Professors Peter Nelson and Pete Stollery present a concert of fixed media music diffused across an 8 channel sound system in the West Court, Edinburgh College of Art. The works listed below are the prize winners of the Musica Nova Prague annual competition. More details about Musica Nova are here: musicanova.seah.cz/index.php?lang=en
If you’re 10 years old or 100, a parent, small business owner, student, or a professional working with digital technology you might want to improve your knowledge and defences against an ever growing and quite depressing tide of digital threats.
Once upon a time computer security only concerned banks and the military. Today we all have internet, laptops, phones or tablets. We organise our lives around personal computers. They offer convenience and empowerment. But they also make us vulnerable.
Once computers promised great things. They were meant to open up society, spread free information and education. They were supposed to save time, build communities, facilitate debate, promote democracy, and generally solve the worlds problems. Instead we got bureaucracy, surveillance, advertising, distraction and addictive but empty amusement. Computers are now used to spy, manipulate, subdue and dominate, and people need to relearn how to use computer technology.
Protecting our personal devices and data, has become a life-skill we all need.
Andy Farnell will introduce his work on Digital Self Defence, provoke a discussion and open up pathways to help you to defend yourself against the unseen threats described above.
Accordionist Eva Zöllner and Clarinettist Heather Roche are two of contemporary music’s most versatile and adaptable voices. Known for their independent travels in experimental performance and extended techniques, the duo come together in concerts of constantly changing aesthetics and approaches. Adventurous music-making, creative risk-taking and innovation characterize their work. They have been performing regularly as a duo since 2015. They have collaborated with composers including Christopher Fox, Pierre Alexandre Tremblay, Carola Bauckholt, Patricia Martinez, Elnaz Seyedi and Luis Antunes Pena, among others. Recent appearances include concerts at the Huddersfield Contemporary Music Festival, Bludenzer Tage Zeitgemässer Musik, Mixtur Festival Barcelona, the Venice Biennale and a two week tour of Mexico. In 2020 they will be seen playing at festivals including the Darmstadt Summer Courses, Gaudeamus, Acht Brücken and KLANG, as well as a 10-day tour of Sweden in March with the hertzbreakers collective.
The Plus-Minus Ensemble’s name comes from Karlheinz Stockhausen’s experimental work from 1963, revealing their interest in performance, electro-acoustics and conceptual art. They return here to their musical roots: instrumental music with electronics. Each of four works delves into the process of composition and how sound material is contextualized, reworked, layered and transcribed. An evening of refined, contemplative music, up to date without specific reference to new media or technology.
Newton Armstrong – Thread-Surface
Cassandra Miller – Traveller Song
Davíð Brynjar Franzson – Ideation 2.1
Laurence Crane – Octet
Octet, composed for Plus-Minus Ensemble, was shortlisted for the 2009 Royal Philharmonic Society Music Awards, in the Chamber-Scale Composition category.
Brian is a new collaboration between multi instrumentalist Duncan Gallagher and engineer and sound designer Will Davies. Born out of long improvised jam sessions in the studio, this set is the result of many hours trying to organise the chaos of those recordings into structures which still maintain the space for the musicians on stage to interpret and improvise. For this performance the duo will be joined by Nick Harbourne on double bass, piano and vocals.
Expect live electronics, guitars both processed and unprocessed, vocal harmonies, and a large stuffed bear.
Wandelweiser (‘change signpost’) marks a change in direction for music, steered by a loose collection of composers and performers linked to the Dutch flautist and composer, Antoine Beuger and the Swiss composer Jürg Frey, whose work forms the core of this programme.
Where shall we go? Do we have to hurry? Or can we just
listen? also in the company of Arvin Pappelli, John Panagiotou and
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.