[{"data":1,"prerenderedAt":192},["ShallowReactive",2],{"article:transmission-most-fragile-sound-of-the-sun-volume-1":3,"page:48":119,"page:321":155},{"id":4,"slug":5,"title":6,"excerpt":7,"date":8,"year":9,"formattedDate":10,"typeIds":11,"typeNames":13,"wordCount":15,"isBlack":16,"image":17,"contributors":24,"contentHtml":29,"finalContentHtml":30,"creditsHtml":22,"pdfUrl":31,"vimeo":31,"contributorBios":32,"seo":38},1675,"transmission-most-fragile-sound-of-the-sun-volume-1","Transmission Most Fragile \u002F\u002F Sound of the Sun Volume 1","\u003Cp>Ryley O’Byrne reviews \u003Cem>Sound of the Sun Volume 1\u003C\u002Fem>, a UNIT\u002FPITT mixtape curated by Catherine de Montreuil and Marisa Kriangwiwat Holmes.\u003C\u002Fp>\n","2023-10-10T08:33:14",2023,"Oct 2023",[12],9,[14],"Review",1399,false,{"src":18,"srcset":19,"width":20,"height":21,"alt":22,"lqip":23},"https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2023\u002F10\u002Fsoundofthesun-splash.jpg","https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2023\u002F10\u002Fsoundofthesun-splash-768x295.jpg 768w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2023\u002F10\u002Fsoundofthesun-splash-1536x590.jpg 1536w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2023\u002F10\u002Fsoundofthesun-splash.jpg 1920w",1920,737,"","data:image\u002Fwebp;base64,UklGRkQAAABXRUJQVlA4IDgAAADwAgCdASogAAwAPu1iqU26JaQiMAgDQB2JZwCw7C5JAAD+6uW5YPsCtsg5a8\u002Flwmc0bgYZ8gAAAA==",[25],{"id":26,"name":27,"slug":28},1679,"Ryley O'Byrne","ryley-obyrne","\n\u003Cfigure class=\"wp-block-image size-full\">\u003Cspan class=\"lqip-wrap\" style=\"background-image:url("data:image\u002Fsvg+xml;charset=utf-8,%3Csvg xmlns='http:\u002F\u002Fwww.w3.org\u002F2000\u002Fsvg' viewBox='0 0 320 180'%3E%3Cfilter id='b' color-interpolation-filters='sRGB'%3E%3CfeGaussianBlur stdDeviation='20'\u002F%3E%3CfeColorMatrix values='1 0 0 0 0 0 1 0 0 0 0 0 1 0 0 0 0 0 100 -1' result='s'\u002F%3E%3CfeFlood x='0' y='0' width='100%25' height='100%25'\u002F%3E%3CfeComposite operator='out' in='s'\u002F%3E%3CfeComposite in2='SourceGraphic'\u002F%3E%3CfeGaussianBlur stdDeviation='20'\u002F%3E%3C\u002Ffilter%3E%3Cimage width='100%25' height='100%25' x='0' y='0' preserveAspectRatio='none' style='filter: url(%23b);' href='data:image\u002Fwebp;base64,UklGRoIAAABXRUJQVlA4IHYAAAAwBQCdASogABIAPuVepk2pJSOiN\u002FVYASAciUATpmZ4ywT2DyGGOkz5756yezL7cZi+yAD+1C7EXGZLmIeQodXrl3etkn6\u002FiZwgsSxqbok4lsCrvEH0lBqMbcLYKuUZiOTkZWx7k1U76H8Ns\u002F73qgk5HzfjYgAA'\u002F%3E%3C\u002Fsvg%3E")\">\u003Cimg loading=\"lazy\" decoding=\"async\" width=\"1920\" height=\"1080\" src=\"https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2023\u002F10\u002Fsoundofthesun.jpg\" alt=\"\" class=\"lqip wp-image-1676\" srcset=\"https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2023\u002F10\u002Fsoundofthesun.jpg 1920w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2023\u002F10\u002Fsoundofthesun-768x432.jpg 768w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2023\u002F10\u002Fsoundofthesun-1536x864.jpg 1536w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2023\u002F10\u002Fsoundofthesun-100x56.jpg 100w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\" \u002F>\u003C\u002Fspan>\u003Cfigcaption class=\"wp-element-caption\">Smokey sunset skies, xwesam (Roberts Creek, BC).\u003C\u002Ffigcaption>\u003C\u002Ffigure>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">The Sun is silent, in a sense, existing far beyond our auditory reach, 150 million kilometres from earth in the near emptiness of space. Still, we can summon its sound, conceptually, artistically: hear the fiery star roaring in a chaos of flares, a radio’s dry crackle in a sweltering apartment — or perhaps the last vestige of humanity on a too hot planet. \u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">At the height of summer, UNIT\u002FPITT released the mixtape \u003Cem>Sound of the Sun Volume 1\u003C\u002Fem>, a varied sonic interpretation of solar movements and aestival acoustics — in all their potential euphoria and tumult. Produced during the leadup to solstice, as the air warmed and days stretched, the project features ten artists’ tracks curated by UNIT\u002FPITT’s newly appointed director, Catherine de Montreuil, and Marisa Kriangwiwat Holmes, a multidisciplinary artist and musician formerly based in Vancouver. In line with the organisation’s mandate to support emerging artists, the co-curators created a space in which “artists at different stages of their career could intermingle”\u003Cspan id='easy-footnote-1-1675'>\u003C\u002Fspan>\u003Cspan class='easy-footnote'>\u003Csup id='easy-footnote-1-1675' content='Catherine de Montreuil and Marisa Kriangwiwat Holmes in discussion with the author, September 19, 2023.' v-tippy='{ allowHTML: true }'>1\u003C\u002Fsup>\u003C\u002Fspan> and cross-pollinate. Contributors range from established recording musicians to visual artists working in sound for the first time. \u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">De Montreuil’s background in horticulture and gardening is apparent in this project inspired by changing seasons and the “emotional, psychological, and environmental [effect] of the lavish amounts of sun that are present around solstice.”\u003Cspan id='easy-footnote-2-1675'>\u003C\u002Fspan>\u003Cspan class='easy-footnote'>\u003Csup id='easy-footnote-2-1675' content='Ibid.' v-tippy='{ allowHTML: true }'>2\u003C\u002Fsup>\u003C\u002Fspan> Stepping into the role of director earlier this year, de Montreuil said her vision for UNIT\u002FPITT is to guide programming towards connecting “celestial rhythms [and] intersections between the landscape and cultural production”\u003Cspan id='easy-footnote-3-1675'>\u003C\u002Fspan>\u003Cspan class='easy-footnote'>\u003Csup id='easy-footnote-3-1675' content='Ibid.' v-tippy='{ allowHTML: true }'>3\u003C\u002Fsup>\u003C\u002Fspan> as we learn to navigate the intensifying effects of climate change. These curatorial shifts come as the organisation settles into a new physical location — what used to be Unit 17 in Kitsilano —  inheriting a large garden.\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">Kriangwiwat Holmes was invited to collaborate on account of her artistic sensibility, vibrant energy, and knowledge of the type of support that would be the most meaningful to the artists as an artist and musician herself who has played in the local scene for years. The result of this curatorial collaboration — invested in the relationships between the environment and cultural production — is an eclectic assortment of audio works swinging frenetically from poppy summer ballads to chilling acoustic odysseys. While only one of the artists explicitly acknowledges extinction as a theme in their track, I found the strongest pieces were those which audibly address the waxing and waning of an existential planetary anxiety or the obscure relationship between humanity and the superterrestrial. I was frequently aware of the sounds of human detritus in the works — disquieting static, buzzing, and droning — confronting more sensuous acoustics.\u003C\u002Fp>\n\n\n\n\u003Cp class=\"has-text-align-center wp-block-paragraph\">*\u003C\u002Fp>\n\n\n\n\u003Cfigure class=\"wp-block-image size-full\">\u003Cspan class=\"lqip-wrap\" style=\"background-image:url("data:image\u002Fsvg+xml;charset=utf-8,%3Csvg xmlns='http:\u002F\u002Fwww.w3.org\u002F2000\u002Fsvg' viewBox='0 0 320 180'%3E%3Cfilter id='b' color-interpolation-filters='sRGB'%3E%3CfeGaussianBlur stdDeviation='20'\u002F%3E%3CfeColorMatrix values='1 0 0 0 0 0 1 0 0 0 0 0 1 0 0 0 0 0 100 -1' result='s'\u002F%3E%3CfeFlood x='0' y='0' width='100%25' height='100%25'\u002F%3E%3CfeComposite operator='out' in='s'\u002F%3E%3CfeComposite in2='SourceGraphic'\u002F%3E%3CfeGaussianBlur stdDeviation='20'\u002F%3E%3C\u002Ffilter%3E%3Cimage width='100%25' height='100%25' x='0' y='0' preserveAspectRatio='none' style='filter: url(%23b);' href='data:image\u002Fwebp;base64,UklGRg4BAABXRUJQVlA4IAIBAABQBwCdASogABIAPu1iqU2ppaOiMAgBMB2JbACdMuuYPYEg69AH\u002FVw3LUYPJVHtDQXXEXmk0nRL3HhZzC+QSZ0Bof2AAP7TJzpV6hEN9Pt6RCzhq+q1EsfYejE+VMTvH6wCdVabDBJyS5pHcJ+lvRFi8ux3Vktc3vGWKIJ2CURb2SODTwrRNd3dna7h514GqIJXYB6CIoSilW6ohpPgtlI4EM0OmIHpGtMdGu\u002F3T17MB4plm4V3G3iRvpAcGqrXTCFwqDEPAyVD9E8JQXl5BehPYO41IR3y08ZeudpVU9b0Gyy4cIcMH5xcdNbi+nt50\u002FsuUDWSS0\u002FsrsOCz\u002FOyBqAAAAA='\u002F%3E%3C\u002Fsvg%3E")\">\u003Cimg loading=\"lazy\" decoding=\"async\" width=\"1920\" height=\"1080\" src=\"https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2023\u002F10\u002Fsoundofthesun-2.jpg\" alt=\"\" class=\"lqip wp-image-1677\" srcset=\"https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2023\u002F10\u002Fsoundofthesun-2.jpg 1920w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2023\u002F10\u002Fsoundofthesun-2-768x432.jpg 768w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2023\u002F10\u002Fsoundofthesun-2-1536x864.jpg 1536w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2023\u002F10\u002Fsoundofthesun-2-100x56.jpg 100w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\" \u002F>\u003C\u002Fspan>\u003Cfigcaption class=\"wp-element-caption\">\u003Cem>Sound of the Sun Volume 1\u003C\u002Fem> artwork by Martin Steuck, Catherine de Montreuil, and Marisa Kriangwiwat Holmes.\u003C\u002Ffigcaption>\u003C\u002Ffigure>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">I first listen to the compilation at the beach — late in the afternoon, early in the evening — weeks before the smoky skies arrive from inland. The tape’s opening track, “A radiant resonance” by Pari rises swiftly in an extolment of birds, oms, and Bīja mantras to set a devout foundational tone, which then moves swiftly through Atama Itai’s poppy composition, “Osaka Sun” and B.Michael’s conceptual “21\u002F21.” Ogheneofegor Obuwoma’s track, “In conversation with time,” takes the form of a conversational narrative on the impermanence of life. “I am stacking my body like a prayer,” says one of the narrators amidst a background of flutes and animal noises. I pause to appreciate the sensation summoned by this phrase, in this moment: body stacked on hot stone, underneath wisps of cloud against flat blue sky.\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">The following track, Jane Harms’ “Weekend of the Year,” comes in direct opposition to the narrative immediacy of Obuwoma’s work, and the overall peppiness of the collection thus far. Harms describes the work as a documentation of “Angel Time”\u003Cspan id='easy-footnote-4-1675'>\u003C\u002Fspan>\u003Cspan class='easy-footnote'>\u003Csup id='easy-footnote-4-1675' content='“Sound of the Sun, Volume 1”, UNIT\u002FPITT Society for Art and Critical Awareness, June 19, 2023, https:\u002F\u002Fwww.unitpitt.ca\u002Fportfolio\u002Fsun-2\u002F.' v-tippy='{ allowHTML: true }'>4\u003C\u002Fsup>\u003C\u002Fspan> influenced by mediaeval occult texts. At first, I found myself mesmerised by its hypnotic persistence, and then caught in an understated hellscape between the track’s sharp edges and the increasingly oppressive late-July heat. But despite the clanging metal and evocation of sharp solar flames, the work resonates as sensual.\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">In a headspace juggling extinction with desire, Lisa Pawliuk’s cover of the 1983 pop hit “Cruel Summer” conjures the sweaty pleasure of the inescapable city heat  — vision wavering, blue popsicle dripping on softened grey asphalt. “Circuits that wake up with the sun” by Absolute Value of Noise (Peter Courtemanche) returns the listener to a planetary composition which alludes to human presence through transmissions: a radio without clear signal, the static of a picture-less television. Fourteen-minutes long, the piece provides ample time to receive and reflect on artist Peter Courtemanche’s mysterious dispatches from another realm. I imagine a post-apocalyptic planet, humanity’s acoustic detritus polluting the atmosphere still. Through glitching noise, a deeper, rounder set of acoustics emerge, which, if not human exactly, return the listener to an inhabitable territory, nearing melodic. Courtemanche collected these “sounds when the transmission [was] most fragile”\u003Cspan id='easy-footnote-5-1675'>\u003C\u002Fspan>\u003Cspan class='easy-footnote'>\u003Csup id='easy-footnote-5-1675' content='Ibid.' v-tippy='{ allowHTML: true }'>5\u003C\u002Fsup>\u003C\u002Fspan> near dusk and dawn, with broken clouds above, the condition for the most transfixing twilight skies.\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">Continuing to zoom out of terrestrial experience, Stefana Fratila’s “I Want To Leave This Earth Behind,” takes the approach of a sci-fi radio-drama. Spitting the listener from the glimmering rainforests on Earth to the pearlescent orbit of Jupiter and its many moons at near light-speed, Fratila collapses the entire solar system into a frantic 9-minute journey which releases us into Manuel Munoz’s piece, “Distorty’s Like a Melody in My Head.” Buzzing with indiscernible chatter and a cacophony of songs and banter, this work feels like every moment of the summer — or human existence — layered and folded in on itself. \u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">Finally, the listener arrives at Jami Reimer’s “Lost in the antiphon.” Excerpted from a longer project investigating “amphibian choruses, bioacoustics, and ‘speculative choral music,’”\u003Cspan id='easy-footnote-6-1675'>\u003C\u002Fspan>\u003Cspan class='easy-footnote'>\u003Csup id='easy-footnote-6-1675' content='Ibid.' v-tippy='{ allowHTML: true }'>6\u003C\u002Fsup>\u003C\u002Fspan> the work addresses amphibian endangerment by combining recordings of living and recently extinct frogs. Ambient sounds fade and shift, transforming into more distinctly musical configurations, at times verging on orchestral. Reimer leads us from brittle grass at the edge of a marsh — drum machine scuttling — through a forest, to the symphony. Further into the composition an ethereal, syrupy voice emerges, circling the audio-scape like an auditory apparition. The listener eventually finds oneself subterranean, or rather nocturnal, and certainly, as the title of the piece suggests, \u003Cem>lost\u003C\u002Fem>. Reimer’s work depicts an absence of the sun rather than its sound, foreshadowing the long nights to come as our planet tilts southward — or perhaps something more menacing.\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">A gust of wind passes and I open my eyes as the last chirps and clucks of the track fade and the waves in front of me take over again. My eyes adjust to the light glittering across the sea, as the sun draws nearer the horizon. I remove my headphones and pack up my things.\u003C\u002Fp>\n\n\n\n\u003Cp class=\"has-text-align-center wp-block-paragraph\">*\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">Weeks later, well past the solstice, nearing the equinox, I sit at the beach again. The forest fires are burning now and the days are shortening conspicuously.\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">Eating a handful of nearly spoiled blackberries, I listen to the \u003Cem>Sound of the Sun\u003C\u002Fem> once more and recall my previous listen when the water was warmer and the air was fresh: a summer poised precariously at the edge of normal. \u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">As I watch that looming neon pink star descend, I can’t help but perceive some of \u003Cem>Sounds of the Sun\u003C\u002Fem>’s tracks as scores for the end of the world. These days, we have warnings — on the coast they manifest as eerie twilight skies and long droughts — but what might the near future hold? An ocean too acidic to swim in, irreversible soil erosion, and smoky skies that linger for months, or longer. Aligning cultural production with nature and its cycles is a soft gesture in face of such changes — but still, a step.  \u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">The last sliver of the sun vanishes, and my attention returns to planetary rhythms, human intervention, and the meeting point of these two realms in a mixtape. \u003C\u002Fp>\n\n\n\n\u003Cdiv style=\"height:40px\" aria-hidden=\"true\" class=\"wp-block-spacer\">\u003C\u002Fdiv>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">More information about the \u003Cem>Sound of the Sun Volume 1\u003C\u002Fem> can be found \u003Ca href=\"https:\u002F\u002Fwww.unitpitt.ca\u002Fportfolio\u002Fsun-2\u002F\" target=\"_blank\" rel=\"noreferrer noopener\">here\u003C\u002Fa>. Listen to the mixtape \u003Ca href=\"https:\u002F\u002Fsoundcloud.com\u002Fuser-929382892\u002Fsets\u002Fsun\" target=\"_blank\" rel=\"noreferrer noopener\">here\u003C\u002Fa>.\u003C\u002Fp>\n\u003Cdiv class=\"easy-footnote-title\">\u003Cp>\u003Cstrong>Notes:\u003C\u002Fstrong>\u003C\u002Fp>\u003C\u002Fdiv>\u003Col class=\"easy-footnotes-wrapper\">\u003Cli class=\"easy-footnote-single\">\u003Cspan id=\"easy-footnote-bottom-1-1675\" class=\"easy-footnote-margin-adjust\">\u003C\u002Fspan>Catherine de Montreuil and Marisa Kriangwiwat Holmes in discussion with the author, September 19, 2023.\u003Ca class=\"easy-footnote-to-top\" href=\"#easy-footnote-1-1675\" aria-label=\"Back to note 1 in the text\">\u003C\u002Fa>\u003C\u002Fli>\u003Cli class=\"easy-footnote-single\">\u003Cspan id=\"easy-footnote-bottom-2-1675\" class=\"easy-footnote-margin-adjust\">\u003C\u002Fspan>Ibid.\u003Ca class=\"easy-footnote-to-top\" href=\"#easy-footnote-2-1675\" aria-label=\"Back to note 2 in the text\">\u003C\u002Fa>\u003C\u002Fli>\u003Cli class=\"easy-footnote-single\">\u003Cspan id=\"easy-footnote-bottom-3-1675\" class=\"easy-footnote-margin-adjust\">\u003C\u002Fspan>Ibid.\u003Ca class=\"easy-footnote-to-top\" href=\"#easy-footnote-3-1675\" aria-label=\"Back to note 3 in the text\">\u003C\u002Fa>\u003C\u002Fli>\u003Cli class=\"easy-footnote-single\">\u003Cspan id=\"easy-footnote-bottom-4-1675\" class=\"easy-footnote-margin-adjust\">\u003C\u002Fspan>“Sound of the Sun, Volume 1”, UNIT\u002FPITT Society for Art and Critical Awareness, June 19, 2023, https:\u002F\u002Fwww.unitpitt.ca\u002Fportfolio\u002Fsun-2\u002F.\u003Ca class=\"easy-footnote-to-top\" href=\"#easy-footnote-4-1675\" aria-label=\"Back to note 4 in the text\">\u003C\u002Fa>\u003C\u002Fli>\u003Cli class=\"easy-footnote-single\">\u003Cspan id=\"easy-footnote-bottom-5-1675\" class=\"easy-footnote-margin-adjust\">\u003C\u002Fspan>Ibid.\u003Ca class=\"easy-footnote-to-top\" href=\"#easy-footnote-5-1675\" aria-label=\"Back to note 5 in the text\">\u003C\u002Fa>\u003C\u002Fli>\u003Cli class=\"easy-footnote-single\">\u003Cspan id=\"easy-footnote-bottom-6-1675\" class=\"easy-footnote-margin-adjust\">\u003C\u002Fspan>Ibid.\u003Ca class=\"easy-footnote-to-top\" href=\"#easy-footnote-6-1675\" aria-label=\"Back to note 6 in the text\">\u003C\u002Fa>\u003C\u002Fli>\u003C\u002Fol>","\u003Cp>\u003Cstrong>Images\u003C\u002Fstrong>\u003C\u002Fp>\n\u003Col>\n\u003Cli>Smokey sunset skies, xwesam (Roberts Creek, BC). Courtesy of the author.\u003C\u002Fli>\n\u003Cli>\u003Cem>Sound of the Sun Volume 1\u003C\u002Fem> artwork by Martin Steuck, Catherine de Montreuil, and Marisa Kriangwiwat Holmes. Courtesy of UNIT\u002FPITT.\u003C\u002Fli>\n\u003C\u002Fol>\n",null,[33],{"id":26,"slug":28,"name":34,"firstName":35,"lastName":36,"bioHtml":37},"Ryley O’Byrne","Ryley","O'Byrne","\n\u003Cp class=\"wp-block-paragraph\">Ryley O’Byrne is an artist and writer from xwesam, the traditional, ancestral, and unceded territories of the Coast Salish peoples (Roberts Creek, Canada). She attended The Mountain School of Art in Los Angeles and was a resident of the Critical Art Writing Ensemble III at the Banff Centre. Her writing has appeared in \u003Cem>Canadian Art, Public Parking Publication, The Capilano Review, \u003C\u002Fem>and\u003Cem> TriQuarterly.\u003C\u002Fem>\u003C\u002Fp>\n",{"title":39,"robots":40,"og_locale":46,"og_type":47,"og_title":39,"og_description":48,"og_url":49,"og_site_name":50,"article_publisher":51,"article_modified_time":52,"og_image":53,"twitter_card":56,"twitter_site":57,"twitter_misc":58,"schema":60},"Transmission Most Fragile \u002F\u002F Sound of the Sun Volume 1 - ReIssue",{"index":41,"follow":42,"max-snippet":43,"max-image-preview":44,"max-video-preview":45},"noindex","follow","max-snippet:-1","max-image-preview:large","max-video-preview:-1","en_US","article","Ryley O'Byrne reviews Sound of the Sun Volume 1, a UNIT\u002FPITT mixtape curated by Catherine de Montreuil and Marisa Kriangwiwat Holmes.","https:\u002F\u002Freissue.pub\u002Farticles\u002Ftransmission-most-fragile-sound-of-the-sun-volume-1\u002F","ReIssue","https:\u002F\u002Fwww.facebook.com\u002Freissue.pub\u002F","2023-10-12T15:35:16+00:00",[54],{"width":20,"height":21,"url":18,"type":55},"image\u002Fjpeg","summary_large_image","@reissuepub",{"Est. reading time":59},"7 minutes",{"@context":61,"@graph":62},"https:\u002F\u002Fschema.org",[63,78,80,94,109],{"@type":64,"@id":49,"url":49,"name":39,"isPartOf":65,"primaryImageOfPage":67,"image":69,"thumbnailUrl":18,"datePublished":70,"dateModified":52,"breadcrumb":71,"inLanguage":73,"potentialAction":74},"WebPage",{"@id":66},"https:\u002F\u002Freissue.pub\u002F#website",{"@id":68},"https:\u002F\u002Freissue.pub\u002Farticles\u002Ftransmission-most-fragile-sound-of-the-sun-volume-1\u002F#primaryimage",{"@id":68},"2023-10-10T15:33:14+00:00",{"@id":72},"https:\u002F\u002Freissue.pub\u002Farticles\u002Ftransmission-most-fragile-sound-of-the-sun-volume-1\u002F#breadcrumb","en-US",[75],{"@type":76,"target":77},"ReadAction",[49],{"@type":79,"inLanguage":73,"@id":68,"url":18,"contentUrl":18,"width":20,"height":21},"ImageObject",{"@type":81,"@id":72,"itemListElement":82},"BreadcrumbList",[83,88,92],{"@type":84,"position":85,"name":86,"item":87},"ListItem",1,"Home","https:\u002F\u002Freissue.pub\u002F",{"@type":84,"position":89,"name":90,"item":91},2,"Articles","https:\u002F\u002Freissue.pub\u002Farticles\u002F",{"@type":84,"position":93,"name":6},3,{"@type":95,"@id":66,"url":87,"name":50,"description":96,"publisher":97,"potentialAction":99,"inLanguage":73},"WebSite","critical discourse for experimental art practices",{"@id":98},"https:\u002F\u002Freissue.pub\u002F#organization",[100],{"@type":101,"target":102,"query-input":105},"SearchAction",{"@type":103,"urlTemplate":104},"EntryPoint","https:\u002F\u002Freissue.pub\u002F?s={search_term_string}",{"@type":106,"valueRequired":107,"valueName":108},"PropertyValueSpecification",true,"search_term_string",{"@type":110,"@id":98,"name":50,"url":87,"logo":111,"image":115,"sameAs":116},"Organization",{"@type":79,"inLanguage":73,"@id":112,"url":113,"contentUrl":113,"width":20,"height":114,"caption":50},"https:\u002F\u002Freissue.pub\u002F#\u002Fschema\u002Flogo\u002Fimage\u002F","https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2022\u002F06\u002Freissue_logo.jpg",1118,{"@id":112},[51,117,118],"https:\u002F\u002Fx.com\u002Freissuepub","https:\u002F\u002Fwww.instagram.com\u002Freissue.pub\u002F",{"id":120,"slug":121,"title":86,"contentHtml":22,"acf":122,"backgroundBlur":125,"seo":126},48,"home",{"background_image":123,"isBlack":16,"header_text":124},"https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2026\u002F11\u002Fdaisy_reissue_2.jpg","ReIssue: art and criticism in \u003Cbr>\r\nthe cosmos of cultural production","url(\"data:image\u002Fsvg+xml;charset=utf-8,%3Csvg xmlns='http:\u002F\u002Fwww.w3.org\u002F2000\u002Fsvg' viewBox='0 0 320 213'%3E%3Cfilter id='b' color-interpolation-filters='sRGB'%3E%3CfeGaussianBlur stdDeviation='20'\u002F%3E%3CfeColorMatrix values='1 0 0 0 0 0 1 0 0 0 0 0 1 0 0 0 0 0 100 -1' result='s'\u002F%3E%3CfeFlood x='0' y='0' width='100%25' height='100%25'\u002F%3E%3CfeComposite operator='out' in='s'\u002F%3E%3CfeComposite in2='SourceGraphic'\u002F%3E%3CfeGaussianBlur stdDeviation='20'\u002F%3E%3C\u002Ffilter%3E%3Cimage width='100%25' height='100%25' x='0' y='0' preserveAspectRatio='none' style='filter: url(%23b);' href='data:image\u002Fwebp;base64,UklGRoIAAABXRUJQVlA4IHYAAADwBACdASogABUAPu1qqlEppaOiqAqpMB2JZwAAKf0c+TYjyG8vhTeRaShCpli8uAAA\u002FnFf8QBzP1T7FqMQfN+5P0sEZp4TM\u002FtvUeu\u002F6PKH+GHrebLLz8IW4Q6wQ5kHZO6aqggnKrdkv+u62izeOgqi4jMyAAAA'\u002F%3E%3C\u002Fsvg%3E\")",{"title":127,"robots":128,"og_locale":46,"og_type":47,"og_title":127,"og_url":129,"og_site_name":50,"article_publisher":51,"article_modified_time":130,"twitter_card":56,"twitter_site":57,"schema":131},"Home - 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