sonic scope quarterly #5

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#5

SONIC SCOPE 4UARTERLY autumn 2005

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SONIC SCOPE 4UARTERLY FOR CONTEMPORARY VISUAL ART ISSUE#5 autumn 2005

CONTAINS PHOTOGRAPHY, DRAWINGS, ILLUSTRATION AND DESIGN FROM :

MAJA RATKJE [3] ·:· KITUNDU [9] ·:· CHARLES LAREAU [14] ·:· DIOGO VALÉRIO [19] ·:· MARC

BEHRENS [26] ·:· PAZ BOÏRA [34] ·:· PAULO RAPOSO [39] ·:· NICK DELANEY [43] ·:· MORPH3U

[48] ·:· KOJI ASANO [53] ·:· TEN/TEN_DO_TEN [58] ·:· IMAX [64] ·:· MARIANA DIAS DA CUNHA

[69] ·:· PEDRO ALMEIDA [74] ·:· MANUEL MOTA [79] ·:· MARIANA DIAS DA CUNHA [80] ·:·

PHILIP SHERBURNE [81] ·:· CHIPPY (HEUNG-HEUNG CHIN) [89] ·:· LARACRAFTS [92] ·:· STEIN-

BRÜCHEL [97] “MOLTO”: A MP3 SINGLE, EXCLUSIVELY AVAILABLE WITH THIS AUTUMN ISSUE.

INTRo INTRo

SONIC SCOPE 4UARTERLY #5 autumn 05_intro

#5

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Maja Ratkje

SONIC SCOPE 4UARTERLY #5 autumn 05_maja ratkje

WARNEMÜNDE 2003

IN THE WINTER WHEN THE TOURISTS ARE ABSENT THE SMALL CITY BY THE BALTIC SEA IS MOSTLY INHABITED BY SEAGULLS AND OTHER BIRDS. WARNEMÜNDE’S DIFFERENT TYPES OF SEAGULLS HAVE MIXED SO THAT MOST OF THEM ARE BASTARDS WITH BLACK SPOTS ON THE HEAD INSTEAD OF A CLEAN WHITE OR BLACK HOOD.

4 SONIC SCOPE 4UARTERLY #5 autumn 05_


CAMPING/RAFTING IN SIBERIA 2002

SUMMER IN SIBERIA. THREE DAYS ON RAFTS WITH TWO THOUSAND RUSSIANS FLOATING DOWN THE RIVER MANA. MAIN INGREDIENTS BEING VODKA AND MUSIC, THIS FESTIVAL STARTED AS AN INITIATIVE BY THE PEOPLE. THE WATER IS SHALLOW, BUT MOVING SWIFTLY.

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KAIRO 2005:

THE MAIN STREETS OF KAIRO ARE DOMINATED BY MEN AND MILLIONS OF CARS, BUT YOU

MIGHT AS WELL FIND CHILDREN, MOSTLY RUN-NING AROUND IN FLOCKS, SOME STILL INSCHOOL UNIFORM SUCH AS THIS LITTLE GIRL. AND SOME MEANS OF TRANSPORT REQUIRE

VEGETABLE LEFTOVERS RATHER THAN GAS.


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GURNA 2005

WOMAN BRINGING WATER. THE EGYPTIAN AUTHORITIES ARE ASHAMED OF THE SHACKS JUST BENEATH SOME OF THE GREATEST SITES OF OLD EGYPTIAN GLORY, THEREFORE REFUSING TO OF-FER INFRASTRUCTURE SUCH AS WATER. THESE EGYPTIANS MIGHT POSSIBLY BE THE HEIR OF THE ANCIENT WORKERS WHO DUG OUT AND DECORATED THE MANY TOMBS UNDERNEATH AND IN THE HILLS ABOVE THE VILLAGE.

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NIGHT AT MANA, RUSSIA 2002

YOU HAVE TO RAISE YOUR TENT BEFORE IT GETS DARK, THEN THE LIGHT FROM THE MANY FIRE PLACES LIGHT UP THE RIVER BANKS ALONG THE RIVER MANA. FOOD IS MADE IN LARGE PANS PROVIDING SIMPLE NOURISHMENT FOR THE GROUP OF RAFTERS SURROUNDING THE FIREPLACE AF-TER A LONG AND WET DAY ON THE RIVER.


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WOMAN IN JENISEISK, RUSSIA 2002

THIS WAS THE ONLY PLACE TO ORDER FOOD IN JENISEISK, AND THIS WOMAN TAKES CARE OF THE DISHES. YOU MAY PUT YOUR TRAY IN THE FRAME. THE SIBERIAN RUSSIANS MAKE THEIR HOUSES OUT OF WOOD.


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Kitundu

MONEY IS AN INTRIGUING FORM OF ART. GOVERNMENTS CRE-ATE FINE ART PRINTS IN VERY

LARGE EDITIONS, SIGNED AND NUMBERED. THESE PIECES ARE THE MOST HIGHLY SOUGHT AFTER WORKS OF ART IN THE WORLD. PEOPLE WILL KILL EACH OTHER, RAPE THE LANDSCAPE, SACRIFICE THEIR INTEGRITY, AMONG OTHER THINGS, FOR THESE PRINTS. NICKEL AND COPPER MULTI-PLES RIDDLE THE LANDSCAPE TOO. NOT AS HIGHLY VAL-UED, THESE PIECES ARE OFTEN GIVEN AWAY AND ARE CON-SIDERED THE CURRENCY OF THE POOR, DISTOPIC MASSES.

THIS ART, MONEY, IS EXCHANGED FOR FOOD, SHELTER, AND STATUS. SOME HAVE MAGNIFICENT COLLEC-

TIONS. OTHERS’ COLLECTIONS GROW TO THE POINT OF BE-COMING CONCEPTUAL, ELECTRONIC; TRANSFERRED FROM COLLECTION TO COLLECTION VIA COMPUTER INTERACTION. STILL OTHERS YEARN FOR THESE ENGRAVINGS, STRUG-GLING ALONG IN THIS ART DRIVEN WORLD, REDUCED TO BEGGING FOR CULTURE, STRIVING TO BECOME A COLLECTOR SO THEY CAN BARTER FOR THEIR NEXT MEAL. HOW CAN ANYONE HOPE TO ACHIEVE THE KIND OF UNPRECEDENTED ARTISTIC SUCCESS THE GOVERNMENT HAS HAD WITH THIS BODY OF WORK? THE AUDIENCE FOR THEIR WORK INCLUDES ALMOST EVERY MEMBER OF THE POPULATION. THE THIRST FOR ART, OTHERWISE KNOWN AS GREED, HAS BECOME IN-STINCTUAL.

WHAT IF OUR RULING BODIES DECIDED TO RETIRE FROM THE ART SCENE? WHAT IF THEY HAD NEVER BEEN

INSPIRED IN THE FIRST PLACE? WHAT IF EVERYONE’S MEAGER CREATIVE EFFORTS WERE THE ACCEPTED FORM OF CURRENCY? WHO WOULD FEAST AND WHO WOULD LAY IDLE, KEEPING WARM BY THE MIST OF SEWER CAPS?

WOULD WE SEE PERFORMANCE PIECES AS PAYMENT FOR SERVICES RENDERED? PRECIOUSLY AT-

TENDED CANVASES IN EXCHANGE FOR LUXURY CARS OR GROCERIES? HAND CRAFTED BONUSES AT CHRISTMAS TIME? PARENTS PUSHING THEIR CHILDREN INTO CAREERS AS DANCERS AND SONGWRITERS, AND REGARDING STOCK-BROKERS AND FINANCIAL ANALYSTS AS LAZY AND UNPRO-FESSIONAL VAGRANTS? WHO KNOWS.

WHO KNOWS WHAT OUR CITIES WOULD LOOK LIKE IF CREATIVITY AND NOT CURRENCY WAS THE DRIVING FORCE OF OUR ECON-

OMIES. I ENVISION GRAFFITI ARTISTS SPRAYING FLAT, BLAND AREAS OF COLOR TO COUNTERACT THE ENDLESS FIELDS OF EXPRESSION.

MONEY IS ART. NEVERTHELESS, IT IS OLD ART. ITS VISUAL RELE-VANCE IS LIMITED TODAY. THE

ICONS ARE DIFFICULT TO IDENTIFY WITH AND WE NOTICE ONLY THE SIZE, SHAPE, AND ASSIGNED VALUE OF THESE PRINTS AND SCULPTURES. MY WORK IS A COLLABORATIVE EFFORT. USING THEIR OLD FORMS AS A SOURCE OF INSPI-RATION AND AS A PLATFORM FOR COMMUNICATION, I ADD MY CREATIVE EFFORT AND OFFER A GLIMPSE BEHIND THIS FACADE OF IMPENETRABILITY,CLASSICISM, AND SOLIDITY.

SONIC SCOPE 4UARTERLY #5 autumn 05_kitundu

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MONEY IS INK ON PAPER. NOTH-ING MORE. ITS VALUE IS A PSYCHOLOGICAL, SOCIETAL

CREATION COMPARABLE TO THE VALUES WE ASSIGN RACE, GENDER, RELIGION, POLITICAL AFFILIATION ETC.... THESE DISTINCTIONS MAY SEEM INDISPENSABLE BUT THEY ARE MANUFACTURED. WE USE THEM AS A MEANS TO GRASP AND CONTROL OUR SURROUNDINGS. LIKE A NET THROWN OVER OUR REALITY SO THAT WE MAY BEGIN TO UNDER-STAND AND MANIPULATE OUR ENVIRONMENT.

WE FOOL OURSELVES BY BELIEVING IN CONJURED DISTINCTIONS AND VALUES. TAKE A NATION-AL BOUNDARY FOR INSTANCE. IN THE NORTH

WOODS OF MINNESOTA, I CAN TAKE SIX STEPS AND BE IN ANOTHER COUNTRY. YET I STILL STAND UNDER THE SAME TREE, BY THE SAME STREAM, WITH NO PHYSICAL INDICA-TION THAT NOW, I MUST ABIDE BY DIFFERENT LAWS AND USE THE METRIC SYSTEM. SURELY THE INDICATION IS ON A MAP SOMEWHERE, INK ON PAPER, CONJURED UP AND TRANSPOSED OVER THE COUNTRYSIDE. BUT IN THE PHYSI-CAL WORLD, THE WORLD OF WIND, SUN, EARTH AND SKY, THE DISTINCTION IS IRRELEVANT.

MY WORKS SEEKS TO DRAW ATTENTION TO THE FACT THAT MANY OF THE THINGS WE THINK WE KNOW AND UNDERSTAND ARE DEFINED BY IN-

TELLECTUAL AND PSYCHOLOGICAL STANDARDS THAT, OVER TIME, HAVE BECOME ACCEPTED AS TANGIBLE REALITIES. IN TRUTH, THE DISTINCTIONS ARE AS SUBSTANTIVE AS MIST. WE CAN, AND SHOULD, REDEFINE OUR RELATIONSHIPS WITH THESE DEFINITIONS. DEFINITIONS WHICH ENCOMPASS

RACE, CULTURE, NATIONALITY, RELIGION, SEXUAL PREF-ERENCE, MORALITY, AND, THE RELATIVE IMPORTANCE OF EACH OF THESE ISSUES WITH REGARD TO OUR OWN BEING.

THESE DEFINITIONS CAN AND DO OF-TEN ACT AS BARRIERS. WE USE THEM TO ALIENATE OTH-

ERS AND PROTECT OURSELVES, AND WE CONTINUE HIDING IN THE MIST. OUR COWARDICE STIFLES THE KNOWLEDGE AND EXPRESSION WHICH LIVES IN THE SPACE WHERE DIS-TINCTIONS CEASE TO BE DIVISIVE AND BECOME INSTEAD, PLACES FOR CONGREGATION.

KITUNDU, 1998ALL DOLLAR WORKS SHOWN CREATED 1999


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DWELLERRED CARPET

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BUCK99 POINT 8


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KIGALIWANT


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Charles LaReauFIVE PHOTOGRAPHS- PART OF A LARGER ‘TRANSPORT’ SERIES SHOT WHILE WANDERING KOREA, 2005.GONGJU TERMINAL

SONIC SCOPE 4UARTERLY #5 autumn 05_Charles LaReau

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HIGHWAY 23


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SEOUL SUBWAY


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SEOUL SUBWAY2


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DAEJEON STATION


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diogo valérioI THINK MY SPACESHIP KNOWS THE WAY HOMETHE BLUE SERIES, 2005

SONIC SCOPE 4UARTERLY #5 autumn 05_diogo valério

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marc behrensBULLETHOLES

THESE PICTURES ARE TAKEN FROM AN ONGOING PHOTOGRAPHIC PROJECT I STARTED IN 2001, FOCUSING ON THE WAY DIFFERENT NATIONS DEAL WITH BULLETHOLES IN BUILDINGS, DEPENDING ON WHICH WAR THEY ORIGINATE FROM.

SONIC SCOPE 4UARTERLY #5 autumn 05_marc behrens

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MONTEPULCIANO, ITALY, 2003: HOLES FROM SOME SMALL-SCALE 16TH CENTURY REGIONAL WAR. I WAS IN-FORMED BY A LOCAL, BUT FORGOT WHO EXACTLY WAS FIGHTING WHOM.


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BUDAPEST, HUNGARY, 2001: HOLES ON THE MAT-THIAS CHURCH IN BUDAVÁR, MAYBE FROM WWII OR FROM THE HUNGARIAN UPHEAVAL IN 1956. WHILE I TOOK THESE PICTURES, WORK WAS ALREADY IN COURSE TO REPAIR THE WALLS.


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JERUSALEM, ISRAEL, 2005: HOLES ON ZION GATE FROM THE SIX-DAY WAR BETWEEN ISRAEL AND JOR-DANIA, NOT REPAIRED ON PURPOSE BY ISRAELI AUTHOR-ITIES.


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BERLIN, GERMANY, 2004: HOLES ON GATES AROUND VICTORY COLUMN FROM THE DEFEAT IN 1945. IN WEST-GERMANY WWII-HOLES WERE COVERED AND HIDDEN VERY WELL - IRONICALLY, AT SUCH A LANDMARK THEY ARE STILL ONLY PARTLY PATCHED, WHICH MUST HAVE BEEN ON PURPOSE.


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PAZ BOÏRA

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paulo raposoLAKE (MOOSTE, ESTONIA)APRIL 2005

SONIC SCOPE 4UARTERLY #5 autumn 05_paulo raposo

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nick delaneyBOY MEETS DREAM2005

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CENTER FOLD2005


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HITNOMORE2005


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ICEANGEL2005


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JUNGLE MIDST2005


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MOrph3uSOMEWHERE AT MADISON AV.

NEWCOMERS IN BIG CITIES CLIMB THEIR LOOK ABOVE SKYSCRAPERS.LIKE ACROBATS THEY TWIST THEMSELVES AND LOOK TO THE SKY CAPTURING THE LIGHT THAT NEVER REACHES THE GROUND.

SONIC SCOPE 4UARTERLY #5 autumn 05_MOrph3u

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BRYANT PARK

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ITS ALMOST SPRING (STREET)


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LEARN FILMAKING AT 3RD FLOOR


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LITTLE BRAZIL


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koji asanoA PHOTO WHICH I DIDN’T USE FOR MY CD COVER - 12003

SONIC SCOPE 4UARTERLY #5 autumn 05_koji asano

54 SONIC SCOPE 4UARTERLY #5 autumn 05_koji asano

A PHOTO WHICH I DIDN’T USE FOR MY CD COVER - 22003

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SONIC SCOPE 4UARTERLY #5 autumn 05_koji asano

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Ten/ten_do_ten

5 “SEX IS SEKSO” CRAZY STRIPES CLOTHES

IN ESPERANTO “SEX IS SEKSO”

COMPLEX FEELINGS OF ESPERANTO IS MY HOPE.COMPLEX FEELINGS OF ESPERANTO IS MY DESPAIR.

ESPERANTO IS AN ARTIFICIAL LANGUAGE THAT WAS INVENTED BY LUDOVIC ZAMENHOF IN 1887, WITH GRAND HOPE OF DISSOLVING BARRIERS, TRANSCENDING COUNTRY AND RACE DIFFERENCES AND MITIGATING VIOLENT CONFRONTATION. EVEN THOUGH ESPERANTO NEVER BLOSSMED INTO THE TRANSCENDENT UNIVERSAL LANGUAGE THAT IT WAS DREAMED TO BE, IT LEFT A KARNEL HOPE EVEN IN IT’S FAILURE THAT I CARRY AROUND WITH ME AND WANT TO SHARE.

SONIC SCOPE 4UARTERLY #5 autumn 05_Ten/ten_do_ten

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SONIC SCOPE 4UARTERLY #5 autumn 05_Ten/ten_do_ten

Ten/ten_do_ten

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imax

I’VE BEEN TAKING PHOTOGRAPHS FOR A FEW YEARS NOW, IN BETWEEN RUNNING THE SLOW SOUND SYS-TEM (WE HAVE A CD ON GRAIN OF SOUND, SO YOU MIGHT HAVE HEARD OF US). I’VE PICKED FIVE RECENT SHOTS FOR SONIC SCOPE. I’M HONOURED THAT NUNO’S ASKED ME TO CON-TRIBUTE. I USED TO MAKE ABSTRACT PAINTINGS. BUT NO-ONE THOUGHT THEY WERE MUCH GOOD, AND I DIDN’T REALLY LIKE THEM EITHER. SO I STARTED TAKING PICTURES INSTEAD. ‘ENOUGH ABSTRACTION,’ I THOUGHT. ‘I’LL STICK TO THE REAL WORLD.’ BUT I SOON FOUND MYSELF TRYING TO FRAME THE REAL WORLD IN THE SAME WAY. I BEGAN WORKING WITH SIMPLE COLOURS, TEXTURES AND SHAPES. I GOT FASCINATED BY THE PLAY OF LIGHT, REPEATING FORMS AND REVEALED PATTERNS. PERHAPS I WAS TRYING TO MAKE THE WORLD A LITTLE SIMPLER, BUT I’M ALSO TRYING TO MAKE PEOPLE LOOK HARDER AT WHAT SURROUNDS US. SO I’VE COME BACK TO WHERE I STARTED OUT. WHEN I SHOW MY PHOTOGRAPHS TO PEOPLE NOW, THEY SAY ‘OH, THAT’S NICE, IT REMINDS ME OF SOME ABSTRACT PAINTING.’ OR SOMETIMES THEY SAY, ‘MMM. BUT WHAT IS IT?’WHAT CAN YOU DO? SOME PATHS JUST LEAD YOU BACK AGAIN.

SONIC SCOPE 4UARTERLY #5 autumn 05_imax

BROKEN GLASS, LONDON FIELDS, 2005

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OLD CITY SCULPTURE GARDEN, HAVANA 2005


REAR WINDOW, E8, 2005


SCOPELLO BEACH, SICILY 2004


SNOWY TWIGS, SHROPSHIRE 2004

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Mariana Dias da CunhaBICHOS2004

SONIC SCOPE 4UARTERLY #5 autumn 05_Mariana Dias da Cunha

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S/T2005


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INDIOS E COWBOYS2005


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POLVOS FAMOSOS2005


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S/T2005


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pedro almeidaFOTOLOG SELECTION

BOAT, CABANAS

SONIC SCOPE 4UARTERLY #5 autumn 05_pedro almeida

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FLOOR, PAINT

FLOOR, FRUIT


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FLOOR, WATER

FLOOR, TRASH


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TEXTURE, MONDARIZ


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WALL, VIANATYPE, WALL


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Manuel Mota

POSTER FOR TETUZI AKIYAMA, ERNESTO RODRIGUES E MANUEL MOTA: LIVE AT LISBOA BAR, OCTOBER 3, 2005.

SONIC SCOPE 4UARTERLY #5 autumn 05_Manuel Mota

80 SONIC SCOPE 4UARTERLY #5 autumn 05_Mariana Dias da Cunha

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Mariana Dias da Cunha

POSTER FOR CAVEIRA, ONE MIGHT ADD, GOODBYE TOULOUSE, PAUL DE JONG,ZERN VS OK.SUITCASE: LIVE AT GALERIA ZDB, JULY 21 AND 22, 2005.

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SONIC SCOPE 4UARTERLY #5 autumn 05_Philip Sherburne


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LUCIANO @ PIKNIK ELECTRONIK/MUTEK, MONTREALMAY 2005



THOMAS MELCHIOR @ MUTEK, MONTREAL, JUNE 2005


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RICARDO VILLALOBOS AT BEAT STREET, BERLIN, SEPTEMBER 2004.

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MAMBOTUR @ MUTEK MEXICO, MEXICO CITY APRIL 2005


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WIGHNOMY BROTHERS @ ROSI’S, BERLINOCTOBER 2004

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RICHIE HAWTIN @ POLLERWEISEN/C/O POP, COLOGNE SEPTEMBER 2005

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DJ OMAR @ CREAMFIELDS BENICASSIMAUGUST 2005

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Chippy (Heung-Heung Chin)

ERIK FRIEDLANDER - “MALDOROR”PUBLISHED BY BRASSLAND

CD RELEASE DATE: 10/20/03ILLUSTRATION AND DESIGN BY CHIPPY (HEUNG-HEUNG CHIN)

COVERSIDE

SONIC SCOPE 4UARTERLY #5 autumn 05_Chippy (Heung-Heung Chin)


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INDSIDE

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laracrafts

TRANSFORMING, REINVENTING AND CHANGING THE LIFE OF DAILY NON-USED-ANY-MORE STUFF, IS THE MAIN THEME AND PUR-POSE OF LARAC-RAFTS (HTTP://LARACRAFTS.BLOGSPOT.COM), A SHELF OF HAND-MADE OBJECTS ON THE LARAPAL.ORG PROJECT ( HTTP://WWW.LARAPAL.ORG).THE CREATIVE UNI-VERSE OF TWO PEOPLE — LARA SILVA (REPORTER) AND PEDRO ALMEIDA (DESIGNER, MUSICIAN AND PERFORMER) IS A LAB OF IDEAS AND ADVENTURES BUILT OF AUDIOVISUAL, TECHNOLOGY, RECYCLING, PHOTOGRA-PHY AND DESIGN MANOEUVERS.

ART4FUN IS THE KEY...

SONIC SCOPE 4UARTERLY #5 autumn 05_laracrafts

PAPER BOX

MATERIALS: SHOE BOX, ACRYLICS AND DRY-TRANSFER LETTERING

2005

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HAND BAGS

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MATERIALS: TEXTILE (NEEDLE ART) AND BUTTONS

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PAPER CUP

MATERIALS: PA-PERS, WATER, GLUE

2002

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MIRROR

MATERIALS: WASTED OBJECTS AND MIRROR

2005

steinbrüchel

ARTIST: STEINBRÜCHEL

TITLE: MOLTO

RUNNING TIME: 2’00”FORMAT: MP3

COMPOSED IN BAVENO, ITALY. DEDICATED TO ...

CAT. NR: FLEXIGOS 001DESIGN: JOÃO VICENTE

COVER LAYOUT: NUNO MOITA

RELEASE DATE: OCTOBER 2005

CONTACTS:WWW.SYNCHRON.CH

WWW.GRAINOFSOUND.COM

© 2005 STEINBRÜCHEL

(P) 2005 GRAIN OF SOUND

[ STARTING ON ISSUE #5, AN AUDIO TRACK IS EXCLUSIVELY

AVAILABLE WITH

EVERY NEW RELEASE OF THE SONIC SCOPE QUARTERLY. IN

THIS ISSUE: “MOLTO”BY STEINBRÜCHEL. ]

SONIC SCOPE 4UARTERLY #5 autumn 05_steinbrüchel97

98 SONIC SCOPE 4UARTERLY #5 autumn 05_steinbrüchel

99

f o n t s : Lipo D; close call _ http://www.fountain.nu Tenacity _ http://www.minifonts.com]

F

SONIC SCOPE 4UARTERLY FOR CONTEMPORARY VISUAL ART ISSUE#5 autumn 2005

outrooutro CONCEPT: NUNO MOITA

DESIGN: JOÃO VICENTE

PUBLISHED BY GRAIN OF SOUND, 2005

SONIC SCOPE 4UARTERLY #5 autumn 05_outro

100 SONIC SCOPE 4UARTERLY #5 autumn 05_contacts

CONTACT SHEET

MAJA RATKJE EMAIL: [email protected]; URL: HTTP://WWW.RATKJE.COM

KITUNDU EMAIL: [email protected]; URL: HTTP://CPCARTS.ORG/KITUNDU

CHARLES LAREAU EMAIL:[email protected]; URL: HTTP://WWW.ZEROMOON.COM/FOREIGNLANDS

DIOGO VALÉRIO EMAIL: [email protected]; URL: HTTP://WWW.THEDRONESPEECH.ORG

MARC BEHRENS EMAIL: [email protected]; URL: HTTP://WWW.MBEHRENS.COM; PHONE +49 (0)69 7073708

BRÜDER-GRIMM-STR. 46, 60385 FRANKFURT A.M. GERMANY. TO SUBSCRIBE TO THE MAILING LIST, SEND A NOTE TO

<[email protected]>

PAZ BOÏRA EMAIL: [email protected]; URL: HTTP://WWW.FREMOK.ORG/PAZBOIRA

PAULO RAPOSO EMAIL: [email protected]; URL: HTTP://WWW.SIRR-ECORDS.COM/PAULORAPOSO

NICK DELANEY EMAIL: [email protected]; URL: HTTP://WWW.NDEY.ORG HTTP://WWW.NTOTHEDEGREE.NET

M0RPH3U EMAIL: [email protected]; URL: HTTP://WWW.LOMOHOMES.COM/M0RPH3U HTTP://WWW.FLICKR.

COM/PHOTOS/M0RPH3U

KOJI ASANO EMAIL: [email protected]; URL: HTTP://WWW.KOJIASANO.COM

TEN EMAIL: [email protected]; URL: HTTP://WWW.TENTENTEN.NET

IMAX EMAIL: [email protected]; URL: HTTP://WWW.SLOWSOUND.NET HTTP://WWW.LOMOHOMES.COM/IMAX

MANUEL MOTA EMAIL: [email protected]; URL: HTTP://WWW.GEOCITIES.COM/HEADLIGHTSRECORDINGS

MARIANA DIAS DA CUNHA EMAIL: [email protected]

PHILIP SHERBURNE EMAIL: [email protected]; URL: HTTP://WWW.PHILIPSHERBURNE.COM

CHIPPY (HEUNG-HEUNG CHIN) EMAIL: [email protected]; URL: HTTP://WWW.BRASSLAND.ORG

PEDRO ALMEIDA EMAIL: [email protected]; URL: HTTP://WWW.FOTOLOG.NET/PEDROALMEIDA

HTTP://WWW.LARAPAL.ORG

LARACRAFTS EMAIL: [email protected]; URL: HTTP://LARACRAFTS.BLOGSPOT.COM HTTP://WWW.LARAPAL.ORG

STEINBRÜCHEL EMAIL: [email protected]; URL: HTTP://WWW.SYNCHRON.CH

sonic scope quarterly #5

Documents

uarterly autumn

maja ratkje6 sonic scope

autumn issue

maja ratkjesonic scope

intro intro sonic scope

maja ratkjecampingrafting

maja ratkje9kitundumoney

maja ratkjewarnemnde