Concert – fractions and factions
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Tonight’s concert will feature Jules Rawlinson’s Please use the tramps provided, a wacom-tablet driven piece of live electronics. Lauren Hayes will perform an improvisation called contactor. playRoom Martin Parker’s anti-sweetspot rant has been cancelled. Please come to Inspace for 8pm, music will start at 8:10pm. Tickets are free but donations are nice. Please reserve a space here; www.wisd-day-01-concert.eventbrite.com More info: ContactorThis improvisation was formed out of a playful exploration of my most recent hybrid analogue/digital performance system, where an excessive number of hardware components mutually affect each other through a network of sound analysis and digital signal processing. Often engaging with different parts of the instrument through a simple controller, I bring a sense of immediacy into my hands: the slightest movement may trigger a mechanical relay bank, which in turn may set a digital process in motion. In Contactor I attempt to portray some of what I find most joyous about both the analogue and digital sonic domains. Lauren Sarah Hayes is a composer/performer/improviser from Glasgow, UK. Her work explores physicality and tactility within live electronic music through performance systems comprising ad-hoc combinations of bespoke software, prepared piano, analogue monosynths, drum machines and electronics. She enjoys performing her music around the world in unconventional spaces, engaging with a broad range of collaborators, as well as writing about the musical implications of new technologies. Since 2012 she has been an associate of the New Radiophonic Workshop. “…tantalising, engaging physically with the listener” The List Official website: www.laurensarahhayes.com |
Keynote – Simon Waters
Inhabiting Sound Seamus Heaney – ‘Clearances’ In Memoriam M.K.H., 1911-1984 She taught me what her uncle once taught her: How easily the biggest coal block split If you got the grain and the hammer angled right. The sound of that
Keynote – Simon Waters
Inhabiting Sound Seamus Heaney – ‘Clearances’ In Memoriam M.K.H., 1911-1984 She taught me what her uncle once taught her: How easily the biggest coal block split If you got the grain and the hammer angled right. The sound of that
Sean Williams – From centimetres to seconds: sound design’s shift from technical serialism to musically informed performance practice in the 1950s WDR Studio, Cologne
Music made in the West Deutsche Rundfunk Studio for Electronic Music in the 1950s was characterized by a strict serialist determination of all sound parameters. In Karlheinz Stockhausen’s Studie II, and Gesang der Jünglinge, sounds as short as 0.05 seconds
Sean Williams – From centimetres to seconds: sound design’s shift from technical serialism to musically informed performance practice in the 1950s WDR Studio, Cologne
Music made in the West Deutsche Rundfunk Studio for Electronic Music in the 1950s was characterized by a strict serialist determination of all sound parameters. In Karlheinz Stockhausen’s Studie II, and Gesang der Jünglinge, sounds as short as 0.05 seconds
Richard Coyne – Why sound reaches the parts architecture can’t
“Physical spaces are charged with meaning and emotion for most of us — some spaces more than others. But it’s rare to enter a building or encounter spectacular scenery and experience the same intensity of emotion many of us feel
Richard Coyne – Why sound reaches the parts architecture can’t
“Physical spaces are charged with meaning and emotion for most of us — some spaces more than others. But it’s rare to enter a building or encounter spectacular scenery and experience the same intensity of emotion many of us feel
Panel discussion – Scaling to fit and coping with detail
Sound is data. Alterations in the structure of data can create events of audible and emotional value. Delayed and modulated samples create filters, an array of samples create microseconds of a wavetable, milliseconds and seconds of samples create distinguishable sound events.
Panel discussion – Scaling to fit and coping with detail
Sound is data. Alterations in the structure of data can create events of audible and emotional value. Delayed and modulated samples create filters, an array of samples create microseconds of a wavetable, milliseconds and seconds of samples create distinguishable sound events.
Not a Concert – drinks reception and installation launch
Drinks reception in B28, 6pm Attendees are welcome to this reception in room B28, a room filled with loudspeakers and currently used to support NESS (Next generation Sound Synthesis), an ERC funded project concerned with sound synthesis, effects processing and
Not a Concert – drinks reception and installation launch
Drinks reception in B28, 6pm Attendees are welcome to this reception in room B28, a room filled with loudspeakers and currently used to support NESS (Next generation Sound Synthesis), an ERC funded project concerned with sound synthesis, effects processing and
Keynote – Joe Banks – Sound Art as Mainstream Cultural Commodity
Author and sound artist Joe Banks argues in his book “Rorschach Audio – Art & Illusion for Sound” that “the earliest form of sound recording technology was not a machine but was written language”. Extrapolating this argument, Joe Banks discusses
Keynote – Joe Banks – Sound Art as Mainstream Cultural Commodity
Author and sound artist Joe Banks argues in his book “Rorschach Audio – Art & Illusion for Sound” that “the earliest form of sound recording technology was not a machine but was written language”. Extrapolating this argument, Joe Banks discusses
Peter Nelson – Phrase and Gesture: the timing and syntax of sounds
“How do sounds add up? What pulls moments together into meaningful strands? Whether sounds are static, rhythmic or fleeting, they carry us with them in ways that determine senses of speed, character and emotion. This talk concerns not just sounds
Peter Nelson – Phrase and Gesture: the timing and syntax of sounds
“How do sounds add up? What pulls moments together into meaningful strands? Whether sounds are static, rhythmic or fleeting, they carry us with them in ways that determine senses of speed, character and emotion. This talk concerns not just sounds
Craig Martin – Listening with Michel Serres: Sounding Objects
In his recent book Biogea the philosopher Michel Serres makes the case for the need to listen to the world. Rather than following the lengthy traditions of human-centred domination of the material and natural world Serres calls for the need
Craig Martin – Listening with Michel Serres: Sounding Objects
In his recent book Biogea the philosopher Michel Serres makes the case for the need to listen to the world. Rather than following the lengthy traditions of human-centred domination of the material and natural world Serres calls for the need
Panel discussion – sound design and violence
Sounds are made when surfaces meet and resist. If the resulting vibrations are constrained, funnelled and pressurised down tubes, across vent holes and around resonant cavities we can design either a musical instrument or a sonic weapon. Sound touches at
Panel discussion – sound design and violence
Sounds are made when surfaces meet and resist. If the resulting vibrations are constrained, funnelled and pressurised down tubes, across vent holes and around resonant cavities we can design either a musical instrument or a sonic weapon. Sound touches at
Concert – Audiovision
This concert will feature recent work by location recordist, sound designer and composer Chris Watson and expanded percussionist Christos Michalakos. Christos Michalakos – Trrraction Trrraction is a new improvised work using the Augmented Drum-Kit, a personal electro-acoustic instrumental formation based
Concert – Audiovision
This concert will feature recent work by location recordist, sound designer and composer Chris Watson and expanded percussionist Christos Michalakos. Christos Michalakos – Trrraction Trrraction is a new improvised work using the Augmented Drum-Kit, a personal electro-acoustic instrumental formation based