tag:blogger.com,1999:blog-76328784921098511232024-02-19T03:25:23.578+00:00Sound Practice ResearchBlog documenting the work of the Sound Practice Research Unit (SPRU) at Goldsmiths, University of LondonAnonymoushttp://www.blogger.com/profile/06807830579490161821noreply@blogger.comBlogger71125tag:blogger.com,1999:blog-7632878492109851123.post-47635300786288315372016-07-21T09:53:00.001+01:002016-07-21T09:53:05.526+01:00News: Contemporary Music Review, Special Issue: Gender, Creativity and Education in Digital Musics and Sound Art<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-CtPpgPKtUZ8/V5CNUtmuUBI/AAAAAAAADvc/rzkdxm9PyOAUtZFOwNkoZcTYOYsAV7MEwCLcB/s1600/Screen%2BShot%2B2016-07-21%2Bat%2B09.52.07.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://1.bp.blogspot.com/-CtPpgPKtUZ8/V5CNUtmuUBI/AAAAAAAADvc/rzkdxm9PyOAUtZFOwNkoZcTYOYsAV7MEwCLcB/s1600/Screen%2BShot%2B2016-07-21%2Bat%2B09.52.07.png" /></a></div>
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A new edition of the Contemporary Music Review has just been published; a special issue on Gender, Creativity and Education in Digital Musics
and Sound Art, edited by Georgina Born and Kyle Devine, and featuring writing by Freida Abtan: <a href="http://www.tandfonline.com/toc/gcmr20/35/1">http://www.tandfonline.com/toc/gcmr20/35/1</a>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7632878492109851123.post-7124145139299048752016-07-14T09:32:00.001+01:002016-07-14T09:35:46.495+01:00Event: Place at Hatcham<div class="separator" style="clear: both; text-align: center;">
<a href="https://3.bp.blogspot.com/-EPly6pFvP54/V4dNtbD4o5I/AAAAAAAADuA/e-nsD799_gcowwsikSlEKWetYts5OPS8ACLcB/s1600/place_hatcham.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://3.bp.blogspot.com/-EPly6pFvP54/V4dNtbD4o5I/AAAAAAAADuA/e-nsD799_gcowwsikSlEKWetYts5OPS8ACLcB/s1600/place_hatcham.jpg" /></a></div>
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<a href="https://nme-goldsmiths-dot-yamm-track.appspot.com/Redirect?ukey=1DqvUcfdPKltjSacdxOX2aFjTuldUmyFqiwjKTyz1UrE-0&key=YAMMID-63610965&link=http%3A%2F%2Fwww.place-projects.com%2Fplace--hatcham.html">PLACE</a><br />
Saturday 16 July 2016, 7:30pm at St Catherine's Church Hatcham, Telegraph Hill SE14 5SG<br />
(at the top of either Jerningham Rd or Pepys Rd, from New Cross)<br />
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After two months of research on the site and surrounding areas, exploring their history and present sociocultural dynamics, the pieces 'CONCORDANTIA DISCORDANTIA CANONUM' by Rodrigo B. Camacho and 'Where is the Person with the Sixteen Parts?' by Sara Rodrigues will be performed by Roxanna Albayati, Henry O'Brien, Gabriele Cavallo, Chase Coley, Nicole Trotman and Scout Creswick.<br />
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Further information <a href="https://www.facebook.com/events/527341624115669/" target="_blank">here</a><br />
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Tickets at the door<br />
£5 / £3 for students and recent graduates<br />
Refreshments during the interval</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7632878492109851123.post-20173004405168024882016-07-02T10:07:00.000+01:002016-07-14T10:07:54.809+01:00Call for Contributions: Performing, Writing.<div class="separator" style="clear: both; text-align: center;">
<a href="https://3.bp.blogspot.com/-v68jVjzbOlE/V4dWPvIjThI/AAAAAAAADuw/QerrPsi825kUaHR7IZ_r2Av6qDRUtD2LQCLcB/s1600/Screen%2BShot%2B2016-07-14%2Bat%2B10.05.04.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://3.bp.blogspot.com/-v68jVjzbOlE/V4dWPvIjThI/AAAAAAAADuw/QerrPsi825kUaHR7IZ_r2Av6qDRUtD2LQCLcB/s1600/Screen%2BShot%2B2016-07-14%2Bat%2B10.05.04.png" /></a></div>
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Deadline 15 July 2016. <br class="Apple-interchange-newline" />Full updated call as .pdf <a href="http://static1.squarespace.com/static/5698191d3b0be3f9ce8d7b1d/t/57593fce60b5e93be72791c2/1465466837650/PW+CFP+revised+9+June+2016.pdf" target="_blank">here</a>.<br /><br />Performing, Writing: A symposium in four turns imagines how a text can be conceptualised, written, presented and figured with equal or more contingency and responsiveness to temporal and corporeal happenings, and vice versa. What creative, dialogic, autobiographical or alternative writing approaches might elicit a text that engages with the plurality of affects of an artwork? How might a creative work be informed, inspired, directed, scripted or critiqued with the same respect for live-ness that unfolds spatially as it does textually? How might these parallel practices inhabit space symbiotically? How might a new culture of criticality develop in between acts of “performing through”?<br /><br />The symposium is structured as four turns playing out across several days of experiences, textures, flavours and modalities linking acts of performing with acts of writing.<br /><br /><a href="http://www.performingwriting.com/turn-one">Turn One: ON Live</a> occurs as part of Performance Arcade, a public programme running 9-12 and 16-19 March 2017 on the Wellington waterfront and beyond. This turn includes a collection of curated new performance works, the symposium opening event and a series of seminars. The performance works are intended to highlight the primacy of practice and serve as hosts for on-going discussion around the translation or transference between performance works and textual works. <br /><br />Performing, Writing will formally begin on 12 March 2017 with an evening keynote. All participants are encouraged to arrive in Wellington no later than 10 March in order to witness the Arcade works at least once and engage in ‘floor talks’ and masterclasses. Those artists involved in Performance Arcade will be given the option to perform 9-12 March, 16-19 March or both periods leaving the artists the ability to attend the symposium.<br /><br />Turns Two, Three and Four are foregrounded by three provocations: ON Site, ON Score and ON Voice. Participants will encounter a series of situated ‘turns’ around the city, exploring different sites and environments, and thereby allowing us to ‘turn our thoughts’ in the direction of some of the various spaces in which performance and performance writing ‘turns up’. The precise order and format of these situations, and the particular ways in which they host the 'turns', are to be developed in parallel with the curation of the proposals. Thus, they form part of a performative framework from which the form(at) of the symposium will emerge.<br /><br />The provocations for Turn Two, Three and Four are:<br /><a href="http://www.performingwriting.com/turn-two">ON Site</a> questions the nature of the relationship between performance writing and place, traversing territories that may include site-specific works, works about place, or narratives around journeys between places. This day of the symposium is an excursion to <a href="https://en.wikipedia.org/wiki/Matiu_/_Somes_Island">Matiu Island (also known as Somes Island)</a>, an island in the middle of the Wellington Harbour rich in New Zealand cultural, geographical and geological history. Matiu island raises notions of islandness and pries open concern for ownership and stewardship, migrancy and transience, internment, bio-security and environmental heritage, belonging and outcast. It offers a space for us to distinguish what site-specific, site-situated and site-responsive are in practices of performance and writing.<br /><a href="http://www.performingwriting.com/turn-three">ON Score</a> asks us to consider a shifting spectrum between the singularity of the script and the plurality of the score, challenging the relationship between the written, inscribed, or etched, and the performed, live, or imagined. The situation of a black box theatre at Bats Theatre offers an intimate acoustic range and potential friction to the differentiation between live art and theatre. It is an opportunity to test the limits of the theatre space's interior contours, audience-performer relationships, and the affective qualities of darkness. <br /><a href="http://www.performingwriting.com/turn-four-on-voice">ON Voice</a> prompts an exploration of aurality and oral traditions including those emerging from indigenous peoples and those associated with storytelling, singing and public speaking. It is here that we welcome proposals sensitive to the voice and pitch of the writer, the reader, the speaker and the space(s) in which such elocution occurs including the immediate room, the atmosphere and/or the political, geographical or cultural climate.<br /><a name='more'></a><br />More information on each of these turns will be uploaded after proposals are selected, venues confirmed and the programme finds shape.<br /><br />Performing, Writing includes a series of keynote lectures open to the public. We envisage the keynotes to assist us to 'turn' our attention more intently to matters of the day to follow. The keynotes for this symposium are <a href="http://www.performingwriting.com/john-hall">John Hall</a> (Emeritus Professor Falmouth University), <a href="http://www.performingwriting.com/esther-analotitis">Esther Anatolitis</a> (Director of Regional Arts Victoria), <a href="http://judisdaid.org/">Judd Morrissey</a> (School of The Art Institute of Chicago) and award winning NZ writer <a href="http://www.tinamakereti.com/">Tina Makereti</a>.<br /><br />We can confirm that the editors of the journal Performance Research (www.performance-research.org) have agreed to produce an issue closely related to the symposium's concerns with the aim to publish in March 2018. Symposium participants including those selected to feature as part of Performance Arcade will have the opportunity to submit contributions to this journal issue.<br /><br /><br />For guidelines on how to submit a proposal to Performing Writing, download A3 CFP by clicking the box at the top right hand side of this web page.<br /><br />To submit a proposal to Performance Arcade, see https://theplaygroundnz.com/pa2016/<br /><br />PROPOSALS SPECIFIC TO Turns Two, Three and Four are DUE 15 JULY 2016 (NZ time).<br /><br />Questions can be sent to <a gmail.com="" href="mailto:" performingwriting2017="">performingwriting2017@gmail.com</a>.<br />FAQ will be posted and updated on this website's "NEWS" page.Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7632878492109851123.post-26796554674170101882016-06-29T09:32:00.000+01:002016-07-14T09:55:53.469+01:00News: Tom Richards' 'Mini-Oramics' project features on the BBC website<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-M8bdtErmYvk/V4dTBacnRBI/AAAAAAAADuY/uMidI5Z8ppYYcPeXLhpzoA3dEMwQmhdbgCLcB/s1600/_90139581_daphnebbchi005683498.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://4.bp.blogspot.com/-M8bdtErmYvk/V4dTBacnRBI/AAAAAAAADuY/uMidI5Z8ppYYcPeXLhpzoA3dEMwQmhdbgCLcB/s1600/_90139581_daphnebbchi005683498.jpg" /></a></div>
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Today sees a main feature on the BBC News website featuring a number of SPR members who have been involved with Tom Richards' fantastic project to create Daphne Oram's Mini-Oramics machine.<br />
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"An electronic sequencer and synthesiser has been built based on designs produced more than 40 years ago by electronic music pioneer Daphne Oram.<br />Ms Oram who died in 2003, co-founded the BBC Radiophonic Workshop and developed a system of creating sounds and compositions using drawings.<br />The machine is thought to have remained unfinished in her own lifetime.<br />But experts say the Mini Oramics's approach to composition and performance would have been influential.<br />Tom Richards, the researcher who finally constructed the machine, told BBC Radio 4's the World at One programme it had helped answer the question: "What if this had come to pass in 1973?""</blockquote>
<a href="http://www.bbc.co.uk/news/technology-36651270" target="_blank">Full feature is here. </a>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7632878492109851123.post-21850568540170886552016-06-27T10:02:00.000+01:002016-07-14T10:03:01.022+01:00Review: Premiere of Daphne Oram's 'Still Point' in the Financial Times<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-c8kz5JgHDxU/V4dVENnobwI/AAAAAAAADuk/ZJODS6BQKLYaP-AmlTC-ayuw5z59NyqjgCLcB/s1600/http-%25252F%25252Fcom.ft.imagepublish.prod.s3.amazonaws.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://2.bp.blogspot.com/-c8kz5JgHDxU/V4dVENnobwI/AAAAAAAADuk/ZJODS6BQKLYaP-AmlTC-ayuw5z59NyqjgCLcB/s1600/http-%25252F%25252Fcom.ft.imagepublish.prod.s3.amazonaws.jpeg" /></a></div>
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Today sees a review in the Financial Tmes of Daphne Oram's 'Still Point', premiered at St. John's Smith Square on Friday night, realised by SPR member and composer James Bulley in collaboration with composer Shiva Feshareki.<blockquote class="tr_bq">
"Receiving its debut performance as part of the Southbank Centre’s DeepMinimalism festival — a celebration of close listening and outré composition — Daphne Oram’s 1949 opus Still Point is that rarest of things: a groundbreaking work of art that remains almost completely unknown. Had it been performed at the time of writing, it would have almost certainly altered the landscape of electroacoustic music shaped by Schaeffer and Stockhausen. With any justice, tonight’s performance at St John’s Smith Square — a breathless realisation of the piece by the young composers Shiva Feshareki and James Bulley, working with the London Contemporary Orchestra — should help propel it into the canon of contemporary classical music."</blockquote>
Read the full review <a href="https://next.ft.com/content/4ca76a2c-3c4c-11e6-8716-a4a71e8140b0">here</a>.Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7632878492109851123.post-62896190675969702612016-06-24T10:17:00.000+01:002016-07-14T10:17:41.830+01:00SPR Event: Sounding the Great Hall, 2–3 July 2016<div class="separator" style="clear: both; text-align: center;">
<a href="https://3.bp.blogspot.com/-b_1u69dHBw8/V4dYjInjTZI/AAAAAAAADvE/4M4wLlkaqCU_pNcyr0l-iszfD0V06mfjACLcB/s1600/13417604_10157101388475397_3969473294071340165_n.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://3.bp.blogspot.com/-b_1u69dHBw8/V4dYjInjTZI/AAAAAAAADvE/4M4wLlkaqCU_pNcyr0l-iszfD0V06mfjACLcB/s1600/13417604_10157101388475397_3969473294071340165_n.jpg" /></a></div>
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<u>Sounding the Great Hall</u><br />
Goldsmiths, University of London<br />
Saturday 2 and Sunday 3 July<br />
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Artists exploring the acoustics of the Great Hall via an unusual 8-speaker system. This event is continuous. The audience are free to come in and out, sit in the space, lie down, walk around the space, eat, drink and listen.<br />
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FREE ENTRY<br />
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More info: <a href="http://contingentevents.tumblr.com/">contingentevents.tumblr.com</a><br />
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SATURDAY 2 July<br />
1:00 Tom Mudd<br />
1:30 Dario Sanfilippo<br />
2:00 Eugenie Hammond<br />
2:30 Pouya Ehsaei<br />
3:15 Tristan Clutterbuck<br />
4:00 Daniel James Ross<br />
4:45 Georgia Rodgers<br />
5:30 Sarah Angliss<br />
6:15 Lucia H Chung / Martin Thompson<br />
7:00 Lia Mazzari<br />
7:45 Ian Stonehouse<br />
8:30 Ain Bailey / Shenece Liburd<br />
9:15 Grundik Kasyansky<br />
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SUNDAY 3 July<br />
1:00 Tom Mudd<br />
1:15 Joe Brooks<br />
1:25 Pawel Dziadur<br />
1:45 Sam Parke-Wolfe<br />
2:00 Alexander Wendt<br />
2:30 Bill Thompson<br />
3:15 Annie Goh / Marie Thompson<br />
4:15 Claire M SingerUnknownnoreply@blogger.com0tag:blogger.com,1999:blog-7632878492109851123.post-37747944605124405542016-06-23T09:32:00.000+01:002016-07-14T09:48:31.993+01:00Conference and event: Sound System Outernational, Goldsmiths, 2 July 2016<div class="separator" style="clear: both; text-align: center;">
<a href="https://3.bp.blogspot.com/-_cRtUX30lts/V4dRpuKmKPI/AAAAAAAADuM/NlS5j56yDz4bth3-qbRNWtdylCeHT8VRwCLcB/s1600/13512146_673264068962_714143664969754960_n.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://3.bp.blogspot.com/-_cRtUX30lts/V4dRpuKmKPI/AAAAAAAADuM/NlS5j56yDz4bth3-qbRNWtdylCeHT8VRwCLcB/s1600/13512146_673264068962_714143664969754960_n.jpg" /></a></div>
<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7632878492109851123.post-34649651920289622392016-06-05T10:12:00.000+01:002016-07-14T10:13:13.656+01:00News: Daphne Oram Trust campaign to republish 'An Individual Note'<iframe frameborder="0" height="420" scrolling="no" src="https://www.kickstarter.com/projects/345013107/help-us-republish-daphne-orams-an-individual-note/widget/card.html?v=2" width="220"></iframe>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7632878492109851123.post-21680854594564160152016-06-04T10:10:00.000+01:002016-07-14T10:11:08.509+01:00Event: S.E.E, Women in Sound, Women on Sound<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-Ojvnkjfb5xU/V4dW4LEhKII/AAAAAAAADu4/ZAt_Ql-Kd-8Quw0zndksX4lgwerKKNRWgCLcB/s1600/13407033_1064678133612961_4499912568274837665_n.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://4.bp.blogspot.com/-Ojvnkjfb5xU/V4dW4LEhKII/AAAAAAAADu4/ZAt_Ql-Kd-8Quw0zndksX4lgwerKKNRWgCLcB/s1600/13407033_1064678133612961_4499912568274837665_n.jpg" /></a><span style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><a href="http://wiswos.bitbucket.org/index.html%3Fp=488.html" target="_blank">Complete schedule here</a></span></div>
<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7632878492109851123.post-24866263613646789332016-01-20T09:07:00.000+00:002016-01-20T09:07:25.179+00:00Talk: Luciano Azzigotti, Networked Performances and Animated Dynamic Scores, 21 January 2016<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-y1wc2Y5hpuk/Vp9NDAb_7EI/AAAAAAAADoI/JD6_G9YRSmg/s1600/flyer-Azzigotti-21Jan-16-SPR.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-y1wc2Y5hpuk/Vp9NDAb_7EI/AAAAAAAADoI/JD6_G9YRSmg/s1600/flyer-Azzigotti-21Jan-16-SPR.png" /></a></div>
<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7632878492109851123.post-29617018559722267542015-12-01T11:15:00.000+00:002015-12-03T11:15:43.647+00:00Performance: Laetitia Sonami, Thursday 3 December 2015<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-_TsFlZIy_nk/VmAkMol9lCI/AAAAAAAADmM/1ExW4rz9qfo/s1600/SPR_Laetitia.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-_TsFlZIy_nk/VmAkMol9lCI/AAAAAAAADmM/1ExW4rz9qfo/s1600/SPR_Laetitia.jpg" /></a></div>
<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7632878492109851123.post-58699685099848297462015-11-26T14:10:00.000+00:002016-07-14T10:20:09.916+01:00Concert: Interlace @iklectik Art Lab, Friday 4 December<u>iklectik Art Lab </u><br />
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Old Paradise Yard, 20 Carlisle Lane<br />
(Royal Street Corner) London SE1 7LG<br />
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Friday 04 December 2015 : 7:30pm<br />
Jane Dickson - piano & Ute Kanngiesser - cello<br />
Norman Adams - cello & Sebastian Lexer - piano+<br />
Ute Kanngiesser - cello & Norman Adams - cello<br />
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Entry: £7 / concession donations<br />
for further details visit <a href="http://www.inter-lace.net/">www.inter-lace.net</a><br />
<a href="http://www.iklectikartlab.com/">http://www.iklectikartlab.com/</a>Anonymoushttp://www.blogger.com/profile/12348580385063415731noreply@blogger.com0tag:blogger.com,1999:blog-7632878492109851123.post-68245318530917552262015-11-23T17:39:00.000+00:002015-11-24T21:13:55.368+00:00Talk: CMRU, George E. Lewis, 24 November 2015<div class="separator" style="clear: both; text-align: center;">
<a href="http://4.bp.blogspot.com/-A4EvXcj7jAE/VlTTA9YWb_I/AAAAAAAADlk/cp2zwL9-RBg/s1600/george.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-A4EvXcj7jAE/VlTTA9YWb_I/AAAAAAAADlk/cp2zwL9-RBg/s1600/george.jpg" /></a></div>
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Contemporary Music Research Unit (CMRU) Lecture Series 2015 <br />
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Goldsmiths, University of London<br />
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In association with the Institute for Musical Research, the CMRU presents this evening lecture in Senate House. <br />
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George E. Lewis <br />
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When: 24 November 2015, 5:00pm - 6:30pm <br />
Where: Senate House, Malet Street, London, WC1E 7HU ( map) <br />
Cost: free / all welcome <br />
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<a href="http://www.gold.ac.uk/calendar/?id=9179">http://www.gold.ac.uk/calendar/?id=9179</a> <br />
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<a name='more'></a>George E. Lewis is a composer, electronic performer, installation artist, trombone player, and scholar in the fields of improvisation and experimental music.<br />
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George E. Lewis is the Edwin H. Case Professor of American Music at Columbia University and the director of the Center for Jazz Studies. The recipient of a MacArthur Fellowship in 2002, an Alpert Award in the Arts in 1999, and fellowships from the National Endowment for the Arts, Lewis studied composition with Muhal Richard Abrams at the AACM School of Music and studied trombone with Dean Hey. A member of the Association for the Advancement of Creative Musicians (AACM) since 1971, Lewis’s oral history is archived in Yale University’s collection of “Major Figures in American Music.” <br />
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Lewis’s published articles on music, experimental video, visual art, and cultural studies have appeared in numerous scholarly journals and edited volumes. His 2008 book, A Power Stronger Than Itself: The AACM and American Experimental Music, received the American Book Award (2009), the American Musicological Society’s Music in American Culture Award (2009), an Award for Excellence in Recorded Sound Research from the Association for Recorded Sound Collections (2009), and an award from the Jazz Journalists Association for the Best Book on Jazz (2009).Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7632878492109851123.post-45028496340642879222015-11-18T14:20:00.001+00:002015-11-23T17:44:16.480+00:00Concert: Ensemble Interface, 19 November 2015Concert: Ensemble Interface<br />
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Thursday 19 November, 7.30pm, Council Chamber, Deptford Town Hall, Goldsmiths<br />
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In November 2015 Ensemble Interface is heading to the United Kingdom for a touring project, featuring new pieces by Patricia Alessandrini, Pedro Alvarez, Martin Iddon and Mauricio Pauly.<br />
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One of the purposes of this project is to support the development and performance of pieces by UK-based composers, all the while encouraging the exchange between composers, ensemble and audience through various workshop formats. Performances will be accompanied by workshops for students and open panel discussions for the audience, purposing to deepen the interest and the understanding towards this repertoire. <br />
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The project has been granted support by the Sound and Music Touring Programme. Ensemble Interface achieved this award after entering into a competitive process with over 70 other applicants. In Sound and Music’s view, Interface project “offers a very exciting prospect to both audiences and composers in England”. The project is also supported by the Britten-Pears Foundation and the Goethe-Institut.<br />
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Programme:<br />
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Patricia Alessandrini: Alphabet de Ténèbres, for flute, clarinet, piano, percussion, violin, cello and electronics. <br />
Pedro Alvarez: New forms of asymmetry, for solo guitar and ensemble; Diego Castro Magas, guitar. <br />
Martin Iddon: crinaeae, for flute, clarinet, piano, percussion, violin, cello. <br />
Mauricio Pauly: Patrulla palinodia, for amplified ensemble, live electronics and pre-recorded audio. <br />
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Ensemble Interface, an international collective of musicians founded in 2009 in Frankfurt am Main, is committed to contemporary music through performance, educational activities and research. <br />
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Free event, all welcome.<br />
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There is an open rehearsal for anyone wishing to attend in Deptford Town Hall from 10am on the Thursday.<br />
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More information <a href="http://www.gold.ac.uk/calendar/?id=8936">here</a></div>
Anonymoushttp://www.blogger.com/profile/12348580385063415731noreply@blogger.com0tag:blogger.com,1999:blog-7632878492109851123.post-66399964308419370972015-11-18T12:09:00.001+00:002015-11-23T18:05:27.164+00:00Call for Contributions: eContact! 17.4 — Analogue and Modular Synthesis: Resurgence and evolution<a href="http://econtact.ca/17_4/images/modular_patch.jpg"><img src="https://blogger.googleusercontent.com/img/proxy/AVvXsEjN2RyxMGQaoc8d55VK2VOBRzxQlSKTNWZRxzrG_CdJQVIhPHvrEP0SvPFw-qMFc0K_lH-z7tkP3a3gUwuM_5uKue8LCqY_2M-lWOxIGIbqYAW_SDDEsg77vp-I9o0RU9HGsFjhqdYhMYo1PD6nFjcXM3c=" /></a> <br />
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The Canadian Electroacoustic Community (CEC) is now accepting submissions for an upcoming issue of eContact!, the online journal for electroacoustics published four times a year by the CEC. We are pleased to have Richard Scott as Guest Editor for eContact! 17.4.<br />
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An idea emerging from Manchester’s 2014 <a href="http://sines-squares.org/">Sines&Squares Festival</a>, initiated by our Guest Editor, forms the core of the topics explored in this issue, with focus including modular synthesis in live performance, improvisation and fixed media, gender and synthesis, programming, patching and methodology.<br />
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We welcome contributions on themes that fall within the following list of categories, but also invite potential contributors to propose their own categories and ideas!<br />
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Topics relating to modular synthesizer history; <br />
Instrument, module and synthesizer design; <br />
Overlapping communities of users, designers and manufacturers, etc. <br />
Relations between modular practices and the DIY community; <br />
Characteristics of the resurgence of analogue and modular practices; <br />
Modular synthesis and live performance; <br />
Modular synthesis and improvisation; <br />
Women, gender and modular scenes and practices; <br />
Towards/against fixed media: Integration and co-existence? Conflict and avoidance? <br />
Studio reports or commentaries on individual work(s); <br />
Artist galleries. <br />
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Further information - <a href="http://econtact.ca/call.html#174">http://econtact.ca/call.html#174</a>
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This talk focuses on three recent works, 'The Dark Road', 'The Feeling of Remembering' and 're:play', each of which considers a different aspect of the role of memory in musical form: as aural history, as a cognitive process and as psycho-drama. <br /><br />Christopher Fox is a composer, teacher and writer on new music. Between 1984 and 1994 he was a member of the composition staff of the Darmstadt New Music Summer School. During 1987 he lived in West Berlin as a guest of the DAAD Berlin Artists Programme. He joined the University of Huddersfield in 1994, eventually becoming professor of composition; he joined Brunel University London as professor of music in April 2006. <div>
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<a name='more'></a><br />Fox’s work has been performed and broadcast world-wide and has featured in many of the leading new music festivals, from the Amsterdam PROMS to the BBC Proms and from St Petersburg to Sidney. In recent years he has established particularly close relationships with the Ives Ensemble in the Netherlands, for whom he wrote the evening-long ensemble installation, Everything You Need To Know (2000-1) and with Apartment House in the UK. <div>
<br />His writings on music have also been published widely, in the journals Contact (of which he was an editor), Contemporary Music Review, Musical Times and Tempo, and deals principally with new music, in particular experimental, minimalist and complex tendencies in American and European music. <div>
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<br />The Music Research Series is designed to help postgraduate students advance their research and careers. The events stimulate exchange, hones skills, facilitates the creation of professional networks and helps to consolidate the department’s postgraduate community, all over a glass of wine! Attendance is strongly recommended for all postgraduate students (MA, MMus and PGR) in Music but of course undergraduates, music researchers, and visitors from across the college and the community are also most welcome to these public lectures.</div>
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<br /><br />Location: 137a, Richard Hoggart Building, Goldsmiths, University of LondonUnknownnoreply@blogger.com0tag:blogger.com,1999:blog-7632878492109851123.post-22670040800694699572015-11-10T12:06:00.001+00:002015-11-10T12:06:59.344+00:00Conference & CfP: Sound Art Matters, 1-4 June 2016<br />SOUND ART MATTERS INTERNATIONAL CONFERENCE ON SOUND ART <br /><br />JUNE 1-4, 2016 AARHUS UNIVERSITY, DENMARK <br /><br />The current art field is full of sound: audible and inaudible, infrasound, ultrasound, sound machines, sound installations, field recordings, digital sounds, biological sounds, sound walks, sounds from instruments, voices, nature, sonifications of data and so on. Sound art comprises a wide range of different artistic practices in which sound is a central element. It occurs in a variety of formats and contexts, crossing conventional boundaries between art genres and institutions. Despite this abundance of sonic expressions, sound art is still, as Christoph Cox noted in 2011, ‘profoundly undertheorized’. <div>
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Call for Papers <a href="http://conferences.au.dk/fileadmin/conferences/2016/Sound_Art_Matters/SOUND_ART_MATTERS.pdf" target="_blank">here</a><br /><br /><a name='more'></a><br />PAPER PROPOSALS <br /><br />This conference wishes to bring together original scholarship from a variety of disciplines and locations that together represent the breadth of current thinking and research on sound art in a globalised context. We welcome both practice-based and theoretical presentations, and we support alternative presentation formats that involve sound in various manners. All proposals will be submitted to a review process. After the conference, selected papers will be considered for a full publication. Please submit your abstract of max. 400 words and a short bio (30 words) no later than February 1, 2016 via the Easychair conference management system, <br /><br />SAM16 Online paper submission: https://easychair.org/conferences/?conf=sam16 <br /><br />REGISTRATION Registration via the conference webpage: http://conferences.au.dk/soundart2016/ <br /><br />Here you will also find further information regarding the venues,
accommodation, fee and transport. </div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7632878492109851123.post-89741203434087967172015-11-09T11:02:00.000+00:002015-11-10T11:50:54.359+00:00Talk: J.J. Jeczalik, 12 November 2015<h2 class="emphasis">
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<b>Date: November 12th, 16.00-17.00</b></div>
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<b>Location: Goldsmiths, Richard Hoggart Building Room 167</b><br />
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J.J. Jeczalik is a founder member of the Art of
Noise and played an important role in many early Trevor Horn and ZTT
projects as the creative programmer of the Fairlight CMI digital
sampling synthesizer. JJ Jeczalik has been involved with many music projects
over the years, featuring the likes of Kate Bush, Godley & Creme,
Paul McCartney, Yes, and many others. Most of these sessions happened
during the '80s, and JJ was there to man the Fairlight -- the pioneering
Australian sampling machine that was sprung upon an unsuspecting world
in 1979. It was with the same radical, punk-influenced outlook that he
made his mark on the music of one of the most seminal hi-tech bands of
all time: the Art Of Noise. Much of the weirdness and incongruity of Art
Of Noise music was the result of JJ's disregard for musical and studio
conventions. Art Of Noise transgressed many of them, going out on a limb
with sonic innovations, and spreading their musical net over pastoral,
ambient pieces like 'Moments In Love', to upbeat hits like their
collaborations with Duane Eddy, in 'Peter Gunn', and Tom Jones, in their
glorious reworking of the Prince song, 'Kiss'.</div>
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All are welcome to attend these public masterclasses but priority will be given to students on the BMus Popular Music programme.
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<br />Anonymoushttp://www.blogger.com/profile/12348580385063415731noreply@blogger.com0tag:blogger.com,1999:blog-7632878492109851123.post-71334398670277196122015-11-02T17:22:00.000+00:002015-11-10T11:50:36.670+00:00Event: Noizemaschin!! #1, 3 November 2015<h2>
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<b><span style="font-family: inherit; font-size: large;"><span style="font-size: x-small;"><span class="fsl"><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYUW94Wg9KtPFNynRPKCvoQYMOCXFhHl3hhmXcwVWK9-P0WH6ieiajhEW4zsUAZsmvF71sMHpfsWUj5HGYD2YbYl16JMJUoJ-q5_ee0zbs884jrtjksHfcvRKowzFDin42FpXXRslpYxA/s1600/noizemaschin.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="219" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYUW94Wg9KtPFNynRPKCvoQYMOCXFhHl3hhmXcwVWK9-P0WH6ieiajhEW4zsUAZsmvF71sMHpfsWUj5HGYD2YbYl16JMJUoJ-q5_ee0zbs884jrtjksHfcvRKowzFDin42FpXXRslpYxA/s640/noizemaschin.jpg" width="640" /></a></span></span></span></span></b><br />
<span style="font-family: inherit; font-size: large;"><span style="font-size: x-small;"><span class="fsl"><span style="font-size: small;">Date; Tuesday 3 November, 7.30pm</span></span></span></span><br />
<span style="font-family: inherit;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="font-family: inherit;">V</span>enue: </span>Amersham Arms, 388 New Cross Road, SE14 6TY London, United Kingdom</span></span><br />
<span style="font-family: inherit;"><span style="font-size: small;"><span class="fsl"> £5 entry</span></span></span><br />
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<span style="font-family: inherit;"><span style="font-size: small;"><span class="fsl">A whole new concert experience! Seven artists
performing short 10 minute sets across two halves, segue seamlessly
between acts to create a continuous musical experience - come on down
and revel in the chaos!<br /><br />Featuring: </span></span></span><br />
<span style="font-family: inherit;"><span style="font-size: small;"><span class="fsl"> </span></span></span><br />
<span style="font-family: inherit;"><span style="font-size: small;"><span class="fsl">Krawwl - Krawwling out from the refuse of jazz-land with extreme sonic experimentations</span></span></span><br />
<span style="font-family: inherit;"><span style="font-size: small;"><span class="fsl"> <a href="http://www.facebook.com/krawwl" rel="nofollow">www.facebook.com/krawwl</a><br /><br />Michael Speers - Feedback improvisation and percussive timbral fusion</span></span></span><br />
<span style="font-family: inherit;"><span style="font-size: small;"><span class="fsl"> <a href="http://michaelspeers.net/" rel="nofollow nofollow" target="_blank">http://michaelspeers.net/</a><span class="text_exposed_show"><br /><br />Pete Yelding - cellovoicesong</span></span></span></span><br />
<span style="font-family: inherit;"><span style="font-size: small;"><span class="fsl"><span class="text_exposed_show"> <a href="http://www.peteyelding.com/" rel="nofollow nofollow" target="_blank">www.peteyelding.com</a><br /><br />Andalu-Dog - New performance for baglama saz, fusing electronic sounds with NASA sound recordings</span></span></span></span><br />
<span style="font-family: inherit;"><span style="font-size: small;"><span class="fsl"><span class="text_exposed_show"> <a href="http://andycaruso.com/" rel="nofollow nofollow" target="_blank">andycaruso.com</a><br /><br />Daniel James Ross - Algorithm powered manipulations of space sounds and synthy goodness</span></span></span></span><br />
<span style="font-family: inherit;"><span style="font-size: small;"><span class="fsl"><span class="text_exposed_show"> <a href="http://www.vitruviandan.wordpress.com/" rel="nofollow nofollow" target="_blank">www.vitruviandan.wordpress<wbr></wbr><span class="word_break"></span>.com</a><br /><br />Rose Dagul - Transformative cello and electronic improvisations</span></span></span></span><br />
<span style="font-family: inherit;"><span style="font-size: small;"><span class="fsl"><span class="text_exposed_show"> <a href="http://rrrhosyn.co.uk/" rel="nofollow nofollow" target="_blank">http://rrrhosyn.co.uk/</a></span></span></span></span><span class="fsl"><span class="text_exposed_show"><br /><br />Steffan Harri Roberts - Free improvisation for accordion and alarm clock radio</span></span>Anonymoushttp://www.blogger.com/profile/12348580385063415731noreply@blogger.com0Amersham Arms, 388 New Cross Rd, London SE14 6TY, UK51.4754277 -0.03046419999998306625.953393199999997 -41.339058199999982 76.9974622 41.278129800000016tag:blogger.com,1999:blog-7632878492109851123.post-71019302966694029672015-11-02T16:53:00.001+00:002015-11-10T11:51:14.729+00:00Album: Hollow Blown Egg<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: inherit;"><span style="font-weight: normal;"><br />SPR member <a href="http://www.gold.ac.uk/music/staff/busby/" target="_blank">Dr. Lisa Busby</a> has </span>started a DIY campaign for her upcoming
debut solo album. The single and video 'Hollow Blown Egg' are out now,
and the album comes out in mid November. The album <span style="font-size: small;">uses
improvisations on playback media and other simple sound making devices as a basis for songwriting, and</span><span style="font-size: small;"> explores a territory where melody meets noise and collage, and song fragments float in larger structures</span><span style="color: #3c3c3c; font-size: xx-small;"><span style="font-size: 12px;">. </span></span>You
can see the video for the single here - <a href="http://fingersinthegloss.co.uk/" target="_blank">http://fingersinthegloss.co.uk - </a></span><span style="font-family: inherit;"> as well as access free downloads.</span><br />
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<span style="font-family: inherit;"><a href="https://twitter.com/sleepsinoysters" target="_blank">@sleepsinoysters</a></span> </div>
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Anonymoushttp://www.blogger.com/profile/12348580385063415731noreply@blogger.com0tag:blogger.com,1999:blog-7632878492109851123.post-3003586040159528332015-10-02T15:39:00.001+01:002015-11-10T11:51:41.759+00:00Event: PoL # 13 (Not a) Sound Map of Karachi, Fari Bradley and Chris Weaver. 14 October 2015<a href="https://pointsoflistening.wordpress.com/2015/09/22/pol-19-not-a-sound-map-of-karachi/?utm_source=CRiSAP&utm_medium=email&utm_campaign=PoL19" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img src="https://blogger.googleusercontent.com/img/proxy/AVvXsEh6q2U7zguALEK4u36qDgTWn2WYzfnEyzID9gD1ybq3-hPridFqZNMUFmsJmP2Hv7iOH1R8dmXg2bBAfWkGikmst476yPe-EwY8CQ7_aaI3ujjJSm9nCoRpA0ZsZ8iCzdrgX4yaxsYaUGYRoS2uz_79eDrobrFKfXwgQ9_RS6W8uaNPEFRTU8mRmSYI_xG7FIo4Y64=s0-d-e1-ft" /></a><br />
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Date: Wednesday October 14th, 2015<br />
Time: 18:30<br />
Venue: London College of Communication, Elephant & Castle | <a href="http://www.arts.ac.uk/lcc/about-lcc/find-us/?utm_source=CRiSAP&utm_medium=email&utm_campaign=PoL19">meet in reception</a><br />
Free with limited capacity<br />
To reserve a place please email: <a href="mailto:s.voegelin@lcc.arts.ac.uk">s.voegelin@lcc.arts.ac.uk</a><br />
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Karachi is Pakistan’s largest city, the second most populous in the world and the capital of Sindh Province. A port on the Arabian Sea and the Gulf of Oman, it is a megacity of 20 million inhabitants (more than double of London). In the 1940s, American servicemen dubbed it ’The Paris of the East’ [1] and the city was the main stopover for flights and ships passing through the region. With Dubai now as the main stopover, Karachi faces environmental and structural disorder, with an estimated 500,000 street beggars and a private security industry generating ($6,000,000) six hundreds of millions of dollars in business each year.<br />
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How does Karachi’s socio-economic structure and history affect the aural landscape of the city?<br />
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A common practise in field recording is the creation of a “Sound Map” [2]. A problematic approach, “sound mapping” generally ignores the political and contested nature of cartography. While artistic and fruitful projects, they are often subjective and rarely accountable to the societies they chart. Defining locales by purely aesthetic concerns, does the process of mapping merely capture ‘spectacles of sound’.<br />
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The field recordings from Karachi that we sample in this month’s PoL are prompts to these concerns, eliciting a series of questions about the nature and composition of society in general, and the one in which they were recorded. What can actually be detected about the economic, social and environmental aspects to city structures through sound? Does the appearance of class and status have a corresponding echo in sound? How to develop forms of class-conscious listening and, perhaps more importantly, does one’s own position affect the angle from which one records?<br />
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This talk forms part of an Arts Council supported series by Bradley and Weaver in October. Work from their research in Pakistan, includes weekly <a href="http://sixpillars.org/2015/09/09/this-weeks-six-pillars-lahore-biennial-foundation-residency/?utm_source=CRiSAP&utm_medium=email&utm_campaign=PoL19">broadcasts</a> on UK’s art-radio station Resonance104.4FM and a two week exhibition of works made by Bradley and Weaver at <a href="http://iklectikartlab.com/?utm_source=CRiSAP&utm_medium=email&utm_campaign=PoL19">I’Klectik Art Lab</a>, Waterloo running from the 13th until the 27th of October.<br />
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Website <a href="http://bradley-weaver.com/?utm_source=CRiSAP&utm_medium=email&utm_campaign=PoL19">bradley-weaver.com</a> | References: 1. ‘<a href="http://cbi-theater-10.home.comcast.net/~cbi-theater-10/karachi/karachi.html">A Guide to Karachi – A Service to a New-Comer!’</a> 2. ‘<a href="https://en.wikipedia.org/wiki/Sound_map">Sound Map</a>’<br />
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Free with limited capacity | To reserve a place please email:<a href="mailto:s.voegelin@lcc.arts.ac.uk">s.voegelin@lcc.arts.ac.uk</a> </div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7632878492109851123.post-75181332331375125712015-10-02T13:51:00.002+01:002015-10-02T13:51:24.022+01:00Performance: Gilles Aubry & Robert Millis, Jewel of the Ear, 7 October 2015<div class="separator" style="clear: both; text-align: center;">
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<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7632878492109851123.post-57274186445519033402015-10-02T13:46:00.001+01:002015-10-02T13:47:18.682+01:00Talk: Maria Chavez, A Challenging Spark, 6 October 2015<div class="separator" style="clear: both; text-align: center;">
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<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7632878492109851123.post-72944705182897926192015-09-30T16:30:00.000+01:002015-11-10T11:52:20.807+00:00Event: Ghost in the Machine Music, 1 October 2015<div class="separator" style="clear: both; text-align: center;">
<a href="https://scontent-lhr3-1.xx.fbcdn.net/hphotos-xft1/v/t1.0-9/11836912_539311899556437_6229925945022600325_n.jpg?oh=a8ca033814fb4a4f79d2081509226ace&oe=569D5CDD" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://scontent-lhr3-1.xx.fbcdn.net/hphotos-xft1/v/t1.0-9/11836912_539311899556437_6229925945022600325_n.jpg?oh=a8ca033814fb4a4f79d2081509226ace&oe=569D5CDD" /></a></div>
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LIVE: Shelley Parker, Tom Richards, Leslie Deere, Tom Mudd, Graham Dunning.<br />
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19:00 - 23:00</div>
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<a href="https://www.facebook.com/pages/New-River-Studios/800856556671129">New River Studios</a><br />
N4 1DN, London<br />
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If producer Lee ‘Scratch’ Perry once described the space-defying echoes emerging from his Black Ark Studios as a “ghost in me coming out”, where are we to seek out the spectral presences haunting today’s music machines? Ghost in the Machine Music presents five sound artists working in a variety of media, from digital synthesis to custom-built music boxes, each creating new forms of dialogue with their respective apparatus. Between them they advance a radical vision of the relationship between music and technology, in which the latter becomes not just control interface or passive tool, but something more like an active partner with its own quirks and peccadilloes.<br />
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Electronic sequencers homemade from scratch, records stacked up on a single turntable appended by junk electronics and school science lab equipment – instruments like these are inherently unstable, forever threatening to teeter out of sync, react unpredictably, or collapse altogether. But such instability can produce musically fascinating results (not to mention a dramatic live spectacle). Graham Dunning, Leslie Deere, Tom Mudd, Shelley Parker, and Tom Richards share a sculptural approach to sound in which conceptual rigour is married to results both highly plastic and profoundly engaging. Favouring a set up in the round, at audience level, unmediated by stage or proscenium, the event becomes less a traditional concert than a temporary installation, a shamanic ritual – or a séance.</blockquote>
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The event is curated by Graham Dunning as the closing event of his artist residency at LimeWharf / Machines Room - Rhythm & Drone // Research & Development.<br />
<a href="https://www.facebook.com/events/1017229134994740/">https://www.facebook.com/events/1017229134994740/</a></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7632878492109851123.post-88470073098804670602015-09-30T16:18:00.000+01:002015-11-10T11:52:51.692+00:00Exhibition: Mark Peter Wright - I, the Thing in the Margins, 11 October - 22 November 2015<img src="https://blogger.googleusercontent.com/img/proxy/AVvXsEhveg0ATD5exXyR068CfYAnHwV2ctoA1U6iRNCkxG2XWu7Pn-oLSWxFD0cxmF8TFdYOwOxaJLVIV-SazA7PBjogWucFNHb5PSCPDHneFgQRoqEisMp_58_l5BxbMtV_LsrzjnJBt49JOtRJKMAZjX515YY_xheOyKq2-7ZJddqCzT8Zk1cKY57B-jxC0JK6NhzADwE=s0-d-e1-ft" /><br />
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<a href="http://www.imagemusictext.com/exhibitions-archive/mark-peter-wright-i-the-thing-in-the-margins">IMT Gallery</a><br />
11 October – 22 November 2015<br />
Preview: Saturday 10 October 6-9pm<br />
Opening times: Thursday – Sunday 12 – 6pm or by appointment<br />
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I the thing in the margins<br />
A shadow-self hidden within the other<br />
I am the noise in the signal<br />
A parasitic oscillation<br />
Beyond representation<br />
The site of horror<br />
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I, the Thing in the Margins is a solo exhibition of new works by Mark Peter Wright. Across sculptural assemblage, sound and image, Wright interrogates media histories and tropes found within Nature documentary and para-crypto contexts: re-imagining the traditionally silent or lone recordist as a chimeric identity assembled within the margins of representation.<br />
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Through a series of [super] mutations and metamorphoses the exhibition radically examines the mediated impact humans have had upon non-human species and phenomena, and more importantly asks what it means to confront those very (in)human(e) histories and actions: to listen back to one’s other, in self-revelatory horror.<br />
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Facebook group: <a href="https://www.facebook.com/events/737194899760684/">https://www.facebook.com/events/737194899760684/</a><br />
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Website: <a href="http://www.imagemusictext.com/exhibitions-archive/mark-peter-wright-i-the-thing-in-the-margins">http://www.imagemusictext.com/exhibitions-archive/mark-peter-wright-i-the-thing-in-the-margins</a><br />
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I, the Thing in the Margins is an <a href="http://www.imagemusictext.com/exhibitions-archive/mark-peter-wright-i-the-thing-in-the-margins">IMT Gallery</a> exhibtion, supported by The <a href="http://www.artscouncil.org.uk/?utm_source=CRiSAP&utm_medium=email&utm_campaign=MarkPeterWrightExhib">Arts Council England,</a><a href="http://elephanttrust.org.uk/?utm_source=CRiSAP&utm_medium=email&utm_campaign=MarkPeterWrightExhib">The Elephant Trust</a>, <a href="http://www.crisap.org/?utm_source=CRiSAP&utm_medium=email&utm_campaign=MarkPeterWrightExhib">CRiSAP</a> and <a href="http://www.arts.ac.uk/lcc/?utm_source=CRiSAP&utm_medium=email&utm_campaign=MarkPeterWrightExhib">London College of Communication</a>.</div>
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Unknownnoreply@blogger.com0