Popular Music & Interactive Systems

Manoli Moriaty & Shona Roberts – Symbiosis

Shane Byrne – Proprioception

Ryan Kirkbride – Control and Return: A Live Coding Improvisation

Rob Blazey – Kalimbo

Rustad Holseter – [[KIME]]_Memory Of Flesh__[F/F]



Manoli Moriaty & Shona Roberts – Symbiosis


Symbiosis is a collaborative performance engaging practitioners of discrete art forms within a technologically unifying context. Exploiting a diverse range of emerging and traditional technologies, performers operate within a feedback loop where sound and motion are continuously influencing one another. The performance aims to highlight the emergent properties of interdisciplinary interaction in reference to the biological phenomenon of symbiosis which describes close and persistent interspecies associations. As such, mutualistic and parasitic types of associations are translated as different modes of interaction facilitated by gestural recognition technologies and tactile devices. The resulting live work combines sound and motion not as distinct artistic practices complementing each other, but as an amalgamation of disciplines within an obligate interdependent system.

Manoli Moriaty is a music composer and performer, academic researcher, and event producer. Based in Manchester, UK, his artistic practice is informed by themes of indeterminism and collective action, manifesting through works utilising data sonification, unorthodox use of technology, and testing the relations between body, mind, and machine through interdisciplinary collaborations. The resulting works range a wide spectrum of mixed-media performances, generative-music live systems, acousmatic compositions, and durational installations. His works have been presented at international music festivals and academic conferences such as ICMC, SMC, MANTIS, Supersonic Festival, Surge Festival, New York Electroacoustic Music Festival, and the Audiovisual Arts Festival of the Ionian Academy. He has been awarded funding by Arts Council England and IdeasTap towards creating new works, and by Sound and Music for his curatorial activities as founder of the sound art collective Metanast.


Shane Byrne – Proprioception


Proprioception is an electroacoustic composition inspired by shamanism and butoh dance and intended to performed in a live context. The title itself refers to the sense of knowing where different parts of your body are in relation to themselves and the surrounding environment.

In this piece I use the Xbox Kinect sensor in conjunction with the visual media programming language, Processing, to map the skeletal structure of the performer. Certain points on this structure such as the hands, feet, torso, head and many others, are mapped in Processing as points in 3D space allowing me to determine posture, gesture, speed and direction of movement.  This correlation is one tool that I use to try and create a greater sense of empathy and connectedness between the performer and the audience. Music, after all, is a multimodal experience and what we see can sometimes be as powerful as what we hear.

Shane Byrne is a composer of acoustic and electronic music and is currently a PhD candidate at Maynooth University focusing on interactivity and participation within electroacoustic music composition. His current work is focused on physical computing and investigating the potential for human-computer interaction to add to an overall immersive musical experience for both the performer and the audience. His work has more recently led him to explore the potential for such interaction to facilitate and encourage learning amongst the learning impaired and the autistic community.


Ryan Kirkbride – Control and Return: A Live Coding Improvisation


In its most simple sense, Live Coding is making music with programming languages but in actuality it’s a cross-disciplinary practice that blurs the line between composer and performer. I construct, destruct, and reconstruct musical algorithms in front of audiences and expose my screen to them using a projector. I use a form of object-oriented programming to define classes that hold states and schedule sonic events which go on to evolve and devolve over time. As an improvised process, the flavour of my music will range from ambient to noise to beat-driven techno but it is the method that makes what I do intoxicating. The performance could be described as improvised composition that incorporates an immediacy in its feedback loop between code and sound where the journey is much more important than the destination.

Ryan is a postgraduate research student at the University of Leeds. His background is in Computer Science but has recently been combining this with his interest in music through live coding and algorithmic composition. He began work on his Python-driven Live Coding environment, FoxDot, in 2015 and has since performed with it internationally and recently presented it at the International Conference on Live Interfaces and the International Conference on Live Coding. His university research is practice-based with a focus on nonverbal communication in collaborative performances.


Rob Blazey – Kalimbo


This performance is built around an extended instrument and reductionist control interface. Following several attempts at building acoustic instruments using approaches informed by principles from visual collage, I began to explore how the these principles could be further applied to performance by juxtaposing, combining and streamlining the disparate elements of my performance ecology. Kalimbo is extended with simple sensors that enable control of multiple aspects of performance without infringing on the instrument’s surface aesthetic and playability.  In keeping with the collage approach that drives my practice, Kalimbo promotes an exploratory, ‘finding-through-making’ approach to improvisation. Varied and complex ambient textures, conjured through subtle but visually tangible gestures, are interspersed with heavily beat-based moments that seamlessly disperse to reveal new and ever-shifting sound-worlds.

Rob Blazey is a studio-based composer, instrument maker and performer undertaking a Creative Practice PhD in music, based at Newcastle University’s Culture Lab. His research uses methods and intentions of visual collage-artists (particularly Eduardo Paolozzi) as an analytic key to interrogating concerns of heterogeneous materiality and research on making practices across contemporary arts and humanities.


Rustad Holseter – [[KIME]]_Memory Of Flesh__[F/F]


[[KIME]]_Memory Of Flesh__[F/F], is an opus for voice, live electronics and visuals produced by Grinder Teeth (Veslemøy Rustad Holseter) on Berlin label Freudian Slit.    The piece utilizes live improvisation with Ableton Live and Max to explore themes of gender fluidity, human connection, desire and hyper-sensitivity through pieces of text, spatial vocal looping and developing beat structures. What lies under the human skin? How do we love and what is real connection? What forms between the contrasts of soft and hard, masculinity and femininity? How do we surpass the boundaries of gender to touch a shared human core and do they matter? When performing the opus live, the piece never exists or is performed in the same form, but fluently changes its presentation and melody through the use of live improvisation with each live performance.

Norwegian Veslemøy Rustad Holseter (‘Grinder Teeth’) is a multi-media artist, live tech and musician based in Berlin, Germany. Her interdisciplinary live performance and sound art works explore themes of gender, sociopolitical issues and sexuality as they relate to current day feminism and cultural ideology through visuals, sound and body/text. In 2015 Rustad Holseter completed studies in Live Electronics at the Norwegian Academy Of Music, following a Bachelor in Music Production at the Liverpool Institute of Performing Arts (2012), and has previously presented work at Berlin Kunstfabrik HB55 (2014,) National Jazzscene, Oslo (2015), Multitest, Vienna (2015) and New River Studios, London (2016). Since graduating from the Norwegian Academy in autumn 2015 she has taken up residency in Berlin, Germany, where she is running her intersectional feminist show ‘HEX BITCH’ on Cashmere Radio while simultaneously presenting live works, installation and performance pieces around Europe.