. We have then five people sitting on the panel and we were just discussing Elliot, because it kind of fits, if you don't mind joining in the discussion, we may also invite you then onto the panel. So we might have then a sixth panelist as well. And I'll try to run around with the microphone while Kim is moderating the session, trying to get your questions. Now we do start with the presentation of Kim. Not Kim, sorry, I'm mixing it up again. Elliot, I did it before. I actually went to look for Elliot and I asked Elliot, are you Kim? And then I realized, no, Kim is actually sitting here and Elliot is there. So I start with Elliot. Elliot Perkins is a member of the Ultra Red Collective, a long-term anti-racist organizer based in the rural coastal southwest England. He is increasingly working around migrant justice struggles with asylum seekers housed by the Immigration Authority. For some 15 years, Elliot has investigated the question, what is the sound of the border? And the workshop he's leading today has a pretty similar question, which is, what is the sound of the conflict we cannot hear? And briefly, and I think Elliot will then talk a little bit more about it, but the blurb, which kind of is on the website for all of you, I'll just read it quickly out, says, we will interrogate how war and conflict and the normalization structure life in the city in ways that require silent, intentional listening, tracing our relationships to and investments in places where struggle and conflict are manifest. We will listen from and through these intentions. What do we hear? And I think this is really also kind of an invite to collect these kind of sounds because it is kind of, as far as I understood from Elliot, now kind of the start of the project with the Arts University here. And he would be more than happy to also get your inputs. So Elliot, please, I invite you, and then we go on with the panel. Hi, I'm Kim, I'm Elliot, whichever you would like, you choose. I'm Elliot, whichever you would like, you choose. So I'm just here to give a brief kind of introduction to, sorry, I was in the wrong place, a brief introduction to what we are proposing, inviting today. So just to recap, I'm a member of Ultra Red, which is a long-existing collective, lazily perhaps designed, designated as a political sound art collective. I think if you ask everybody in the group what that means, you'll get as many different answers as there are members. But we work together, I think, best when, if we describe that there is a fidelity to practices of sound and listening so instrumental in all of our work in Los Angeles in New York in the UK and in Germany from time to time we're engaged in very different struggles and different contexts but central to all those things is a fidelity to these practices of collective listening as a means to investigate social conditions and ultimately to transform them. So I think most of us would sort of say that the emphasis is on the political rather than the artistic. Nobody is professionally an ultra-red. It's something which we all do out of a commitment to struggles in the localities that we all find ourselves in. And if you, you know, a brief kind of overview of that work would be beginning in the struggles around HIV and AIDS in the 1980s in the States, going on through there into housing as these kind of complexities in these struggles unfold and different needs come in to working much more around questions of migration and at some point in the 2000s we get a kind of shift from ultra red's sort of traditional kind of, if you like, a past life of thinking about sound as composition, if you like, organised sound, composition as organised sound, to a practice of organised listening. So we kind of flipped the work we did from that kind of composition work, which we used to have a life as a kind of techno group and used to perform compositions made out of some of the sound objects from those investigations, to thinking much more around how we're embedded in our context and where those sounds actually are drawn from, to the processes that we use in those contexts to organise. So the focus became much more on processes of collective listening, if you like. And that's today what I'm going to sort of experiment with a bit. So it's important to say I'm not here on my own. I'm here with Ayaan, who's been working alongside me and Alessandra at the Arts University in the Space and Design Strategies School. So we have some students which have already embarked on this question, what is the sound of the conflict we cannot hear? And the origins of this question lie in a desire to perhaps question this sort of culture of denialism that we're kind of up against at the moment around conflict. Here in Linz there were a few efforts to do things in the university around the war in Palestine which had been shut down which led to further deeper conversations around why is it so hard to have a conversation about war and conflict in this space in particular sgyrsiau mwyaf o amlwg o ran pam mae'n anodd cael sgyrsiau am war a chyflawni yn y ystafell hon yn benodol i ffwrdd o ffynnu ar y ffordd byw mwyaf, os ydych chi'n ei hoffi, y cyflawni rydyn ni i gyd yn y sefydliad neoliberol, yn y system iechyd, yn y in the fabric of urban life. So we have conducted one phase of this investigation already with students, which took them on a sound walk through Linz, which was specifically aimed at bringing our intentional listening to contested spaces here in the city, ones which may not be so obvious ein gwrando yn ystod y lleoliadau yma yn y ddinas. Rhai o'r lleoliadau hynny ddim yn mor amlwg ac rhai o'r lleoliadau hynny ddim yn fwy na'u gwneud yn amlwg, ac mae'n gallu dod yn dda i'w ddysgu. Felly roedd y gwrthwyneb yn rhoi cynnig ar gy o rhai o'r maesau y byddem yn awyddus i ymchwil. Ac yn ystod hyn, mae'r cyflwyniad hwnnw arall o'r sefydliad y Unedig, os ydych chi'n ei hoffi, yn cyfle i'w ddod i mewn i'r maes arall i allu cymryd y cymorth. Felly, rydym wedi gwneud ychydig o waith i fynd allan i bobl sy'n ymgysylltu â'r anoddau yma i ddod â ni, ac hefyd i'r myfyrwyr eu bod wedi'u gwneud i ddyfynu rhai o'u cwestiynau o ran rhai o'r rhai hynny, ac yn gyffredinol i ddod â'r net hwnt yn fwy. Felly, byddwn i'n dweud nad yw hyn yn rhywbeth sy'n bodoli yn y cychwyn y broses honno, ond nid yw'n rhywbeth sy'n arwain i ni heddiw, ac mae hefyd yn rhywbeth rydyn ni'n gobeithio nad yw'n arwain i ddau amser y broses y brifysgol. Rydyn ni'n gobeithio bod ymchwil yn ystod ymchwil yn y ddinas Lince, o fewn myfyrwyr, o fewn pobl sy'n gweithio yn y straeon o ffrwng, o gyfnod oed, o gofal iechyd, in struggles of migration, of incarceration, of healthcare, of wherever we might find that war, that conflict, to triangulate these relationships and try to build solidarity across these kind of struggles, these questions. So the invitation today to join us on the listening walk would be that we would gather together and spend some time mapping. So in discussion, making suggestions, making propositions as to where we might go to answer our question, to hear the sounds of the conflict that we cannot hear. Once we've mapped, we will walk that route and bring our silence if you like to those spaces to listen intentionally and in doing so we're performing a listening so this is taken from many older ideas from you know draws from popular education technologies from john cage's 433 lots of different things o wahanol bethau wedi'u gwblhau i'r cyfnod hon o ddod â'ch sylwad a chyflwyno a gwrando yn ffordd sy'n bodoli yn ystod y cyfnod hon. Yn ystod y cyfnod hon, byddwn yn gwneud obiect sŵn o'r gwrando a gwrando. Felly byddai'n cael ei ddefnyddio yn fyr o'r cy ddatblygu fel recordio audio, i'w ddefnyddio ar rhai safonau ar ddiwedd, gallu cael ei ddefnyddio mewn agor arall, gallu cael ei roi meysydd mewn agor gyda'i gilydd, ond i wneud document o'r foment hwnnw o glywed. Yn aml, mae hynny'n ein gallu ein gosod yn ddwylo i mewn i'r pwyntau eraill, os ydych chi'n hoffi, yr hyn a wnaethom ni'n ei glywed yn y foment hwnnw. Ac mae hefyd y ffordd yw'i glywed yn y foment hwnnw ac hefyd mae'r ffeind o effeithiolwch, y effeithiolwch ysgafn, o ddod o unwaith i gael ei gael i gael ei gael i gael ei gael i gael ei gael i gael ei gael i gael ei gael i gael ei gael i gael ei gael i gael ei gael i gael ei gael i gael ei gael i gael ei gael i gael ei gael i gael ei gael i gael ei gael i gael ei gael i gael ei gael i gael ei gael i gael ei gael ei gael i gael ei gael ei gael i gael ei gael ei gael ei gael ei gael ei gael ei gael ei gael ei gael ei gael ei gael ei gael ei gael ei gael ei gael ei gael ei gael ei gael ei gael ei gael ei gael ei gael ei gael ei gael ei gael ei gael ei gael ei gael ei gael ei gael ei gael ei gael ei gael ei gael ei gael ei gael ei gael ei gael ei gael ei gael ei gael ei gael ei gael ei gael ei gael ei gael ei gael ei gael ei gael ei gael ei gael ei gael ei gael ei gael ei gael ei gael ei gael ei gael ei gael ei gael ei gael ei gael ei gael ei gael ei gael ei gael ei gael ei gael ei gael ei gael ei gael ei gael ei gael ei gael ei gael ei gael ei gael ei gael ei gael ei gael ei g ear. We will then come back and perform this exercise of literally exhausting that listening through this repeated question of what did you hear? And that will be a capturing of basically everything. And when I say everything, there is no right or wrong way to listen, is if you like, the kind of pretext to this exercise. Soinydd hwn. Felly gwrando drwy unrhyw llens y gwnaethoch chi ei fod yn ddefnyddiol. A byddwn yn ceisio drawi'r holl hyn hwn i lawr a'i casglu. Ac pan fydd gennym ymddygiad hwnnw, mewn rhyw ffordd, sefydliad ail-eillio thematig o'r hyn a wnaethom ei glywed, a allai ar y tro arall ddod â cwestiwn arall. Gallai ei gynnig i ni edrych ar ein cwestiwn o'n ddechrau which could then in turn invite another question. It could invite us to look at our original question and say, this question isn't particularly useful, we can move on from it, or we need to deepen this question, or perhaps the authors of this question are not the only people that should be in the room, there should be other people in the room. Who is the listener? Who do we want to say this this to so that's the kind of open part of this exercise where that will all be up for grabs as to how the next step the next iteration is then thought about conceptualized and how people work together towards that end so again we using this kind of popular education device of reflection Yn gyntaf, rydyn ni'n defnyddio'r ddewis addysg fwyaf o ddysgu, sy'n ymwneud â'r gweithrediad. Yn ymwneud â'r gweithrediad, bydd y peth nesaf yn ymwneud â brofiad unrhyw gweithrediad sy'n dod allan o hyn, a bydd yn gobeithio y bydd yn cymryd ei lleoliad ar ddiwedd y mis yn Memphis, sef ystafell gelf yn y ddewis yma. Mae'n rhaid iyd o gwmpas y cwestiwn hwn mewn diwydiant. Gyda rhai fath o gyflwyno o'r hyn rydyn ni'n dysgu heddiw a'r hyn rydyn ni'n ei wneud o heddiw a rhai o'r recordiaethau hynny, sut rydyn ni'n eu gweithio i ddilyn, os ydych chi'n hoffi, ymchwil, a fyddwn ni'n gobeithio y bydd yn arwain. Mae'n bwysig dweud bod gwaith Ultra Red yn ffordd o sefydlu yn ffordd hir yn hytrach na chyfnodau cyflym. Felly rydym yn gobeithio, ac mae'r cyflwyniad yma a'r pwynt o ddiddordeb yw, os ydych chi'n seiliedig yn Lyns ac yn gweithio mewn y math hwn o anoddau, dyna un ffordd i mewn i hyn, chi'n gwybod, o ran pwynt gweithredu bob dydd y ddydd, chi'n gwybod, rydyn ni'n dod o lefydd o ddychmygu, o ddyfyniad, o ffateg, o chi'n gwybod, pam y dywedwn ni'n gwneud hyn, neu a ydw i hyd yn oed yn teimlo fel ydw i'n ymwneud â'r anodd y wnaethom i mewn i unwaith mwy. Dyna un ffordd i chi, chi'n gwybod, i fynd i mewn i hyn, i efallai i ffrychioli neu ffrustredu eich cysylltiad â'r gwaith rydych chi'n ei wneud, y straeon rydych chi'n ei ymgysylltu â, y cydweithwyr rydych chi'n ei wneud, y cydweithiau rydych chi wedi'u adeiladu. O arall, i unrhyw un sy'n bosib i ddysgu, mae'r technolegau hyn o glywed yn cael eu tynnu i ffwrdd agored, ac maen nhw'n cael eu cynnig i ffwrdd â'w hysbysebu ac i symud ymlaen o'r blaen. Felly os oes unrhyw un sy'n bwriadol o ran ystyried beth fyddai'n ei olygu i ddod o hyd i'r cyd-destun i fyny. Oherwydd gallwn ni i gyd enwio problem. Gallwn ni i gyd ddychmygu golygfeydd mewnol i'r problemau rydyn ni'n eu hwynebu yn ein cymunedau ein hunain. Ond mae hynny'n gyflawni sgwrs gwahanol. Rydyn ni'n gosod y pethau hynny'n ddiweddar drwy eu llenwi gyda'r go iawn a'r cyfranogwyr gwrtaith. Felly dyma ffordd i agor y pethau hynny a chael ymddiriedaeth. Byddai'r syniad yma o fod i ddod i'r pwyntiau oahanolwg, o wahanolwg. Felly mae'r broses hwn yn cymryd i ogystal, neu'n cymryd i'w gynnydd, os ydych chi'n hoffi, â phroblem cyd-destun. Mae'n hawdd bod yn anodd ac yn meddwl, wel, rwy'n gwybod beth rwy'n ei wneud. Rydym i gyd yn ymwneud â stopio ddewiswchion. Felly, i'r amser y byddw gwelwch chi lawer o bobl mewn ystafell a dechrau i gyflawni'r problem honno gan ofyn i bobl beth a wnaethoch chi ei glywed. Ac mae pobl sydd wedi gweithio mewn y cyd-destun ychydig, efallai am 10 mlynedd, yn clywed rhywbeth yn wahanol. Ac yn y ffordd hon, rydyn ni'n dod allan i'r fomentau hynod o ddiffygolwch, y pwynt gwirioneddol yw gwneud y rhain yn pedagogol. It's not to let it fold down into antagonism or to resolve those problems. It's if you like to inhabit a contradiction together in the interest of making those contradictions pedagogical, that we can learn out of them, that we can actually deepen our understanding of something. So all of that in three or so hours, four hours this afternoon. It's a holiday. It's sunny. I don't know if that's with us or against us at the moment. It tends to kind of empty cities out. So it will be a strange kind of way. But maybe it allows us to bring more focus to a quiet Linz, if that be the case. I'm not sure what. I'm sure Linz goes absolutely crazy and it kicks off in the streets on a bank holiday. Anyway, that's the invitation to join us for that. Dwi'n siŵr y bydd Lynce yn mynd yn hynod o'r hynod o'i ddifrif ac yn cychwyn yn y strydau ar ddiwedd y banc. Ond, mae hynny'n y cyflwyniad i ddod â ni i'r ysgol hwn ystod y dydd, o ddwy i'r chwe. Felly byddai yna gwaith ymgynghau, gwaith trafod, cynllunio, mynd allan i'r ddinas i fyny, gwrando at ei gilydd, dod yn ôl, ymchwilio ar hynny, prosesu hynny a chael ffyrdd i fynd o hyd i yna. Felly, mae pawb yn ddiolch. Nid oes profiad yn angen. Rwy'n yn ffwrdd yn y cyd-destun hwn o ddata setiau, tech uchel a rhaglenni. Mae ffôn ffôn cymdeithasol ddigon i wneud y gwaith hwn. Yn y gwirionedd, dyna'r rhan uchel o'r ffôn. Y ffôn ffôn cymdeithasol yn ddigon i wneud y gwaith. Yn y gwirionedd, dyna'r rhan uchaf o'r cwmpas. Y ffôn ffôn ffôn ffôn. Felly, yn ddiwylliant, o ddysgu cyffredinol sy'n dod o... Mae addysg cyfoethol yn dod o Gymru. Mae'r syniad yw bod y pethau hyn wedi'u gwneud yn gyflawniol iawn. Felly, nid oes gwybodaeth o sain neu recordio neu unrhyw beth yn angen i chi gymryd rhan yn y gweithdy. no knowledge of sound or recording or anything particularly necessary to take part in this workshop. Just bring your intention and your ears to the work and that should be enough. Any questions or I manage to... I'm worse at the lectern, that's my kind of my dread, so I'm around, I'm me, I'm not Kim, I'm Elliot. So basically, you know who I am. So if you'd like to stop me during the day or whatever, ask a question, it's fine. Yeah.