{"id":190,"date":"2017-11-21T04:04:38","date_gmt":"2017-11-21T04:04:38","guid":{"rendered":"https:\/\/sagepbbbt.wordpress.com\/?page_id=4"},"modified":"2024-01-03T12:42:38","modified_gmt":"2024-01-03T12:42:38","slug":"artist-cv","status":"publish","type":"page","link":"https:\/\/sage.craigpedersen.com\/blog\/artist-cv\/","title":{"rendered":"Artist CV"},"content":{"rendered":"\n

pdf version – Sage Pbbbt artist CV<\/a><\/p>\n\n\n\n

My research explores extra-normal vocal techniques, particularly influenced by Tuvan, Mongolian and Inuit sound cultures and how vocal free improvisation might intersect with (chaos magick) ritual work and Buddhist insight meditation.<\/p>\n\n\n\n

As a researcher I have interests in feminist, queer and trans politics, intersectionality and ethical engagements with postmodern culture(s), with a focus on writing against normative narratives. A critical engagement with the ethics of performance, cultural appropriation and privilege form the core of my praxis.<\/p>\n\n\n\n

Education<\/h2>\n\n\n\n

2019 PhD (Music) West Australian Academy of Performing Arts. Thesis title: Giving voice to the extra-normal self with the extra-normal voice: Improvised exploration through the realms of shamanic chaos magick, insight meditation and gender performance<\/a><\/em>.<\/p>\n\n\n\n

2009 MLitt (Modernities) Glasgow University. Thesis title: Blood and guts: Misreading and plagiarism in Kathy Acker<\/em>.<\/p>\n\n\n\n

2005 BA Hons. (Linguistics and English & Cultural Studies) University of Western Australia. Thesis title: Fragments, partiality and irony: Writing away from the monologic of heteronormativity towards \u201ca powerful infidel heteroglossia\u201d (Haraway) of relationships<\/em>.<\/p>\n\n\n\n

1998 BA (Fine Art) Curtin University, Perth Australia<\/p>\n\n\n\n

Awards<\/h2>\n\n\n\n

2020 APRA Work of the Year: Dramatic\u2014Speechless<\/p>\n\n\n\n

2017 WAM Awards\u2014nominated for \u2018Best Experimental Act\u2019<\/p>\n\n\n\n

2015 Australian Postgraduate Award (WAAPA)<\/p>\n\n\n\n

2009 William Lauchlan Mann Prize (Glasgow)<\/p>\n\n\n\n

Publications<\/h2>\n\n\n\n

2022 Harlow, S. J. \u2018Sage Pbbbt\u2014voixes: (dis)possessions<\/a>\u2019. Disclaimer.<\/em><\/p>\n\n\n\n

2019 Harlow, S. J. \u2018silences [score]<\/a>\u2019. Sound Scripts<\/em>, 6(1).<\/p>\n\n\n\n

2019 Harlow, S. J. \u2018Exploring the extra-normal self with the extra-normal voice: Improvised ritual possession with voice<\/a>\u2019, Context<\/em> 44 (Winter 2019), 25-35.<\/p>\n\n\n\n

2019 Harlow, S. J. \u2018Non-striated sound spacetime: An ironic political myth\u2019, Soundest Zine 4 (August 2019).<\/p>\n\n\n\n

2019 Harlow, S.J. \u2018Giving voice to the extra-normal self with the extra-normal voice: Improvised exploration through the realms of shamanic chaos magick, insight meditation and gender performance<\/a>\u2019, (PhD dissertation, Edith Cowan University).<\/p>\n\n\n\n

Teaching<\/h2>\n\n\n\n

2019-present Private singing teacher
2021 Improvisation workshops with Tone List and Sound Impro Freo
2020 Guest Lecture, University of the Arts Helsinki
2016 Improvisation workshops with Tura iMprov Workshop<\/p>\n\n\n\n

Residencies<\/h2>\n\n\n\n

2018 Yurt Artists Residency\u2014week long artist\u2019s residence in Brunswick
2017 Residence #2\u2014performance and recording residency with Tone List<\/p>\n\n\n\n

Conference Papers<\/h2>\n\n\n\n

2018 \u2018Integrating the selves \/ Cutting through the self: Possession and meditation practices utilising extra-normal vocal technique, trans theory and anarchisms\u2019. Quite Frankly: It\u2019s a Monster Conference, University of Western Australia, Perth<\/p>\n\n\n\n

2018 \u2018Silencing silences and silencing silliness: Political and spiritual intersectionality in two contemplative compositions\u2014Silence backstage<\/em> and John 4:33<\/em>\u2019. Gender Diversity & Music Making Conference, Monash Univeristy, Melbourne<\/p>\n\n\n\n

2018 \u2018Y\u00f8u Can\u2019t Kill Us: Disrupting normative perceptions of transgender women and Transfeminine People\u2019s Voices\u2019. Co-authored with Shoshana Rosenberg. Gender Diversity & Music Making Conference, Monash Univeristy, Melbourne<\/p>\n\n\n\n

2018 \u2018Exploring the extra-normal self with the extra-normal voice: Improvised ritual possession with voice\u2019. Melbourne University Postgraduate Musicology Conference, Melbourne<\/p>\n\n\n\n

2017 \u2018Invocations of Unknown Entities (Artists Talk)\u2019. Totally Huge New Music Conference, Perth<\/p>\n\n\n\n

2017 \u2018The illusion of free<\/span> will<\/span> and its implication for improvising (and invocation)\u2019. Agency in Jazz and Improvisation, Melbourne<\/p>\n\n\n\n

2009 \u2018Concepts of Tuvan sound culture and the early music of Sainkho
Namtchylak\u2019. Sound Thought Conference, Glasgow<\/p>\n\n\n\n

2007 \u2018Secrets, slips, and singular events: A model of critical reflexivity in research\u2019. Co-authored with Kristina Weaver. Royal Geographical Society \/ Institute of British Geographers Conference<\/p>\n\n\n\n

Recordings: solo<\/h2>\n\n\n\n

Sage Pbbbt (2020). Three Journeys<\/a><\/em>, Tone List (Aus) Zine & digital.<\/p>\n\n\n\n

Sage Pbbbt (2017). invocations of unknown entities<\/em><\/a>, Tone List (Aus) CD & digital.<\/p>\n\n\n\n

Sage Pbbbt (2017). Residence #2: four nights of invocation (the Residence Workings)<\/a><\/em>, Residence (Aus) digital.<\/p>\n\n\n\n

Recordings: as composer<\/h2>\n\n\n\n

Sage J Harlow (2022). variations without a theme (drones ongs)<\/em><\/a>, Edition Wandelweiser (Germany) CD.<\/p>\n\n\n\n

Ashes of Burnt Sage (2017). live at the 459 bar, perth, western australia 2017-09-11<\/a><\/em>, self-released (Aus) digital.<\/p>\n\n\n\n

Recordings: solo electronic
<\/strong><\/h2>\n\n\n\n

digital penetration (2021). Strata<\/a><\/em>, Tone List (Aus) digital video album.<\/p>\n\n\n\n

digital penetration (2020). Three Journeys<\/em><\/a>, self-released (Aus) digital.<\/p>\n\n\n\n

digital penetration (2020). washingb irdma chine<\/a><\/em>, self-released (Aus) digital.<\/p>\n\n\n\n

digital penetration (2020). demos ongssi xteen<\/em><\/a>, self-released (Aus) digital.<\/p>\n\n\n\n

digital penetration (2019). threem ove ments (collage)<\/em><\/a>, self-released (Aus) digital.<\/p>\n\n\n\n

digital penetration (2018). watching Shinkan Tamaki\u2019s \u2018time space motion\u2019<\/em><\/a>, self-released (Aus) digital.<\/p>\n\n\n\n

digital penetration (2018). fridges & sticks<\/em><\/a>, self-released (Aus) digital.<\/p>\n\n\n\n

digital penetration (2018). breaking breaking waves<\/a><\/em>, self-released (Aus) digital.<\/p>\n\n\n\n

digital penetration (2005). EP:60<\/a><\/em>, self-released (Aus) CDR & digital.<\/p>\n\n\n\n

digital penetration (2005). stuff; left over bits (demos ongsfi fteen)<\/em><\/a>, self-released (Aus) CDR & digital.<\/p>\n\n\n\n

digital penetration (2005). demos ongsfour teen<\/em><\/a>, self-released (Aus) CDR & digital.<\/p>\n\n\n\n

digital penetration (2005). demos ongsth irteen<\/em><\/a>, self-released (Aus) CDR & digital.<\/p>\n\n\n\n

digital penetration (2004). demos ongst welve<\/em><\/a>, self-released (Aus) CDR & digital.<\/p>\n\n\n\n

digital penetration (2004). demos ongsele ven<\/em><\/a>, self-released (Aus) CDR & digital.<\/p>\n\n\n\n

digital penetration (2004). demos ongst en<\/em><\/a>, self-released (Aus) CDR & digital.<\/p>\n\n\n\n

digital penetration (2004). demos ongsni ne<\/em><\/a>, self-released (Aus) CDR & digital.<\/p>\n\n\n\n

digital penetration (2004). demos ongseig th<\/em><\/a>, self-released (Aus) CDR & digital.<\/p>\n\n\n\n

digital penetration (2004). when i was 7: demos ongse ven<\/em><\/a>, self-released (Aus) CDR & digital.<\/p>\n\n\n\n

digital penetration (2004). demos ongsi x<\/em><\/a>, self-released (Aus) CDR & digital.<\/p>\n\n\n\n

digital penetration (2004). demos ongsfi ve: the anti<\/del> guitar album<\/em><\/a>, self-released (Aus) CDR & digital.<\/p>\n\n\n\n

digital penetration (2003). demos ongsfo ur<\/em><\/a>, self-released (Aus) CDR & digital.<\/p>\n\n\n\n

digital penetration (2003). demos ongsth ree<\/em><\/a>, self-released (Aus) CDR & digital.<\/p>\n\n\n\n

digital penetration (2002). demos ongst wo<\/em><\/a>, self-released (Aus) CDR & digital.<\/p>\n\n\n\n

digital penetration (2002). demos ongso ne<\/em><\/a>, self-released (Aus) CDR & digital.<\/p>\n\n\n\n

digital penetration (2001). The PreCrack Daze (demos ongsze ro)<\/em><\/a>, self-released (Aus) CDR & digital.<\/p>\n\n\n\n

Recordings: collaborations<\/h2>\n\n\n\n

Lily Tait & Sage Pbbbt (2022). Garden \/ Church<\/a><\/em>, Tone List (Aus) digital.<\/p>\n\n\n\n

Pneumasphere (2021). The singing moons of Qhushlicentroviix<\/a><\/em>, \u0938\u0902\u0938\u094d\u0915\u093e\u0930 Rites (Spain) digital.<\/p>\n\n\n\n

Echo On Echo (2020). within walking distance<\/a><\/em>, self-released (Aus) digital.<\/p>\n\n\n\n

Echo On Echo (2020). broadleaf dwell<\/a><\/em>, self-released (Aus) digital.<\/p>\n\n\n\n

Echo On Echo (2020). still falls drifting<\/em><\/a>, self-released (Aus) digital.<\/p>\n\n\n\n

The Ripening (2020). The Very Verge of Remembrance \/ They Must Sleep, Or They Will Devour Us<\/em><\/span><\/a>, self-released (Aus) digital.<\/span><\/p>\n\n\n\n

Pneumasphere (2019). xenophonography; region 5284:61:34<\/em><\/a>, self-released (Aus) digital.<\/p>\n\n\n\n

Pneumasphere (2019). \u2018Hits Of The 3090s\u2019 retrieved from original 237 bit audio recording; discovered in the abandoned interstellar craft \u2018The Pummel\u2019<\/a><\/em>, self-released (Aus) digital.<\/p>\n\n\n\n

Pneumasphere (2019). intercepted transmission, source unknown, quadrant 576-02<\/em><\/a>, self-released (Aus) digital.<\/p>\n\n\n\n

Pneumasphere (2019). xenophonography; region 4516:12:34<\/em><\/a>, self-released (Aus) digital.<\/p>\n\n\n\n

Pneumasphere (2019). folk songs from imaginary cultures<\/em><\/a>, self-released (Aus) digital.<\/p>\n\n\n\n

Little Songs of the Mutilated (2018). They were lifelessly melding in a pool painted with little songs of the Mutilated.<\/em><\/a>, Little Songs of the Mutilated (Aus) digital.<\/p>\n\n\n\n

Sage Pbbbt & Erin K Taylor (2018). MPavilion<\/em><\/a>, Frustration Jazz (Aus) CDR & digital.<\/p>\n\n\n\n

Dan O’Connor & Sage Pbbbt (2018). Lines to<\/em><\/a>, Tone List (Aus) CD & digital.<\/p>\n\n\n\n

Temporary Autonomous Zion (2018). Making Kin<\/em><\/a>, Tone List (Aus) cassette & digital.<\/p>\n\n\n\n

Temporary Autonomous Zion (2018). Live at the Make It Up Club (03.07.18)<\/em><\/a>, self-released (Aus) digital.<\/p>\n\n\n\n

Sound of the Mountain (2018). Residence #4: Sound of the Mountain<\/a><\/em>, Residence (Aus) digital.<\/p>\n\n\n\n

Temporary Autonomous Zion (2017). Live at Spectrum Project Space (26\u200b.\u200b12\u200b.\u200b17)<\/a><\/em>, self-released (Aus) digital.<\/p>\n\n\n\n

James Bradbury (2017). Biomimicry<\/a><\/em>, Tone List (Aus) CD & digital.<\/p>\n\n\n\n

Recordings: compilations and appearances<\/h2>\n\n\n\n

Various (2018). Little Songs Of The Mutilated: A Tightfisted Molten Sellout<\/a><\/em>, Little Songs of the Mutilated (Aus), digital.<\/p>\n\n\n\n

Various (2018). EX\/IN (responses to Dan O\u2019Connor\u2019s IN\/EX)<\/em><\/a>, Tone List (Aus) digital.<\/p>\n\n\n\n

Various (2018). Fair Play 2<\/a><\/em>, Fair Play (France) digital.<\/p>\n\n\n\n

Eduardo Cossio (2017). Foliages<\/a><\/em>, Dog Park Records (Aus) digital.<\/p>\n\n\n\n

Various (2017). Minutiae<\/a><\/em>, Dog Park Records (Aus) digital.<\/p>\n\n\n\n

Recordings: older collaborations<\/h2>\n\n\n\n

Hummingwards (2010). Monkeys<\/em><\/a>, Garden (Scotland), CDR and digital.<\/p>\n\n\n\n

kandt (2007). the metaphysics of grammar<\/em><\/a>, Drifter\u2019s Landing (USA), CDR & digital.<\/p>\n\n\n\n

kandt (2007). happy birthday jon scolnik<\/em><\/a>, Drifer\u2019s Landing (USA), CDR & digital.<\/p>\n\n\n\n

Morrissey\u2019s Love Children (2005). No Way! Get Fucked! Fuck Off!<\/em><\/a>, wav ing socks about music (Aus), CDR & digital.<\/p>\n\n\n\n

Morrissey\u2019s Love Children (2004). Be Gone<\/em><\/a>, wav ing socks about music (Aus), CDR & digital.<\/p>\n\n\n\n

Morrissey\u2019s Love Children (2004). Be Than<\/em><\/a>, wav ing socks about music (Aus), CDR & digital.<\/p>\n\n\n\n

Morrissey\u2019s Love Children (2004). Sound Asleep<\/em><\/a>, wav ing socks about music (Aus), CDR & digital.<\/p>\n\n\n\n

Morrissey\u2019s Love Children (2004). Good Sense of Housekeeping<\/em><\/a>, wav ing socks about music (Aus), CDR & digital.<\/p>\n\n\n\n

Select Live Performances<\/h2>\n\n\n\n

2021 April 17
Digital Penetration video album Strata<\/a><\/em> Premiere at Audible Edge Festival, Perth<\/p>\n\n\n\n

2021 April 8
Ashes of Burnt Sage performance at Audible Edge Festival, Perth<\/p>\n\n\n\n

2019 October
with Phew, Zou Zhao and Natasha Tontey at Liveworks Festival, Carriageworks, Sydney<\/p>\n\n\n\n

2019 February 26-March 3
soloist in Cat Hope\u2019s noise opera Speechless<\/em>; Perth International Arts Festival
event page<\/a> – review (ArtsReview)<\/a> – review (The Conversation)<\/a> – review (SeeSaw mag)<\/a><\/p>\n\n\n\n

2019 January 25
with Monika Brooks (piano) at the NOWnow, Sydney
event page<\/a><\/p>\n\n\n\n

2019 January 19
solo voice set at Tilde New Music Festival, Melbourne
event page<\/a><\/p>\n\n\n\n

2019 January 19
with Katherine Philp (cello) and Carl Rosman (clarinets) playing pieces by Naima Fine Fine at Tilde New Music Festival, Melbourne
event page<\/a><\/p>\n\n\n\n

2018 October 21
with Breaking Waves at Inland Festival, Perth
event page<\/a><\/p>\n\n\n\n

2018 October 18
solo voice\/possession set at the opening of the exhibitions \u2018It is a long time since this moment\u2019 (curated by Moana) and \u2018This mess we\u2019re in\u2019 (curated by Tarsh Bates) as part of the Quite Frankly: It\u2019s a Monster Conference<\/em>
Old Customs House, Fremantle
conference website<\/a><\/p>\n\n\n\n

2018 March 26
voice with Aviva Endean (bass clarinet), Dale Gorfinkel (percussion) and Shoshana Rosenberg (bass clarinet) as part of Aviva & Shoshana development showing of \u2018A Well-Set Table\u2019
Mechanics Institute, 270 Sydney Rd, Brunswick<\/p>\n\n\n\n

2018 February 13
with Senyawa (ID) and Rama Parwata
Make It Up Club, Bar Open, Melbourne<\/p>\n\n\n\n

2018 January 30
voice with Sean Baxter (drums) Phil Bywater (saxophones) Robin Fox (electronics) and Romy Seven (electronics)
Make It Up Club 20th Anniversary Festival
event page<\/a><\/p>\n\n\n\n

2017 November 3
voice and drums with Eduardo Cossio (guitar) at the WAM Experimental Showcase
Paper Mountain, Northbridge
event page<\/a><\/p>\n\n\n\n

2017 August 20
voices and possession duo with Andrew Harper at Overground Festival within the SuperSense Festival, Melbourne
event page<\/a><\/p>\n\n\n\n

2017 August 11
invocation \/ sound poetry set at \u2018Sounding Off\u2019, Perth International Poetry Festival
event page<\/a><\/p>\n\n\n\n

2017 July 28 & 29
principal vocalist in work-in-progress showing of Cat Hope\u2019s noise opera Speechless<\/em>
Vitalstatistix, Port Adelaide
event page<\/a> – review<\/a> – Cat’s project blog<\/a><\/p>\n\n\n\n

2017 October 27
lead voice in Anne LeBaron\u2019s \u2018Concerto for Active Frogs\u2019 and improvisation with Anne LeBaron and Perth improvisors, Perth
event page<\/a><\/p>\n\n\n\n

2017 January 19
with Guylaine Cosseron (voice) [France] as part of the Audible Edge festival, Perth
festival event page<\/a><\/p>\n\n\n\n

2016 August 5
recital of excerpts from \u201801sonate\u2019 by Calum Roger at ZOUNDS! as part of the Perth Poetry Festival 2016
event page<\/a><\/p>\n\n\n\n

2016 January 10
solo voice at \u2018Club Zho 124\u2019, 459 Bar, Perth
event page<\/a><\/p>\n\n\n\n

2015 May 23
voice with Perth iMprov Collective and Alice Hui-Sheng Chang performing her piece \u2018Gentle Steps\u2019 as part of the Totally Huge New Music Festival, Perth
event page<\/a> – review in RealTime Arts<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

pdf version – Sage Pbbbt artist CV My research explores extra-normal vocal techniques, particularly influenced by Tuvan, Mongolian and Inuit sound cultures and how vocal free improvisation might intersect with (chaos magick) ritual work and Buddhist insight meditation. As a researcher I have interests in feminist, queer and trans politics, intersectionality and ethical engagements with […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":2,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"_links":{"self":[{"href":"https:\/\/sage.craigpedersen.com\/blog\/wp-json\/wp\/v2\/pages\/190"}],"collection":[{"href":"https:\/\/sage.craigpedersen.com\/blog\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/sage.craigpedersen.com\/blog\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/sage.craigpedersen.com\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/sage.craigpedersen.com\/blog\/wp-json\/wp\/v2\/comments?post=190"}],"version-history":[{"count":3,"href":"https:\/\/sage.craigpedersen.com\/blog\/wp-json\/wp\/v2\/pages\/190\/revisions"}],"predecessor-version":[{"id":1222,"href":"https:\/\/sage.craigpedersen.com\/blog\/wp-json\/wp\/v2\/pages\/190\/revisions\/1222"}],"wp:attachment":[{"href":"https:\/\/sage.craigpedersen.com\/blog\/wp-json\/wp\/v2\/media?parent=190"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}