Julia Lea Mangolive Basah30-00 Min [top] ★ Ultimate
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The late‑2000s saw a surge of sound artists addressing climate change—e.g., Jana Winderen’s underwater recordings, and Chris Foster’s “The Noise of the Ocean”. Basah30‑00 Min contributes to this discourse by offering an embodied experience: the audience is not merely a listener but a participant whose bodily interaction (the ripple) becomes part of the ecological feedback loop. The work thus operates as a micro‑simulation of how human presence influences water bodies, albeit in a highly controlled artistic context. Julia Lea MANGOLIVE Basah30-00 Min
Julia Lea Mangolive emerged from the experimental music scene of the Pacific Northwest in the early 2010s, studying electronic composition at the School of the Art Institute of Chicago before relocating to Seattle. Her moniker— Mangolive —combines “mangrove”, the resilient coastal tree, with “olive”, a symbol of peace and endurance. The hybrid name signals her preoccupation with ecosystems under stress and the possibility of regeneration through artistic intervention.
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Julia races against the storm’s clock, using her family’s forbidden extraction technique, to recover the full 30-minute message. In the final minute, she learns that her mother didn’t abandon her — she was erased by the Time-Fruit Cartel for discovering that Basah could restore erased history.
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Mangolive’s oeuvre is interdisciplinary: she blends field recordings of rain‑forests, tidal mangrove swamps, and urban waterways with modular synthesis, granular processing, and live‑coded algorithms. Her performances frequently incorporate visual projections of water droplets, slow‑motion footage of tides, and participatory elements where audiences are invited to bring containers of water into the venue, thereby turning the concert space into a literal “wet” environment.
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