Sound Thought 2017 Festival Brochure

Page 1







Collaborate I Cinema



Installations Foyer

Charlotte Cole + Ben Richards

We Laugh Less Online

Freya Johnson Ross Listening in to consuming trade winds

Ollie Hawker + Nick Smith

For Two Heartbeats

Lise Olsen

Joe Bauer + Jason Engling

The Coffee Cup Sessions

Gaspar Peralta


Lynette Quek + Carmen Troncoso

Recordeur I-II

Ben Fletcher

Timo Kahlen

Internal / External

The Miley Symphony The Essence of Art

Frank Rossi Kira Belin Rosa Santibanez

Integrate I

THURSDAY, MAY 11 Installations


Simon Shertz


Jessica Rodriguez


Barney Spigel

Utopia Valenciana

Tonalli Nakamura

Raw Maze

Alejandro Brianza

El lenguaje de los Árboles

Jahyun Kim

Video Fuga No.1

Andrew Rae

Digital Synesthesia in Popular Music





Club Room Breakout Room Intermedia Room


Theatre Proprioception

Tamás Lévai + Richárd Beregi

HANS: exploring human–computer collaborative art through an interactive musical experiment



Marcin Pietruszewski


James Wyness

Towards an Articulation of the Archive, stoch e/a ‘x’




Club Room Breakout Room Intermedia Room

Lost and Found in the Volta Region Human in Nature Bubbletalk

Articulate III Cinema

Integrate II

Arne Sanders

Duncan MacLeod

A Composer’s Perspective on Heterophony PAPER PRESENTATION

Cate Smith


Shane Byrne


Micah Nye Rebecca Bohse Meyer Filip Sande + Vibeke Lunel

Katherine Betteridge


So viele Farben Schwarz Can you see a forest? Can you hear a moon? Land Echoes

Collaborate II Cinema


2 0 1 7

Theatre Spatial music: negotiating space through

technology as a compositional parameter in instrumental music


Alexis Langevin-Tétrault


Manoli Moriaty



Patricia Martinez

Conciencia Pura de invención

Moving Image


Unfolding Time

Nikki Sheth

Further Afield

Hana Do + Jiwon Keon

The Taxidermied Water

Space and Time: Performance experience and engagement in an unfamiliar setting


Murray Collier + Hannan Jones Mara Marxt Lewis + Tyler Lewis Katja Oberlintner



The Back of the Day Tilting at Windmills Her Energies Fused into Force, Burning and Illuminating

Club Room Breakout Room Intermedia Room

F E S T I VA L Articulate I


Leonardo Cicala + Alessandro Cazzato

Fiona MacKenzie


Recital for Violin and Live Electronics PERFORMANCE

‘Contrast’ From the Alleghenies to the Hebrides – Creative Connections LECTURE-RECITAL

Dino Rešidbegović

Subtractive Synthesis in Music Composition LECTURE-RECITAL

Installations (all day)

Articulate II Cinema Iain Findlay-Walsh

Tracing the liminal: autoethnographic strategies in soundscape art PAPER PRESENTATION

Christoffer Schunk


P R O G R A MM E Concert I



Tyer Lewis

Land of Kings

Francesca Ter-Berg

In To The Woods

Mei-Fang Lin

Entre le son et la lumière

Lina Tobler


Vilius Jokubaitis

Myth of Creation

Dennis Reyes

The Dockyard

Ela Orleans


Julien Lonchamp

Hologram (Augmented)

Dara Etefaghi


Concert II


Hannah Newham

Translucent Unreality

Nikki Sheth

Orford Ness

Una Lee

Play Pause Stop Rewind



Manoli Moriaty

Symbiosis: Interspecific Associations in Collaborative Practice PAPER PRESENTATION

Damian O’Riain

Configurational Energy Landscape No.9

Graeme Ronald

Three Migrations

Laurence Chan

Nihil eternum est

Iain Findlay-Walsh

XsdX + chang ng

Richy Carey

Camphill (55.831089, -4.272530)

Seth Rozanoff + Paul Nataraj

Dialogic Transparencies

Concert III



Jamie Lawson

Hearing Obsolescence

Hannah McGrath

Pace of Water





Installations (all day)

Articulate IV Cinema Peter Self

Live Versus Recorded Investigations

Gaspar Peralta


David Snow

Mon coeur appartient à Dada

Russell Wimbish

Mixed Modes / Clear Signals

Amir Zaheri + Rebecca Salzer

May I Take Your Picture?

Frédéric Mathevet, Célio Paillard, Mathieu Crimermoish

Shamanic Exsude

Rachael Finney

(Dis)Simulation and Anonymity in Female-based Vocal Groups

Alison Beattie

The Lunatics Have Taken Over Our Aslyum





Wenxin Cui

Tai Kong

Antonio D’Amato

Prismes électriques, hommage à Sonia Delaunay

Installations (all day)







Colin Frank

Virtual Sphere Incarnate




Internal/External Ben Fletcher | Glasgow, Scotland The theme of this piece is the examination of the influence of the outside world on the internal biological soundscape. This will be explored by recording audio of a subject’s heartbeat in various personal environments, and demonstrated by the technique of using side chain compression (with the heartbeat track as a control) on each environment’s recorded audio and video. There will be ten personal environments each lasting for one minute and covering different experiences of everyday life. Each will have audio and video recorded while the subject within that environment has their heart beat monitored and recorded. For the installation the ten videos will be played sequentially on a large screen with audio supplied only via headphones, allowing the audience member to have a personal experience with the subject’s unique internal response to the environment. I am a Glasgow based musician and producer with a background in electronic music production and composing music for contemporary theatre. I am currently developing a portfolio of sound art practice, using MAX MSP.

Listening in to consuming trade winds Freya Johnson Ross | London. England

Occupied by questions of knowledge and inequality on a global scale, I am currently exploring different disciplinary perspectives on the role sound and listening play in articulating and making understood, ideas about different issues, places and relationships. Recently my work has spanned diverse locations in the global North and South. In these different contexts, the politics of knowledge, belonging and colonization have been questions I have sought to think through self-reflexively. Where and in what way are different locations seen to be colonized, how do different knowledges reproduce this, and what are the intangible processes of understanding that underpin this? Using sound recordings gathered over a period of months on different continents, representing sites of knowledge production, storage and its travel, as well as archival research, this installation presents an element of this thinking as work in progress. Freya Johnson Ross is an artist and researcher working with sound, installation and collage. London based though originally from Glasgow, she is currently working on projects looking at global knowledge hierarchies, flows and gaps in the familiar, and young people and gender violence. Her interests include social change, inequality, and uncertainty and comparative methodologies. Particularly skilled in engaging and interactive work based around sound and recording, Freya strives through her practice to invoke people’s reflection on the intangible and their own perceptions. She holds an MPhil from the University of Cambridge and PhD from Sussex University.

The Miley Symphony Lise Olsen | Duncan of Jordanstone College of Art and Design, University of Dundee | Dundee, Scotland ‘The Miley Symphony’ is an audio work using a mix of field and voice recordings. The work deals with a complex narrative of place. Structured as a walk upon a forgotten Dundee to Newtyle railway line called ‘The Miley’. For years it was unused and ignored by ‘Dundonians’ who used it as a mile-long rubbish tip. However now, the Miley is an urban wildlife sanctuary of grasslands, plants and trees and a haven for wildlife cared for by the Scottish wildlife Trust. The journey began as a stream of consciousness in search for my position. Allowing for an experience of city edges, surrounded by a constant bombardment of symbols and signs. I encountered relentless activities, dynamic relationships between city and nature. The energies of traveling through place, is an endless supply of shifting and vibrating particles in space. Sound reflected, absorbed, and transmitted at different times. Feelings shifted between disconnection and reunion of public and private outlines. I was the city edge pedestrian with many choices of flow, rhythm and directional possibilities. The sound of the symphony unexpectedly offered gifts, being present alongside a practice of presence and allowing my consciousness to shape a place, as a place shaped my consciousness. Lise Olsen is currently studying an MFA in Art, Society and Publics at DJCAD, University of Dundee. Her art practice involves exploring different forms of awareness in relation to complexity of place, including identity and perceptions of movement in time-space. As a responsive artist, she links research to practice by observing and documenting different levels of engagement. Specific work embodies the experience of walking around Dundee’s city edges, a voyage into the in-between spaces found around industrial estates, housing schemes and commercial sites. Searching for ideas involving presence of diverse absence, by questioning and reflecting on the transitory nature of time and space. With a particular interest in soundscapes, used as an exciting acoustic environment where sound, is projected into new virtual spaces. Research is presented as sound, images and text to communicate meaning not obviously seen and open to interpretation. Developed as a continuous process moving between her understanding and experience, she playfully uses stories as a reflection of place. The work collected is then shared on her blog ‘Dundee Donders’ at and each post involves fragmented parts of a journey, building its own narrative and observations of consciousness.

THE ESSENCE OF ART, 2016 Timo Kahlen | Mannheim, Germany

net art: interactive text and sound at The essence of art is to make mistakes. Trust me, I'm an artist. A conceptual and personal exploration of the essence of art. As you explore the handwritten text, touch and investigate objects with the cursor, click at, roll-over or pause to generate your individual and interactive composition of raw sound. The interactive composition is generated from multiple layers of embedded sound, in real-time. Take your time. For more than 25 years, sound sculptor and media artist Timo Kahlen has been working with the ephemeral: with wind and steam, with light and shade, with pixels and dust, with sound, noise and vibration. His work has received nominations for various renowned scholarships and residencies, including the German national “Sound Art Prize“ (2006), the “Kahnweiler Prize for Sculpture“ (2001) and for the “Prize for Young European Photographers“ (1989); as well as critical recognition at more than 150 exhibitions of contemporary media art since the mid-1980s : including invitations to „Sound Art: Sound as a Medium of Art“ (ZKM | Karlsruhe 2012-2013), “Tonspur_expanded: The Loudspeaker“ (Vienna 2010), “Manifesta 7: Scenarios“ (Italy 2008), “Wireless Experience“ (ISEA Helsinki 2004), “Zeitskulptur: Volumen als Ereignis“ (Linz 1997) and his solo exhibition “Timo Kahlen: Works with Wind“, inaugurating the Kunst-Werke Berlin in 1991. Kahlen holds a Master of Fine Arts degree from the Berlin University of the Arts (formerly the Hochschule der Künste Berlin).


Various Locations | INSTALLATIONS | WEDNESDAY, MAY 10 Club Room So viele Farben Schwarz Frank Rossi | Mannheim, Germany

So viele Farben Schwarz is a music automaton, in the truest sense of Satie’s words, musique d’ameublement (furniture music). In it, the twin strands of confrontation with automatons that are able to play music independently of humans and the idea of automated composition, of endlessly self-generating music, are combined to form an autopoietic, that is to say, both self-playing and self-composing music machine. The concept of automated composition is grounded in a very early understanding of the close connection between musical and mathematical structures. Common to the Ancient Greeks, medieval scholars such as Athanasius Kirchner, through to the Institute of Biomimetics at the University of Malaga is the conviction that, if one can analyse music mathematically, it must also be possible, by implication, to generate music out of mathematical structures. Outwardly, So viele Farben Schwarz resembles a fashionable living-room music box from the 20s/30s, unusually realised as a tripod in a hexagonal shape with three historical gramophone trumpets, directed towards each leg side. The body consists of coated multiplex panels. Visible tube amplifiers, industrial switch levers and the name of the installation, engraved in aluminium, reinforce the impression of a premium product. A cellular automaton installed in the interior of So viele Farben Schwarz generates a continuous, never-repeating music piece, which can be controlled via the six ultrasound and infrared sensors attached to the outer edges. Movements or an approach towards the installation speed up the piece’s playback and intensify the keystroke dynamics. The warm sound, the high sound quality, along with the dynamically richly faceted playing of the piano may give rise to the assumption that intentional piano-playing is at hand here: is the automaton merely playing back a recording of a famous pianist? The possibility of the beholders’ interaction with the music opens up a game that could increasingly question fixation. Frank Rossi, born in 1967 near Heidelberg, Germany, is a photographer and media artist. He studied Liberal Arts and Experimental Photography in Kassel and in Prague. His photographic works and installations have been shown hitherto in Germany, Switzerland and the USA. His interest is focused on experimental settings in photography, in fine art, but also in New Music. In 2009 he developed the interactive sound installation Cut into the present the future leaks out (2009) after the Three Tape Recorder Experiment by William S. Burroughs.

Breakout Room Can you see a forest? Can you hear a moon? Kira Belin | Santa Fe, New Mexico A modular wall installation, consisting of 3 wooden panels and built-in mini speakers, broadcasting a score. Referencing pareidolia, a psychological phenomenon that causes some people to see or hear a vague or random image or sound as something significant, the subject matter in the wooden sculptures is open to interpretation to each viewer. Some see mountains, others see faces, letters or kids toys. The sound score provides a possible rendition to depicted elements. Can you decipher human speech, a reverberating bridge, a forest, or maybe winds from a surface of Mars? The abstract tapestry of sounds lasts for an hour, and could be looped for a duration of the festival. Fitting with the ST’s sub-theme of articulation, the project is akin to a Rorschach test, harmonizing myriads of perspectives and connotations, along with providing a unique platform for incorporating both physical senses and imagination in an observer. Kira Belin (b.85) Based between NYC & Santa Fe. Composer, sound artist and researcher working across the disciplines of soundscape studies, immersive installations and audio-visual composition. Her research is focused on the relationships between sound, form, image and spatiality of sound. With background in visual arts, she later attended a post graduate Film Scoring course at the Juilliard School of Music under prof. Milica Paranosic and acquired a Master's Degree in Sonic Arts from the University of Glasgow (2016). Kira has partaken in performing arts residencies at the Whitney Museum of American Art (2012) and Metropolitan Museum of Art (2013, 2014). Her audio-visual and acousmatic compositions have been exhibited at the Sensei and Spotte galleries in NYC, "CCA" in Glasgow, as well as presented at the international sound festivals in UK, Germany, USA and Mexico.

Intermedia Room Land Echoes

Rosa Santibañez | University of Edinburgh | Edinburgh, Scotland The construction of the space is about territory and memory. Throughout an installation of touch objects and sounds that evoke the land, I represent the space where the Chilean Selknam culture lived in Tierra del Fuego at the extreme south of Chile, mixing sounds from nature and songs in Selknam native language. The aim of this work is to engage the audience through technologies to link the visual with sound, but also to bring back into practice the memory about native cultures that no longer exist, which language has been extinct throughout history. The works gathers sounds from the past that are still echoing in our present, as the one from many other lost cultures.

I am a Chilean artist (b.1989) based in Edinburgh, Scotland. I graduated with the highest honour from the University of Chile (2013) with a BA Fine Art Degree in Painting. Currently, I am studying the Master Degree in Contemporary Art Practice at the Edinburgh College of Art. I was awarded with Honour Mention in the XXXIV Version of the National Competition of Young Art in 2012, in the National Art Contest “Piensa en Cobre” organized by the Museum of Contemporary Art (Santiago, 2015) and Finalist Artist in the World Citizen Artist Competition (UK, 2014). I also was awarded Becas Chile, a scholarship to pursue a Master degree at The University of Edinburgh. I have exhibited my work at the Contemporary Venice International Art Show (Venice, Italy. 2017), the Museum of Contemporary Art (Santiago de Chile, 2015), Benjamin Vicuna Mackenna National Museum (Santiago de Chile, 2014), Talbot Rice Gallery (Edinburgh, 2016), Tent Gallery (Edinburgh, 2016) and at the Edinburgh College of Art.

WEDNESDAY, MAY 10 | Collaborate I, Cinema | 13.30-15.30


We Laugh Less Online Charlotte Cole + Ben Richards | Edinburgh, Scotland "This talk presents our practice as a case study for collaboration online and offline. We have collaborated for over a year now, both together in the same city and apart, therefore having to rely on temperamental phone signal and WiFi. Our practice has not suffered but has inevitably changed. Our priorities and the focuses in our praxis have been warped through the internet communication avenues we choose. Our thesis considers both the lost experience of listening and watching work on the same sound and visual source i.e. a single computer, and how using the internet as our medium of communication has compartmentalised our individual roles in our practice. Since being in separate cities our work has changed in two obvious ways. Firstly, humour, which was once a strong component to our process, is now lacking. Secondly, the use of ASMR in our work has felt misplaced and detached - feelings that contrast the intention for using ASMR. Humour in our practice and use of ASMR in our work are both highly emotive points for us, and the catalyst of internet-only collaboration has seemingly diluted them in our work. Of course, the internet is a platform for highly emotional interactions, but when moulding something that is due to be physically tangible it proves difficult to fully detach the work from the internet. This is an example of a more broad discussion within art theory: critiquing the emotional constraints and emancipation of the internet in regards to very personal and very political 'in real life' phenomena." Charlotte Cole and Ben Richards collectively have a background in visual arts, sound arts and art writing. Together they create digital art that collages pop culture and intersectional feminism, and applies a curatorial approach to their work by intentionally offering an interruption to the audience - interrupting their interaction with other art within the exhibition. The two met during the Contemporary Art Theory MA at the Edinburgh College of Art and began to channel their theory education into a collaborative practice that strives to enhance art theory with humour, earworms, internet-friendly relatable content and the soothing, yet politicised, sounds used in ASMR. We have refined our craft to looped collages of sonic material that present an amalgam of contemporary issues including how emotions are communicated on the internet, the relationship between global and personal politics, and the modern labour of women. During their collaborative career, they have exhibited work at Talbot Rice Gallery, St Margaret’s House, Fine Roots Gallery in Edinburgh and Transmission Gallery in Glasgow. Outside of their collaboration, Cole is currently the visual arts coordinator for Edinburgh Student Arts Festival and is curating shows at artist-led galleries in the Edinburgh area. Richards is a gallery assistant at Pallant House Gallery and continues their career in curation, which has previously been awarded the visual arts Brighton Fringe award. |

For Two Heartbeats Ollie Hawker + Nick Smith| University of Glasgow | Glasgow, Scotland "For Two Heartbeats is an improvisatory piece in which the two performers use their own heartbeat as the primary sound source. The heartbeats are manipulated with granular synthesis, and trigger sine waves pitched to the overtones of the heartbeats. The piece is a collaboration between the performer and their own body. They are playing their body like one would play an instrument, but this instrument is linked with the performer. As the piece progresses, the sounds are led further and further away from their original sources, departing from the comfort of the corporeal body. The performer is left playing an instrument that they cannot recognise." Ollie Hawker is about to graduate from the University of Glasgow with a degree in Music. He is currently trying to work with vocal samples from self-help videos on youtube. Nicholas Smith was born in 1995 and studies Electronics with Music at the University of Glasgow. His main current interest is the relationship between technology and networked music.

The Coffee Cup Sessions: Longitudinal Explorations of Socio-Technical and Spacetime Factors in Electro-Sonic Conversations Joe Bauer + Jason Engling | Eastern Michigan University + University of Michigan | Ann Arbor, Michigan There is a magical moment early in the morning between the hazy echoes of dreams and crisp consciousness of daylight. A temporary moment of stillness in an otherwise bustling city center. Friends, still stirring from the fog of sleep, sit down with the first brewed coffee of the morning and greet each other. Coffee Cup Sessions is a journal of these moments, capturing these electro-sonic conversations. Some days the dreamlike shroud of slumber is more difficult to shake than others. Some days are happy celebrations of life, while others are the dull, monotonous, plodding on of time and routine. But, the journal records these fleeting moments as conversations in in the language of electronic music over minutes and over months. At 7:00am, about once per month, for the last two years Joe and Jason have met at the same coffee shop in Ann Arbor, Michigan. They sit in the same seats at the same table and drink the same coffee. What changes over time are the socio-technical structures and topics of conversation. This lecture-performance is delivered via video, followed by remote question and answer session with Joe and Jason over video conference. Based out of Ann Arbor, Michigan, Joe and Jason have created electronic music and art together for over 15 years. Through their art they explore the interactions between the physical and virtual, between conscious and unconscious, and between the social and technical. Their process contains a combined contradiction of low-tech and high-tech methods and tools that commonly involve simple complexity and organized chaos. Together, Joe and Jason have performed in venues across the US Midwest, including cities like Detroit and Chicago. For the 42nd Ann Arbor Film Festival Joe and Jason created a live audio-visual performance, “Reading and Cleaning,” from which they took still frames to present as visual art at the Ann Arbor Art Center gallery. The journal from their current Coffee Cup Sessions project can be streamed from SoundCloud. With increasing frequency, their friend, Bill Van Loo, has been joining the Coffee Cup Session conversations. Bill has released music on a number of labels, including a compilation appearance on the Planet E compilation “All Access”, a 7ʺ single on Berlin’s City Centre Offices, and multiple releases on his own label, chromedecay. Joe holds a Ph.D. in Technology Studies from Eastern Michigan University, where he is part-time faculty. Jason has a Master’s degree in Educational Media and Technology from Eastern Michigan University. His solo work can be found at


13.30-15.30 | Collaborate I, Cinema | WEDNESDAY, MAY 10 Taiga Gaspar Peralta | University of Baja California | Tijuana, Mexico

Collaborative electroacoustic piece from two sound artists working from the northwestern border of Mexico, San Diego-Tijuana region. The piece refers to the chaos in the border, to the complications of the Psychogeographic situation through noise, saturation, multiple timbres. This piece was composed exclusively composed through analog processing (Hardware).

Gaspar Peralta (1990) Composer, pianist and sound artist. His work flourishes through different sound-creation exercises; free improvisation, electronic music, composition and sound installation. As an instrumentalist, he specializes in polyphonic work interpretations and contemporary music. His work has been showcased in experimental sound-creation based Festivals as well as contemporary music festivals: Music and Musicology International Festival, 10th Edition; Mutek Mx Internacional Digital Creativity Festival, 13th Edition. He has been endowed with several grants, Among the most important we have Programa de Estimulo y Creación Artística in the Young Creators Category PECDA/ CONACULTA on acoustic and electroacoustic composition specialty (2013-2014), Artistic endowment program CECUT/Secretaria de Cultura on Multimedia – Sound Art Specialties (2016), he has earned several scolarships from the Mexican Center of music and Sonic Arts CMMAS (2014 and 2015). He holds a bachelor degree in Music performance (Piano) by the Universidad Autónoma de Baja California.

Roberto Romero Molina (1970) Multidisciplinary artist who works and exhibits since de second half of the 90 decade from the San Diego-Tijuana region. In 2015 he presented the sound installation Tiempo A Flote at the 12th Havana Biennial and his most recent electroacoustic improvisation Serendibite disc at the Noema label. In 2013 he presented his most recent solo exhibition. We are talking about something, but something is also happening at the Baja California Institute of Culture, an exploration of the use of systems in both musical composition and visual arts. In 2011 he was awarded by the Government of Baja California with the publication of his book Amphora. In 2010, it inaugurates Bicentennial Interventions, five public works in five municipalities of Baja California.

Recordeur I-II Lynette Quek + Carmen Troncoso | University of York | York, England Recordeur I-II is an audiovisual piece, created in collaboration between Sound Artist Lynette Quek, and Recorder Performer Carmen Troncoso. With two movements that explore the sonic possibilities of the Electroacoustic Recorder, the piece was created through improvisatory workshops, experimentation of ideas, as well as processing of sounds through software and hardware devices. With the performer’s recently fit-into Electroacoustic Mollenhauer Modern Recorder, with the system designed by Philippe Bolton, the collaborative process between Carmen and Lynette led to the interweaving of roles – considering and playing with the ambiguity of the meanings and origins of the word “recorder”. It was thus a two-way explorative endeavour. Carmen (the recorder player) was exploring methods of portraying and performing sounds on the instrument, while Lynette (the audio recorder) was capturing and creating new adaptations of the Electroacoustic Recorder through the use of signal editing and manipulation techniques. This project pushed the boundaries of both “recorders”. The same methodology applies to the creation of visuals in terms of producing different visual textures and timbres to digitally portray the traditional instrument in a new presentation format. The visual aspect is separated into distinct representations, inspired by the shape and works of the Recorder instrument. Recordeur I-II is presented as an audiovisual piece to represent the artistic and creative processes of both musicians of diverse practices. Lynette Quek has a background in music and audio engineering in studio, live, and broadcast environments, undertaking different forms of music experimentations in terms of the production and reproduction of sound. She is also a sound artist that works across various software and hardware equipment, utilising the laptop as her main instrument for her artistic and technological endeavours. Originally from Singapore, she has recently completed a Master of Arts in Music Production, before beginning her Ph.D in Audiovisual Composition under the supervision of Dr. Federico Reuben at the University of York (UK) in 2016. With a diverse music technology background, she is currently interested in exploring the integration of technology and musicians through the creation of audiovisual compositions – examining the relationships between digital and physical elements, as well as the visual and auditory. Carmen Troncoso is currently developing performance-based projects exploring the impact, in practice, of the on-going production of recorder models available for playing both early and contemporary repertoire. Her aim is to understand the questions surrounding the search for, and the choice of a particular instrument model, and the criteria by which performers and composers make a selection.. Originally from Chile, she completed her postgraduate performance studies in the Musikhochschule Köln with the DAAD (German Academic Exchange Service) scholarship. In 2015, Conicyt-Chile awarded her a scholarship for PhD studies at the University of York, under Dr. Catherine Laws.

WEDNESDAY, MAY 10 | Articulate I, Cinema | 16.00-18.00


Recital for Violin and Electronics Leonardo Cicala + Alessandro Cazzato | Bari, Italy Gesture without motion [2015] is a piece for violin and recorded electro-acoustic sounds composed by Paolo Geminiani (1960-). The work is inspired by the words of Thomas S. Eliot – «shape without form, shade without colour, paralyzed force, gesture without motion». In a seemingly motionless three-part structure, antithetical themes are developed wherein the sound of the violin blends with electro-acoustic sounds in a consciously organized structure, all in a perfect harmony of sound and intent. The violin sound moves from solo cadences to polyphonic textures, and, starting from a medium-low register, it then culminates in acute harmonics (such as sul ponticello or tremolo), overlaying pedal tones in the low register. Magma [2014] is a piece for violin and recorded tape, written by the Portuguese composer João Pedro Oliveira (1959-). The piece (which is part of a four-work series inspired by natural elements) is a musical experiment, attempting to show the resonances between the violin and electro acoustic sounds: as volcanic magma transforms itself over time, so the timbre of the violin is changed by the action of electronics, resulting in an embracing, plastic mass of sound. Compositionally, the piece is structured upon large phases containing many musical gestures (also of high technical difficulty); each phase attempts to reach its climax, and each is increasingly emphasized. The electronic part acts like an actual (virtual) instrument, creating a dialog with the violin, and expanding its physical limits: therefore, supposing that one day it will be possible to overcome the “two-dimension” antinomy is not an outlandish thought. Utis [2017] is a piece for violin and recorded tape. It's an experiment musicala act exploring the relationship between sound and space and tonal relationship between voice and strings. The action of forces of tension and applying the principle of symmetry are the basis of compositional criteria adopted in the piece. Alessandro Cazzato graduated and specialized "cum laude" in Violin with Franco Mezzena and Felix Ayo. He performed solo concerts in major Concert Halls and Festivals in Italy, USA, Argentine, Germany, Portugal, Spain, Switzerland, Greece, among which New York Philharmonic Biennial, Spectrum NYC, NYCEMF, “Euro Arts”, "Euskalduna" Theatre (Bilbao), “Petruzzelli” Theatre (Bari), “Universidad de las Artes” of Buenos Aires. He recorded CD "Rewritings for solo violin" dedicated to contemporary music (Tactus Label, 2016). Graduated “cum laude” in Literature, he wrote books, essays and papers reviewed on important magazines. He actually teaches Violin at Conservatory of Music "Fausto Torrefranca" of Vibo Valentia (It). Leonardo "Leo" Cicala acousmatic composer, performer, live performer, teacher. He graduated “cum laude” in Electronic Music and Instrumentation for Band at the Conservatory "Tito Schipa" of Lecce (It). He is President of “Acusma” Music Association ( He published "Manuale di Interpretazione Acusmatica" (Salatino Music Edition, 2015) and he released CD "Rust" ("Art & classic" Label, 2014) and CD “Punto di Accumulazione” (“Creative Sources Recordings” Label, 2016). He composed the soundtrack for the short film "Io sono qui" directed by P. Ferrandini and “Storia di Valentina” directed by A. Palumbo. His compositions have been performed in important Concert Halls and Festivals in Italy, UK, Germany, Belgium, France, Japan, United States. In 2014 he won Grand Prize winner "Bangor Dylan Thomas Prize" (UK).

‘Contrast’ From the Alleghenies to the Hebrides – Creative Connections Fiona Mackenzie | Canna, Scotland It is said that using the 5 senses, “to stimulate our minds while working…may well spark more creativity” (Porter, J. Work-Smart, 2006) . This may well have been the mantra of American musician, photographer and folklorist Margaret Fay Shaw, author of “From the Alleghenies to the Hebrides” her autobiography. Having lived in Scotland from the age of 16, she was inspired by the vitality of the Hebridean people and culture, their creativity and their connection to the Land. She engaged with those people and use their ‘spaces’ in a way never before achieved by her contemporary Creatives. “Contrast” is a song-lecture re-presentation, with the presenter’s introduction, of Margaret’s unpublished paper, “Contrast”, depicting her early music training in New York contrasting directly with her life in the Hebrides. Her collection of stunning early 20th Century photography and film is used, depicting a disappearing way of life and her work collecting Gaelic song in South Uist, an inhospitable environment - an environment which inspired creative connections then and continues to do so today. This paper demonstrates how her engagement with creative communities both ‘long distance and local’ in the past, has left an immeasurable legacy of inspiration for the Artistic Community, both current and future. A legacy which now stretches ‘backwards’ across the Atlantic, to the communities from which it first cameGaelic speaking North America. The presentation describes recent work undertaken to ‘export’ Shaw’s work and creative principles back to Academic and Social communities in Canada, the US and Europe. Original film, photography , early 20th century Sound Archive and live sung song (traditional and contemporary), are used to describe the value of ‘Place and Space’ in making cultural connections within Communities and how the Past Inspires the New. Using the Old to Make the New. Royal National Mod Gold medallist Fiona J Mackenzie is a Gaelic singer, tutor and researcher, based on the Isle of Canna in the Hebrides. A graduate of Aberdeen University (Scottish History/ Music) and Robert Gordons (Librarianship) Fiona obtained her Master’s Degree in Song & Performance ( with Distinction) from the University of the West of Scotland, in 2014. Her Masters project focussed on the life and work of American born folklorist Margaret Fay Shaw, using it as inspiration for new creativity. She spent extended time researching, on the island of Canna, the home of Margaret and John Lorne Campbells collections. Fiona developed a show (Little Bird Blown Off course) based on Margaret's work, with the National Theatre of Scotland in 2013, touring the Highlands and Glasgow. Fiona took up the post of Archivist for the National Trust for Scotland, on the Isle of Canna in 2015a post which allows her to combine her practical job of curating and promoting a world renowned collection of folklore and song, with her passion for live performance. She has since, delivered papers and performed in communities throughout North America, including Harvard University and St Francis Xavier University, Nova Scotia. She recently delivered a paper on the Canna Collection early recording techniques at Vilnius University in Lithuania and will be delivering a paper this summer at Limerick University, Ireland. All of her Academic presentations include Shaw’s original photography, film, sound archive and live sung song.


16.00-18.00 | Articulate I, Cinema | WEDNESDAY, MAY 10 Subtractive Synthesis in Music Composition Dino Rešidbegović | Sarajevo Music Academy, University of Sarajevo | Bosnia and Herzegovina

A musical composition in modern times is a challenge for any composer, student and professor. In addition to huge amounts of information and technology that are part of the composition, there are different approaches of how to the use and compose with these important factors today. This lecture attempts to define and explain a different approach, which helps in understanding the technology, its applications and features to meet the problems of the present compositions by subtractive synthesis/process. The lecture is based on the definition, role and application of subtractive synthesis in the composition. These three basic sections contain additional information about the acoustics, the different types of sound synthesis and apparatus of subtractive synthesis. Apparatus of the subtractive synthesis is the focus for this lecture. This focus includes all the necessary tools and techniques used by subtractive synthesis. The mechanisms are identified as instruments with their subtractive architecture components, and techniques represent modulations. The final result of this presentation is the connection between subtractive synthesis with the composition. This result is the final destination, which is achieved by means of notation and composition, parameters of the subtractive synthesis. This connection is achieved by simplicity, practicality and a host of novelty offered by this synthesis in music composition. Reductionist approximate graphical notation is the final mean for sound composition of the parameters of the components of subtractive synthesis. Dino Rešidbegović, was born in Sarajevo in 1975 where he finished elementary and secondary music school, piano department. He continued his education in Vienna at the Vienna Conservatorium and Vienna University of music, where he finsihed a masters degree in composition with prof. H.K Gruber, mr. Wolfgang's Liebhart and Rainer Bischof with the best score. At the Conservatorium of Vienna he graduated piano in 2003. He finished post-master's study of composition in 2005 at the University of music and performing arts in Vienna with prof. Detlef Müller-Siemens, with the best grade. He also studied conducting with prof. Mr Uros Lajovic the University of music and performing arts in Vienna, in Vienna. He was awarded the Alban Berg society, awards Siemens AG Österreich, awards Theodor Körner prize. Since 2006. he was assistant at the Music Academy in Sarajevo, Department of composition, and in 2012. he moved to the position of docent at the department of composition. Since 2007. he is a member of the Austrian Association of Composers (OKB). His works have been performed in Italy, Croatia, Serbia, Germany, Ireland, Switzerland, Japan, Bosnia and Herzegovina and Austria in the Musikverein in 2008. and the USA; Washington DC and in Carnegie Hall, NY, 2013. He recieved his DMA in composition (2016.) in the field of electronic music with the title: "Subtractive synthesis in the composition", under mentorship of prof. Dr. Igor Karaca - composition and prof. Dr. Ivan Čavlović - dissertation.

Concert I, Theatre | 19.30-21.30 Land of Kings Tyler Lewis | University of Aberdeen | Glasgow, Scotland

Land of Kings is a multichannel soundscape composition built from recordings made during a trip to Rajasthan, India in February 2016. Upon arrival in India I was immediately struck by the virtually endless onslaught of sound from all imaginable sources: animals in the streets, conversations between local denizens, blaring radios, the pummeling wedding drums, and of course the unabating horn-honking, just to name a few. As a visitor I was amazed at how the inhabitants of that environment (both human and animal) are not bothered by the high intensity of sound and went about their days without a second thought—it is their reality. A key aspect of my compositional process for this piece was listening for the individual within the masses—hunting for those tiny details within the scene that contribute to its character. For example, an idling tuk-tuk rises out of the traffic section at the opening of the piece and later a young girl recites her favorite pop-song in an ancient cave ruin. These moments are constantly happening and responsible for the layers and textures of what we sometimes identify as ‘noise’. India is a country of great contrast, and because of that, the tranquil moments were much sweeter. Travelling outside the cities made it possible to listen to the rich natural soundscape filled with birds and bugs, but with the rhythms of the urban environment fresh in my mind, the pulse of India seemed to be present in all sounds. Throughout Land of Kings I explore the rich sonic environment in Rajasthan, accentuating the rhythmic qualities of various sounds captured in my recordings. Tyler Lewis, born 1983 in the United States, has been making music since he was introduced to piano at a young age. Growing up in the Seattle area Lewis sang in choirs, was a songwriter and multi-instrumentalist for several indie bands and toured the country before heading to Montreal to study electroacoustic composition at Concordia University. In Canada Tyler Lewis moved beyond stereo, thinking of sound spatially, and also began collaborating with his wife Mara Marxt Lewis, a visual artist, to build installations involving sound. His work continues to be heavily influenced by his musical and rhythmic sensibilities, venturing more recently into the world of field recording and soundscape composition. His work has been exhibited in Canada, United States, Monaco, Austria and Germany. Tyler Lewis is currently working on toward a PhD in composition at the University of Aberdeen in Scotland.

WEDNESDAY, MAY 10 | Concert I, Theatre | 19.30-21.30


In To the Woods Francesca Ter-Berg | Goldmsiths (alumnus) | London, England I am a cellist and have spent many years researching and learning about the musical traditions of Eastern Europe. This piece is inspired by the ‘Doina’ which is part of the Roma and Jewish folk musical tradition of Eastern Europe. A Doina is a semi-improvised, a-rhythmic, modal composition, usually accompanied by a drone and performed as a prelude to a faster piece for dancing. I have taken aspects of the Doina as a framework from which to explore thematic material and improvise using acoustic and processed Cello and Live Electronics. The name 'In To The Woods’ comes from the setting in which much of this music belongs and is still performed today, the wild and forested hills and valleys of Transylvania. In To The Woods engages with a space and environment very different to my own in the built up area of Hackney, London. The wild landscape of Transylvania and it’s musical tradition is deeply interconnected, and I am inspired by its modality, rhythms and folkloric grounding. Through my interest in electro acoustic composition and field recordings, I seek to bring elements of this mystical and old world to the present day. My performance style is heavily influenced by various forms of improvisation, and I am always seeking to find new ways to present a piece. In this performance I will be including field recordings from my recent trip to Transylvania in January 2017. Francesca Ter-Berg is a cellist, composer and sound recordist based in London. She is one of the leading Klezmer cellists of her generation and has studied with internationally renowned teachers including Ahmed Mukhtar, Tcha Limberger, Dr. Alan Bern and Dr Jyotsna Srikanth. She has collaborated with many of the UK’s top artists including acclaimed folk singer Sam Lee, The Unthanks, Talvin Singh, Portico and the BBC Symphony Orchestra, Francesca has recently completed her Masters Degree in Popular Music at Goldsmiths where she started developing her interests in film composition, phonography and the Sonic Arts, developing a live performance approach encompassing these elements with playing the cello. Her degree show encompassed an immersive surround sound performance of live experimental works written for cello and live electronics, processed field recordings and voice. Through her compositional explorations Francesca is searching for a way of bringing her musical passions together.

Entre le son et la lumière Mei Fang-Lin | Texas Tech University | Lubbock, Texas “Entre le son et la lumière” is an exploration of the connections between sound and light. Different types of sounds in terms of their degree of brightness are used, ranging from pitched, non-pitched, to noise-based sounds. They are meant to evoke different sensations of darkness or brightness, which is often controlled through the exclusion or inclusion of upper partial harmonics of each sound as well as general dynamic shaping. The evolution of the harmonic content of each individual sound also directly leads to the subtle changes of timbre in the life span of each sound. The piece in general progresses from darkness to extreme brightness toward the end of the piece, taking the audience through a journey in the mystical land of sound and light. Mei-Fang Lin is currently an Associate Professor of Composition at the Texas Tech University. Lin received her Ph.D. in composition from the University of California at Berkeley and her master’s degree from the University of Illinois at Urbana-Champaign where she also taught as Visiting Assistant Professor of Composition from 2007-2009. From 2002-2005, she lived in France and studied composition with composer Philippe Leroux and participated in the one-year computer music course “Cursus de Composition” at IRCAM in Paris on a Frank Huntington Beebe Fellowship and Berkeley’s George Ladd Paris Prize. Lin’s music has won awards and honors from the Città di Udine International Composition Competition, Musica Domani International Competition, American Composers Forum, Seoul International Competition for Composers, Fifth House Ensemble Composer Competition, Bourges Competition, Look & Listen Festival, Pierre Schaeffer Competition, SCI/ASCAP Student Commission Competition, Luigi Russolo Competition, Prix SCRIME, NACUSA, Music Taipei Composition Competition…etc. Her music has received performances and broadcasts internationally in over 30 countries in the world.

WHAT THE ? Lina Tobler | University of Glasgow | Glasgow, Scotland

WHAT THE ? is an audiovisual collage and an attempt of re-creating the fictional world that is inside every human mind. The underlying idea could probably best be described by the German term “Kopfkino” (mind cinema), a coinage to linguistically illustrate the process of floating ideas and images that are subconsciously but constantly being produced by our imagination. Those images might be triggered by memories, a story or a detail witnessed in everyday life. People imagine things without necessarily wanting to see them in front of their inner eyes, very much like going to the cinema without knowing which film will be shown. The idea behind creating this piece was to “visit” a mind cinema, to get behind somebody’s inner eye. The viewer is taken through a fictional, bizarre scenario: A world that is far from realistic but still being fed by images of the real world. For this work, collage techniques for both, the visual and acoustic layers, were applied. Photographs and videos collected over the last five years were used as a personal archive to create the visuals. In order to transpose the oddness of the assembled visuals, musical material from educational films and documentaries from the 1950s were re-contextualised. The sound effects are self-made. Lina Tobler is a postgraduate student on the MSc Sound Design and Audiovisual Practice programme at the University of Glasgow under the supervision of Dr Nick Fells and Dr Louise Harris. As a guitarist she has been part of different band projects and composes her own music. She holds a degree in sociology (University of Mannheim/University of Leeds) and has worked on a number of creative student film projects in Germany. As part of an independent documentary about the effects of the financial crisis on the Greek population she has conducted interviews, done field recording and produced short interview clips in Athens. Following her involvement in different student radio and television stations in Germany and the UK she has worked for several TV stations of the German ARD network.


19.30-21.30 | Concert I, Theatre | WEDNESDAY, MAY 10 The Myth of Creation Vilius Jokubaitis | University of Glasgow | Glasgow, Scotland

The Myth of Creation is a quadrophonic electroacoustic piece exploring and sonically interpreting the ideas of transformation of consciousness and cyclicality of time. It is intended for immersive listening in a controlled space where stimulation of other senses has been suppressed to a minimum. The piece consists of three parts, each presenting a different concept and sonic environment. Part one (0:00 – 3:56) interprets the emergence of matter and its clustering that eventually forms the Earth. Part two (3:56 – ~5:30) illustrates the diversity and complexity of language and life. Part three (~5:30 – 9:30) is an abstract representation of ideas prominent in both western esoteric and eastern schools of thought, symbolising the transformation of human consciousness and its unification with the universe. Part one draws influence from John Cage’s Imaginary Landscape cycle, although it does so relating to the title and not so much to the overall intention that Cage had because it does depict an imaginary physical landscape. Nevertheless, the whole composition could be related to Cage’s ideas and be seen as a means to “<...> take you off the ground and go like Alice through the looking glass". Part two is inspired by extended vocal techniques employed by Sidsel Endresen and Trevor Wishart. Part three is an attempt to merge the sonic tension of Pauline Oliveros’ Bye Bye Butterfly with the power and intensity of sound heard in The Glowing Man by Swans. The piece experiments with and incorporates various technical and creative approaches influenced by both avant-garde music of the 20th century and free improvisation. Sound sources include original recordings of piano and snare drum improvisation, vocal chants and sampled radio, all of which have been manipulated using various digital effects and editing techniques. Additionally, pink noise and square wave generators have been employed to incorporate both recorded and synthesised sounds. Overall, the composition merges various sonic, technical, and philosophical influences and transforms them through personal creative practise. Although it does have a structure and some features of a narrative, the main goal is to immerse listeners in sound and let them interpret the experience themselves. Vilo is a current MSc Sound Design and Audiovisual Practice student at the University of Glasgow and an SAE Institute graduate interested in exploring and expressing the human condition through creative practice of improvising and composing with sound.

The Dockyard Dennis Reyes | University of Illinois at Urbana-Champaign | Urbana, Illinois

The Dockyard is a piece for 8.1 channel fixed media that employs sounds associated with the Chatham Dockyard’s of Kent UK. The concert inside the Dockyard contains an array of speakers located all over the second floor. These 150+ speakers were carefully placed in specific spots of the Dockyard in order to achieve certain timbres and spatializations. The open museum below the second floor boasts historical maritime equipment that were being moved during my sound check. I was impressed by the different sounds that occurred in this massive space that all emanated from these two floors. This piece also explores on the different composite reverb possibilities, thus resulting in the diversity of timbre and space. The use of foreground, middle ground, and background ideas are associated with my personal sonic experiences in the vast space of the Dockyard. Grand prize winner of the 6th Sond’Ar-te Electric Ensemble Composition Competition, Dennis is one of the five composers from around the world to be invited by the University of London’s prestigious School of Oriental and Asian Studies to write a new electroacoustic piece for their annual Composers Conference and Festival. The highly selective event also invited Dennis to partake in the conferences forum to discuss current compositional aesthetics and ideas. Dennis was also selected by the University of Kent and the Vienna Acousmonium to diffuse his composition at the institutions state of the art Sound-Image-Space Research Center, also known as the Music and Audio Arts Sound Theater, alongside notable electroacoustic composers, including Jonty Harrison and Denis Smalley. Dennis’ piece Motions of Maria Makiling was featured at the La Fabbrica del Vederes Concert on Homage to Norman McLaren in Venice, Italy, and the Staffordshire University’s NoiseFloor Conference and Festival in the UK. Dennis piece Bolgia has been selected for performance, with other notable Asian composers, in the prestigious 2015 Asian Composers League Conference and Festival. For three consecutive years, Dennis composition has been selected for performance by the Society of Electroacoustic Music in the United States for their annual conference and festival. The International Computer Music Conference has accepted Dennis composition for their annual festival at the University of Texas in Austin. Dennis was also featured in the 45th Annual Festival of New Music in Indiana and the 2015 National Student Electronic Music Event in Ohio.

WEDNESDAY, MAY 10 | Concert I, Theatre | 19.30-21.30


Apparition_01 Ela Orleans | University of Glasgow | Glasgow, Scotland This first stage of presented work can be compared to the application of a primer – preparatory coating put on canvas by the painter. My initial starting point is hundreds of images and sketches made by Gustave Moreau exploring the character of Salome, as portrayed in his series L'Apparition. In my PhD research through practice, I am investigating how audiovisual performance based on those images can be emphasised in the relationship between electroacoustic and visual environments. Since this work was first presented at the GLEAM Festival at The University of Glasgow in November 2016, I added layers of known cinematic and theatrical interpretations of Salome’s legend available through open source media. As my study develops the piece will be enhanced by corresponding data sets: music, visual vocabularies, field recordings, photography, video and archival materials. My aim is to create a contemporary "composed novel” exploring the syntax of found footage, pattern, texture, colour, text, gesture and electroacoustic composition. Ela Orleans (born in Oświęcim, Poland) is a composer, multi-instrumentalist and singer. She graduated from the National College of Fine Arts in Bielsko-Biala, Poland, in 1991. She completed her master’s degree at the Aleksander Zelwerowicz National Academy of Dramatic Art in Warsaw, in 1997. Ela is based in Glasgow, after years in New York and Warsaw. She won two mentorships in 2008 while in New York: a film-scoring program with Broadcast Music, Inc. (BMI), where she worked under the aegis of composer David Shire, and the Immigrant Program with the New York Foundation for the Arts, which paired Ela with Viennese composer Lukas Ligeti. Various independent labels around the world since that year have released her solo studio albums, as well as compilations, mixes and collaborations. Ela has accepted artist-in-residence positions at the École nationale supérieure d’art de Bourges, France, the Warsaw Chamber Opera theatre (both in 2014), and the Elektronmusikstudion, the national centre for Swedish electroacoustic music and sound-art based in Stockholm (in 2015). Ela has toured and made festival appearances across the UK, Europe and North America. She has also played live and had her work presented internationally in galleries such as Tate Britain. She has been commissioned to score music for TV, film, and opera. Ela Orleans is a Ph.D. candidate in Music at the University of Glasgow, where she will expand on her subject, Apparition: The language of the archaic and decadent in the contemporary audiovisual experience.

Hologram (Augmented) Julien Lonchamp | Edinburgh, Scotland "Hologram (augmented)" is an acousmatic piece based on my previous piece “Hologram”, which was premiered by the Edinburgh Contemporary Music Ensemble at the Reid Hall in November 2015. “Hologram” is inspired by the holographic theory in astrophysics, which proposes that the 4-dimensional world we experience might actually be the boundary of a higher multidimensional space-time, much like a 3D holographic image works. What are the dimensions of sound and music? Can we play with them to suggest higher or hidden sonic dimensions? In the 1st movement , several musical motifs are exposed then crushed down to a single sound. In the 2nd movement, the dimensions of this single sound (pitch, timbre, rhythm, loudness) are re-introduced one by one and “perverted” using a range of processes (microtonal, spectral, polyrhythmic), while the motifs of the 1st movement are re-imagined (through mirror writing and note phasing). In the 3rd movement, the different elements developed in the 2nd movement are combined into increasingly complex forms (through juxtaposition, superimposition and morphing). The movement eventually resolves back into our sonic world. “Hologram (augmented)” takes this approach a step further by treating the multitrack recording of “Hologram” as raw material. The recorded elements are digitally “perverted” using a range of processes (including distortion, inversion, pitch-shifting and filtering). The resulting sonic elements are then used as building blocks to suggest additional sonic dimensions using a range of techniques (including repetition, superimposition, 5.1 surround spacialisation and juxtaposition). Hailing from Nancy (France), Julien studied composition at Trinity College Dublin with Donnacha Dennehy, Linda Buckley and Roger Doyle and graduated in 2008 with an MPhil in Music and Media Technologies. Since relocating to Edinburgh in 2009, Julien’s music has been performed by various orchestras, including the Edinburgh Contemporary Music Ensemble, Mr McFall’s Chamber, the Tinderbox Orchestra, the London Contemporary Chamber Orchestra and the Viridian Quartet (at Sound Thought 2012). Shortly after graduating Julien founded the Apostrophe Ensemble, a project exploring how sound and music work at the interface with other disciplines including film, visual art or science ( His pieces “Verso-Tempo” (2008) and “Fall of a Window Cleaner” (2011) explore live cinema performance. “Trois Fulgurances” was developed during the 2012 Scottish Composition Marathon while “Paper Dance 1” was written with the Tinderbox Orchestra in 2014. Julien is interested in creating novel immersive “sound-worlds” by combining a wide range of processes (including microtonality, spectralism and minimalism) in order to communicate abstract or complex ideas. His orchestral piece “Hologram” was premiered by the Edinburgh Contemporary Music Ensemble in 2015. Inspired by the holographic theory of modern astrophysics, “Hologram” plays with the dimensions of sound, juxtaposing/distorting them to suggest higher/hidden dimensions.

Disconnect Dara Etefaghi | University of Edinburgh | Edinburgh, Scotland ‘Disconnect’ explores algorithmic audio-visual arts. It aims to treat sound and image as a single unit and in doing so, it creates abstract relationships between them. This work is influenced by altered states and the concept of cognitive disorder. Cycles of chaos and simplicity are implemented in sound and visual design in ways that aim to take the audience on a journey in and out of complexity. The progression of these cycles are inherently unpredictable due to the nature of the processes behind them. ‘Disconnect’ uses complexity and generative composition as forms of creating sudden and drastic shifts in audio-visual systems. The management of these changes, shapes the performance and the perceived aesthetics behind these types of non-deterministic systems. Dara is an audio-visual artist, interested in complex systems and generative techniques. He is currently a PhD candidate at the University of Edinburgh. His research is focused on 3D sound and graphics. He experiments with game engines as nonlinear compositional tools and creates algorithmic films implemented in virtual reality.


Various Locations | INSTALLATIONS | THURSDAY, MAY 11 Club Room Lost and Found in the Volta Region

Micah Nye | Forth Valley College | Glasgow, Scotland

‘Lost and Found in the Volta Region’ is a Fourth World ambient piece comprised of field recordings, found sounds and melodic elements collected during a study tour of the Volta Region, Ghana in December 2016. Composed as a 'fabricated' soundscape, the music accompanies found footage of Vodun ceremonies, African daily life and old newsreels. 'Lost and Found...' is a sonic visual exploration of the indispensable role that music and art serve in West African culture, as well as the profound effect that the African diaspora has had on modern music for the global stage. The installation forms an interactive space that aims to highlight and question the contrast in cultural norms between our isolated, 'wired-up' Western world and the spiritual, interconnected community of Tafi Atome, situated deep within the Volta. Thank you to Robert Kwaku, Godwin Agbeko Akpadzi, Michael 'Chilly' and Daniel Komla Dzandu, Agblor Jerry Phillip and everyone at Tafi Cultural Institute, Tafi Atome community, Emily and Stuart at Green Door Studio, Chief Amu at The African Arts Centre, Joy Daddy and Laurie Pitt (for contributing recordings) and the water collectors of Tafi Atome. You all helped to make this music possible. Micah Nye is a producer and composer that holds a fascination with the unseen world. He currently studies HND Sound Production at Forth Valley College, hosts his own show 'Night Lunch' on Subcity Radio and leads a surrealist musical collaboration known as The Flamingo Club. The marriage of cross-continental music and rhythms is something that greatly inspires and informs his work. Influenced by Brian Eno (EG Records), Sublime Frequencies and Lisa Gerrard of Dead Can Dance, he seeks to bridge the gap between East and West, creating a brighter, alternate future through music and art. He wishes to continue seeking new opportunities and multi-media collaborations within the creative community, and is open to ideas and experimentation. You can contact him directly with any proposals or just to say 'hi!' on

Breakout Room Human in Nature

Rebekka Bohse Meyer | University of Leeds | Leeds, England

What is the potential of sound? Does sound have agency? Can design sound be political or does it need a narrative or visuals to make sense of it? I am currently concerned with exploring the potential of sound design. First, I find that sound design is a neglected discipline within research in performance design and scenography. This also means that sound’s scenographic qualities and communicative potentials and influence are, until now, (performance design journal just released a new issue looking at sound within scenography and design), not well documented and researched within performance design research. As a part of my final research project for the MA I have decided to contribute with empirical data from practical research producing a piece of sound design to explore sounds potential as critical force, able to place topics to provoke reflection. Because of its ability to create strong atmospheres, which are even used commercially to direct people psychologically or sensitively in certain directions, I believe that sound has strong potential to critique important issues via performance design. This is important as problematic issues, such as climate changes, force us (humans) to rethink our relation within, and treatment of, the nature. So why not investigate how sound design can contribute to this debate. Accordingly, there is a dimension of possible ecological sensibility of sound – a concept I wish to explore further in this project - for instance, Therefore, there is in this project, also a dimension of ecological sensibility which I am interested in exploring with the sounds. how might the sound treat the relationship between humans and nature, or even, how might it pose some kind of ecological reflection within the listener.

I grew up with two painters for parents and have always been attracted to art in many different variations. As child, I danced ballet and was singing most of my childhood and youth in the Danish National Children’s and Girl’s Choir. Here I have been highly disciplined in classical choir performances as well as solo lessons in classical singing. Also, I have been travelling with the choir all over the world to perform at different events and competitions such as EXPO in Shanghai 2010 and international choir competition in Italy. After high school, I went to a performance school, Performers House in Silkeborg, and spent one year dancing, doing physical theatre and exploring other art forms. Here, I really got interested in theatre and the different ways of expressing oneself through body and materials. Furthermore, the school’s international environment allowed interdisciplinary possibilities between electronic music, new circus, theatre and dance. From 2012 2015 I completed a BA degree in Musicology from at University of Copenhagen with electives in performance design at University of Leeds. The bachelor allowed me to explore issues such as sound anthropology, cultural aesthetics, liveness in performance which opened my eyes to academic research in theatre and performance issues. At my exchange in Leeds I grew fond of the classes and teaching methods and decided to apply for their MA in Performance Design, which I am now doing. What I like about theatre is the many possibilities as a nonrigid medium, which can work as a space for reflection and transformation. The area of scenography and design allows me to work by exploring materials and sound experimentally to find different ways of expressing ideas and concepts visually, aurally and aesthetically.

THURSDAY, MAY 11 | INSTALLATIONS | Various Locations


Intermedia Room Bubbletalk Filip Sande + Vibeke Lunel | Nesodden, Norway Bubbletalk is a collaboration between the visual artist Vibeke Lunel and the composer Filip Sande. It is a composition for solo flute inspired by the paintings and the recording of this composition, played by the flutist Carina Yvonne Amundsen, was made to be used with the installation. The use of technology is then used to make these two acoustic and “real” elements melt together and being exposed in a new way. That with the use of Riftlabs wich is an invention to make different impacts of light on the paintings along with the music. The pantings, so to say, come alive and are “performed” where they usually just are exposed in one way. Audiovisual works are mostly based on technology and computers, but in our installation we start with acoustic music and oil paintings and then transforme them “trough” technology, not “with” it. That is our unique contributiuon to the world of art. Music and painings melt together and it occurs a third element that unveil the hidden layers in both the visual and the musical expressions. The title Bubbletalk is used while the paintings and music are inspired by the life in water, the occurance of bubbles and explotions of bubbles. Filip Sande - born 1970, is a composer from Trondheim – Norway of mainly classical symphonic music. He is educated in composition from The Norwegian State Academy of Music and he has studied Musicology at the Universities in Trondheim and Oslo as well. He has written a large amount of music for different ensembles and also vocal music. His most important works are his 13 symphonies, 12 concertos, 9 string quartets and the Opera The Mountain Bird (Libretto by Henrik Ibsen) and the Oratorio Nyx. He has also written music for Theatre plays from wich he has received attention by many international awards for the best stage music. His music is performed by many different ensembles and musicians in both Norway and aborad. Vibeke Lunel - born 1970, is a Norwegian painter and visual artist. "Since I was a child I have always had a deep personal feeling of alienation in this world. I grew up close to the sea and developed a strong connection with the ocean and the universe, and this has a great impact on my expression. My paintings are the results of a long process of layers that can last for years. I can start out in space, playing with stars and galaxies, but often end up with something more close and organic; like cells or the DNA. My work is allways about forces of nature, landscapes, molecules and texture. I search for patterns and a cosmic order to transform my sense of failure and chaos." 2009-2010 - 60 ETCS Waldorf Art Education – Rudolf Steiner University College RSIO 2000-2004 – Fine art Education - The Vika School of Arts 1998-2001 – Westerdals School of Art, Communication and Technology 1994-1998 – Master of Arts (M.A.) - Institute of Cultural studies . The University of Oslo

Collaborate II, Cinema | 10.30-12.30 PUREH - CMBR Simon Shertz | D.E.U.S. Matrix441 – Association of research in sound and vision | Nova Gorica, Slovenia

CMBR project is based on the data from the Planck space telescope of the European Space Agency. The Planck satellite has recorded the measurements of the coldest objects in the Universe, and has given the insight into the creation of the first major structures in which galaxies evolved later on. The beginnings of these structures can be seen in the cosmic microwave background radiation or the CMBR, the first image of the universe. By using the ESA measurements, we used a method of sonification and digital processing of data from the Planck satellite (the mapping of fluctuations in the CMBR) to convert the measurements into an ambient sound mass intertwined with randomized sequences of cosmological parameters. Basic and higher frequencies in the CMBR are controlled by cosmological parameters that shaped the universe, such as total density, relative proportions of the baryonic matter, dark matter, dark energy and expansion history. Sonification is used to convert the datasets of CMBR public release into an ambient sound mass intertwined with randomized sequences of cosmological parameters. Values for power as a function of wavelength are transformed into values for frequency as a function of time. The sound is generated by an algorithm which uses inverse FFT synthesis for converting the spectra of the CMBR fluctuations. The spectra is also sonified by remapping the values in a data stream for angular wave number, polarization and temperature anomalies to sonic parameters. With higher dimensionality to the rendering, there is also an increased probability for spontaneous and unexpected formation of auditory gestalts, wherein unrealized patterns in the data can emerge. Finally, the raw audio output from the sonificator is post-processed in an application which turns the extreme abstract patterns through the manipulation of frequency, intensity and time into a multi-layered sonorous structure. The project is sponsored by Ministry of Culture of the Republic of Slovenia. Simon Shertz is a sound and video artist, recording engineer, performer and label founder. He studied philosophy and computing at the University of Ljubljana and has been active in the field of experimental music and video since 1990. He has participated on various festivals with his audio-video projects (Black&White, Lieblichkeit und Sexualitat, DigitalBigScreen, Scanline, Art&Music, Break21, Expo2000, Echoes, Errant Bodies, Speculum Artium, Noisefest, Sguardi Sonori etc.) As a sound and video artist, he has collaborated with other artists/collectives from various fields of art (Chris Wood, KK Null, Go Tsushima, Yoshihiro Kikuchi, Eraldo Bernocchi, Nordvargr, Richard Dunlap, DJ Surgeon etc.) He is active in a number of different musical projects: PureH, Cadlag, Matrix441, Glaxprism etc.) He is also the founder of the Pharmafabrik production and label, which, according to music critics – significantly enriches Slovenian audio diversity with its consistent and clearly defined methodology of sound explorations. Simon started the label in 1993 in an attempt to create a platform that strives to enhance radical difference in how we perceive, consume, and distribute music and other art.


10.30-12.30 | Collaborate II, Cinema | THURSDAY, MAY 11 Ggigirlah Jessica Rodríguez | Morelia, Mexico

"You must know that your Kuku [ancestors] are always seen as the first-born among the Gina'abul because they are larger than the Kingú. It is an ancient and futile quarrel between your Kuku and the Kingú, because we all know that the original birthplace of our race is Ušu and that the Ušumgal were created by the great Kingú, the Kingú-Babbar (albino Kingú), in times so distant that they are lost in the egocentric memory of your Kuku. "Thousands of years ago, we (the female Gina'abul, Amašutum) lived in Urbar'ra (Lyra) with the Sukkal, the Mušgir, the Ušumgal, and some Kingú the latter forming the royal race of Ušu (Draco), which is the Gina'abul's place of origin. The Ušumgal and the Kingú ruled in these places but were not in the majority. The Mušgir were far more numerous and constituted an ambitious race who wished to make the females sexual objects at their convenience. These reprehensible beings were envious of our physical immortality and the divine force that we possess, so they got it into their heads to dominate us. "A split occurred over this. The Kingú traitorously abandoned us and returned to the Gina'abul colonies of Ušu (Draco). Edmar Soria | Sound Composer - Mexico. He is currently studying a PhD in Music Technology. He is an active academic researcher about algorithmic composition and music technology with some publications at international congress. Jessica Rodríguez | Visual Composer - Mexico. Visual composer and researcher. She has a Master in Arts with a wide work on musical/visual with the new technologies research. She is co-founder of andamio, a collaboration platform where she developed performances, educational projects and research papers. Her practical work has focused in the collaboration with composer to produce audiovisual projects.

Utopia Valenciana: a musical soundscape of public open spaces in Valencia, Spain Barney Spigel | Leicester, England This sound work was motivated by Stuart Fowkes' Cities & Memory project, inviting artists to compose a soundscape to represent part of a map of Thomas More's Utopia. I had already made some field-recordings in Valencia earlier that year and used Fowkes' project as a channel through which to produce a sonic composition of the musical highlights of my trip. The project was apt for these recordings because Valencia had become my own personal utopia. The reliably hot climate, public open spaces and vibrant street culture seduced me to the point that I became intent on moving there indefinitely. It was the escape I needed from the relative greyness of life in London's great outdoors. Although my plans changed and I'm now living in Leicester, I remain very much in love with Valencia and plan to return soon. The soundscape comprises various musical happenings I stumbled upon whilst exploring the city, serving as a sonic souvenir of the importance Valencia has to me personally but also of how important its street music culture is to its citizens and tourists. I want to connect with the musicians, event organisers and audiences responsible for some of the wonderful sounds involved, revisit the spaces in which they took place and explore the artistic and civic possibilities of what we could do together with the recordings. This soundscape is the starting point for a potentially deep and open-ended collaboration in which the inclusive and uplifting culture of open-space music-making is documented and developed through field-recording, sound-mapping, soundscape composition and music production. This piece relates to the “Collaborate” theme as it's about connecting and engaging myself and my listeners with specific places of open space music and their participants. The piece also relates to the “Integrate” theme because my production process is part of an aesthetic strategy concerned with making music production more accessible, participatory, experimental and fundamentally connected with the places in which recordings are made. Present: Barney is a music producer and sound recordist, currently doing an MA in Music In Development at SOAS (London) and developing a social start-up called OpenPlayMusic, using inclusive, participatory and experimental music and sonic arts for health, justice and sustainability. As well as making popular forms of music under the name 'spigelsound', he produces musical soundscapes with urban field-recordings as part of his research into music as a tool of civic health. Mixing street performance and city sonics with hip-hop, dub, sound art, community media and bass, Barney is exploring an open-space and place-based model of music production as a medium through which citizens can engage with the interests, skills, issues and needs of their local communities and help them become stronger and more resilient to todays various humanitarian challenges. Past: Barney began playing piano and guitar from a young age, then DJing and producing drum'n'bass, hip-hop and electronic music in his early teens. After graduating with a BA in Music Production at Leeds College Of Music, he worked as a sound designer, recordist and engineer; theatre technician; live music promoter; and video editor, all the while writing songs and producing music with the ambition of becoming a successful pop artist. With depression and tinnitus (partially due to his music-making) increasingly damaging his quality of life, Barney decided to follow a different path, soon developing an interest in ethnomusicology and music as a tool of social change, and ultimately leading him to the path he's now on.

Raw Maze Tonalli R. Nakamura | Morelia, Mexico Raw maze discovers a found window in civilization forms, like memory, mortality anduncertainty, that take off from the finitude. Here we are submerged in a post-memory phase, where the speech proposes a development of an anachronistic narrative from a basic form of human history, connected to their rationality and society construction, a raw maze created by both, human nature and social structure. Tonalli R. Nakamura | sound composition - Mexico. Composer born in Morelia, currently studying at the Faculty of Arts of the UMSNH and working at the Mexican Center for Music and Sound Arts (CMMAS). Specialist in music with new technologies in the fields of: Sound Design, Acoustic Music, Experimental Music, Live Electronics, Fixed Media. Emilio Hernandez | visual composition - Mexico. Video-artist. With a degree in Visual Arts with orientation in new technologies in the UMSNH. Diploma in History of Cinema in the UDG and diverse courses of cinema in Spain. His research is mainly focused on, video and art proposals, also on cinematographic processes.

THURSDAY, MAY 11 | Collaborate II, Cinema | 10.30-12.30


El lenguaje de los Árboles Alejandro Brianza | Buenos Aires, Argentina The language of trees (2016) explores the relationship between art and ecology pointing to a general awareness about the care and the importance of plants, woods and forests as a essential resource to have a healthy stay of the human being on the planet. Each of the movements - Sprouts, Phloem and Spores returns from different visual and sound perspectives, different times of the phases of the life of a plant: life, growth and reproduction. Alejandro Brianza | sound composition Argentina. Composer, researcher and teacher. Has a Bachelor in Audiovisual Arts and is currently pursuing master's degrees in Methodology of Scientific Research. Is sound technician, he teaches at the University of Salvador and the National University of Lanús, where is also part of researchs related to sound technology, electronic music and contemporary languages. Jessica Rodriguez | visual composition Mexico. Visual composer and researcher. She has a Master in Arts with a wide work on musical/visual with the new technologies research. She is co-founder of andamio, an collaboration platform where she developed performances, educational projects and research papers. Her practical work has focused in the collaboration with composer to produce audiovisual projects. Manuel Zirate | visual composition Mexico. He is a Visual Artists. He studied at the Arts School of the UMSNH. He is so enthusiastic about the social processes and their impact on digital daily life. He’s also interested on researching and artistic production with an activist and collaborative focus.

Video Fuga #01 Jahyun Kim | Seoul, South Korea When I played Bach's <Invention No. 1> in my childhood, I noticed that there was a style and structure in music. The left and right hands seemed to have a conversation. When the right hand asked a question, the left hand responded by repeating the same melody at low tone. As a result, the same melody repeated over time. It was like a troll song. It was the same when two melodies, or three melodies or four melodies appeared. I considered on the boundary between the sound and music and I planned a work for visualizing the progress of the process over time. I remembered ‘Fugue’ is the suitable music format to show the structure of time. The prototype of <Video Fuga #01> is this. The spelling of the input word is replaced by the pitch, and the length of the word is replaced by the length of the note. In other words, 'a, b, c…' are replaced with 'do, re, mi…'. If the word length is one spelling, it will be played for one bit, and if the word length is two spelling, it will be played for two bits. This creates a rhythm. For the <Video Fuga #01>, I wanted to use the subject as ‘the most stringent order, a sentence symbolizing the rule’. In my thought, the sentence, symbolizing the the most strict order, is the sentence of the Korean Constitution, Article 1, 1, ‘Republic of Korea is a Democratic Republic’. The ‘Subjet (Republic of Korea)’ and ‘Verb and Complement (is a Democratic Republic)’ of the sentence were set in ‘Motive’ and ‘Counter Motive’ used in Bach’s <Invention No.1>, and proceeded according to the way in which <Invention No.1> was composed. Jahyun Kim(1983) studied music composition in Sookmyung Women's University and electronic music composition in Hanyang Graduate School. After obtaining her master's degree, she has expanded her interest in chance music, improvisational music, and sound art, and has been working with artists from various fields such as choreographers, photographers, and visual artists. Her compositions are based on classical music, and she is interested in music work that combines the possibilities of various sounds and technologies and visualization of them. Kim's performance pieces are a major focus in her work. Many of her works have been programmed using Max/MSP, adding other devices to pursue a performative work. Apart from working as a composer and solo musician, Kim is also a founding member of creative group 'Mulorum', a group of electronic music composers. Mulorum is planning and performing annually new work that combines music, electronics, and arts in a wide range of genres. Besides working as a composer, she also works as a music educator and teaches a fusion of music and other fields, such as drama, film, art, etc.

Digital Synesthesia in Popular Music Andrew Rae | University of Glasgow | Glasgow, Scotland Combining his blues guitar riffs with underground EDM sounds, ‘Digital Synesthesia in Popular Music’ is a display of works by Scottish producer, Andrew S Rae. His pieces explore the link between the neurological condition to sense both colour and sounds simultaneously. An audio-visual experience which aims to explore the digital-era of music in more detail, addressing an important gap in our understanding of synesthesia’s transparent nature within contemporary music practices and its increasing use by creative artists of electronic music. This wider and deeper analysis will explain how and why synesthesia is a significant influence within the production processes of the digital era. Andrew Rae is a producer and post-graduate on the Mlitt Music Industries course at the University of Glasgow. He holds an honours degree in Popular Music from the University of Liverpool where he both worked and studied for five years. Andrew has produced music videos and mini-feature films for a variety of artists based in Liverpool and London, such as ‘Karma’ by Zefflo and ‘5 Year Fool’ by Wild Rossa. His work gained notable significance in London where the National Film & Television School (NFTS) shortlisted him as one of their 16 Sound Designer candidates for 2016. From there he worked in Richmond as part of a production team for Maureen Chadwicks ‘Crush’ the musical. Currently he is working for the Scottish Music Industry Association (SMIA) on research for an industry database and organising the SAY (Scottish Album of the Year) award. Andrew also has experience in marketing for artists and record companies. In 2011 he worked for London based record label ‘Ninja Tunes’ and later became the marketing co-ordinator for BUNAC company.


13.30-15.30 | Integrate I, Theatre | THURSDAY, MAY 11 Proprioception Shane Byrne | Maynooth University | Wicklow, Ireland

Proprioception is part of a series of compositions that I have been working on as part of my PhD research into composing electroacoustic music with the body. In this particular context I use motion and gesture to trigger and articulate sound objects in real-time. My desire to compose electroacoustic pieces that are informed by corporeal input comes from observations that I have made of the disconnect that can sometimes be present between the audience and performers of electronic music. 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 data is then sent to the audio programming environment Csound via the Open Sound Control (OSC) protocol. The result is a multimodal performance piece that seeks to marry physical gesture with musical gesture in order to generate a performance that is both visceral and evocative. Shane Byrne is a composer of acoustic and electronic music and is currently pursuing a PhD in Maynooth University, Ireland. His work focuses heavily on interactivity and participation within the context of electroacoustic music composition. He is particularly interested in correlating physical gesture with musical gesture through dance and other forms of corporeal expression. This has subsequently led to him to become actively involved in the performance of his latest compositions. His work recent work has also led him to investigate the potential for human-computer interaction and physical computing to facilitate musical creation in the context of assistive technology.

HANS: Exploring the possibilities of human–computer collaborative art through an interactive musical experiment Tamás Lévai + Richárd Beregi + Emília Barna | Budapest University of Technology and Economics | Budapest, Hungary We propose to present a musical experiment, HANS, through which we have studied the possibilities of human -- computer musical interactions in artistic work. The three main pillars of this project are the following: (1) computer as an autonomous actor, (2) computer network as a platform for musician--audience interactions, and (3) computers as musical instruments. We have designed an autonomous computer program that is capable of playing together with human actors interactively. The program listens to musicians and via its adaptive, self-controlling artificial intelligence actively participates in performance by managing its internal sampler and effect chain. The main contribution of this project is not strictly technical. The experimental project is inspired by the 1970s’ punk ethos of eradication of distance – spatial, hierarchical, symbolic – between musicians and the audience; proposing instead an ethos of participation, inclusivity, and anti-professionalism. We utilised computers to involve the audience into the performance via an interactive webpage which they can access using their cellphones during the performance. With this webpage and by inviting guest musicians, the live performance is designed as a space for simultaneous collaborative creation. The accompanying Do It Yourself practices of this project, which also formed the basis of the 1980s’ indie movement, involve massive softwarization of redesigning existing musical instruments such as the virtual theremin or the drum module. We also use acoustic instruments, their sounds are modified by virtual software effects. The transmission of sound is done over a computer network. Mixing is done virtually by software. We pursuit experimental technologies, with our ever-changing inventory. Our presentation consists of further implementation details and concert experiences. Emília Barna, PhD is Assistant Professor at the Department of Sociology and Communication, Budapest University of Technology and Economics, leader of the Communication (Cultural Spaces) MA programme, and a regular guest lecturer of the University of Pécs Popular Music Studies programme. She is Advisory Board Member of IASPM@Journal and current Treasurer of the International Association for the Study of Popular Music. Since 2013, she has acted as Chair of IASPM Hungary, and, since 2012, editor of Zenei Hálózatok Folyóirat (Music Networks Journal). Richárd Beregi, M.Sc. is a doctoral student at BME GPK and a research associate at MTA SZTAKI. As a mechatronics engineer his current research area is agent-based control of cyber-physical production systems in accordance with the Industry 4.0 paradigm. In the HANS project his focus is on the unsupervised machine learning processes. Tamás Lévai received M.Sc. degree in Computer Engineering at Budapest University of Technology and Economics (BME), Budapest, Hungary in 2016. Currently he is pursuing the Ph.D. degree with BME. His research interest focuses on distributed network emulation. In his spare time he works on the HANS musical experiment which studies human-computer musical interactions.

/sɪv/ Marcin Pietruszewski | Reid School of Music, University of Edinburgh | Edinburgh, Scotland The /sɪv/ is an experimental opera; a duet for synthetic sound and synthetic voice; an algorithmic script for timbral inventiveness played over an array of multiple speakers. The main compositional structure of the piece consist of a novel adaptation of sieve algorithm - as first introduced by Iannis Xenakis - seamlessly integrated with microsound synthesis (pulsar synthesis and wavesets) and distortion product otoacoustic emission (DPOAE). Its conceptual point of departure is an original text of libretto written by Chris Shambaugh. The term sieve is a metaphor for a process that selects certain sets by filtering specific intervals, particularly by means of the modulo operation. The sieve theory is a means of designing grids of diverse kinds whether in pitch, time, or another parameter through an application of logical operators (union, intersection, symmetrical difference etc). Through a sifting process between text, machine generated sound and speech and a microsound bottom-up synthetic procedures the work of /sɪv/ attempts to piece together new timbres. The resulting amalgamate dramatises the ideas of ’simulation’ and ‘double’ - proposing a scene for an integrative operation gluing polarities of the abstract and the material. An excerpt from the libretto: 'A sieve can function as a screen or a riddle. In drawing out a territory, it sifts chaos across a threshold. Sieves are categorial in this way, ventriloquizing – rendering the road to the invisible visible or the sound of the inaudible audible – mediating the immediate, conditioning the unconditioned.’

THURSDAY, MAY 11 | Integrate I, Theatre | 13.30-15.30


/sɪv/ Marcin Pietruszewski | Reid School of Music, University of Edinburgh | Edinburgh, Scotland marcin pietruszewski (born 1984) a polish composer and laptop improviser currently based in Edinburgh. Performed solo at various venues around Europe including Berghain in Berlin (2016), MUMUTH in Graz (2013) and Bunkier Sztuki in Krakow (2002). Active as an improviser solo, with BOAR Collective and violin and laptop duo the elephant calf. Collaborated with musicians and composers such as Marcus Schmickler (performed and recorded Schmickler's 'Demos' for choir, chamber quintet and electronics), Florian Hecker, Jules Rawlinson and Lauren Sarah Hayes. Recent projects include collaborations with a graphic design group NORM from Zurich (a collaborative album with Florian Hecker 'NORMification' to be published in the fall by Presto!? in Milan), a philosopher Chris Schambaugh (The New School, New York), choreographer and dancer Agnes Cebere (Martha Graham School of Contemporary Dance, New York). Studied Philosophy and Linguistics at Adam Mickiewicz University in Poznan and Ruprecht-Karls-Universität in Heidelberg, Computer Music with Michael Edwards at Edinburgh College of Art. Currently doctoral research under supervision of Florian Hecker and Michael Edwards at Edinburgh College of Art (Edinburgh University). Active as a lecturer and tutor of creative coding practice and music technology at Reid School of Music, Edinburgh University.

Towards an Articulation of the Archive, stoch e/a ‘x’ James Wyness | Jedburgh, Scotland

I propose a performance using a new digital instrument and a paper explaining the research behind the design. The instrument is an articulator, made in max/msp, which generates streams of pre-edited sounds stochastically, according to probabilistic procedures. It partly replicates or emulates performative and compositional preferences, negotiating the thorny relationship between a machine generating streams of sound and a human playing an instrument. Four stereo channels of sound are generated, sent to the desk and mixed live with outboard processing. Folder and file selection, start/end points, loop lengths/playback speed are subjected to procedures based on random metronomes and elastic boundaries. The selected audio streams are fed from memory to the stereo channels, then processed in various ways. Combinations of random metronomes and probabilistic objects see to file selection and playback durations, e.g. file x is selected for a duration between y and z seconds. Probability can be tweaked to favour files anywhere from a folder. Within this a looper based on random metronomes and objects plays the files between start points and end points within a certain range and for varying durations though obvious loops are rarely perceived. With randomised playback speed, tight limits avoid extreme stretches up or down. A poisson distribution function ensures that playback speed tends towards the norm rather than the extremes. Finally the parameters of a stereo tape-delay emulator are controlled externally, allowing a thickening of textures. Further processing can be added via external modules. In working with folders of 20 or more files of (approximate) durations 1ʹ, 2ʹ 3ʹ and 5ʹ, the musicianship lies in source editing, selection, categorisation of files and folders and setting multiple parameters. Here, in the setting up, one might say the tuning of the instrument, the music becomes personalised. James Alexander Wyness is an independent experimental musician, sound artist and researcher based in Scotland. His musical work is an exploration of the wider experimental electroacoustic and radiophonic projects, asking questions of generic categories such as noise, minimalism, ambient and industrial music, of experimental sonic art, abstraction and representation, and of sound’s phenomenology. Current research interests include epistemologies of listening, a consideration of recorded sound as sympathetic magic and listening as magical realism. His solo work encompasses performance, free improvisation, composition, digital and acoustic instrument building. He regularly collaborates with musicians and artists of other disciplines, from moving image makers to choreographers and movement specialists. As a sound artist he is currently developing a large-scale and long-term work investigating the sonification of climate change data. He is writing a book, a set of dialogues on sound and music, with Italian composer and researcher Giancarlo Toniutti, to be published in 2017.

Articulate II, Cinema | 16.00-18.00 Tracing the liminal: autoethnographic strategies in soundscape art Iain Findlay-Walsh | Glasgow, Scotland To listen in the urban everyday is to reconcile multiple orders of real and represented auditory space simultaneously, to perceive them, reconcile them, and locate our selves among them. In this sense, the listener’s position can be understood to be *liminal* – a persistent emergence on thresholds between the real and the virtual, and between roles of sonic producer and consumer. The listener is (an) in between space. In such a context, how might field recording and soundscape art practices, by turning their focus in on the recordist-listener, engage with changing relations between listening and environment? This presentation explores autoethnographic strategies in recording, producing and presenting environmental audio, specifically in relation to urban soundscapes. Drawing on the ideas of Salome Voegelin, Brandon LaBelle and Carolyn Ellis, and discussing pieces by Hildegard Westerkamp, Christopher DeLaurenti and Marc Baron, as well as my own recent pieces, I focus on soundscape work which explicitly re-stages and layers the personal listening experiences of the recordist. Through this discussion I will present some specific ideas, strategies and approaches to recording technology, which have evolved through my own practice-as-research. These include an attention to auditory subject-position and the semantics of handling noise, the taking and circulating of aural selfies, and the composing of multiply-embedded listening encounters which explore personal listening as both composition and reception context. By concentrating on techniques and technologies I will highlight practical strategies for generating sonic self-narratives, which document, interrogate and re-present the listener’s changing relationship with sound and environment. Taken together, I will propose that these methods and works can be understood in autoethnographic terms, and form part of a wider emerging discourse around reflexive soundscape work.


16.00-18.00 | Articulate II, Cinema | THURSDAY, MAY 11 Tracing the liminal: autoethnographic strategies in soundscape art Iain Findlay-Walsh | Glasgow, Scotland

Iain Findlay-Walsh (Klaysstarr) is a sound artist and music producer who uses recording and production practices to research relationships between personal listening and environment. Pieces are developed as reflexive self-narratives, and range from multichannel soundscapes to idiosyncratic record releases, from public and online installations to audio-visual compositions. He has recently completed a practice-led PhD in soundscape composition at the University of Glasgow and has presented research across the UK and Europe and in the USA. He has made numerous releases across a range of labels and media, and currently curates Glasgow's spatial audio event series, INTER-.

Work Until No Longer Effective - Sections 1 (Did You) and 2 (Find) Christoffer Schunk | Los Angeles, California These are the first two tracks of a 40-minute album of farting titled, Until No Longer Effective. The idea came while reading John Cage at a ranch, surrounded by many natural sounds including farts. I understood that every sound is beautiful in that sounds are themselves. Every fart is a fingerprint, expressing a sovereign sonic individuality in addition to its creator’s, while still exhibiting a lack of possession by the creator. The act of farting is an act of non-possession. “Anything therefore is a delight (since we do not pos-sess it) and thus need not fear its loss.” – Cage. The album as a whole can be considered a type of slow-change music based on the listener’s attitude and perception of the sounds. What results from continued exposure to something like a fart and how does accompanying noise influence the perception of it? If it is immediately grotesque or funny, how long does it take for a different opinion to form? More importantly, can this be related to tolerance in a societal or political context? As much as this work is about the shaping of perspectives, it is also about my own voice. I owe much of my love for art to my education. As a college freshman 10 years ago, I didn’t consider “new music” or “academic music” as something worthwhile. It was a closed bubble with no access points. Today, my views are the opposite, and I’m further intrigued by the idea of “highbrow” or “lowbrow” art. If a person has developed knowledge through academia, where does their art fall if it has been farted upon over and over again? To me, as with many others, these labels and delineations aren’t necessary. What’s impactful is that farts are common to everyone and don’t require discussion in order to be understood. Can such a thread ease the passage into something less understandable? Christoffer Schunk is a composer and performance artist based in Los Angeles. His works involve voice, common and uncommon instruments, field recordings, electronics, and acting. Much of Schunk’s portfolio vacillates between audio and theater, resulting in intricately staged productions or audio dramas. His pieces have been featured at SEAMUS, MUSLAB, the Ars Electronica Forum Wallis Festival, the Iron Composer Competition, REDCAT, Human Resources LA, the wulf, and on I Care If You Listen, and have been performed by Conceptual Soundproductions Budapest, Santa Clarita Master Chorale, and The Black House Collective. He is as versatile a performer as he is a composer. He was the pianist, celesta player, and didgeridoo player in the premier of Anne LeBaron’s opera Crescent City; he performed on accordion and setar in the John Cage Centenary Festival at REDCAT; he played guitar, ukulele, accordion, and was the singer-songwriter for the folk band Awkward Starfish; and he continually performs in a variety of new chamber works throughout California. Schunk holds a BA in composition from UC Santa Barbara and an MFA Performer-Composer degree from the California Institute of the Arts where he studied under composers Anne LeBaron, Michael Pisaro, Wolfgang von Schweinitz, and pianist Vicki Ray.

Symbiosis - Interspecific Associations in Collaborative Performance Manoli Moriaty | University of Salford | Manchester, England This paper presents a framework for collaboration between practitioners of distinct disciplines, informed by symbiosis. The biological phenomenon describes the close and persistent interaction among organisms of different species, aiming for at least one of the interacting organisms to extract benefit from their association. Being a pervasive occurrence found among all biological taxa, the fine details of symbiosis have been the subject of controversy among researchers of General Biology and General Ecology. However, nowadays there is consensus on the phenomenon’s ubiquity, and its importance in accelerating the rate of many species’ evolutionary process. Through observing the manner in which interspecies organisms interact within symbiotic relationships, I have developed a framework which aims to facilitate artists of different disciplines forming joint practices. By interpreting the different types of symbiotic interactions – mutualism, commensalism, parasitism – as well as their key observable traits – interspecificity, intimacy, and persistence – the framework provides artists with a set of actions and precepts that can be employed during all stages of the creative process, including authorship, hierarchy in creative control, aesthetics, development, and live interaction. The development of the framework draws insight from the findings emerging from my own practice, which focuses on the collaboration between disciplines utilising sound and physical movement as their predominant mediums of expression. Furthermore, key theories in similar collaborative practices have also contributed in supporting the framework’s development, such as the long-term collaboration between John Cage and Merce Cunningham, as well as contemporary precedents from current practitioners. Manoli Moriaty is a Manchester-based music composer and performer, academic researcher and tutor, and event producer and curator. Born in Athens, his artistic practice is informed by themes of collective action and in/determinism, combined with approaches of sound interference, motion data sonification, and semi-autonomous systems utilising established and emerging technologies. He has developed live performances and installations through collaborations with actors, choreographers, performance artists, as well as musicians and creative programmers. His works have been presented internationally at concerts, arts festivals, and academic conferences, and has been awarded funding by Arts Council England and IdeasTap. As the co-founder and curator of the Metanast collective, Manoli has been supported by Sound and Music, and hosted over 100 artists from 35 different countries. He is currently a music performance tutor at the University of Salford, and also completing PhD research on interdisciplinary collaboration under the supervision of Joanne Scott and Stephen Kilpatrick. |

THURSDAY, MAY 11 | Articulate II, Cinema | 16.00-18.00


Three Migrations (Dreich, Dwam, Dicht) Graeme Ronald | St. Louis, Missouri

Three Migrations (Dreich, Dwam, Dicht) is a triptych of three, short, surround sound audio experiments set to video which attempt to interrogate the notion of migration; in nature, in animals, in human beings and in sonic and visual phenomena. The work is principally inspired by the artist's recent immigration to the United States from Glasgow, Scotland against the geo-political backdrop of the worst migration crisis that the world has faced since the Second World War, and the drastic contrast encountered when comparing the desperately unforgiving hostility currently faced by immigrants from the developing world, as contrasted with the comparative ease and acceptance faced by someone, such as the artist, when migrating from one Western country to another. Further, the work also meditates on distance, time and the artist's personal experience of fatherhood and familial loss as experienced through the migratory process. Recordings made using a single acoustic guitar were deconstructed and submitted to a 'migrational' process by which clusters of tones diverge from their relationship to one another both in rhythm and in their position in the sonic field. In the manner of a flock of birds, clustered tones drift woozily apart from their origin before returning to a harmonic and rhythmic unity. The video element of the work is built from the artists own photographs of childhood holidays to Scottish and Mediterranean beaches coupled with video footage of Murmurations of Starlings, the Mediterranean Sea, The Atlantic Ocean and The Firth Of Clyde. Graeme JD Ronald is a composer, musician and sound artist from Glasgow, Scotland now based in St. Louis, Missouri in the United States. While in Scotland, Graeme worked as a session musician for the group Mogwai before forming the Remember Remember collective with whom he recorded four long playing albums of original compositions which married traditional, contemporary and classical composition with sonic experimentation, musique concrete and situationist performance techniques. In 2013, Graeme obtained a masters degree in Sound For The Moving Image from the Glasgow School of Art and began exploring a creative practise beyond musical composition and production and established himself as a Sound Designer and Sound Artist. Graeme's academic work and subsequent early forays into Sound Art examined acousmatic sound, algorithmic composition and autonomous computer controlled musical instrumentation. In addition to his continued work as a composer and musician, Graeme currently works as a freelance Sound Designer for film, television and corporate projects and as an outsource consultant and employee of the German video game developer Deep Silver, specialising in procedural audio techniques.

Hearing Obsolescence Jamie Lawson | University of Aberdeen | Aberdeen, Scotland

An extended access to sound technologies expands the use value of technology beyond the search for fidelity. The scope of available technologies provides access to a full range of analogue and digital equipment, along with digital emulations of analogue sounds and process. In this scenario the emphasis is on creative selectivity, not merely utility. Selecting an analogue technology (or emulating their processes/aesthetics) is a creative decision that invokes a technological nostalgia where tape hisses, clicks, and buzzes are lifted from their associated mechanical processes and harnessed for their aesthetic and semantic qualities. In the digital era, creative subjectivities employed by artists are often informed by listening habits which have arisen from the portability and control afforded by digital sound technologies. Alchemies of digital listening habits and analogue recording techniques offer unique creative situations. Through reflection on my sonic arts practice, this paper aims to foreground the process of composing through selective listening, as enhanced by sound technologies. Between Here and Nowhere and Tape Jams offer two iterations of a similar compositional ideal, the latter employing analogue technologies, while the former attempts to increase creative control over unpredictable analogue processes. The dialectic between the two pieces highlights the implications surrounding the digitization of sound aesthetics associated with analogue sound technologies. Jamie Lawson is a PhD candidate in Sonic Arts and Electroacoustic Music at the University of Aberdeen. Jamie’s research interests include soundscape composition, field recording, sound archiving, sonification, creative coding (Max/MSP) and automated compositional practices.

The Pace of Water Hannah McGrath | University of Glasgow | Glasgow, Scotland I have taken the usually somewhat mundane sounds of water we hear in our everyday lives, in different contexts to hopefully create a peaceful sound environment for the listener. For me, water was the obvious choice as my aim was to create an aura of peace in the audio environment for the listener. This is a clear choice for me as I understand many people find the clear sounds of running water, in different contexts, quite relaxing and peaceful to them. For example, when one steps into a spa for a massage or a place designed for relaxation, the most cliché track you will hear on the speakers is running water and some light bells in repetition with the resonating sound of the bells getting softer until it dies down. While all these sounds are played in seemingly random repetition, there is a rhythm to them and that is hopefully what I have accomplished in my sound piece. The feeling of total peace and relaxation could be considered very much a personal almost sleep-like state of mind, like a form of meditation. It is incredibly hard to create that feeling of total calmness as it can most likely not be manufactured through authenticity of surrounding environment. Calmness is something that can really only be created when the mind is completely blank and the listener is free to zone out of the place they’re in and into sleep or their own personal meditative state. This is why this composition is designed to be listened with headphones and surrounding the listener with the audio material, it allows them to unintentionally ignore all other noise distractions and concentrate solely on what they’re listening to. Hannah McGrath is a composer and sound design artist, she has been studying music and sound since she was 10 years old. Hannah has predominantly worked with music and composing for screen but in the last two years has developed an interest in sound art and design. In 2015, she graduated from Ulster University with a BA in Music with Dance focusing on the connection made between the music composed for alternative style dance. Hannah worked with Walled City Music during 2014 helping with event planning, advertisement and venue set up. She has completed exams in Classical Flute and Musical Theatre singing and has earned a Diploma in Musical Theatre singing with the London College of Music. Hannah has also completed all her exam in Classical Ballet and has earned a gold medal in Freestyle Dance. She is currently studying at Glasgow University for MSc in Sound Design and Audiovisual Practice.


19.30-21.30 | Concert II, Theatre | THURSDAY, MAY 11 Translucent Unreality Hannah Newham | University of Glasgow | Glasgow, Scotland

Drawing heavily from imagery taken around Glasgow, including Queen’s Park, this audiovisual work explores the creation of new environments out of the natural and familiar. Inspired by the experimental aesthetics of Paul Clipson’s short films, the piece combines both analogue and digital formatting with the application of dense layering in order to create evolving abstract environments. Set to a soundtrack and mixed live using additional archival footage, the piece focuses on narratives of life and the environment.

Hannah is a postgraduate taught student currently studying on the MSc Sound Design and Audiovisual Practice programme at the University of Glasgow. She is originally from Hull where she began her musical endeavours as a multi-instrumentalist and holds qualifications in both the Piano Forte and Voice from the Guildhall School of Music & Drama. Whilst in London she studied Field Recording and Studio Recording at Goldsmiths University. She has performed with a variety of groups both nationally and internationally and whilst in London was a member of the Royal Choral Society. Her interests are wide ranging and include sound design for virtual reality, gender and technology, field recording and mental health. She runs an independent Glasgow based website promoting music happenings in the city (, is a member of the Glasgow Sound Network and volunteers for the charity Playlist For Life for whom she helps create playlists for people with dementia.

Orford Ness Nikki Sheth | University of Birmingham| Birmingham, England Orford Ness has been composed using recordings from a field recording trip to Orford Ness Nature Reserve in July 2016. The site is of Special Scientific Interest with limited public access due to its history as an atomic weaponry testing site. During the trip we were given access to areas that would not normally be open to the public and spent three days recording in different locations around the Ness. Isolated by water, reachable only by boat, Europe’s largest shingle spit is a place divided by the residual danger of the site’s former use by the military and a fragile ecosystem. The piece has been created using four recordings taken during my time exploring the hidden sounds on the Ness. Sounds have been minimally transformed in the studio to create a multichannel immersive sound experience that sculpts sound through space whilst capturing the sonic identity of the place. Inspiration was taken from the work of Chris Watson and Jez Riley French both of whom use minimal transformation processes in their work to create sound installations and site specific field recordings. Nikki Sheth is a composer currently pursuing a PhD in Electroacoustic Composition at The University of Birmingham following an MA in Electroacoustic Composition at The University of Manchester and a BA in Music at Oxford Brookes University. Her main focus is site-specific multichannel soundscape composition and she has had extensive field recording experience, collaborated with visual artists and has had experience creating interactive installation works. Her work has been performed as part of the Sonic Art and Diffusion Festival in Oxford in 2012, the Sonic Arts Fusion Festival in Salford, 2014, at MANTIS, 2014 and as part of BEAST: Envision 2016. She has curated a Late Night at Manchester Museum in 2013, taken part in the Women In Sound/ Women On Sound Symposium in Lancaster in 2015 and went on a Field Recording Workshop with Chris Watson and Jez riley French in July 2016. Most recently, she has been an Assistant to the SOUNDkitchen sound walks that took place as part of the Invisible Places Festival 2017 in the Azores.

Play Pause Stop Rewind Una Lee | Sonic Arts Research Centre, Queen’s University Belfast | Belfast, Northern Ireland ‘Play Pause Stop Rewind’ is a solo music theatre piece to be performed by the composer herself. It focuses on the usage of voice and explores texture, rhythm, accumulating pitches and discovering patterns created by the way one manipulates speech. This conceptual, process-based composition musicalises a particular theory about how the brain handles memory, which will be auralised and visualised in live on-stage performance and pre-recorded video performance, involving one and the same performer. Music is said to have the ability to manipulate our perception of time: make it go slower or faster, or maybe pause it for a while. What else might have that capacity? Most people must have had, at some point, some sort of a wish related to the concept of time. This live performance piece is an attempt to process my two separate strands of thought on time, interwoven with the notion of memory, as in ‘the act of remembering’. Wouldn’t it be handy if the perception of time could be manipulated through manipulating memories? And is it possible that multiple timelines with multiple realities exist in one space, hidden from each other? Despite assuming the improbability, I will be engaging with these thoughts in a solo music theatre piece, with essential visual elements and a clear narrative. Una Lee is a sound artist, performer and improvisor. She composes and designs her own performances and intervention scenarios, which can be either live or fixed, or a combination of both. The main focus of her current practice lies in using spoken voice and found sonic material to create immersive compositions and performance pieces. Many of her works incorporate interdisciplinary aspects that blend performance art, visual art and theatre practice within sound-based works. They often address to time, memory and memories, and engage with the notion of self-representation. Through her works, she is interested in exploring or provoking various types of human interaction. Una Lee is currently pursuing her practice-led PhD at Sonic Arts Research Centre at Queen’s University Belfast, UK. She holds a BA in Composition from Hochschule für Musik in Cologne and an MA in Sonic Arts from Sonic Arts Research Centre, Queen’s University Belfast.

THURSDAY, MAY 11 | Concert II, Theatre | 19.30-21.30


Configurational Energy Landscape No.9 Damian O’Riain | Dublin/Edinburgh

A work (for 24, 16, or 8 channels) that explores the resonant features of a sheoak, stave construction, snare drum. Spectral characteristics specific to the drum’s timbre dictate the work’s frequential structure; the intention being to bring the shell’s unique sonic footprint to light. To identify prominent resonant characteristics a sine-sweep was played through the shell using a transducer. This process was repeated using pink and white noise and the resulting shell excitations were recorded ambisonically. Most of the imposed spatialisation in the work tends to be concerned with reinforcing encapsulation rather than trajecting individuated sound materials. Stylistically, though an 'acousmatic' work, texture and spectral space is emphasised over sonic gesture; the piece might instead be viewed as an exercise in spectral 'deep listening.' With respect to the title, at some point it occurred to me that terminology used in describing processes of bio-molecular transition, reaction, and conformational change, could equally describe a sound based creative practice that employs sonic transformation as an aesthetic tool. Additionally, it seemed that pre-existing 'sonic crystallization' and 'sonic landscape' analogies could be neatly expressed using a single term. In this sense, “configurational” refers to the malleability of sound (at both micro and macro levels), “energy” to sound phenomena, and “landscape” to the aural landscape that arises as acoustic energy is perceived. In essence, the term configurational energy landscape can apply to any abstract sound based work that features 'sonic transformation' as a primary aspect. Currently, creative activities relate primarily to acousmatic arts, digital music, and post-digital aesthetics. Also interested in the analysis of electroacoustic works, and questions relating to the problem of genre categorisation in contemporary digital music. Other areas of interest include new media, digital-cultures, and technologically driven creative practices that embrace interdisciplinary collaboration. Completed PhD studies in sonic arts at SARC (Queen’s University Belfast). Works have been presented internationally at notable conferences and festivals.

Nihil eternum est Laurence Chan | Edinburgh, Scotland

Nothing is eternal...' An improvised audiovisual performance exploring synchronous analog glitch audio & video feedback. There is no external input, only internal infinite audio & video mixer feedback loops. Both signals are combined for audioreactivity. A variety of glitched, distorted, noise textures and beats may arise out of this feedback system. The resultant improvised performance is an extreme, immersive audiovisual experience ranging from harsh walls of noise with frenetic visuals, to soothing drones with abstract patterns. Laurence Chan is an audiovisual artist with a background in sound design and music composition. His works maintain a strong focus in visual music, sound art, optical art, and audio-reactive visualisations, which extend into VJing. He is currently exploring areas of glitch aesthetics in a synchronous audiovisual realm - utilising both analog and digital glitching methods. Immersion is enhanced through multi-channel surround sound mixing. With a passion for popular music & culture, it has continued influence on his plunderphonic methodology.

XsdX / chang ng Iain Findlay-Walsh | Glasgow, Scotland

Two short companion pieces, which present the recordist's journeys through high street retail spaces. In each, unusual recording techniques have been used to capture consumer experiences which are at times disorientating and abject. These include the wearing of in-ear microphones beneath iPod headphones during a solo supermarket visit at 1am (XsdX), and the swallowing and regurgitating of contact microphones while they are recording in the changing room of a men's clothing store (chang ng). An exploration of relations between various spaces – real, virtual, personal, social, private and public, and between modes of sound production and reception, drives each work. Both pieces are part of a wider research project through which autoethnographic approaches to field recording and soundscape art have been explored in pursuit of embodied understandings of sound, listening and (urban) environment. Iain Findlay-Walsh (Klaysstarr) is a sound artist and music producer who uses recording and production practices to research relationships between personal listening and environment. Pieces are developed as reflexive self-narratives, and range from multichannel soundscapes to idiosyncratic record releases, from public and online installations to audio-visual compositions. He has recently completed a practice-led PhD in soundscape composition at the University of Glasgow and has presented research across the UK and Europe and in the USA. He has made numerous releases across a range of labels and media, and currently curates Glasgow's spatial audio event series, INTER-.


19.30-21.30 | Concert II, Theatre | THURSDAY, MAY 11 Camphill (55.831089, -4.272530) Richy Carey | University of Glasgow | Glasgow, Scotland

Camphill, is the first in a series of essay films in part inspired by The Lake Gun, a short story by James Fenimore Cooper (1850), about the search for the Seneca Guns, the as yet unexplained sounds that occur all over the world and are known as Skyquakes, Barisal Guns (Bangladesh), Brontidi (Italy), Uminari (Japan), Mistpoeffers (Netherlands), Retumbos (Philippines) and Guns of the Seneca in and around Lake Seneca (US), where the short story is set. The Seneca tribe attributed the sounds to the great spirit Manitou fashioning new parts of the earth: Sounds, that take place under clear blue skies, though are said to be like close-but-distant thunder, or like cannon fire or sonic booms. Camphill is the first of a series of short films that look to creatively document the research process of my PhD thesis; a practical reading of Timothy Morton’s Hyperobjects, Karan Barad’s Agential Realism and Ludwig Wittgenstein’s Language Games. The films look to explore Speculative Realist thought through film sound, asking questions about what the sound of an object is, not what sound it makes, a speculative sound, and a question I think at the heart of all film-sounding practices. This object-orientated approach asks us to consider the sound of an object as it experiences itself, or those of its own agency, rather than the sounds it emanates as we exert our agency upon it. I am interested in creating a form of diffractive cinema, an extension of Timothy Corrigan’s refractive cinema (films that explore filmic thought), looking to investigate the patterns of difference (Barad) that emerge between the seen and the heard. Richy is a composer, sound artist and academic working on a variety of arts projects alongside his AHRC funded PhD research at Glasgow University. He is a founding member of the SGSAH Practice Research Network and contributing member to the British Audiovisual Research Network. His practice research focuses on the material language of film sound and its role in the creation and reception of audiovisual work. He has collaborated on exhibitions at the British Art Show 2016, the National Scottish Gallery of Modern Art, Tramway, the Tron Theatre, CCA Glasgow and Glasgow Film Festival and his music has been performed on BBC radio 6 and BBC radio Scotland. In 2015 he was awarded the BAFTA New Talent Scotland award for his composition Lichtspiel: Opus I. More of his work can be found at

Dialogic Transparencies Seth Rozanoff + Paul Natarj | University of Glasgow + University of Sussex | Glasgow, Scotland + Blackburn, England

Dialogic Transparencies is a collaboration between Seth Rozanoff(laptop, synthesizer) and Paul Nataraj(turntables). Paul has collected a series of vinyl records, given to him by others. He was interested in their rich and varied stories, embedded into the grooves of each record. Based on Paul's personal encounters with the owners of these records, he created a set of sculptural records, carved with the narratives shared by each individual. In Dialogic Transparencies, Paul will 'DJ' with these palimpsests. Additional vocal samples, extracts from the interviews which currently accompany each of the records, will be woven into the performance. The assemblages inherent in these sculptural objects can be viewed as a set of interdependent relationships with potential for further creative intervention. Seth's role is to further highlight and enhance the seeming indeterminate sonic behaviour of Paul's records during performance; Seth will perform with laptop, controllers, and synthesizer. Paul and Seth's performance can be viewed as a process of sharing music, object, narrative, space and practice, hoping to have in some very small way, remade the apparatus or ‘metaphorised the dominant order… made it function in another register’ (De Certeau, 1984: 32).

Paul Nataraj has been writing about, teaching about and manipulating sound for the last decade. Now engaged in PhD research by practice at the University of Sussex under the supervision of Professor Michael Bull and Dr Martin Spinelli, his work enmeshes oral history, composition, sculpture and critical musicology. His work on the vinyl record has been exhibited and broadcast internationally with a plays on BBC Radio 3's 'Late Junction' and Resonance Extra. Last month he just completed his first solo show at PRISM Contemporary. Seth Rozanoff is currently living in Glasgow, recently finishing his Phd. He was supervised by Professor Nick Fells, and Dr. Louise Harris. He is currently working on an audiovisual work, performing solo on laptop, drum machine, sampler and synth. He is also working on a laptop and piano piece, which will be performed by pianist Adam Tendler. Other future collaborations include, recording with electric guitarist Tasso Savvopolous, and an album with Andrea Marinelli and Phil Maguire.

FRIDAY, MAY 12 | INSTALLATIONS | Various Locations


Club Room The Back of the Day Murray Collier + Hannan Jones | Glasgow, Scotland + Mandurah, Australia The Back of the Day is a diptych video and sound installation, a new work, which blends themes of communication, distance and collaboration through sound, video and space. Formed simultaneously between two locations; Western Australia and Scotland, the films produced represent two sides of a conversation. These visual elements are tied together by one common soundtrack, which acts as a communication tool between the two visual environments. Translating current reflections on experiences of place, transit and time, while seeking to aesthetically challenge and experiment with sonic and visual structures; each film explores the artists maintaining common points of reference in different environments and across time zones. Hannan Jones is a multidisciplinary artist, curator and musician based between Australia and Glasgow, Scotland. Exploring themes movement and transition through language, memory, human interaction and ultimately investigating identity through collaborative, geographic, social and culturally engaged exchanges. Using sound, text, score, and video, as well as embracing performance, installation and curatorial practices, Hannan’s work focuses on the importance of communication and manifests in public and private spheres. Hannan holds a Bachelor of Fine Arts, Honours degree in Sculpture and Environmental Art from The Glasgow School of Art. Her works have been shown throughout Australia, Hong Kong, New York, and the UK. She was part of Glasgow International 2016 and most recently she participated as part of the Perth International Arts Festival 2017 Artist Lab. Murray Collier is a musician and sound artist who runs the radio station ‘real landscape’, programming and broadcasting various shows curated by other musicians and artists as well as himself, focussing on unique artistic endeavours, and experimenting with the radio format. A 2016 graduate from Sound for the Moving Image at Glasgow School of Art, Murray has extensive experience as a musician and performer, contributing to projects in Sweden, Ghana and Scotland, and performing in various projects in the UK, USA, Canada, China and Europe. Murray and Hannan have previously collaborated on a musical project ‘Pussy Mothers’, where they released 'The Number 1 EP' in August 2016 through Optimo Music.

Breakout Room Tilting at Windmills Mara Marxt Lewis + Tyler Lewis | University of Aberdeen | Glasgow, Scotland Tilting at Windmills is a 4-channel sound installation that uses sounds recorded at several wind parks in Saxony, Germany during the summer of 2016. Loudspeaker boxes coloured yellow, green, grey, and blue hint at the various landscapes of Earth where wind turbines can be used. Often seen from a great distance, wind parks become something more powerful when experienced up-close, and this installation puts the listener in close proximity with these massive energy-harvesting structures. Husband-and-wife duo Mara Marxt Lewis and Tyler Lewis began collaborating in 2013 at the Banff Centre, Canada. There they completed two installations together that involved sound, sculptural objects, interactive elements and audience participation. These immersive multimedia artworks have continued to be the main focus of their collaborative practice as their working relationship strengthens and evolves with each piece. In their practice they focus on the complex relationship between humankind and nature, believing that how we engage with our natural environment is at times harmonious and other times oblivious. They present both of these perspectives in installation artworks using found objects, photography and audio-recordings to place elements of the natural world in dialogue with those of modern humanity. They participated in artist in residence programs in Germany (Pilotenkueche), Banff (The Banff Centre), Paonia (Elsewhere Studios) and even organized their own residence program in Seattle area (With the berries). Many of their residencies and exhibitions have been accompanied by workshops and/or artist talks. Their work has been shown in venues in Canada, the United States and Germany. Their artwork has been commissioned by Nuit Blanche Calgary in Canada, and the public art department of Klagenfurt, Austria. They currently live and work in Glasgow, Scotland and Graz, Austria.

Intermedia Room Her Energies Fused into Force, Burning and Illuminating Katja Oberlintner + Katie Rose Johnson | Glasgow, Scotland We will create an immersive, experiential environment through sound. The installation shall feel like this: opening the door, the spectator enters a pitch-black, cavernous room; an unknown territory of possible encounters. One is set upon by a soundscape that arises from all corners, at times simultaneously, at others asynchronously, producing a polyphonous field. In the darkness, the viewer is engulfed by a composition of vocals which create a narrative on the verge of music and language, defining the four corners of the space. The soundscape rises in tension as it progresses, utilizing intense rhythmic vocals that converse across the space contrasted with sudden, acute silences. The composition is a raw, experimental journey through the landscape of feeling that culminates with an explosive assertion. This is a collaborative work that stemmed from the creativity developed from working within a collective process – the continuous interaction, communication and play between two individuals. This merging sparked explosions and spun questions into the sky. Katja Oberlintner (born 1992 in Ljubljana, Slovenia) and Katie Rose Johnston (born 1992 in Lerwick, Shetland, Scotland) are contemporary emerging artists, working in the field of sculpture and installation. At the moment, they are finishing their degrees in sculpture at Glasgow School of Art, before that they studied at Tramway Visual Arts Studio. Their work has been exhibited throughout Glasgow, in spaces such as The Art School, The Whisky Bond, Tramway, The Old Hairdressers and others, as well as other towns/cities such as York, Berlin, Ljubljana.


10.30-12.30 | Articulate III, Cinema | FRIDAY, MAY 12 A Composer’s Perspective on Heterophony Arne Sanders | University of Leeds | Leeds, England

Plurivocality is traditionally divided into three main types: homophony, (contrapuntal) polyphony and heterophony. Whilst homophony and polyphony – mostly in their Western manifestations – have been widely and fruitfully explored and developed by composers of the twentieth and twenty-first centuries, the potential lying in heterophony, as a way of multi-part composing, has hitherto been neglected. In my research, I intend to explore the potential role of heterophony to contemporary plurivocal composing. 'Heterophony' is a musical practice that has existed in musical cultures all over the world, but is to be found mainly in non-western traditional musics; therefore, a great deal of my investigations is dedicated to ethnomusicological research on 'heterophonic' music practices. Furthermore, as heterophony is often regarded as the oldest kind of plurivocal music, my research field also includes music anthropology (Merriam, Lomax, Suppan). In my paper, I would like to present my recent research on heterophony in East Asia (Myanmar, Japan, China), including not only the 'inner-musical' processes such as variation, melodic construction and ornamentation, but also the 'sociological' aspects that play a vital part in the formation of heterophonic music practices. I will then demonstrate how I applied my findings in my own compositions. Arne Sanders studied musicology at the University of Göttingen (Germany) and composition at the Robert-Schumann-Hochschule Düsseldorf and the University of the Arts Berlin. He attended masterclasses with Chaya Czernowin, Richard Barrett and Mathias Spahlinger. Since 2014 he has been a PhD student at the University of Leeds. His music has been performed by renowned soloists and ensembles at major festivals all over Europe, in Russia, Japan and the US. He has received numerous awards and scholarships and was composer in residence at the Cité des Arts, Paris, and at the Centro Tedesco di Studi Veneziani, Venice. He has been working as a lecturer of music theory and composition at various universities and music academies throughout Germany.

Space and Time: Performance experience and engagement in an unfamiliar setting Katherine Betteridge | Bangor University | Bangor, Wales Throughout the course of my PhD in Music Composition I have experimented with pushing and shifting the boundaries of performance spaces in varying ways and to varying degrees. I would like to discuss two different aspects of this experimentation, the first of which being the use of a typical performance space (such as a concert hall) in an unconventional manner, be it the unusual positioning of performers or the audience. I will include video footage from a specific multimedia event I put together with two fellow musicians and will include audience and performer feedback. I will discuss the collaborative element that seemed to arise quite naturally between audience members and performers and between audience members with each other and also between performers themselves when space was used in an unexpected manner. The second part of my lecture recital will examine another outlet for creative explorations of sound and space: on-location recordings at unusual sites (again collaborating with my colleagues) and at unusual times of day. Music was improvised at each of the locations, and the surroundings, the wildlife, the known history of the places and the weather were found to have very interesting effects on our psyches and on the music that ensued. Buildings in which we have recorded include: a disused mine, a railway tunnel, an abandoned mansion, a quarry and a disused WWII artillery chamber. I will show video footage, photographs and play audio recordings. I will explore the idea that creative expression in unusual settings has tied together my love of the outdoors and my love of music and aided me in freeing myself from previously held limitations due to the meditative engagement involved in interacting with nature and with places which feel to be steeped in history and trapped in time. l Katherine Betteridge studied music at Bangor University, North Wales, where she gained a first class honours degree in 2005. She won the Drapers Scholarship enabling her to study Performance at Master’s level, and in 2012 was invited to embark on a PhD in Composition at Bangor under the supervision of Professor Andrew Lewis. The title of her PhD is “Nature and Supernature: A Portfolio of Compositions”. She is fascinated by various forms of music and spiritual practices from around the world, some of which include Mongolian Shamanism, Louisiana Voodoo (the cultural practices, the languages and music), Tibetan prayer chant, Eastern philosophy and the spirit of nature itself – at the root of these practices. Her compositions incorporate both acoustic and electronic elements, sometimes including the use of recordings of natural sounds. She focuses largely on extended techniques, whilst still often adhering to a rough framework of tonality. She also often includes elements of dramatic action, improvisation, special visual effects and unusual performance space and audience engagement. She is an active and experimental performer and enjoys exploring unusual locations (abandoned buildings, caves, mines etc) and doing on location recordings and videos, sometimes using unconventional objects for creating music. Katherine’s musical influences and interests to date include the music and ideas of Frank Zappa, Björk, Arvo Pärt and Kaija Saariaho. She has received various commissions since starting her PhD for ensembles such as Psappha and Okeanos and has also written music for several short films and had compositions played on the radio.

Moving Image Cate Smith | Glasgow, Scotland

Cate completed a BA (Hons) Painting at Edinburgh College of Art in 2013 where she received first class honours and MLitt Fine Art Painting at Glasgow School of Art in 2014. She has undertaken residencies at Dumfries House (2014) and Newlyn Art Gallery, Cornwall (2016) and was awarded the Helen A. Rose Bequest Award in 2013 and City of Edinburgh Council Visual Arts Award 2017. Cate has exhibited nationally and overseas including as part of Georgia Creimer’s Intimate Space, Innsbruck, Austria (2011) where she has work permanently installed at the 3rd Winter Olympic Village. Other exhibitions include Transatlantic Fun-O- Pack at Boston School of the Museum of Fine Art (2012), Afterword, Gallery of Modern Art 2, Edinburgh (2013), London Art Book Fair, Whitechapel Art Gallery (2013), Information, Paisley Museum and Art Galleries (2014) Get in Lane at Catalyst Arts Belfast (2015) and Transition at Newlyn Art Gallery, Cornwall (2016). In 2017 Cate has a residency and solo exhibition at The Hippodrome in Eyemouth including a collaboration with composer and musician Emma Lloyd and she has been selected for From Paper to Gold, Edinburgh Printmakers 50th Anniversary Portfolio and exhibition. My Painting, Moving Image (2017) will be used as graphic notation during a collaborative workshop to create musical score. The Painting contains fragmented images from an old childhood photograph, bitmapped, deconstructed and re-configured to create a sense of movement through the possibilities of being. The work will be open to discussion and interpretation, but based on the images, textures and forms within the Painting. I am currently exploring duration within my work both as a subjective and objective measure of experience. I am interested in the unstable self, how perception, memory and thought continue to change as we experience new things, as we bring our past into the present moment and evolve over time. My work crosses boundaries between different ways of experiencing the world, through utilising mixed media approaches combining painting, photography and objects. Creating sounds will expand on this through further exploring our shared perceptions and experiences.

FRIDAY, MAY 12 | Integrate II, Theatre | 13.30-15.30


Spatial music: negotiating space through technology as a compositional parameter in instrumental music Duncan MacLeod | University of Kent | London, England Over the past 10 years spatial music has been an emergent trope within my practice that has exponentially grown from an initial interest in spectator immersion to engender a broad range of applications that range from underpinning musical structure through to clarifying texture. // Spatial music, namely sound localisation as a compositional parameter has been in use, albeit modestly, since the renaissance (Brant 1967). It is in the past sixty years however that we have seen the most substantive output of spatial music, spurred on in part by the use of spatialisation in acousmatic and electro-acoustic music. In spite of this the use of space in acoustic composition is still largely overlooked (Blesser & Salter 2007). Indeed Alvin Lucier observes that although considerable effort is put into the conception, generation and notation of music relatively little thought is given to the actual propagation of sound, to the extent that ‘We have been so concerned with language that we have forgotten how sound flows through space and occupies it’ (1995). As such, this paper will examine and critically reflect upon the use of space as a compositional parameter drawing upon my own practice as well as key exponents of spatial music, namely Henry Brant, John Cage, Benedict Mason and Karlheinz Stockhausen. I will then go onto discuss the impact of technology as a means to formalise space as a musical parameter as well as its potential to create real and otherworldly spaces. Duncan’s practice-led research utilises both acoustic and electronic forces. His output encompasses concert music, participatory arts and interdisciplinary practice. His work is commissioned, performed and broadcast internationally by amongst others the Arditti Quartet, Goldberg Ensemble, Jane Chapman, Juice vocal ensemble, London Sinfonietta, Musarc, Ensemble Okeanos, Orkest de Volharding, Piano Circus and Quatuor Diotima. His work has been performed at various festivals such as Huddersfield Contemporary Music Festival, Spitalfields Festival, Gaudeamus music week (NL), Sonorities and Bang on a Can Marathon (NY) and at The Muziekgebouw (NL), Walt Disney Centre (USA), The Queen Elizabeth Hall, Kings Place and Café OTO. His interdisciplinary output encompasses music for dance and film, which has been showcased at the ICA, Tate Modern, The Place and Laban Centre, and featured in festivals such as BFI London Film Festival and Dance4, Nottingham. Duncan’s practice-based research explores the application of spatialisation, microtonality and manipulation of timbre utilising acoustic and electro-acoustic forces. This reflects a broader compositional interest in the exploration and creative manipulation of music perception and cognition. Duncan is currently a lecturer and researcher in music composition at the University of Kent and a founding member of the electro-acoustic trio SoundKarD.

Apax Alexis Langevin-Tétrault | Université de Montréal | Montréal, Canada

Apax reflects a creative process marked by a desire to disconcert my usual composition reflexes. The workpiece consists essentially of different variations of a single sound. It demonstrates a search for variation in continuity with the gradual changes of timbre and spatialization. This octophonic piece was composed with the spatialization tools developed by Robert Normandeau's research group at Montreal University (GRIS). This composition won the Métamorphoses 2016 prize in the student category. As a composer, multi-instrumentalist and stage artist, Alexis Langevin-Tétrault has contributed to a variety of experimental music projects under the guises of QUADr, Falaises, BetaFeed, Alexeï Kawolski and Recepteurz while also scoring short films and composing stage play music. His work has been presented internationally in numerous festivals such has ISEA (CA), MUTEK (CA), Transient (FR), Sines & Squares (UK), BIAN (CA), EMUFest (IT), Elektra (CAN), Matera Intermedia Festival (IT), Feast Festival (USA), NSEME (USA), Exhibitronic (BE), Mus Lab (BR), Espace du son (BE), Futura (FR) and TIES (CAN). His work was recognized by Foundation Destellos in 2014 and 2015, by SOCAN Foundation in 2015, and also by Exhibitronic festival, SIME and fondation Musiques & Recherches in 2016.

Abcousma Manoli Moriaty | University of Salford | Manchester, England Abcousma is a live performance intersecting aesthetics and methodologies of electronic dance music, dub, and electroacoustic music. The laptop-based system involves an array of processing chains through which the performer sends streams of recorded or live material, in a manner informed by dub studio compositions and live performances. The effect chains are designed to vary the rhythm, texture, and frequency content of the incoming signal, with the parameters of each processing unit attached to a self-modulating array. The level of modulation is determined by detecting the variations in the original signal’s dynamic and spectral properties, with the output of each effect chain becoming an independent and self-evolving composition which the performer is able to mix between. Some control over global effect parameters is maintained by the performer, whose principle method of forcing each effect chain to vary its output is by adjusting the mix of the recorded streams feed. Abcousma was developed between August and September 2015 at the John Thaw Studios, University of Manchester, as part of the NOVARS Research Centre residency programme. Manoli Moriaty is a Manchester-based music composer and performer, academic researcher and tutor, and event producer and curator. Born in Athens, his artistic practice is informed by themes of collective action and in/determinism, combined with approaches of sound interference, motion data sonification, and semi-autonomous systems utilising established and emerging technologies. He is currently a music performance tutor at the University of Salford, and also completing PhD research on interdisciplinary collaboration under the supervision of Joanne Scott and Stephen Kilpatrick.

Conciencia Pura de invención / Pure Consciousness Invention Patricia Martinez | UNAM - CSMCBA | Buenoes Aires, Argentina Conciencia Pura de invención is an acousmatic piece based on theatrical experiences. Music is not telling a “story” but it is itself a narrative journey through a sonorous experience. Music materials were processed from original acoustic samples. This piece is part of an interdisciplinary work loosely based on texts by Ramón Gómez de la Serna. Inconceivable raises a number of entertaining scenes such as poetic microcapsules, where the narrative driving a labyrinth track that becomes in a complex of multiple transversalities of aesthetic languages.


13.30-15.30 | Integrate II, Theatre | FRIDAY, MAY 12 Patricia Martinez | UNAM - CSMCBA | Buenoes Aires, Argentina

A recipient of the composition life grant from Buenos Aires City Government and The 2015 American House Prize (Cuba), Patricia Martínez, is a composer, performer and interdisciplinary artist who is currently a professor of Composition IV at the Superior Conservatory of Music from Buenos Aires City and external tutor at the National University of México. She was director and performer of experimental ensembles in Buenos Aires, Paris and Virginia since 1992. She is member and organizer of FASE (non profit organization of artistic policies, since 2001). She worked at the electroacoustic Studios: LIEM, GMEB, IRCAM, CESARE, ARTE11, UNQ, CCRMA. Ensembles and performers who have played Patricia’s music include Arditti, The Jack String Quartet, SurPlus Ensemble, C2, ACME, Seth Josel Trío, Court-Circuit, Cepromusic; and received awards such as: 1st Municipal prize; 1st prize at The International Young Composers' Meeting (Holland); selected and commissioned by International Music Theater Competition Darmstadt (IMD-Staatstheater) / Internationales Musikinstitut Darmstadt (IMD); Gold Medal - Award of Excellence as composer, Global Music Awards (U.S.); 1st Prize Ibermúsicas/Iberescena; 2nd Diffusion Prize (Ireland); residence at the International Competition of Electroacoustic Music (Bourges); Mention at Pierre Schaeffer International Competition of Computer Music (Italy); finalist at the American Prize; 1st prize National Composition Competition J.C.Paz; Toda La Data Competition; 1st prize: Argentine Society of Music Authors and Composers, TRIME-TRINAC, TRINARG; and SonoImagenes Competition. She received grants, fellowships and commissions including: IRCAM, VCCA/UNESCO-Aschberg; Yvar Mikhashoff Trust For New Music Foundation; FONCA, CEPRODAC, American Composers Forum, Experimental Center of Colón Theater. She participated at events such as: MATA Festival in NY; Festival Synthese; Yjsebreker; Symposium of Computer Music; International Experimental Music Festival (FIME, Brazil); ISCM World Music Days of electroacoustic music (UK); Florida Festival of Electroacoustic Music; (U); 48th Darmstadt International Summer course for New Music (Germany), Mittersill Composers' Forum (Austria). She holds a Doctoral and a Master degree in Music Composition from Stanford University, where Brian Ferneyhough was her advisor. She studied at the Municipal Conservatory of Buenos Aires, Quilmes University and completing the Annual Course in Computer Music (IRCAM). She taught composition at Stanford University; National Conservatory of Lima, University of Costa Rica, UNQ, FNA. |

Unfolding Time Myungduk-Kim | Trossingen, Germany The idea of Technique was based on a concept of a transforming that switch one state of matter to another statement. All forms of energy can be broken down either into kinetic or potential. (e.g the difference between water particles and ice particles). I was implemented these ideas for the aspect of a technic. The environment has been developed with computational visual system and modular synthesis. Manipulating and distort a signal. Use an algorithm of Perlin noise and vector-field to generate the visual process and evaluate the dynamic motion through a simple physics engine. Media artist/classical guitarist/researcher/Composer/Sound artist. He specialised in Baroque and Contemporary music, combined audio-visual techniques to live electronics performance. Presenting his experimental work often use natural Number, patterns and texture (between voice and build-in modular synthesis). Studied the classical guitar performance and music Pedagogy at Fontys hogeschool voor de kunsten/ArtEZ hogeschool voor de kunsten (Netherlands).

Further Afield Nikki Sheth | University of Birmingham | Birmingham, England Further Afield is a response to the composer’s personal space, using a combination of guitar studio recordings and site specific field recordings taken around the composer’s home, the piece explores the use of field recordings within the genre of acousmatic composition. The piece explores the different sound worlds, taking the listener on a sonic journey through the space that weaves together natural field recordings and more abstract sound material, exploring how the two work together to create a sonic world. Nikki Sheth is a composer currently pursuing a PhD in Electroacoustic Composition at The University of Birmingham following an MA in Electroacoustic Composition at The University of Manchester and a BA in Music at Oxford Brookes University. Her main focus is site-specific multichannel soundscape composition and she has had extensive field recording experience, collaborated with visual artists and has had experience creating interactive installation works. Her work has been performed as part of the Sonic Art and Diffusion Festival in Oxford in 2012, the Sonic Arts Fusion Festival in Salford, 2014, at MANTIS, 2014 and as part of BEAST: Envision 2016. She has curated a Late Night at Manchester Museum in 2013, taken part in the Women In Sound/ Women On Sound Symposium in Lancaster in 2015 and went on a Field Recording Workshop with Chris Watson and Jez riley French in July 2016. Most recently, she has been an Assistant to the SOUNDkitchen sound walks that took place as part of the Invisible Places Festival 2017 in the Azores.

The Taxidermied Water Hana Do + Kiwon Jeon | Seoul, South Korea Sound and Art thought the other drama bring about the new perception in the contemporary. After the invention of loudspeaker, in the field of the electronic music, the effect of spatialization has become more and more one of the crucial technic system. It asks us to re- think time and space for perception into the sound. And the new artistic drama for perception will be rewritten. In the process of this exploitation and discovery, the works of collaboration between sound and image gives us more opportunity for new something. We would like to try to create the new sound and video drama that’s not a movie neither audiovisuel media. We hope that it’s just a new perception. Synopsis: A man and a woman are trapped in the water. When the water surrounds me and the darkness surrounds me, I fear ... You will wrap me warmly. When the water surrounds you and the darkness surrounds you, you are in horror ... I will wrap you warmly.So we are taxidermied to each other. Taxidermied: I dream forever. The taxidermied water: You and I who dream forever (diluted « one » as water) Image technic: The images filmed project on the water. These images will be taken again by camera. The mise en abyme is the principal technique through the all process of making video : Camera work, Editing and After effects, etc. Sound technic: Realization of sound immersion in the circle form of diffusion with eight loudspeakers. The sound spatialization isn’t only obtained by the localization and the technical effect. It is also realized by the construction of the musical texture like the instrumental music. Although a main sound resource will be limited to the voice of a man, the deep and rich sound immersion will be well realized due to elaborate the composition of musical texture.

FRIDAY, MAY 12 | Inegrate II, Theatre | 13.30-15.30


Hana Do + Kiwon Jeon | Seoul, South Korea

Do.Hana (Composer) - She began piano at the age of 6. She studied composition at the SUN-WHA high art school for three years in the South Korea. Then, after obtaining the licence of the music- composition at the EWHA Woman’s University in Seoul, DO. Hana decided to continue her studies in France where she earned hers diplomas of composition and orchestration at the conservatory in Boulogne-Billancourt with the mention marked “Very Well” under the direction of Jean-Luc Hervé (Composition), Pierre Farago (Orchestration) and Yan Maresz (Electro-acoustique) in 2013 then graduated the licence of the music-musicology at the university Paris Sorbonne in 2015 and she is currently a master candidate in music electro- acoustic at the university Paris-Sorbonne with the subject of spatial music to a global vision under the direction of Marc Battier. In 2017, Israel, in April, the multimedia work «I wonder that calls us?» for Soprano, Violin, Cello, Piano, Electronic sound and video will be presented for the festival Vox Feminae. In 2016, she presents the quintet «Burning Moment» for Flute, Bb Clarinet, Violon, Cello and Piano for the VIPA festival in Spain with NOMOS Group. In 2015, she was one of the winners in the flame of the ‘Tactus as a composer-in-residence during the 6th international Forum for Young Composer organized by the Musiques Nouvelles Ensemble (Dir : Jean-Paul Dessy) in Belgium. Her music has also performed in France and Korea. Jeon.Kiwon (Visual Artist) - After the study of cinema in South Korea, he has moved to Paris for his diploma-Editing and Special Effects at the École supérieur d’études cinématographique in Paris. To learn in-depth, about images and movies, He decided to continue his studies at the university Paris 8. In the period at the Paris, he has participated in many of film works as editor and colorist. He also directed his own films. Among his films, the short film «Very Bad Coma» is selected one of the 50 finalist in the video contest organized by Mayor of Paris. Through the short film animation «DEFENSE», He received the 4th prize in the video contest organized by « Réseau Sortir du nucléaire » in 2012. In 2016, He is made the short experimental film « Labyrinthe » that collaborate with composer, Hana. DO. Since this work, they are collaborating on music and video. Their other collaborative work, as multimedia work «I wonder that calls us?» will be presented in 2017, Israel in April, for the festival Vox Feminae. He is working on the scenario for his another fiction movie.

Articulate IV, Cinema | 16.00-18.00 Ultimate Live versus Recorded Investigations Peter Self | Canterbury Christ Church University | Canterbury, England The advent of internet based music technologies has advanced faster than expected with music streaming overtaking downloading as the music delivery method of choice for many consumers of all demographics. The author’s long term research is looking into the valuing of music, both monetarily as well as aesthetically and as entertainment. One element of this is to try to determine the changing perceptions in audio quality given a revival, on the one hand of vinyl and on the other, high resolution streaming platforms equalling and in some cases surpassing traditional CD quality. The value of music to listeners and copyright royalty collection is under increasing scrutiny heightened by a significant increase in streaming based music delivery options mirrored by an accelerating reciprocal decrease in downloads and CD sales. The LVR Days (Phases One and Two) project is part of a larger research PhD investigating how music is valued monetarily as well as artistically and for entertainment. This research will support and inform this wider debate and the development of alternative delivery and remuneration strategies (e.g. blockchain technology, automated micropayments as well as possibly new but more traditional physical products). The LVR Phase Two event focusses on recording in extremely high resolution a live music performance in front of an audience, the research subjects. The recording is played back and copies made encoding the audio into various lower quality delivery formats and methods. The audience will hear this range of recorded versions with the inclusion of the piece being performed live a second time in randomised order. There is an acoustically transparent screen drawn between the audience and the performers such as to minimise the possibility of audience bias. Further minimisation of test variables and to increase rigor, individual electronic polling using tablets is employed and at times listening will be conducted with eyeshades. Microphones are extended frequency response Schoeps and monitoring is PMC with recordings made at 192 kHz 24 bit resolution. This sequence concludes with voting, data gathering and discussion. The entire process is called a ‘performance’ and there are a number of performances with different participant demographics, listening experience levels and musical genres. The prime live music source will be the playing, recording and subsequent playback of an automated player piano (a Yamaha HX with Disklavier) which is designed to address issues relating to listening bias (e.g. visual clues, collusion, mistake repetition etc.), repeatability, cross genre capability. LVR Phase Two with the Yamaha piano is focusing on electronic tablet based polling and questionnaire based quantitative and qualitative data collection plus a number of qualitative oriented recorded interviews and audience seminar discussions. This dataset forms a major part of the researcher’s PhD evidence and its methodology will exist as a set of concepts, tools, methods and materials informing and supporting the wider issues of the value of recorded music to consumers discussed in the PhD. The paper will present outline the four day process taking place mid-February and present the findings to date. Senior Lecturer (Music, Arts and Culture Management) teaching on various undergraduate and postgraduate courses/modules including Music Industry Fundamentals, Digital Music Futures, Entertainment Law and MA in Arts and Culture Management supervising Year 3 POP dissertations where Music Industry orientated, coordinator for C3U Records in-house record label and C3U Media Live Streaming. 3yr. research project for Microsoft into pirate and counterfeit product and media resulting in specific MS product development, implementation and training. Acted as trainer in digital audio quality control in industry including UK, Europe and the USA for various manufacturers and trade organisations (Sony, Universal, EMI, IFPI, RIAA, IRMA etc.) 12 year owner/operator experience of running multi-genre record label together with studio and location recording facilities subsequently sold to Decca Records’ Argo division. Management of various small and medium teams developing industry related content and products. Developing various record labels’ recording, marketing, sales & distribution transitional strategies. Extensive advanced knowledge and developmental skills relating to music media technologies ranging from traditional analogue audio and film recording, editing and reproduction to current computer workstation/server based video and audio creation, processing, product delivery and quality control. Expert in audio quality assessment and analysis - developed software product 'AudioCompare'. CEO of 40 year old company, Webber Tapes, specialising in audio quality standards and test products, anti-piracy and counterfeiting detection and control. Extensive knowledge of past, current and developing media formats, both physical and electronic. Currently undertaking PhD in Music Access, Delivery, Value and Monetisation.


16.00-18.00 | Articualte IV, Cinema | FRIDAY, MAY 12 Mon coeur appartient à Dada David Jason Snow | The Juiliard School | New York, New York

Ennui is the death of freedom. Ennui is the death of creativity. Ennui is the death of passion, of life, of sense, and of revolution. Ennui is counter-revolutionary. Death to the counter- revolution. Death to oppression. Death to those who slavishly parrot slogans. Yes, death to us all. We are cows, the lot of us. Mooooooo. Long live ennui. Live without time. Art is dead, do not consume its corpse. Yes, consume its corpse, yum-yum. It is forbidden to forbid. Happiness is the new idea. Beneath the paving stones, the beach. I am a poet of the street. Poetry is of the street, like a pile of shit. Long live poetry. Long live shit. Long live decay. Workers of the world, have fun. Power to the imagination. The compositions of David Jason Snow have been performed in concert by the Ensemble Intercontemporain at the Centre Georges Pompidou in Paris, the New Juilliard Ensemble at the Museum of Modern Art in New York, the American Brass Quintet at the John F. Kennedy Center for the Performing Arts in Washington, D.C., the Harvard Wind Ensemble at Sanders Theatre in Cambridge, Massachusetts, the Yale University Band at Woolsey Hall in New Haven, Connecticut, and other artists and ensembles at venues in the United States, Europe, Asia and Africa. His Das Lied von der Magnetosphäre was one of ten electroacoustic works selected by MAARBLE, the European-American space research project, as winners of its “Sounds of Space” musical composition contest. Snow has also been the recipient of composer fellowships from the National Endowment for the Arts, grants from the Maryland State Arts Council, an ASCAP Foundation grant, student composer awards from BMI, and composition prizes from Musician magazine and Keyboard magazine, and he has been an artist resident at Yaddo in Saratoga Springs and the Millay Colony for the Arts in Austerlitz, New York. He holds degrees in composition from the Eastman School of Music when he was awarded the Bernard and Rose Sernoffsky Prize, the McCurdy Prize, and the Howard Hanson Prize, and the Yale School of Music where he was awarded the Frances E. Osborne Kellogg Prize. Snow currently resides in New York where he is a reference librarian at the Lila Acheson Wallace Library at The Juilliard School.

May I Take Your Picture? Amir Zaheri + Rebecca Salzer | University of Alabama | Tuscaloosa, Alabama This film, “May I Take Your Picture?” is part of a series of collaborative works by composer Amir Zaheri and choreographer/filmmaker Rebecca Salzer created in response to the global crisis of forcibly displaced people. In May, 2016, Rebecca and Amir traveled to Greece, where they visited the unofficial refugee camp at Idomeni. 12,000-15,000 refugees were trapped on the border of Macedonia, where they had been stopped on their journey through Greece and into northern Europe. Three days after this footage was recorded, riots broke out in the unofficial refugee camp, and police responded with tear gas and rubber bullets. Ten days after this footage was recorded, police evacuated and bulldozed the camp, relocating fewer than half of its residents to official government camps. The other residents of this temporary camp fled into the neighboring fields, and fell off the official radar. Rather than a documentary, this is an impressionistic response to one place and one moment in time. We hope it adds texture and dimension to the audience’s understanding of this human crisis. Amir Zaheri is Assistant Professor of Composition and Director of the Contemporary Music Ensemble at the University of Alabama. Zaheri is the recipient of numerous commissions, prizes, performances, and publications at regional, national, and international levels. Additionally, his works are recorded and released on prominent labels. His compositional interests are wide-ranging and include classical chamber and large ensemble art music, electronic music, popular music, multimedia art, opera, and musical theatre. Zaheri's teaching at the university level reflects his own expansive compositional interests. Students that Zaheri mentors are being recognized at both national and international levels, and obtaining prizes and performances by esteemed artists and ensembles. Rebecca Salzer is a collaborative and multi-disciplinary art-maker. Her recent work for the stage has been seen at Links Hall Chicago, Highways Performance Space and Gallery in Los Angeles, and The La Jolla Playhouse. Her award-winning films and videos continue to be programmed in national and international venues. Rebecca Salzer Dance Theatre produced live work and films in San Francisco from 1992-2006, where it received support from the California Arts Council, the Berkeley Arts Council and private and corporate donors. Rebecca is a Jacob K. Javits Fellow. She holds a B.A. in Humanities from Yale University and an M.F.A. in Dance Theatre from the University of California, San Diego. In 2014, she joined the University of Alabama faculty as Assistant Professor of Dance.

(Dis)Simulation and Anonymity in Female-based Vocal Groups Rachael Finney | Department of Visual Cultures, Goldsmiths | London, England Largely uncredited as individuals but rather named only by their group moniker many of the performers associated with what has been understood as the ‘girl groups’ active during the late 1950s and 1960s maintained at best only partial visibility and audibility. This lack of visibility and audibility is further enhanced by the interchangeability of vocalists by record labels and producers whereby the re-organization or replacement of vocals (recording) and personnel (performance) was common. The displacement of voices and bodies in this way causes a double rupture, as reclamation for either party can never be fully realised. This paper aims to discuss how experiencing this material whether live or mediatized merely works to amplify the division between the visible and audible. Figures are seen yet not heard; yet the silencing of their voices is applied via the voice of another who in turn is visibly obscured by the presence of bodies via performance. The paper questions this complicated relationship between the visible and the audible and wonders whether each aspect acts to cancel out the presence of either party whereby constant obfuscation of one by the other means that neither can be realised. This making unknowable in addition to the invisible movement of voices and bodies further destabilizes the listeners’ ability to hear who is speaking but rather maintains the division between a unique voice coming from a unique body. By using material presented under the group monikers of The Andantes, The Crystals, The Supremes and The Ronettes the paper will pose new possible ways of ‘hearing’ this material and consider questions around the voice as sonic material, (dis)simulation, and anonymity. Rachael Finney is a London based artist and and PhD candidate at Goldsmiths College, University of London (Visual Cultures Department). Her work deals with the material aspects of voice as it sits outside of language, and the relationship between listening, voice and the body. Working primarily in sound, video, installation and performance, her work investigates the material qualities of the human voice, often dissecting it and dividing it from language in order to interrogate it as a new acoustic object. Finney also records and performs under the moniker R Elizabeth and has released several recordings including Season of Error (2015) on WhereToNow? Records.

FRIDAY, MAY 12 | Articulate V, Cinema | 16.00-18.00


Prismes électriques – hommage à Sonia Delaunay Antonio D’Amato | Salerno, Italy

This piece is a tribute to the naturalized French artist Sonia Delaunay, co-author of the simultaneous contrast theory with her husband. This piece is a personal transposition into music of one of Delaunay’s paintings dated 1914: Prismes électriques. The piece comes from a personal research regarding the possible integration of figurative arts and music in a synesthetic process. The key word was simultanéisme: a technique and a theory where one design or colour, when placed next to another, affects both. That contrast generates a sense of movement and rhythm. I used some pictures of this painting – mainly enlargements of details – thus obtaining short sound elements through an audio synthesis software which made it possible to create sounds from images. The single fragments of sound were then put together and elaborated, overlapping them several times so as to create a dense sound textures in which the audio spectrum appears first decomposed and then reorganized so as to bring out each element by contrasting it with the next ones: a study within the theory of simultaneous contrast. He graduated at conservatory in Piano, Harpsichord, Music for Multimedia, Music Pedagogy and Electronic Music. He also studied Composition for eight years, Bassoon for three years, Baroque Organ, Audio Engineering, Ondes Martenot in Strasbourg and Paris, and later Sonology at ESMUC in Barcelona. Some of his instrumental works are published by Forton Music, U.K. His first electronic composition was selected for a performance during the ICMC 2012 Conference. In summer 2015 he was trainee at ExperimentalStudio des SWR in Freiburg, and in 2016 at ZKM in Karlsruhe. His works have been performed in Australia, Austria, Belgium, Brazil, Canada, Germany, Greece, Italy, Japan, Mexico, Slovenia, Sweden, Taiwan, UK and USA.

Tai Kong Wenxin Cui | University of Glasgow | Glasgow, Scotland

This project used Pro Tools to compose the audio files and used Adobe After Effect to generate the visual image. Finally, I used Adobe Premiere to edit different segments together, synchronizing sound and image, and did some final color correction. The first section called ‘Transform’, I used star glow effect as background to make a scene of the universe, accompanied by the agglomerative form, changing plexus, optical flare, geometric anomalistic ball, and 3D particles. Then a huge particles explosion leads the audience to the second section ‘Moving’, which I applied 3D dynamic textural background, accompanied with 3D water flow animation, flying particles, 3D stoke effect, optical flare, and particle morphing. This piece has some distinctive visual components, imaginative visual objects mapped with the sound, and the audiovisual relationship which was carefully considered in this composition. Moreover, the sound materials invoke a range of images and spaces, also, making full use of the full spectral range, apply both low and high frequencies. In addition, the background sound is spatial, which mapping with the background animation gives the piece more depth. Wenxin Cui is a postgraduate student at the University of Glasgow, majoring in MSc Sound Design and Audiovisual Practice. She comes from China and holds two undergraduate degrees: BA Recording Arts (Communication University of China Nanjing (CUCN)) and BSc Music Technology (Coventry University). She has received scholarships every academic year and was awarded the University-level ‘Triple-A’ Outstanding Student of CUCN and Outstanding Graduate of CUCN. She has participated in many school organisations, including the Youth Volunteer Association of CUCN, secretary for the CUCN School of Arts Troupe, and played GuZheng in School of Arts Troupe Folk Music Group. She has volunteered at the Ministry of Culture, Qingdao World Horticultural Exposition, and the opening ceremony of the Jiangning Nanjing Cultural Bureau. As an intern at Qingdao Universal Group Studio, she gained experience in festival organisation and programming.

Concert III, Theatre | 19.30-21.30 Improvisation Gaspar Peralta | University of Baja California | Tijuana, Mexico

The performance explores the possibilities of sound processing in real time through the use of hardware, the construction of a timbric mist as from different layers of loops and extended durations, its timbre manipulation and the generation of textures that propitiate immersion, observation and space for the listener. Composer, pianist and sound artist. His work flourishes through different sound-creation exercises; free improvisation, electronic music, composition and sound installation. As an instrumentalist, he specializes in polyphonic work interpretations and contemporary music. His work has been showcased in experimental sound-creation based Festivals as well as contemporary music festivals: Music and Musicology International Festival, 10th Edition; Mutek Mx Internacional Digital Creativity Festival, 13th Edition. He holds a bachelor degree in Music performance (Piano) by the Universidad Autónoma de Baja California.

The Lunatics Have Taken Over Our Asylum Alison Beattie | University of Glasgow | Paisley, Scotland An electroacoustic soundscape generated from the live sampling of a trio of acoustic instruments playing from notated sheet music. The recorded material will then be manipulated using Max patches in an improvisatory way and presented to the audience using the 8 channel diffusion sound system. This piece will explore integration of hardware in the form of acoustic instruments, microphones and laptop with software patches to create the soundscape. A fully immersive improvised sound world will be created live and is likely to be a unique experience never to be repeated. This piece has an unashamedly political theme which typifies the composer’s aesthetic. Although impossible to determine the imagery induced in the listener’s mind it is hoped the allusions will be thought provoking. Irresistibly drawn by the pull of music Alison Beattie left a career in Chemistry to embark on the long journey towards becoming a Composer and Sonic Artist. Alison is currently undertaking a Masters in Composition (MMus), by research, at the University of Glasgow. Her area of study combines writing for acoustic instruments with field recordings exploiting the spectral properties of both sound worlds. She is delighted to be supported by Dr Drew Hammond and Professor Nick Fells in these respective areas. Alison believes music to be a powerful medium for breaking down barriers and bringing people together from different sectors of society including age, race and political views. She has, and continues to play saxophone in numerous community bands, orchestras and ensembles and is one of five directors for “Music for People”, a summer school which offers a vast range of playing, singing and composing opportunities for adult learners.


19.30-21.30 | Concert III, Theatre | FRIDAY, MAY 12 Mixed Modes / Clear Signals Russell Wimbish | University of Edninburgh | Edinburgh, Scotland

As an introvert working in the performing arts, I have come to believe that playing music requires a balance between conflicting characteristics of the personality. On the one hand, gregarious qualities associated with extroversion are needed to engage and communicate with an audience. While essential, this outward display often feels unnatural and more akin to playing a role. On the other hand, I cannot immerse myself too completely in this role, as I rely on introversive evaluation to assess the sincerity and merit of my performance in real time. Nor is this balance confined to the stage. Finding interest for my work and promoting my output does not come naturally. To adopt a role that allows me to do these tasks and still engage honestly with my creative impulses makes it seen as if the ‘performance’ has been extended beyond the parameters of the concert. In this way, not only does art reflect life, but life adopts strategies developed from the performative act. Mixed Modes/Clear Signals was conceived as a representation of the struggle between a natural inclination towards introversion and an exigency of extroversion. It is comprised of three short themes each followed by an improvisatory development. The three themes are composed within the Ionian, Dorian and Phrygian modes. These modalities were selected in reference to Plato’s Republic, which determined that the Ionian mode was not suitable for a strong society, the Dorian mode promoted courage and the Phrygian mode promoted moderation and contemplation. For the purposes of this piece, these modes represent introversion, extroversion and balance respectively. Reference to Plato does not denote a musical indebtedness to antiquity or an existing philosophical school. It is only to convey that issues of balance within oneself are a timeless concern. Russell Wimbish is a bassist, composer and educator living in Edinburgh, United Kingdom. Born in Jackson, Mississippi, U.S.A., he studied at the University of North Texas, where he had the honor of learning from Lynn Seaton and Dr. Jeff Bradetich. Focusing on creative improvisation, he received a B.M. and M.M. from the world-renowned UNT Jazz Studies program. Concurrent with his university studies, he had the opportunity to perform with many the exceptional musical artists active in the vibrant Dallas/Fort Worth music scene. In this setting he began his informal study of music with alumni of the bands of Maynard Furguson, Duke Ellington, Stan Kenton, Buddy Rich, and Red Garland. While many of these musicians were not known outside of the Dallas area, the nightly gigs with these great players would be an invaluable learning experience. Relocating to New York City in 2005, Russell worked extensively in a diverse range of projects. His activities in NYC included long form experimental composition, chamber orchestras, electro-acoustic solo pieces, free form jazz fusion, straight-ahead bebop, singer-songwriters, musicals, and indie rock. In 2016, he began PhD studies at the University of Edinburgh. His areas of research include graphic score interpretation, improvisation and communication in performance.

Shamanic Exsude for Bodhràn, live sampler, scratcher, and visuals Frédéric Mathevet + Célio Paillard + Matthieu Crimermoish | Institut ACTE umr8218 (Paris 1/CNRS) | Paris Performance pour bodhràn, scratch et sampleur. Shamanic Exudes is the fruit of a collaboration started three years ago, for the first evening L'Autre musique. A scratcher manipulates two augmented vinyl turntables, an instrument of music and drawing invented by the artist Matthieu Crimersmois in 2007. Indeed, it is also a telecran (drawing machine) whose projected drawing involves a dialogue with a percussionist, Frédéric Mathevet, who receives part of the drawing on the skin his instrument. He interprets the traces (scratching, rubbing, typing ...), as much as it conditions the drawing of the scratcher and the sounds that it produces. A kind of graphic score appears. The set is handled, triturated, pushed to the limits of the breakdown by work in real time on two samplers by Célio Paillard. Frédéric MATHEVET defines himself as a visual artist and composer. Is part of the editorial board of the magazine L'Autre musique. Matthieu CRIMERMOIS has been practicing scratch for over 10 years. Since his studies at the Beaux-Arts in Nantes, his work focuses on the relationship between sound and image. Célio PAILLARD is a member of the editorial committee of the magazine L'Autre musique. Visual artist and graphic designer, he participated in the CMDE publisher.

Virtual Sphere Incarante Colin Frank | Ottawa, Canada Hello, my name is Altenblpc. Rather than identify as a human being I prefer to introduce my Internet avatar: I am an incandescent floating sphere. Since the disintegration of the physical world (due to environmental destruction and institutional obsolescence) I now navigate a virtual one; a pristine and open-source reality established for all of humanities needs. Experiences such as hiking through nature or attending orchestral concerts, impossible in the real world, are easily accessible here, and, in my humble opinion, have been greatly improved beyond the original model. It is better demonstrated than explained, so let me take you on a brief tour through this virtual space. Colin Frank is a Canadian percussionist, composer, and electronic musician born in Ottawa. Trained orchestrally, but influenced by a variety of genres, Colin specializes in contemporary music. A double major music graduate from McGill University (CAN), and having studied electronic music at the Institute of Sonology (NL), Colin has performed notably with the National Youth Orchestra of Canada, the Sonology Electroacoustic Ensemble, the McGill Percussion Ensemble, and the McGill Symphony Orchestra. His compositions have been presented internationally by The Red Note Ensemble (UK), Lights Out Listening Group (UK), 315 Ensemble (UK), and Framework Radio (online), among others. Colin is an active improviser, having built and played electronically extended percussion in the Oorsprong curators series (NL) and the CTM festival's Hacklab (DE). He has performed and composed in festivals including the Nief-Norf Summer Festival (US), the Summer Institute for Contemporary Performance Practice (US), the Bozzini Quartet's Montreal Creative Music Institute (CAN), the SoundSCAPE new music festival (IT), and the Internationale Ferienkurse für Neue Musik (DE). // As a scholar, Colin is interested in interpreting graphic notation, human extension through technology, Canadian history and culture, and multimedia's performance practice. He recently has been searching for alternative performance venues to bring avant-garde art to a wider audience. Aside from music, Colin enjoys cycling, camping, traveling, and good home cooking.

Sound Thought is an annual festival of music and sound research, composition, and performance run by postgraduate students from the University of Glasgow. Sound Thought presents a unique opportunity for postgraduate researchers by providing them with a platform to present their research in a collaborative, interdisciplinary environment alongside the work of contemporary practitioners. Sound Thought 2017 marks the 10th anniversary of the festival, having been initially established in 2007.

SOUND THOUGHT SOUND THOUGHT SOUND THOUGHT SOUND THOUGHT SOUND THOUGHT SOUND THOUGHT SOUND THOUGHT SOUND THOUGHT SOUND THOUGHT SOUND THOUGHT The theme, “Labora[R]tio: Collaborate, Articulate, Integrate“, will be explored by exhibiting the work of postgraduate researchers, academics, and contemporary practitioners, contextualized by themes pertinent to the creative process exploring the intersections of music, sound, and other artistic genres. The Committee would like to thank: Ainslie Roddick, Kenny Christie, the CCA Staff, Steve Reid, and Gareth Vile.

Funding generously provided by the University of Glasgow Collaborative Research Award and the Hope Scott Trust. Sound Thought 2017 Committee: Kevin Leomo, Lina Tobler, Ela Orleans, Hannah McGrath, Wenxin Cui, Andrew Rae, Hannah Newham

Brochure Design: Kevin Leomo ‘Sound Thought of Music’ Design: Ela Orleans