Schíma – morphḗ – íchos – performance and sound installation. West Court, 28 February 7pm.

Reserve tickets for this event:

Tonight’s event features a brand new project by Eleni-Ira Panourgia and Martin Parker called schíma – morphḗ – íchos. 

Also on the bill is Marcin Pietruszewski’s “The New Pulsar Generator Manual – for synthetic chorus and computer-generated sound

Schíma – morphḗ – íchos is a reactive installation-performance that brings together visual, physical and sonic dimensions to explore ways of coping with a changing environment. The material history of nine objects crafted from steel is negotiated anew in the present tense, through the eyes, hands and ears of the two performers and the audience.

The objects presented in this installation-performance incorporate a sensing system that communicates different states of the objects through the sounds of their making. Sound and movement are incorporated in this process to create new meaning through the programming of interaction that is driven by the object’s shape, texture, weight and kinetic potential.

Following a section of performed material, audience members will be invited to react and to rearrange and to re-experience the objects, changing the sound environment with their actions and through the relationships formed with other participants.

The New Pulsar Generator Manual – for synthetic chorus and computer-generated sound

This is a live version of an installation work presented last year at Remote Viewing Gallery in Philadelphia, USA.  The work is composed for multichannel speaker system, synthetic voices and computer-generated sounds. The material point of departure for the work is the user manual of the New Pulsar Generator (nuPG) program, developed in the audio programming language SuperCollider 3. The nuPG program encapsulates and extends a sound model of a pulsar synthesis, a technique originally invented by Curtis Roads and popularised in his book ‘Microsound (2001)’. As an audio technique, the origins of pulsar synthesis can be traced to historical analog techniques built around a principle of filtered pulses. The vocal-like, ‘glottal’ characteristics of its timbre can be linked with early experiments in speech synthesis at the Westdeutscher Rundfunk (WDR) in Cologne by Werner Meyer-Eppler, Herbert Eimert and Robert Beyer. The sound work of The New Pulsar Generator Manual attempts to mobilize these complex attributes of the pulsar as a synthetic object and present the computer program as a cultural artefact.