Concerts and Performances 2021

11:00 – 12:00 Concert 1 – Fixed Media Electroacoustic

Manuella Blackburn – Microplastics

Microplastics is an acousmatic work derived solely from plastic sound sources. These sounds are predominately from waste accumulated from household use (empty milk containers, bottles, straws, lids, cling film and wrappers). Further sources were captured at the Manchester Education Centre and Materials Recovery Facility in Sharston, which illuminated ways in which plastics are separated and sorted by the Aladdin machine. This visit provided an eye-opening visual for the monumental scale of plastic waste, which is represented sonically half-way through the work through an unprocessed raw recording of plastic rubbish being dumped out into a colossal mountain of unbelievable proportions. Further to these recordings and sources are sounds collected from micro-sized plastics, sourced from the south coast of England courtesy of Rob Arnold (visual artists and microplastics cleanup expert). These microplastic pieces, no larger that 5mm in diameter are a mix of worn-down plastic remnants of past plastic objects (lids, shards, tubing, rims and strips) and nurdles or bio-beadsâ waste, which present hazardous, detrimental ecological damage to marine life and the environment. The plastics industry convert nurdles into plastic products, however the movement and transportation of these tiny pellets of plastic regularly encounter accidental spills, spreading out into water and drainage systems. Bio-beads are equally problematic, entering the sea via their use in sewage filtration systems. These minuscule plastic particles can be mistaken for food by marine life and birds in the environment. This work explores the sound world of this disastrous pollution and unfortunate particles debris that now inhabit the world in insurmountable quantities. “

Antonio D’Amato – Un certain vertige

This piece was originally composed expressly for the directional rotating speaker developed by Peter Farber at Zurcher Hochschule der Kunste and a quadraphonic setup.
Un certain vertige is a piece and a composition study based on the idea of blurring boundaries between two related but contrasting sound materials, that are progressively processed in order to merge in a unique fluxus. A large amount of processes that corrode and degrade the sound are implemented in order to create subtle organic textures with dense harmonics.
The dialogue takes advantage of the experimental loudspeaker and the timbral transformation due to the hall reflections. The spatialization technique tries to merge the rotating loudspeaker and the quadraphonic setup in a seamless panorama where they respond each another.
In this version the mono track originally intended for the rotating speaker is adapted and processed in order to be reproduced by a static central speaker.

Pete Stollery – Clermont Horns

“This piece is made one from one single field recording I made when I was in Clermont Ferrand gathering data for a project with photographer John Perivolaris and writer Ed Welch. I heard the sound of car horns in the distance and immediately reached for my recording device, entranced by the harmonies of the constantly smearing horn sounds. At this point, we were unaware that this was the first weekend of the Gilets Jaunes demonstrations in France in Nov 2018.

It forms part of a larger projected album release consisting of short forms made from single field recordings.”

Myles Johnson – Finding Pitch

“The composition comes from an exploratory standpoint on the evolution of timbre, harmony and pitch. With the sound material progressing from gestures and minimal spectral content, to extrinsic textures and large statements, the piece demonstrates the small steps needed to fully explore spectra and its colour. Composed with an abstracted syntax of timbral evolution, the spectromorphological properties of the manipulated sound material was carefully chosen for their mimetic, musical properties and surrogate principles. Statement gestures contained the most intrinsic features, whilst respecting the spectra and atonal properties of their continuants and terminations.

My approach to this composition was heavily influenced by ‘Pentes – Denis Smalley’. It was the first piece where electroacoustic principles to composition and concrete material manipulation came to the forefront in a way that made them accessible, understandable and musical to me. With this in mind, the resolve at the end of my composition was cemented as a tribute to the Northumbrian pipes impact on the piece. Structurally, my composition relies on abstracted syntax, determined by the perceived properties of the sound materials and their original source. Employing approaches such as the notion of placement, environmental and intrinsic musical space, the material was judged on its addition to the composition and its properties, rather than reliance of further choreographing effects, allowing for interaction with textures and other material.”

Levy Oliveira – Hyperesthesia

Hyperesthesia is a condition that involves an abnormal increase in sensitivity to stimuli of the sense. Therefore, such as in a hyperesthesia crisis, all stimuli in the music (even the smallest) changes the general atmosphere or triggers larger gestures.

Panayiotis Kokoras – AI Phantasy

AI Phantasy was composed at the GRIS multichannel studio, the University of Montreal in Quebec, Canada; the MEIT theater at CEMI, University of North Texas, and my home studio. I used the air from a vacuum cleaner to set into vibration various membranes and other probs at the end of the suction tube which I then modulated with my hands following the Fab Synthesis paradigm. In addition, I developed a series of circular pan flute kind of sound generators which could rotate electromechanically in variable speeds. In this case, the airflow generator was an air pump compressor and a modified airbrush attachment to control airflow and direction. The word Phantasy refers to a phantasy with Pha as a state of mind of an infant child during the early stages of development. Phantasies are constructed from internal and external reality, modified by feelings and emotions, and then projected into both real and imaginary objects. In AI Phantasy, sonic realities, soundscapes, ambiances, studio-recorded sounds of found objects, instrumental sounds, voice or synthesized sounds, processed or not, are all mixed. In a way, they are largely unconscious in that they differentiate little, if at all, between reality and imagination, from conscious reality.

Adam Stanovic – Baltazar’s Adventure through the Great Machine

In early May 2019, composers working in the city of Sheffield recorded sounds in and around the Kelham Island Industrial Museum, using these to create musical works that resonate with the space and place of Kelham Island. In much the same way as one might imagine the transformation of the spaces of heavy industry, such as Brooklyn Works becoming residential accommodation, the ten sound artists transformed the sounds of Kelham Island, giving them a new home.

This piece, by composer Adam Stanovic, imagines the huge machines as if from a child-like fantasy. It follows the journey of fiction character – Baltazar – as he travels into, and through, the greatest machine of all.

Join Baltazar as he journeys through the Great Machine in search of its beating, mechanical heart. As the machine judders and splutters into life, will he avoid the pistons and valves, cogs and bursts of steam?

Warning: contains scenes of mild peril.

Baltazarâ’s Adventure through The Great Machine was commissioned by The Kelham Island Museum and Arts Enterprise, Sheffield, and premiered in the museum on 17th July 2019.

For Ozzy, Zac, and Kaia.

14:15 – 15:15 Concert 2 – Acoustic instruments with electronics

Viv Corringham – Shadow-walks (at home)

A socially distanced collaboration with walkers in Abu Dhabi, Wales, Hong Kong, France and Australia.
This is a new version of my longterm collaborative project “Shadow-walks, restyled to suit the pandemic. In this live solo performance I will work with improvised vocals, voice processing and recorded descriptions of walks.
I work with communities and their sense of place, and how this relates to memory and personal history. I have worked on the project Shadow-walks for almost two decades, in Asia, Europe, Australia and the Americas. Usually I arrive in a new place and ask local inhabitants to take me on a special walk, one that has been repeated many times and has meaning for that person. While walking together, I record our conversations and then go back along the same route alone, trying to get a sense of my previous companion’s traces on the walk, and I sing what I feel using wordless improvisations.
In lockdown, this was not possible so instead I have gathered people’s recorded descriptions of special walks that they remember taking or wish they could take and my live improvised singing will respond to how I imagine the walk based on listening to their words.

Bill Thompson – Drowned World (Afterending) for Live electronics (Octatrack plus pedals)

About 5 years ago on the London Underground I found an abandoned copy of the novel The Drowned World by J.G. Ballard. I decided to read it as I had never read Ballard’s work. The novel tells the story of an apocalyptic Earth submerged underwater and thus mostly uninhabitable. It has strong resonances with the world now – floods, but also fires, earthquakes, droughts, famine, war and pandemic. My piece – still a work in progress – isn’t so much about any of this; it’s not really about anything. But the title fits and the book and all of these related issues come to mind when I think about the piece. I often feel that what a work is – what it’s about – lies submerged under so many things it may as well be titled after a book found on the Underground some random afternoon.

Bill Thompson is a sound artist and composer.

His work is concerned with various aspects of perception and embodied presence. Using found objects, field recordings, repurposed electronics and digital media, his installations encourage active attention to each moment. He applies this same strategy within his compositions which often include sustained tones, densely layered textures and indeterminate or improvised structures.

Although trained as a guitarist, Thompson has worked primarily with live electronics for 20 years. In 2016, he returned to guitar (by Moog) combined with miscellaneous table top devices, found objects, flashing lights, and the occasional vibrator.

For more information: www.billthompson.org

19:00 – 20:15 Concert 3 – Audio-visual

Ivan Elezovic – Circle Noise

Circle Noise, a continuation of the Drawing Noise (2014), explores ambient sound presented in a large vacant gallery space during a performative wall-drawing installation. The project aims to reconcile the noise of voided space with the scratching sound of mark making. It investigates the ideas of long sustained sound objects, invasive echo, and thin texture produced by the act of drawing circles with colored ball-point pens directly onto rough drywall. The rhythmic value of visual manifestation juxtaposes clear and softer noise with amplified texture overlapping in circle compositions as they arrive and disappear in an obscure dark space. Through the performance of repetitive drawing practice, Circle Noise examines mark making that reflects time, space, speed through meditative state of mind. Layered sound inhabits the atmosphere and allows the viewer to experience the sensation of ambient recording as a musical piece.

Timothy Moyers Jr.- Golden Cuttlefish

Golden Cuttlefish explores the relationship between the organic and the abstract. A digital ecosystem is created exploring this juxtaposition in both the sonic and visual worlds. Abstract imagery is controlled by organic motion. Organic sound environments coexist with abstract sonic events. The organic flow of musical form and time is complimented by the fluid motion of the video.

Bret Battey – Estuaries 3

Estuaries 3 is the third part of my “Estuaries” audio-visual series, which can be viewed as a series of standalone works or ultimately as one large, multi-movement work. In Estuaries 3, my focus was on spaciousness longer, more slowly-developing audio and visual gestures and, at the climax and close, creating a counterpoint of both events and gestures.

The Estuaries series involves visualizing Nelder-Mead optimization, a process used by mathematicians to find solutions to complex, multi-variable problems that cannot be addressed by solving equations. We see the results of many such routines searching for the brightest points in a source image. The music was created with my Nodewebba software, which interlinks pattern generators to create complex emergent behaviours.

Rosalía Soria – Luz-Mestizo

During the Spanish colonization in Mexico, the term mestizo referred to a person of Spaniard and Mexican indigenous descent, a social class in the casta system. Nowadays the term is used to define someone of mixed origins and cultures. Many Mexicans identify themselves as mestizos, but some questions arise from this fact: do Mexicans accept equally all those cultures part of their origins? Is their identity somehow fragmented? The piece is part of the project Fighting Racism in Mexico, and is an invitation for Mexicans to reflect on the value of their origins and their identity.

Ali Balighi – Daramad for Tar and Fixmedia

Ah, if liberty sang a song
little
as the larynx of a bird
nowhere would there remain a tumbling wall.
It would not take years
to learn
that every ruin signifies man’s absence for the presence of man
is restoration and renewal.
Like a wound
a lifelong
bleeding
like a wound
a lifelong
with pain beating
eyes opening on the world in a cry in rancor disappearing
Thus was the great absence thus was the story of the ruin.
Ah, if liberty sang a song
little
littler even than the larynx of a bird.
|Ahmad Shamlu|

Bennett Hogg and Merrie Snell – Reflected Absence

The sounds of the Northumbrian landscape at Cheeseburn Grange, near Stamfordham, recorded from inside of one of Yafeng Qi’s huge steel scelptures that were shown in the grounds of Cheeseburn in 2018. The low frequencies are the sound of the wind blowing the sculpture like a giant (5m long!) flute. Into this resonant soundworld drifts the sound of a Northumbrian folk tune, “Bonny at Morn”, played on fiddle. The fiddle and field recordings have also been convolution filtered onto one another. This is the soundtrack to a video by Merrie Snell, using footage of the landscape reflected in the distorting surfaces of the sculpture, and so together sound and image evoke the presence of these pieces which are no longer there, having returned to China earlier in 2019. The image is of the sculpture “In Each Phase No. 1”, the piece that acts as a giant flute in the soundtrack, and through which pine cones can be heard tumbling at strategic points in the music.

The audiovisual version of “Reflected Absence” was programmed at the New York City Electroacoustic Music Festival in May 2020 and is currently awaiting its premiere in China.

Monty Adkins & Yan Wang Preston, With Love. From an Invader.

On the 17th March 2020, one week before the UK national lockdown, Yan decided to photograph a single rhododendron tree every other day at half an hour before sunset, for a year, with sounds from the site recorded by Monty and Yan each month. The Rhododendron was introduced to the UK by colonial botanists in the late 19th centenary as an ornamental plant, it is now seen as a highly invasive species by ecologists. Although most rhododendron species here are from southern Europe, they are also a much-loved plant in China, Yan’s motherland. Living as an immigrant in a country going through Brexit and COVID, Yan felt a strong personal connection with such invasive plants. They remind her of her homeland as well as the complex perceptions around nature, national identities, landscapes and migration.

The area, Shedden Clough at the outskirt of Burnley, was an open-cast limestone mine 400 years ago. Nearly 200 years ago the local landowners planted rhododendron and beech here, in an effort to change it to a hunting estate. Now it is an ‘ecological wasteland’, colonised by these non-native plants and by sheep-grazing farms. Hidden in the heartland of the South Pennines, the local landscape is simultaneously post-industrial and post-colonial. Yet the ecology can also be said as being cosmopolitan. This particular rhododendron tree happens to have a natural shape of a love heart. An alien species sending out love – as such it is a rich metaphor to anchor considerations of landscape and identity.

The repetitive photographic act over a year allows nature to run its own course. This has been the year of the global crisis caused by COVID-19. To date, over three million people have died from the virus. A natural disaster has also become a political issue, in which racial tensions re-surface over and over again. Yet the rhododendron carries on with its own rhythm of growing, flowering, seeding, and growing again. The art piece is therefore becoming a space – a context for us to consider such political issues within the context of nature. The fact that this nature is made of unwanted species further complicates the issues at hand.

Biographies

Yan Wang Preston is a photographic artist interested in the intercultural connections between landscape imagery, ecology, identity and migration. Her work has won many international awards such as the 1st Prize, Syngenta Photography Award and the 1st Prize, Professional Landscape, 2019 Sony World Photography Awards. She has exhibited widely and internationally at venues including Fotofest Biennial 2020, USA, Gallery of Photography Ireland, the 56th Venice Biennale and Chongqing China Three Gorges Museum. Preston’s monographs are Forest and Mother River (Berlin: Hatje Cantz, 2018). She received a PhD in Photography at the University of Plymouth in 2018 and currently lectures at the University of Huddersfield, UK. She is originally trained in Clinical Medicine in Fudan University, China.

Monty Adkins is a composer and performer of experimental electronic music. He primarily creates digital audio works and installations. Since 2008, his sound works has become increasingly minimal and introspective, characterised by slow shifting organic instrumental and concrete soundscapes, focusing on encouraging a deeper immersive listening experience. Using a reduced sonic palette, he draws together elements from ambient, minimal electronica, acousmatic and experimental electronic music often combining instrumental and electronic sound. His works have been performed at and commissioned by leading international festivals and institutions (including INA-GRM, IRCAM, BBC Radio 3, SpACE-Net, ZKM Karlsruhe, Sonic Arts Network, Visionas Sonoras, Bourges Festival, Akousma, IOU Theatre, and the Daiwa Anglo-Japanese Foundation) and released on labels worldwide including Audiobulb (UK), empreintes DIGITALes (Québec), Crónica (Portugal), Signature (France), Eilean (France), and LINE (USA).

13:45 – 14:45 Concert 4 – Music and Interactive Systems/ Recital

Oli Carman and Mark Pilkington – Synergies

Synergies is part of an ongoing collaborative project, between Oli Carman and Mark Pilkington. Comprising of a number of audio-visual compositions, the purpose of the project is to investigate the use of code to create a graphic score in motion that represents the properties of sound objects. For Synergies the integration of both electroacoustic music and moving image at the earliest stages of the creative process informed the development of structure and form in both mediums.

Mike McInerney / Duncan Chapman – Still Tide

Still Tide is an online live networked collaboration between two performers, one in Lincolnshire, one in Devon, created in response to the 2019-2021 Covid-19 pandemic. Among other things, it explores new ways of working together and performing for a live audience in a time of lockdown. The project was developed to work with the grain of the situation, rather than attempting to impose pre-lockdown, pre-digital communications, expectations on it. The project’s interface with communication technology was therefore designed to be a straightforward as possible, working only with electronic instruments and rudimentary communication requirements (Modular synth passing through mono skype link to digital processing to stereo video out through facebook), creating a sound practice that embraced the delay times between player 1, player 2 and final broadcast result as a source of new creative and expressive possibility, and employing these foundations as the basis for a back-up mentality that could treat the occasionally inevitable collapse of signal as a source of musical sustenance within the aesthetic of the whole. In the online broadcasts the audio is mixed with a movie created from a sequence of still images of the sea at dusk. For each of the projects iterations the movie has been slightly changed working towards abstraction but maintaining the same movie (and duration of the piece) for each series of online performances.

James Dooley – formuls

formuls is an audio synthesis and processing performance environment created by James Dooley using the open source software Pure Data, FAUST and Open Stage Control. During this 10 minute improvised performance, sounds will be sculpted and layered into a kaleidoscopic mesh of finely tuned noise and pulsating rhythms using the formuls environment.

Touch screen interfaces host custom GUIs created with Open Stage Control, using a local WiFi network to connect the interface with the audio engine software. This allows the control of FM synthesis parameters, sequencers and audio effects using a customised arrangement of GUI widgets, enabling the performer to control a vast array of audio manipulation techniques quickly and in real-time. Combining generative processes with the direct manipulation of audio, the performance avoids the use of existing samples or presets, instead allowing the performer to craft and produce musical material live during performance.

Lauren Sarah Hayes – Moon via Spirit for live electronics

Moon via Spirit (c. 11 minutes), live electronics. This piece was commissioned as part of the Fluid Corpus Manipulation (FluCoMa) project, from the University of Huddersfield. The project studies how creative coders and technologists work with and incorporate new digital tools for deconstructing audio in novel ways: FluCoMa instigates new musical ways of exploiting ever-growing baks of sound and gestures within the digital composition process, by bringing breakthroughs of signal decomposition DSP and machine learning to the toolset of techno-fluent computer composers, creative coders and digital artists www.flucoma.org

In this piece, I explore these tools through an embodied approach to segmentation, slicing, and layering of sound in real time. Extensive use of the micro-sound technique pulsar synthesis is employed which is explored through the use of tangible controllers. Using the FluCoMa toolkit, I was able to incorporate novel machine learning techniques in MaxMSP which deal with exploring large corpora of sound files. Specifically, this work involves, among other relevant AI techniques, machine learning in order to train based on preference; sort and select based on descriptors; and then concatenate percussion sounds from a large collection of drum machine samples.

More broadly, my improvisation instrument that I have been developing and performing with since 2007 is heavily based on machine listening techniques such as transient detection and pitch detection. While the former is linked not only to its origins involving the hybrid piano [3], but also its heavily percussive or attack based aesthetics, the latter has always afforded an element of unpredictability, given the sonic material that I work with. Using FluCoMa’s toolkit, I was able to explore not only transient detection, but other amplitude-based models. Furthermore, pitch detection involved confidence estimates, rather than simply delivering values. In general, my approach to improvisation involves designing mutually affecting networks between my hardware and software. By introducing machine learning, I hope to explore this further so that performance remains less about decision making and control, and more about navigation, vulnerability, and play.

My work as an improviser been necessarily and profoundly influenced by playing music together with people in various scenarios ranging from the conservatoire to the primary school classroom; the family home to the day care centre; the stage to the lecture theatre; the hospital to the party; and the national park to the mine shaft. This improvisation is the culmination of these lived encounters, where in each case I have found more or less tolerance for ambiguity and risk taking, more or less exchange of ideas, and more or less openness to curiosity and the welcoming of new possibilities. While hybrid analogue/digital technology has been my means of exploring and sculpting sound, it is in these shared collective experiences that new modes of being and creating have truly been nourished.

17:00-18:45 Concert 5 – Recitals and Lecture Recitals

Kate Ledger/Ray Evanoff – Small(s) for solo piano (2020 – ): transatlantic collaboration + conversation in 2020-2021

We – Kate Ledger, a pianist, and Ray Evanoff, a composer – are collaborating on a series of new solo piano pieces in the face of the ongoing fractured status of music-making. Our work was already forced to rely on remote correspondence given that we reside in different continents: yet, the new normal state of worldwide disruption legitimises our reasons for collaborating. Our fostered correspondence, plus the shift of performance to a largely online format, has led us to targeting and executing that we have not yet fully resolved.

Our shared artistic and philosophical interests orient our collaboration around the moment-to-moment exigencies of musical creation, in which the performer reacts, wrestles and engages with a full and vivid musical score. We share a need for such notational vividness, which forces us to constantly hover at the interface that divides us as composer and performer: the line between a concept and its actual reality. What is it that we each prioritise in the face of such fullness? How do we converse at the interface, with such concepts and their realities proving difficult to verbalise? Out of this comes an evolving, sprawling conversation, which reorientates our collaboration to actively include all aspects: from the hyper-focused detail of musical genesis, to a seemingly-unrelated mutual dialogue. Our proposed lecture-recital would demonstrate the fruits of our collaboration but in a continued form of mutuality and inclusion. We aim to include a sense of the fractured process, the ongoing dialogue and our differing priorities.

Olivier Marin – Undō

Undō is an immersive performance for viola, electronics and video which explores, through four movements, several types of interactions between one performer and a computer, including algorithms, fixed audiofiles and human/machine improvisation via a sensitive interface. In that purpose, I used a “sensitive” foot midi-controller, softstep2, to give total freedom of movement to the performer “da bracchio” and to make him the centre of the creation. The performer’s gesture initiates the musical movement, and can decide to trigger the machine -or not.

Undō is inspired by the first initiatory journey through Japan of the great master of Haikus, Matsuo Basho. As well for the video as for the music, we have chosen to explore a crossway between traditional and digital arts in an innovative and lively performance. Our idea was to humanize our work as much as possible. For the video, the Kanjis have been calligraphed by Jullian Hoff: his visual material comes from ink thrown into water. For the composition, the piece is written, but includes times devoted to improvisation where the performer is free to create a dialogue between his instrument and the machine, via softstep2 and algorithms incorporating “directed” randomness. All sounds used in the audiofiles come from my viola recording, in an attempt to remain as much as possible in an organic sound universe.

First, I would like to make a short presentation to explain my approach and my process into computer assisted composition, through different concepts I used for my piece. Then, I would play 1 or 2 movements of Undo. The team is composed by two visual artists Jullian Hoff and David Arango Valencia, a sound-designer Vincent Fliniaux and myself for composition and artistic direction.

Marc Estibeiro and David Cotter – Remote Collaboration: Communication, Creativity, and Latency

Writing in 2014, Margaret Barrett observed that Collaborations may occur on a number of levels and degrees of separation, including those of place, time and expertise.’ In 2020, the global coronavirus pandemic provoked national lockdowns around the world, and this in turn motivated a proliferation of remote musical collaborations. Virtual choirs, orchestras, and ensembles of all shapes and sizes increased exponentially, using an array of digital technologies to connect performers across vast physical and temporal distances. However, despite an increasing number of products designed to address this issue, latency continues to frustrate online collaborative efforts, and prevents some altogether. Many musicians result to pre-recording individual parts, before subsequently stitching musical material together, but this is far from live musical performance.

Marc Estibeiro’s Latent (2021) (for two guitarists and live electronics) explores the musical possibilities which arise from embracing lag, rather than embarking on another futile endeavour to eliminate it. A combination of graphic, musical, and textual notation provide pre-determined parameters for improvisation. The non-time-critical score allows, and indeed encourages, interaction between the guitarists and the electronics (a semi-autonomous SuperCollider patch) in real-time, without concern for the constraints and restrictions of latency.

This lecture recital illuminates the approaches taken by creative partnerships operating remotely, processes of co-performer communication (especially the navigation of omnidirectional feedback loops in the virtual domain), and the nature of collaborating online in the 21st century.

Comb Filter (Duncan Chapman, Adrian Lee, Simon Limbrick) : Grain

Comb Filter is the name given to a core of three musicians, who built on previous experiences of the internet connectivity to create musical performances.

The members are Duncan Chapman, playing flugelhorn, objects and processing, Adrian Lee, playing treated guitars, and Simon Limbrick, playing a wide range of percussion, sounding objects and electronically manipulated sounds.

It was formed in the first days of the UK’s first Covid19 Lockdown, 2020.

The artists considerable experience of working with improvisation, devised music, collaboration, and technology, has enabled them to create work that exists in a new place afforded by the connection between their individual musical, technological, and uniquely personal spaces.

This musical space offers a new sound world, an inspiration for listening, a new understanding of what it means to compose and perform.

Like the fourth wallâ of the conventional stage, the internet is a contributing element. The music is made ‘somewhere’, for places known and unknown: music-making is very much alive and accessible for those prepared to invent the connections.

19:00 – 20:15 Concert 6 – Acousmatic

Jason Fick – junktures

Illuminating and extending the sounds of bending, ripping, and breaking, junktures offers the listener an elaborate narrative based on the momentary world of sudden impact, while alluding to the sensations of autonomous sensory meridian response (ASMR). This piece was realized through juxtaposing unprocessed and synthesized versions of the original source material in an attempt to explore pivotal moments in time and the connections between them that forge new pathways.

Ewan Stefani – ARPEGS

ARPEGS (2021) is a study of rhythmic re-sequencing applied to samples of an old typewriter and male voices. Patterns of simple cyclical rhythms are re-triggered at irregular intervals and randomly varied to produce a constantly-shifting meter. Granular textures and dark ambience are used to pull attention away from the rhythmic force of the core material in parts of the work. Samples are processed with automated filters and overdrive effects.
Thanks to CRR Smethurst for the recordings of vintage mechanical typewriter used in the piece.

Mikel Kuehn – Dancing in the Ether

Dancing in the Ether (2020) is a fixed media Ambisonic work composed of synthesized sounds that explore three-dimensional sonic space. The title serves as a metaphor for sounds coming alive through their movement in physical space and our ability to continue to create in our current mode of social isolation. The material is designed to play on references to “real world” sounds, perhaps conjuring occasional deja vu moments for the listener.

Josh Hoggart – Sonic Location Scouting

Sonic Location Scouting was composed in 5th order Ambisonic and explores the relationship between timbre harmony and spatiality. As the name suggests the composition take the listener on a sonic journey through a number a virtual spaces. Many of theses environment contain no ‘real world’ sounds and instead relay on our perception of timbre and harmony to dictate the qualities of the varying surroundings.

Diegesis is a term normally associated with film studies and refers to the spatio-temporal world in which the narrative exists. While the composition has no clear narrative as such it is able to transport the listener into this diegesis allowing them to construct their own storyline based off their relationships with the timbres used.

Nikos Stavropoulos – Claustro

Derived from the Latin, “claustrum,” meaning “shut-in” or “enclosure.” Claustro is the third composition in a series of works which explore aural micro-space. A sounding place of improved intelligibility through greater aural intimacy. The work is an invitation to come in and listen out for the thin line between philia and phobia that such places evoke. The discontinuous and non-homogenous nature of acoustic space inspires the arrangement of sound materials here. Recordings of original sound sources were conducted using a micro multichannel array designed and built in collaboration with Huw Mcgregor