SOUND THOUGHT SOUND THOUGHT 2016 Dialogues: Sound and Music across the Arts
GLASGOW UNIVERSITY’S ANNUAL FESTIVAL OF MUSIC, SOUND, PERFORMANCE & RESEARCH
CCA, MARCH 30 - APRIL 1 soundthought.co.uk
SOUND THOUGHT FESTIVAL 3day program SCHEDULE Klaus Pinter
Lars Lundehave Somewhere in Time Victoria Karlsson Paul Nataraj GNME
Saxaphone Solo performance
Sounds fresh sprung frae Italy lecture/recital rehearsal
Immersive Soundscapes to 13:30-13:50 elicit Anxiety in Exposure Therapy paper presentation
the Harp’s Aillie Robertson Unpacking Cultural Baggage lecture/recital 13.1.91 Sandra Kazlauskaite multichannel installation GNME rehearsal
fri april 1st
The Sounds Around: Enagement, Research, Claudia Archive in soundmaps Hollanda + presentation Pedro Rebello
Metronic paper presentation
Minima Maxima & Maxima Minima a/v multichannel presentations
Performative practice in the spatialization of an acousmatic work: a didactic proposal paper presentation
Vector Lakes a/v performance
Is That a Bird? a/v presentation
Film Score a/v performance
At the House of Mr.X 19:30 - 22:30
Dialogues with the GLEAM festival @ Theatre Violence performance
Luci Holland + Dance of Whispered Truths interactive game performance 19:50-20:10
Kyle Stewart Rahma Khazam Sounding out Architecture paper presentation Craig Ritchie Allan
Horizons a/v performance
Four LFOs a/v performance
Gong Song performance 20:20-20:30
Ronan Breslin Adolescent Nuclear Angst… 20:40-20:50 multichannel performance Iain The Closing Ceremony Findlay-Walsh multichannel performance 21:10-21:20
Plexus a/v presentation
Terminal Velocity performance
In relation and halfed, fogged and funny Rebecca Wilcox performance
16:00 - 18:00
Speech 2 a/v presentation
The Daemon Lover: A Song for Soprano & Cello 16:15-16:30 performance
Dialogues with the GNME Ensemble @ Theatre Kevin Leomo The Reef Score
A Small Timequake a/v presentation
Juan Carlos Vasquez
Collage 3 (After E. Ysaye) a/v presentation
The Deep Sea Light a/v presentation
Jessica A. Rodriguez & Rolando Rodriguez GNME
Currents of Exchange Performance
[back to [p.] lost] Score
Blending Nomad Sound 17:30-17:50 and Images paper presentation open workshop
19:30 - 21:30
Dialogues in Text & Voice @ Club Room Francesc Marti
Excavating MUSYS: A media-archaeological invesFrances Morgan tigation into early computer 14:05-14:35 music paper presentation Laurence Chan
The Year Above (P1) a/v presentation
Dialogues in Architecture @ Cinema
Sonic Autoethnography: 14:00-14:20 recording and composing selfhood paper presentation Birdworld performance
Hrisey sound map installation
16:00 - 18:00
10:30 - 12:30 13:30 - 15:45 Sound Sanctuary @ Theatre 13:00 - 13:30 Dialogues with Sound in Landscape Dialogues in Digital Aesthetics @ Cinema 13:30-14:00 Maja Zeco Lori E Allen & Placing Sonic Dialogues 10:30-11:00 Worming Out of Shit theatre cinema performance Rachel Pimm performance-lecture
Two Twittering Boxes lecture performance
JSHUA & Oliver Sabin
Orient/occident: from alternative analyses to live performance paper presentation
thur march 31st
Extensions +1 performance
Shimmer multichannel creative lab, 2nd fl sound sculpture installation
Soupir Bleu a/v presentation
Jim Bevington Sketches for a Boring Dystopia cinema
10:30 - 12:30 13:30 - 15:30 Sound Sanctuary @ Theatre 13:00 - 13:30 Dialogues about Society @ Club Room Dialogues in Musicology @ Cinema
If Sigmar Polke Dreamt of Sheep a/v installation
19:30 - 21:30
Dialogues with the LUX Scotland @ Theatre
These Places Should Only 16:00-16:20 Ever Be Imagined club room performance
Phono-graphical art:Sculpting & 14:30-14:50 cinema Simone Dotto Drawing Sound in the Early Avant-gardes paper
club room foyer
The Sound of Visual Art paper
Giulio Colangelo A new approach to the musical 14:00-14:20 cinema & Valerio De Bonis form in sound installation paper
You Sound like a Broken Record
13:30 - 15:30 Sound Sanctuary @ Theatre 15:30 - 16:00 16:00 - 18:00 Dialogues in Visual Arts Dialogues with the Pipe Factory
wed march 30th
closing recital concert by GNME ensemble
PROGRAM NOtes eNSeMBLE REHEARSAL @ Theatre, 2nd fl
GNME Ensemble | Glasgow, UK
Mar 30 & Mar 31 10:30 - 12:30 & 13:30 - 15:30 | Apr 1 10:30 - 12:30 Glasgow New Music Expedition will rehearse four newly commissioned works by selected composers for Sound Thought 2016, with an open workshop on Friday afternoon. The festival will conclude with their final performance on April 1st, 19:30 - 21:30. GNME’s mission is to commission, perform and create new works primarily from young, Scottish-based or Scottish-trained composers and artists alongside work from international artists and to take this new work to the People of Scotland.
Installations and Fixed Media SOMEWHERE IN TIME
Lars Lundehave Hansen | Copenhagen, Denmark club room | Kinetic Sculpture
Somewhere in Time consists of a series of turntables that challenges time in a very radical way. The turntables, which are beautifully crafted in dark-stained MDF has more in common with sculpture than musicality and will only play Tyrolean music at the sluggish speed of 4RPM. The work has been on display in Gorzow (PL), Copenhagen (DK), Venice (IT), Madrid (ES) and New Delhi (IN). Typically, Lars’ works are engineered sculptures, making a point of being constructions that emit or react to sounds or noise. He also co-founded organization Noisejihad and was a catalyst behind Danish renowned drone-act Wäldchengarten. Artist graduated from Jutland Academy of Fine Arts in 2006. In 2011 he recieved a Honorary Mention in Digital Music &Sound Art at Ars Electronica for his installation-work Spiderbytes.
Klaus Pinter | Austria
club room | Instructive DIY Performance Art prints animate the audience to try out dance steps. Paper, music, dance... The viewer can take the prints away and/or fit the pieces together. A glowstick scultpure serves as the instructions’ dispenser. Klaus Pinter (b’68) is a Vienna-based artist, master of gestures, interactions and audience communication. He has exhibited internationally in a range of mediums.
Victoria Karlsson | London, UK clubroom passage | Installation
Pages consists of a number of books, that have been read by the artist, paying particular attention to inner sounds. Any sentences, words or paragraphs in the books that trigger an inner sound during the reading have been marked. The books act as a sketchy map of the artists’ inner sound world. They also invite the audience to listen inwards, to discover their own inner sound world, inspired by the books and the traces of inner sound found within them. The piece investigates an undercurrent of inner sounds within our every day lives, thoughts and emotions, attempting to bring it to the surface through the interaction with the work. Victoria Karlsson is a sound artist interested in the emotional aspects of sound and art. She is currently undertaking a PhD Research Degree at the University of the Arts, London.
Amina Turner | Glasgow, UK
clubroom | Interactive Installation
With a great interest in our relationship to sound & spatiality, interactive work Soil challenges the way we confront to sound/installation and try to bring the audience into a stronger consciousness and physicality of the sound. Amina Turner (b’91 Geneva) is a cross-disciplinary artist : she first studied the Visual Arts at La Cambre in Brussels, working on site-specific installations including sound, ceramics and painting and then went on to further her practice with a MA in Sonic Arts at the University of Glasgow.
you sound like a broken record
Paul Nataraj | Blackburn, UK foyer | Sculpture
Artist’s practice uses the vinyl record as a site to interrogate people’s personal relationship to this object, and the potentials of the materiality of the ‘thing’ itself. Volunteers donate records for this work and I record their personal stories about their disc. These narratives are then hand etched onto the surface of each disc creating a palimpsest that indelibly connects the owner and object. Working in Blackburn, Lancashire, Paul Nataraj has been writing about, teaching about and manipulating sound for the last decade. Now artist is engaged in PhD research that enmeshes oral history, ethnography, composition & sculpture and critical musicology.
PROGRAM NOtes DARK ROOM SOUND SANCTUARY @ TheatRE, 2nd fl | 30 MIN
Shauna Cummins & Morgan Yakus | New York, US
Mar 30 15:30 - 16:00 | Mar 31 13:00 - 13:30 | Apr 1st 13:00 - 13:30 | Interactive Performance
This performance will leave the participants literally ‘in the dark’ about what they will be experiencing. The sanctuary provides a calming reprieve from the outside world as the participants step in. Enabling the visitors to hear without sight creating an internal vision that allows the sound to become more in focus. It will serve as an opportunity to hear & see the language of the visitor’s own mind & body as sound and metaphor as the participants will be guided into the theta brainwave state. This state allows for the processing of syntax and semantics to intersect and interact within an expanded state of creative imagination. Shauna Cummins & Morgan Yakus havecome together to form UNLIMITED a collaboration of hypnosis-inspired projects which include performances, salons and workshops
Dialogues in Visual Arts | Mar 30 | 13:30-15:30 the sound of visual art
Sandra Kazlauskaite | London, UK
Mar 30 | 13:30 - 13:50 | cinema | 20 min | A/V Presentation
Audiovisual essay/paper presentation, which explores the issues of creating and experiencing sound in contemporary visual art. It scrutinizes the processes of auditory technological mediation, and questions how the notion of all sound, including noise, voice, and silence, plays out within the architectures of the white cube environments. Sandra Kazlauskaite is a researcher, artist, and curator working across the disciplines of sound performance, sound and video installation, as well as audio-visual curatorial projects. She is undertaking a research by practice Ph.D (CHASE, AHRC funded) at Goldsmiths, University of London. Using sound & video installation art, Sandra is creating an in-depth conceptual research into the embodiment of sound in contemporary installation art gallery spaces questioning how aurality, in its techno-phenomenological ubiquitousness, affects our aesthetic experience of art. Her works has been exhibited & performed in Lithuania, UK, Norway, Germany & The US
A NEW APPROACH TO THE MUSICAL FORM IN SOUND INSTALLATIONS: [RE]BO[U]NDS & THE COMPOSITION IN REAL TIME
Giulio Colangelo and Valerio De Bonis | Potenza, Italy
m Mar 30 | 14:00 - 14:20 | cinema | 20 min | Paper Presentation
Paper explores new aesthetic of sound installations as a tool for real-time composition. It focuses on role of the composer who does not renounce a well-defined compositional form, and on computing applications created in order to assist this approach. Artists will also introduce the installation performance [re]BO[u]NDS, developed at the ZKM in Karlsruhe in 2012, as well as the use of an original electromechanical system: a real live performer able to play, read, and autonomously interpret the compositional structure. Giulio Colangelo + Valerio De Bonis are 2 contemporary composers and intermedia artists, graduated cum laude in “Electronic Music Composition”. Their works have been exhibited in several international contests and they have recently worked at the “ZKM”, during a residence project. Honorary mention at ICMC2013 (idea - Perth), Currents (New Mexico 2013), and Synchresis III (Spain 2013), Grand Prize at the Hollywood Screenplay Contest (LA 2014), ICMC 2014 (Athens), Pas-e#1 (Venezia), NYCEMF 2014 (NYC), Elctrain de Nuit (France Musique), TEF2015
PHONO-GRAPHICAL ART. SCULPTING & DRAWING SOUND IN THE EARLY AVANT-GARDEs
Simone Dotto | Turin, Italy
Mar 30 | 14:30 - 14:50 | cinema | 20 min | Presentation
Paper aims at mapping the phono-graphical models proposed by some exponents of the early avant-gardes during the two first decades of the 20th Century in Europe. The objective of presentation is to demonstrate in which ways these various attempts of visualizing and embodying sound by technical means descend from a wide techno-cultural process and to argue that these experimentations marked a decisive step in the modernist perception of audio technologies, emancipating from their original task of shifting from a reproductive to a productive function. Simone is a PhD Student at the University of Udine with a research project “A theory of the sound object. Discovering phonography in media culture of the 20th Century”. He is also contributor for historical Italian music magazines and journals
if sigmar polke dreamt of sheep
Kira Belin | Glasgow, UK
Mar 30 - Apr 1 | All Day | foyer | A/V Installation
A/V collage based on interpreting artist Sigmar Polke’s experiments with colour. Kira Belin (b’85) multidisciplinary artist currently enrolled in the University of Glasgow’s MM Sonic Arts program. Her research is focused on the relationships between sound and image With background in visual arts, she later studied Film Scoring at the Juilliard School of Music 4-5
Dialogues with The Pipe Factory | Mar 30 | 16:00-18:00 these places should only ever be imagined
Isobel Anderson | Belfast/Brighton, UK
Mar 30 | 16:00 - 16:20 | club room | 20 min | Performance
Installation documents a week spent walking on the Isle of Harris in Aug 2014 and combines fixed audio, live performance and visual projection. Through these elements, the piece takes the audience through the artist’s daily experience of the island. Whether through the remnants of abandoned villages, or the permanence of hilltop Cairns, 4 sites encountered probe questions of mortality and forgetting, memorial and deterioration. The work examines relationships between ruin and survival, the remote and the fetishized, and body and identity. Isobel is a musician, performer and sound artist from Sussex. In 2010 she was awarded an AHRC Scholarship to study for a PhD at SARC, which she completed in 2015. Isobel has released three albums, which have been played on BBC Radio 2, Radio 3, BBC 6 Music, and The Guardian’s Music Podcast. Performances to date include The SF Tape Music Festival 2015, Glastonbury’s Acoustic Stage, The Secret Garden Party, and The International Conference on Emotional Geographies, Edinburgh, and her writing has been published in The Journal of Sonic Studies and The Journal of Artist Books.
Ben Nigel Potts | Huddersfield, UK
Mar 30 | creative lab space, 2nd FL | All Day Installation | opens 10:30 Shimmer is an installation examining the relationship between sound, sculpture and space. The work features a quadraphonic electronic sound piece and a visual fabric sculpture. The piece uses sound as sculpture material by utilising it’s potential for physicality and spatialisation. The audience is invited to walk around the installation space, and as they do so, their perception of the sonic piece will change and adjust according to their movement. The fabric shimmers in the light as the audience move around the sculpture, therefore visually imitating the sound piece with audience movement. Ben Nigel Potts is an artist exploring the relationship between sound and sculpture through live performance and installation art. He is completing his PhD at The University of Huddersfield supervised by Prof. Michael Clarke & Prof. Monty Adkins. Artist has presented at Electric Spring Festival 2015, INTIME Conference 2015, Space Sound Play 2015 and The Toronto International Electroacoustic Symposium 2015.
Making Passers Buy - Sketches of a Boring Dystopia
Jim Bevington | Glasgow, UK
Mar 30 | 16:45 - 17:00 | cinema | 15 min | Performance
Drawing cues from Mark Fisher’s collaborative project Boring Dystopia, this piece contrasts our perception of the modern soundscape with the inspiration provided by the industrial-mechanical noises of the early 20th century. Using field recordings and generative algorithms, this piece attempts to overpower the Boring Dystopia by reformulating it as music and poking fun at its inanity and malfunction. The loosely structured work is generated by a semi-autonomous musical system that can perform the work independently or in tandem with the composer. No performance is entirely identical. Listeners may make their own contribution to the performance via a live microphone. Uttered responses to the work become absorbed within it, joining a cacophonous fabric of human noise. Jim Bevington is a sound designer and composer based in Glasgow. In recent years, his work has been driven by an interest in the interaction between the restraints of human cognition and the vast possibilities of computer music. Jim is currently a postgraduate student on Digital Composition and Performance MSc programme at the University of Edinburgh.
George Cloke | Sevenoaks, UK
Mar 30 | foyer | All Day | Installation | opens 10:00
In Sept 2015, artist spent a month in Hrísey, Northern Iceland. Known as “the pearl of Eyjafjörður”, Hrísey is home to just over one hundred people, a variety of birds and beautiful mountain scenery. Over the course of the month, George set out to create a vivid and distinct sound map of his time on the island. Hrísey focuses on exchanges between nature and community which exist on the island. Slowly evolving and transforming, the composition aims to aurally reflect moving from Hrísey’s inhabited south to the stark and windswept north. To strengthen the listener’s understanding of this enchanted island, artist Greg Harris provides an abstract visual accompaniment to the piece. This installation aims to engender dialogues between music and field recording, nature and community, and artist and listener. George Cloke is a sound artist from Kent, UK. As one half of ambient/electro duo Team Morale, George’s work has been featured on BBC Radio 1 and 6 Music. His work is informed by dichotomies between organic and electronic instrumentation and conceptual concerns of nature and industry.
Dialogues with LUX Scotland | Mar 30 | 19:30-21:30 Soupir Bleu
Christian Eloy | St Dizier, France
Mar 30 | 19:30 - 19:45 | theatre | 15 min | A/V Presentation
Multichannel Audio visual composition scored by Christian Eloy to a video by Krunoslav Pticar. Soupir Bleu is a loose interpretation of Marc Vappereau’s installation at Sous La Tente gallery in Bordeaux. Christian was born in Amiens (Fr) where he studied flute, chamber music, conducting and composition at the regional Conservatoire & at the Paris National Conservatoire. For 24 years composer managed electroacoustic composition department of the Bordeaux Conservatoire and workshops at the Ina-GRM/Paris. Christian is the founder of SCRIME research and creation studio in the University of Bordeaux 1. Artist was awarded “ François de Roubaix “ prize.
the year above (p.1)
Patrick Ward | London, UK
Mar 30 | 19:50 - 20:00 | theatre | 10 min | A/V Presentation
Part of a trilogy of films exploring how subjects, identities and cultural objects are constructed, defined & configured through their relationships with technical means of communication. Part 1 brings together processed found footage with an intricate soundtrack constructed of layered concrete sound & field recordings that reflects the shifting dynamics of remoteness and intimacy. Patrick Ward is an artist working primarily with sound and moving-image technologies. He is an associate lecturer at University of The Arts London where he is head of the Moving Image Research Group based at Camberwell College of Arts. Graduate of The Slade School of Fine Art, University College London (MFA). His works have been shown at Centre des arts actuels Skol, Montreal; Mala galerija, Museum of Modern Art Ljubljana; Holly Bush Gardens, London; Shift Festival of Electronic Arts, Basel
JSHUA & Oliver Sabin | Edinburgh, UK
Mar 30 | 20:05 - 20:35 | theatre | 30 min | A/V Performance
This work explores the reconfiguration of one’s mental schema in spatial, structural, orientational, and embodied terms, as a result of digital technology, specifically instrument-mediated perception, and how this alters our direct experience of the physical environment. JSHUA has recorded in train stations and subway networks in Kyoto, Tokyo, Berlin, as well as capturing sonic conversions of Electromagnetic fields around Glasgow and Edinburgh’s transport networks. Visual artist Oliver Sabin collaborates with projections of abstract environments, blending physical models with images & concepts obtained alongside the audio recordings. JSHUA is a UK-based composer/sound artist. His debut work ‘Kyoto.Realism(s)’ saw release on NY record label Driftless Recordings as part of their second compilation album DFSII.Oliver Sabin is a visual artist based in Glasgow, and currently a student of GSA
IS THAT A BIRD?
Feronia Wennborg | Glasgow, UK
Mar 30 | 20:40 - 20:50 | theatre | 10 min | A/V Presentation
Is that a bird? is a one-shot documentary which explores the significatory and material dimensions of sound in relation to image. The work is part of a larger body of practical research investigating the affective and narrative roles of sound mediation in documentary, and how attention to sonic materiality can suggest alternative modes of filmic expression. Feronia Wennborg (b. 1989, Stockholm) is an experimental film maker based in Glasgow. She has a Master’s Degree in Sound for the Moving Image from Glasgow School of Art, and has previously studied at Stockholm University of the Arts and the Royal College of Music in Stockholm.
Richy Carey | Glasgow, UK
Mar 30 | 20:55 - 21:05 | theatre | 10 min | A/V Presentation
Film Score is a research film that is part of a collaborative project with the Rhubaba Gallery Choir. Through a series of workshops we have explored both the visual properties of sound and the sonic potential of visual stimulus, as well as the physical motions of the body in sound production. This film is part of ongoing research and features images from Oskar Schlemmer’s Das Triadische as re-imagined by the Bavaria Atelier GmbH, ultrasound readings of the choir’s vocal tracts by Fabienne Westerberg and Benesh movement notation. This process is part of artist’s PhD research into the phenomenological language of audiovisual music. Richey Cary is an audio visual composer. His work in this field has led to him being awarded the BAFTA Scotland New Talent 2015 award for composition (Lichtspiel: Opus I), programming a series of events for Glasgow Film Festival 2015 as well as awards from IdeasTap & Arts Trust Scotland (All at Sea)
At the House of Mr. X
Elizabeth Price | London, UK
Mar 30 | 21:10 - 21:35 | theatre | 25 min | Film Screening
A film by internationally acclaimed video artist Elizabeth Price. Film At the House of Mr X takes as its subject the home of an anonymous art collector, designed and built in the late 1960s. Only briefly inhabited, the House and its contents remain immaculately preserved 6 -7
Dialogues in Musicology | Mar 31 | 10:30-12:30 Extension + 1
Seth Rozanoff| Glasgow, UK
Mar 31 | 10:30 - 10:45 | cinema | 15 min | Performance Extensions +1 is a composition for sampler, drum-machine and laptop. It has been arranged for two players, Seth and Jamie Russom. The total sound complex relies on a variety of instrumental samples, and very short noisy samples, where both players can improvise with those samples. Player II also has the ability to make changes within the Max presets of Player I as well. The dialogue between the players comes from the efforts of joint real-time decision making, resulting in an indeterminate musical direction in performance. Seth(USA) is a PhD candidate at The University of Glasgow in the School of Culture and Creative Arts supervised by Nick Fells. He has had residencies at STEIM, University of Utrecht, EMS-Stockholm, Experimentalstudio-Freiburg, and a future residency at SWR-Freiburg as well. Seth was a past recipient of a Fulbright Scholarship to the Netherlands.
Orient/occident: from alternative analyses to live performance
Massimo Vito Avantaggiato | Milan, Italy
Mar 31 | 10:50 - 11:05 | cinema | 15 min | Presentation
This presentation provides an alternative analysis of Orient/Occident , commissioned by UNESCO as music for a film by E.Fulchignoni, which describes the development of civilizations. Cultural backgrounds are evoked by Xenakis through various timbres and specific rhythms, a wide range of unusual sound sources are used, from the sound of a violin bow drawn over various objects to sounds from the ionosphere, and an excerpt from Xenakis’ work ‘Pitoprakta’. We’ve underlined some specific ideas of this composition, the composer’s originality in Xenakis production and in the history of electroacoustic music. Massimo Avantaggiato is an Italian sound engineer and composer. He has an honours degree in Electroacoustic Composition from “G.Verdi” Conservatoire in Milan and a degree in Sound Engineering.Finalist in some composition and video competitions, he has recently participated in: NYCEMF 2016 (New York, USA), Csound Conference 2015, ST Petersburg, Russia; LINUX Audio Conference 2015, Mainz, Germany.
Christian Ferlaino | Edinburgh, UK
Mar 31 | 11:10 - 11:40 | cinema | 30 min | Performance
The saxophone solo is the first practical outcome of artist’s PhD research about the use of Calabrian music elements and techniques in a contemporary music domain. The solo is informed by the grammar, syntax and vocabulary of south Italian folk music in different ways. The music is built using both traditional and original music material. Through the use of extended saxophone techniques, Christian recreates a (semi)polyphonic environment which works as a framework for the variation of modules typical of the surdulina bagpipe. Christian Ferlaino is an Italian saxophonist, improviser, composer and Creative Music Practice PhD student at the Reid School of Music, University of Edinburgh. He graduated in MA in Discipline of Music, Art and Show at the University of Bologna and in Jazz at the Conservatory of Bologna (BA Hons and MA with distinction). He conducted a two-year ethnomusicological research on folk dance music in the area of the Madonna della Quercia Pilgrimage in Calabria. Artist now divides his professional and academic life between Amsterdam and Edinburgh.
Sounds fresh sprung frae Italy: interplay & friction between Corelli & 18th-cent Scottish fiddle music
Aaron McGregor | Glasgow, UK
Mar 31 | 11:50 - 12:30 | cinema | 40 min | Lecture-Recital
This lecture-recital will explore the interplay of styles, investigating how Italian music was absorbed into a localised idiom, and the ways in which different national styles were separated in performance. The paper will also reflect on the antagonistic effect of Italian music in 18th-century Scotland: the latter years of the century increasingly saw the two styles set in opposition with each other, with ‘Scots’ style described as the ‘natural’ foil to the perceived excess of fashionable Italian music and mainstream European culture. Aaron McGregor is a violinist and AHRC-funded PhD candidate at the University of Glasgow. His research focusses on the the violin in Scotland from its beginnings to 1750, exploring the early place and social functions of Scottish violinists, and the conditions that saw the violin emerge as a popular Scottish instrument. He plays regularly with Scottish early music group Concerto Caledonia, with whom he has performed alongside Rachel Podger in the Cottier Chamber Project, recorded an album of 18th-century Scottish dance band music, and performed live on BBC Radio 3’s In Tune. He has also performed with groups such as Dunedin Consort, Ludus Baroque, Oxford Baroque & the Glasgow Gamba Club
Dialogues about Society | Mar 31 | 13:30-15:30 13.1.91
Sandra Kazlauskaite | London, UK
Mar 31 | creative lab space, 2nd FL | All Day A/V installation | opens 10:30
Installation pursues to capture the affective depths of a historical political conflict Using an archeological media approach, it interrogates a specific event that took place in January 1991 USSR (now independent Lithuania) when USSR army tanks entered the country, killed 13 and injured around 1000 people. An archive of VHS material, captured by non-professional camera users who documented the protest, was collated throughout the course of the event. This installation seeks to dissect the a/v components of this immense archive, offering a historico-political intervention
Immersive Soundscapes to elicit Anxiety in Exposure Therapy
Jessica Argo | Glasgow, UK
Mar 31 | 13:30 - 13:50 | club room | 20 min | Paper Presentation
Author will present her research on use of sound in Exposure Therapy, a branch of psychiatry that encourages the user to confront their fears to ultimately overcome them, through habituation and catharsis exposure therapy, Presenter arranges intricate soundscapes to elicit social, body, violent, and phobic anxiety as well as sensory irritation. 35 participants were individually bombarded by these sounds panned across the 16 speaker Ambisonic array, whilst artist monitored their heart rate, sweat secretion & breathing rate to accurately pinpoint the induced moments of anxiety. Argo is a published Doctoral Researcher at the Glasgow School of Art, designing Ambisonic soundscapes to synthetically induce anxiety in listeners, to advance psychiatric Exposure Therapy beyond the established Virtual Reality visualisation, real-life and talking techniques
Sonic Autoethnography: recording and composing selfhood
Iain Findlay-Walsh | Glasgow, UK
Mar 31 | 14:00 - 14:20 | club room | 20 min | Presentation
In this presentation, artist will propose the usefulness of the term ‘sonic autoethnography’ to the discussion of his developing practice in sound art. This presentation will focus on recent works by the author, in particular the multichannel audio piece The Closing Ceremony. This piece consists of recordings made during the closing concert of a city-wide mega-event and combines recorded materials including field-recordings made by the author and audience uploads ripped from YouTube, to reflect on listener/subject-position in relation to an open-air concert. Through discussion of this piece artist will illustrate ways in which a sound art practice which takes on aspects of autoethnography, as embodied research methodology, can critically engage with the liminal space between music production and reception. Iain Findlay-Walsh is a composer and music producer who uses recording practices to research the relationship between auditory experience, music reception, and the everyday construction of selfhood. He is currently in the late stages of doctoral research in composition at the University of Glasgow.
Me, Claudius | London, UK
Mar 31 | 14:30 - 14:45 | club room | 15 min | Performance
The title Birdworld comes from a case study of domestic abuse in which a mother sought sanctuary at a theme park in order to escape her perpetrator and protect her child. The titles and text are an urgent instinctive response to the desperate yet dreamlike nature of the situation/environment A solo live performance by a member representing ‘Me, Claudius’.‘Me, Claudius’ is a UK based art collective formed in the summer of 2015, principally working in the field of sound and experimental music.The aesthetic & political ideologies they share manifest themselves in their work through recalling events and storytelling. From these (‘End-of-the-Line Folk’) stories we build compositions using field recordings, made/found instruments and unpredictable sound devices, layering and improvising these methods in live performance. Often the provenance and origin of the project is buried deep but that does not mean the audience is deceived by or excluded from any part of the process.
Unpacking the harp’s cultural baggage
Ailie Roberston | London, UK
Mar 31 | 14:50 - 15:30 | club room | 40 min | Lecture-Recital
Presentation focuses on the assumptions that are made about the instrument and its role that inhibit a fuller understanding of situations where contemporary performance techniques are applied to it. Ailie Robertson is a Scottish PhD candidate at Trinity Laban Conservatoire. Her PhD focusses on composing for harp in new ways, looking at tuning systems, extended techniquues and cultural issues. Winner of The Sofia International Composition Competition, the SCO Composition Prize, and the Oslo Grieg 8-9 Competition, Ailie has received commissions and awards from Creative Scotland, Enterprise Music Scotland and Celtic-Connections, along with residencies at the EIFF, BerwickSound & CALQ Montreal. Nominated ‘Composer of the Year’ in the STM Awards, and awarded a BBC Performing Arts Fellowship, Ailie has written for TV and theatre, and her work has featured on BBC R3, R2 and R-Scotland 8-9
Dialogues in Architecture | Mar 31 | 16:00-18:00
Dialogues with GLEAM Festival | Mar 31 | 19:30-22:30 Dance of Whispered Truths
Performative practice in the spatialization of acousmatic work: didactic proposal
Leonardo Cicala | Bari, Italy
Mar 31 | 16:00 - 16:20 | cinema | 20 min | Paper Presentation
During a concert the work of acousmatic performer is to adapt the “interior space of the work” to 3D volumes of the concert hall, that is the interpretative “outer space”. By using a device focused on multiplied stereophony, artist introduces a teaching method based on identifying, learning and interpreting a base set like moving close/ away, accumulation, crossfade, rift, solo, etc. These topics are covered & analyzed in the “Manuale di Interpretazione Acusmatica” paper by Leo Cicala, published in Italy by Salatino Edizioni Musicali in 2014. Leo Cicala is a composer, acousmatic performer & teacher. He studied sound projection to the acousmonium with Jonatan Prager and published the essay “Acousmatic Interpretation manual” in Salatino edizioni musicali 2014. Grand Prize winner “Bangor Dylan Thomas Prize” in the UK. His compositions are performed internationally.
Luci Holland & Mantra Collective | Edinburgh, UK Mar 31 | 19:50 - 20:10 | theatre | 20 min | Performance
Interactive game music production based on an pre-existing independent audiovisual game designed by Niall Moody, which operates through exploratory actions of the player using a special handmade console: the band have formed a loose system of improvisation to dynamically respond to the game and player/s. Project explores group improvisation & audience interaction with the game through a collaboration between Moody and Mantra Collective, an ensemble of musicians, artists and filmmakers who create live multisensory experiences with music for film, games and media. Led by composers Luci Holland & David Jamieson
Kyle Stewart| Glasgow, UK
Mar 31 | 20:20 - 20:30 | theatre | 10 min | Performance
Sounding out Architecture
Rahma Khazam | Paris, France
This piece presents a tightly-woven soundscape where natural & synthetic worlds fuse together to create a surreal sonic environment. The soundscape was created from convolving vocal, instrumental and electromagnetic sounds with rural and urban field recordings. Kyle Stewart is a sound and audiovisual composer based in Glasgow. He is a graduate of The University of Glasgow, having completed a postgraduate Sonic Arts degree in 2015
Mar 31 | 16:25 - 16:55 | cinema | 30 min | Paper Presentation
Architects rarely engage with sound - at most they are required to eliminate it. In this paper, researcher will explore ways of bridging the gap between architecture and sound or noise. Rahma Khazam is a British freelance writer, researcher and art critic based in Paris, France. She holds degrees in Philosophy (University of Edinburgh) and Art History (Sorbonne) and a Ph.D in Art and Aesthetics (Sorbonne). She has taught and lectured internationally on sound, art and philosophy and her writing has been published in artist catalogues and thematic anthologies, as well as in magazines such as Frieze, The Wire and Springerin. Rhama served as the editor-in-chief of Earshot (UK-based journal addressing the relations between sound, space and architecture) and co-curated a sound art programme at the Palais de Tokyo in Paris from 2008-2011. She is a member of AICA (International Association of Art Critics). Member of EAM (European Network for Avant-Garde and Modernism Studies).
Craig Ritchie Allan | Glasgow, UK
Mar 31 | 17:10 - 17:20 | cinema | 10 min | A/V Performance
Horizons is part of a series of works exploring topography, architecture, and the physical environment as a dialogue between sight and sound. This work is a minimal distillation of the boundary where land or sea breaks to sky. Sound and graphics are generative and perpetual, as unique digital formations give rise to an ever-changing soundscape. Under the banner of Numbercult, Craig Ritchie Allan is an audiovisual artist who explores communication between abstract sound and visual worlds using real-time audiovisual installations, interactive digital sculptures, and live performances. He has received worldwide recognition for his work including ‘Excerpt-T’, an audiovisual installation which featured in the Engine Room Festival 2011, celebrating the work of Cornelius Cardew; and ‘Cycles 720’, which was showcased in the Best of Animation/Film/VFX category at Ars Electronica in 2014. Most recently, Ritchie Allan delivered a live generative audiovisual performance of ‘Articulations’ at Cryptic Nights in Glasgow in 2015.
Four LFOs (2013)
Mark Rossi | Edinburgh, UK
Mar 31 | 17:30 - 17:40 | cinema | 10 min | A/V Performance
Four LFOs (2013) is a live acousmatic work that examines the architecture of a resonant body or space. Combining the spectral interference of four low frequency oscillators with the artefacts of psychoacoustic software (a deconstructed noise cancelling software patch), the performance will trace sine wave signals using an organic mixing process, achieving variations of spectral articulation from the LFOs and the laptop soundcard’s noise floor. Mark Rossi is a sound artist based in Edinburgh, Scotland. Producing works from a variety of media, his practice includes laptop improvisation and acousmatic composition. A graduate of Sonic Arts Research Centre, Belfast, Mark was awarded a Ph.D. in Sonic Arts in 2014 and has performed in conferences and art venues in Germany, Ireland and the U.K. His aim is to find new modes of listening through music composition, writing and performance.
Dialogues with GLEAM Festival | Mar 31 | 19:30-22:30
Jessica Argo | Glasgow, UK
Mar 31 | 19:30 - 19:40 | theatre | 10 min | Multichannel Performance
Violence extends the archetypal horror stinger into a prolonged Shaefferian music concrete. Counter-conditioning occurs when the listener is confronted with positive music coupled with abrasive material noises, rendering the listener less susceptible to panic attacks triggered by intrusive unpleasant sounds in everyday life. The soundscape’s gradual reduction of intensity is a hopeful metaphor: realistically, no-one is ever “cured” from anxiety - but given enough time and effort, the mind can become freer to realize positive attributes of the same stimuli, as negative voices eventually recede into the background.
Adolescent Nuclear Angst…Or how I Learned to Stick My Head Between my Knees
Ronan Breslin | Glasgow, UK
Mar 31 | 20:40 - 20:50 | theatre | 10 min | Multichannel Performance
Artist presents a personal childlike and irreverent audio-visual collage from Cold War propaganda archive footage and synthesised sound related to the existential nuclear threat we faced then and may yet face again. This AV piece will have resonance as a warning from the past as well as offering artist a chance to reflect on personal familial relationships. Ronan Breslin is an established TV, film and theatre composer. His writing credits include themes and music for many television networks programmes, as well as acclaimed scores for large-scale theatre productions such as UZ Productions’ “ Painful Creatures“, Tramway Theatre’s “Bisch, Basch, Bosch” and the Arches’ “Metropolis: The Theatre Cut”.
the closing ceremony
Iain Findlay-Walsh | Glasgow, UK
Mar 31 | 21:10 - 21:20 | theatre | 10 min | Multichannel Performance
Presented as a ‘concert within a concert’, the piece proposes listening as an activity of self-locating, and evokes shifting relations between auditory environment, media, composer and listener. 5.1 soundscape composition, which uses field-recording and editing strategies to reflect on the closing concert of a city-wide mega-event. By layering a diverse range of found and self-recorded audio of the same event - field recordings, official broadcast footage, youtube rips of found audience footage - the piece documents and re-presents the closing pop concert as an array of mediated subject-positions
Louise Harris | Glasgow, UK
Mar 31 | 21:25 - 21:35 |theatre | 10 min | A/V Presentation
Plexus is a part of a continuing exploration of simultaneous compositional process and the development of complementary sonic and visual forms on a micro- and macro-structural level. Louise Harris is an electronic & audiovisual composer. She is also Lecturer in Sonic & Audiovisual Practices at The University of Glasgow
Lars Lundehave Hansen | Copenhagen, Denmark Mar 31 | 21:45 - 22:10 | theatre | 25 min | Live Presentation
Terminal Velocity as a whole has an artistic, aesthetic and purely emotional impact on you, the listener. This impact eliminates the need to focus on anything but the sounds you hear and the visions it creates while you are listening. It is the culmination of many years of this approach from the artist’s side. A nearly architectural way of building floating landscapes in sound that seduce your mind to go drifting. Not by over-producing the different elements, but by downscaling, all in a dreamy tempo.
In relation and halved, fogged and funny
Rebecca Wilcox | Glasgow, UK
Mar 31 | 22:15 - 22:30 | theatre | 15 min | Performance
This spoken word piece looks at the productive possibilities of repetition, layering and choreographing speech. A loop pedal is involved in the process; artist is interested in its function (power, lack of agency) as a tool, the way it creates an impulse to treat her voice as a tool in parallel. The piece builds to form an ebb and flow of voice and pull at the tension between the non-verbal and verbal aspects of sound making. Rebecca Wilcox is an artist living in Glasgow. She works between writing, installation, audio and video. Recent exhibitions and performances include Accompaniment (EFA, New York), This Might be a Place for Hummingbirds (CCA, Glasgow), Through The Gap Increasing, with Amelia Bywater (Baltic 39, Newcastle) and several audio works for Radiophrenia, Glasgow 10 -11
Dialogues with Sound in Landscape | Apr 1 | 10:30 - 12:30 Placing sonic dialogues
Maja Zeco | Montrose, UK
Apr 1 | 10:30 - 11:00 | cinema | 30 min | Performance-Lecture
The aim of this lecture-performance is to discuss different perspectives and theoretical approaches in understanding place, and how this understanding could be reflected in sound scapes, taken from locations in Scotland and my home country, Bosnia-Herzegovina. The purpose of this dialogue is to problematise place in relation to sound art practice. Maja Zeco (b’87 in Sarajevo, Bosnia and Herzegovina) is an audio-visual artist, designer and VJ. In October 2015 she received a studentship for a practice-led Ph.D from the Scottish GraduateSchool for Arts and Humanities. Her topic is “Placing sound: The Role of Aurality and Visuality in Locating Identities”. She is based at Gray’s School of Art, Robert Gordon University, and the partner institutions hosting her Ph.D research are the University of Aberdeen, and Woodend Barn, Banchory.
TWO TWITTERING BOXES
Covadonga Blasco | Madrid, Spain
Apr 1 | 11:10 - 11:30 | club room | 20 min | Lecture-Performance
The Pointe du Hoc cliff turned out to be a strategic location for the success of D-Day on the 6th of June 1944. As a result of all the bombardment, the topography was transformed into a moonscape full of craters and marks of bomb impacts. The spatial intermediary applied to Pointe du Hoc is based on the creation of a dynamic visual image produced by listening. This image is made up of two realities held in boxes: landscape sound and the event sound. By fusing the components, the soundscape is formed as a virtual plane of projection of reality. It is in the dislocation of the sound in time and space realised by the sounds emerging from the two boxes, where the trap needed to prompt the displaced construction of the past soundscape contained in the craters of Pointe du Hoc is produced. Artist holds a Master’s in Advanced Architectural Projects (ETSAM- UPM, 2014). She is currently carrying out research into the aural dimension of the landscape: Tools, models and prototypes applied to interpreting the soundscape.
The sounds around: engagement, research, archive in soundmaps
Claudia Holanda & Pedro Rebello | Rio de Janeiro Apr 1 | 11:35 - 12:05 | club room | 15 min | Presentation
Although soundmaps emerged in the early 2000s, they remain undertheorized. Based on a survey of more than 50 soundmaps, we have perceived that these media can serve to aims like creation and diffusion of music and sonic archives; research and artistic activities on soundscapes and sound ecology and as platform for educative workshops about the sonic space, for example. By theorizing soundmaps from the wider perspective of digital storytelling and interactive documentary we aim to identify strategies for a more embedded and experiential approach to engaging and documenting with sound in everyday life. During her PhD Internship at Sonic Arts Research Centre in Queen´s University Belfast, she is currently developing a soundmap of the Port Area of Rio de Janeiro city using the Story Map JS tool.
Huw McGregor | Llangynhafal Ruthin, UK
Apr 1 | 12:10 - 12:30| club room | 20 min | Paper Presentation
This paper addresses the way space is used within Electroacoustic Compositions, focusing particularly on the inclusion of Soundscape field recordings. The implications of juxtaposing non-manipulated Soundscape recordings with more esoteric or abstract Acousmatic material within a piece will be considered with reference to my recent compositions. To do this, the paper will examine varied listening approaches and behaviors that are psycho-acoustically linked to environment, memory, and chemical behavior. Huw McGregor (b’76) studied performance and composition at the Welsh Collage of Music and Drama, and then went on to further his studies with an MA for music for film and recording and editing at Bangor University North Wales. An accomplished ‘cellist and competition performer, he was presented with the Grace Williams Memorial Award for composition.
Dialogues in Digital Aesthetics | Apr 1 | 13:30 - 15:45 WORMING OUT of SHIT
Lori E Allen & Rachel Pimm | Glasgow, UK
Apr 1 | 13:30 - 14:00 | theatre | 20 min | Performance
A presentation by artist Rachel Pimm in collaboration with archaeological sound designer Lori E Allen. The work explores Pimm’s research into the roles of soil strata and landfill in the composition of the earth’s surface and Allen’s material excavations and distortions of found audio. Piece uses language and soundscape to hint at the instability that results from the aggregation of organic and man-made materials and our coexistence with naturally occurring architectures. Lori E Allen (b’75, St Louis) lives and works in London and Berlin. Allen received an MA from The Institute of Archaeology, University College London in 1999 and a BA in Anthropology and Classical Studies from NYU in 1997. Rachel Pimm (b’84, Harare) lives and works in London. Pimm received an MFA in Fine Art from Goldsmiths, University of London in 2013.
Dialogues in Digital Aesthetics | Apr 1 | 13:30 - 15:45 Excavating MUSYS: A media-archaeological investigation into early computer music
Frances Morgan | London, UK
Apr 1 | 14:05 - 14:35 | cinema | 30 min | Presentation
Writing critical and historical narratives of early electronic music creates particular challenges for the musicologist and cultural historian. In her presentation Frances will consider how Jussi Parikka’s proposal for software archaeologies can be applied to the study of early music software. Frances Morgan is a first-year research student at the Royal College of Art, London, currently undertaking a Collaborative Doctoral Award with the RCA’s Critical Writing in Art and Design programme and the Science Museum on the history of Peter Zinovieff’s Electronic Music Studios. The former deputy editor and current contributing editor of The Wire magazine, for which she has written major articles on Stockholm’s Elektronmusikstudion (EMS) and the composer and music technologist Laurie Spiegel, Frances has combined a career as an editor and journalist with academic research.
Minima Maxima & Maxima Minima
Laurence Chan | Glasgow, UK
Apr 1 | 14:40 - 14:55 | cinema | 15 min | A/V Presentations
Presenting 2 Video works that maintain a strong focus in visual music, sound art and audioreactive visualisation. In Minima/Maxima - the audio sources for this audiovisual composition are only ground hum and hiss - audio artefacts that are considered undesirable in fidelity. In Maxima.Minima - an alternate, hypnagogic, dystopian experience of popular music culture via minimalist compositional arrangement. Glitch as allegorical device for corruption. Laurence Chan is an audiovisual artist with a background in sound design and music composition (MA Music, University of Glasgow & MDes Sound for the Moving Image, Glasgow School of Art)Currently developing and exploring areas of glitch aesthetics in a synchronous audiovisual realm - utilising a fusion of both analog and digital glitching methods.
A Small Timequake
Cissi Tsang | Perth, Australia
Apr 1 | 15:00 - 15:10 | cinema | 10 min | A/V performance
A Small Timequake is an audio-visual piece created during a Supported Residency at Bogong Centre For Sound Culture in Victoria, Australia. Field footage was taken of the area, and selections of the videos were converted into HEX. The HEX was then converted into notes that became the composition. A Small Timequake is a contemplation on the power of water - and also, the power of time. The work explores the nature of change and time, and how despite the circular nature of time itself on a macro level - on a micro level, we can still affect change on our environment. Born in 1982 in Hong Kong, Cissi Tsang is an emerging cross-disciplinary artist living in Perth, Australia. Her work explores organic interactions between artist and data, and is an audio-visual experience that combines sound converted from data with visualisations and field footage. She is a PhD candidate at WAAPA (ECU) and holds a MCDArtDes from UNSW.
Collage 3 (After E. Ysaye)
Juan Carlos Vasquez | Helsinki, Finland
Apr 1 | 15:15 - 15:25 | cinema | 10 min | A/V Presentation
Collage 3 is part of a series of experiments conducted to prove the digital capabilities of tone expansion in a single acoustic instrument. In this particular piece, the composer recorded an original performance of Eugène Ysaÿe’s Sonata No. 3 for solo violin, and reinvented the audio files deconstructing the piece as a collage, using different and complex kinds of digital audio processes to create a post-modern electroacoustic version of the original sonata. Juan Carlos Vasquez is an awarded Helsinki-based composer, sound artist and researcher at the Media Lab Helsinki, Aalto University. His artworks have been premiered in 23 countries on 4 continents.
THE DEEP SEA LIGHT
Nick Turner | Fort William, UK
Apr 1 | 15:30 - 15:45 | cinema | 12 min | A/V Presentation The Deep Sea Light is a multi-media surround sound project designed to reconnect audiences with Scotland’s underwater marine environment. The programmes consist of four discrete performances each of about 12 minutes in duration. They combine hydrophonic recordings, convolved recordings, bio music, traditional and contemporary music to synthesize the underwater marine environment. Nick Turner has been working in the music industry for over twenty five years. At Watercolour Music he has been responsible for innumerable recordings across several genres. He has represented the Watercolour label at industry events in Europe and America and is a respected member of the Highland industry forum, HAIL. He is also a prolific songwriter, collaborating with singer Findlay Napier, as Queen Anne’s Revenge. 12-13
Dialogues in Text & Voice | Apr 1 | 16:00 - 18:00 SPEECH 2
Francesc Marti | Leicester, UK
Apr 1 | 16:00 - 16:10 | club room | 10 min | A/V Presentation Speech 2 is an experimental audiovisual piece created from a series of old clips from the US broadcast public affairs interview program The Open Mind. This piece is reflection on the action of communicating, highlighting its limitations, and can be labelled as “text-sound-art”, or “text-sound-composition” in an audio-visual framework. Francesc Martí is a mathematician, computer scientist, composer, sound and digital media artist born in Barcelona and currently living in the UK. He has a bachelor’s degree in Mathematics from the Independant University of Barcelona, and two master’s degrees, one from the Pompeu Fabra University in Digital Arts, and the other in Free Software from the Open University of Catalonia. He also obtained a scholarship for furthering his studies in Music Technology at IRCAM (Paris). Simultaneously, he studied music at the Conservatory of Sabadell, where he obtained the Professional Title of Piano with honours.
The Daemon Lover: a song for soprano and cello
Richard Barron | Glasgow, UK
Apr 1 | 16:15 - 16:30 | club room | 15 min | Performance ‘O where have you been, my long, long love, This long seven years and mair?’ ‘I’m come to seek my former vows Ye granted me before.’ Song for soprano and cello: Soprano - Nora Holden, Cello - David O’Connell. The text of the song is taken – selectively – from a Scottish ballad of the same name. In the song, the singer takes all three voices that figure in the poem – the woman, her lover and the narrator. The cello, reflective, lyrical and dramatic, plays an equal part. After early retirement from a career in education, Richard returned to university to study music. At the moment he is a postgraduate student of composition at Glasgow University. His main current interest is setting Scots poetry.
currents of exchange
Kate Brown | Sydney, Australia
Apr 1 | 16:40 - 17:10 | club room | 30 min | Performance
Kate Brown will present a performance lecture focusing on experimental voice practice and the sounding body. The processes ‘the body’ undergoes during a vocal performance are acknowledged by representing the body as a machinic entity via sound to combine present actions and potential connections within a continuum. Kate Brown is a Sydney based artist and musician who is a current Masters candidate at Sydney College of the Arts. Kate’s focus is situated in experimental voice practice and performance where she analyses the functions and structures of the body/object to explore ways of remapping space and time. These working methods help to explore ideas of the body’s relationship, potential and extension in an environment outside of itself.
Blending nomad sound and images
Jessica A. Rodriguez and Rolando Rodriguez Guizar | Morelia, Mexico Apr 1 | 17:30 - 17:50 | club room | 20 min | Paper
The researcher does not consider emerging artistic practices like New Text, Generative Text, Landscapes Text, Expanded Cinema, and Expanded Readings as new artistic expressions. This is because as prehistoric men we always had a communication need. Though we didn’t have any specific language code as we do now, we had guttural sounds, corporal gestures, and skills to use primitive technology to generate images like cave painting or petroglyphs. Today, we are bringing back those tribal expressions and updating them. It is not nostalgic. It’s that we are recovering what we already call “nomad image”. The image is nomad while it is linked to sound. A sound is an image because it’s been traveling and activating our collective and individual memory. We can lose the written language (for instance the Alexandrian Library). We can even lose the language itself if we were mute or deaf. However, we do not lose our communication skill because we have to communicate each other. The presentation explores how sound and images are dialoging today. Jessica A. Rodrguez works at The Mexican Center for Music and Sonic Arts and studying a Master in Arts at the Guanajuato. Rolando Rodríguez Guizar studied Pedagogy and Communication. He is currently enrolled in a Master’s program in Contemporary Art. He has produced and negotiated cultural proj-
Dialogues with GNME: concert | Apr 1| 19:30 - 21:30
The festival concludes with a concert by Glasgow New Music Expedition performing four new works written for Sound Thought 2016. Glasgow New Music Expedition is an ensemble drawn from some of the best emerging Scottish-based or Scottish trained classical musicians with a few more experienced individuals alongside. They are led by conductor Jessica Cottis and violinist Mieko Kanno. GNME supports composers at all stages in their development and especially look to the nurturing of new and young talent. It is the ensemble’s belief that the only differences between established composers and those beginning their journey are time, experience and training. The festival committee worked closely with GNME artistic director Richard Greer to select four composers to write new works for Sound Thought 2016 from our call for scores. The final concert will take place at the Theatre Space in the CCA. The REEF
Kevin Leomo | Glasgow, UK
For Bb Clarinet, Violin, Viola and Cello
Kevin Leomo is a Scottish composer currently undertaking an MMus under the supervision of Professor Bill Sweeney and Dr. Jane Stanley at the University of Glasgow. He writes primarily for acoustic instrumental forces. Kevin recently participated in the CoMA composers’ course with Alasdair Nicolson in Oxford and attended the RMA/BFE research students’ conference in Bangor. His works have been performed by Ensemble Okeanos, Red Note Ensemble, Ensemble Offspring and the CoMA orchestra.
REsident GNME Composer
Claire McCue | Glasgow, UK
Claire is a classically trained contemporary composer, collaborator and music educator based in Glasgow. She enjoys working on a wide range of projects and across art forms and recently won the 2015 Cottiers Chamber Music Composition Competition, performed by the RSNO (Royal Scottish National Orchestra) chamber ensemble. In 2015, Claire’s string quartet was shortlisted by the British Panel for World music day 2016. Recent commissions include a 35 minute composition for Marc Brew Dance Company new solo piece, premiering at Tramway in 2015, prior to a week at the Edinburgh fringe, Scottish tour and performance at Sadlers Wells, London, a SATB choral piece with solo clarinet for Old Saint Paul’s, Edinburgh, a collaboration with London-based visual artist Rachel Gadsden, short film-maker Abigail Norris and cellist Lesley Shrigley-Jones, for “Al Noor - Fragile Vision” at Bluecoat Gallery, Liverpool, a choral piece for The Mackintosh Choir, Glasgow. Other recent commissions include a music/dance/ visual arts collaboration for National Paralympics Day in London and a string quintet for The Astrid Quartet for Edinburgh Fringe Festival part of Made-in-Scotland series. Claire graduated from Royal Conservatoire of Scotland with Masters in composition (Distinction) and several prizes.
Martin Loridan | Paris, France
For Bb Clarinet, Violin, Viola and Cello
Martin Loridan is a French composer. He graduated from the Conservatoire national supérieur de musique et de danse de Paris (CNSMDP) and has studied with D. D’Adamo, B. Furrer, W. Rihm, A. Mabit, D.Cohen. His work includes chamber, orchestral and vocal music. He has equally been selected for the invitation to composer project (Paris, London - 2010-11) supported by the European Commission (DG Education and Culture), and for the Stony brook premieres (Stony Brook University, New York - 2013).His works have been performed worldwide: in Munich (Gasteig Philharmonie, Reaktorhalle), London (Royal Academy of Music, Guildhall School of Music & Drama), New York (Symphony Space, Stony Brook University), Pittsburg (Heinz Hall), Graz (IMPULS festival), Mexico city (International Forum of New Music “Manuel Enriquez”), Paris (Conservatoire national supérieur de musique et de danse, Palais de Béhague, Cathédrale Saint Louis des Invalides...), Tokyo (Senzoku Gakuen Maeda Hall), through Europe, America, Asia, Australia, by the Pittsburg Symphony Orchestra (PSO)
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Adrian Laugsch | Stuttgart, Germany
Adrian Laugsch is a polish-german composer and performer. He was born in Cologne in 1997. Since 2014 he has been studying with Prof. Martin Schüttler at the University of Music and Performing Arts Stuttgart. His works have been performed by renowned ensembles such as Ensemble Courage, Kammerensemble Neue Musik Berlin, Sinfonietta Dresden, Camerata Zürich, echtzeitEnsemble Stuttgart and Max Brand Ensemble Wien. he won the 2nd prize at the international Gustav Mahler composition competition Klagenfurt/Austria, the 1st prize at the composition competition Osnabrück/Germany and the Berio composition prize Wroclaw/Poland. 14-15
Sound Thought is the University of Glasgowâ€™s annual postgraduate sonic arts festival. Through a series of concerts, screenings, performances, discussions and workshops, the three-day festival shows how research and practice from a range of sound and music disciplines communicate across artistic canons. The festival draws artists and researchers from throughout the UK, as well as international contributors, and is particularly concerned with building bridges between academic institutions and broader arts communities. The Committe would like to thank: Ainslie Roddick, CCA Staff, Dr. Louise Harris, Glasgow University New Initiatives Fund, Richard Greer & Luca Nascutti. Sound Thought 2016 committee: Richy Carey, Kevin Leomo, Amina Turner, Eileen Karmy, Kira Belin, Dorian Bandy.
ÂŠ Art & design kirA belin
Sound Thought 2016 has been programmed in collaboration with LUX Scotland, the Glasgow Electronic and Audiovisual Music Festival (GLEAM), the Pipe Factory and the Glasgow New Music Expedition (GNME).