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Dr. Ricardo Climent – Lecture at Lancaster

Title: Interactive Sound Mapping and Metadata in 3D Virtual Environments.
Dr Ricardo Climent, The University of Manchester [MUSIC]. Director of Composition and the NOVARS Research Centre

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Dr. Ricardo Climent was invited to talk with music students at Lancaster University.
His lectured raised an awareness to the primacy of the ear to question visual dominance. Multi-sensory listening questions the materialism of the ‘acousmatic’ tradition. Can a visual medium reflect a listening experience using multi-sensory navigation through real and virtual environments? How can a sense of place directly affect the way we structure sound typologies? These questions are at the very core of his research into sound and image at the University of Manchester.

Ricardo Climent bio
My research focuses on the articulation of structure and form in music composition and interactive media. The architecture of my musical works often employs mosaic-size sonic materials, which I have exposed across a wide range of outcomes. For example I have been involved in the creation of a number of collaborative projects, such as: The Microbial Ensemble, (sound installation performing microbes, with Dr Quan Gan); The Carxofa Electric Band (a children’s project with vegetables and Electronics with iain McCurdy); The Tornado-Project (a cross-atlantic set of works for flute, clarinet and computer for American wind virtuosi Esther Lamneck (clarinet) and Elizabeth McNutt (flute)); Drosophila Tour (a dance-theatre work of a blind fly with KLEM and Idoia Zabaleta); Hồ- a sonic expedition to Viet nam, (a 3D interactive interface project for planetariums),  project manager for S.LOW Projekt, (a large scale cross-disciplinary project in Berlin) and for LocativeAudio (.org), a project about sound, people and cities using smartphones, in partnership with NoTours, escoitar and Institutions in UK and abroad and timbila.org (started by maestro percussionist Miquel Bernat).In areas of academic service, since 2006 I serve as director of the NOVARS Research Centre, University of Manchester in UK and I previously held a lecturing position at SARC, (Sonic Arts Research Centre, Belfast). I have also served as resident composer and researcher at the JOGV Orchestra in Spain; Conservatorio of Morelia in Mexico, at Sonology – Kunitachi College of Music (Tokyo), the LEA labs, at the Conservatorio of Valencia, the Cushendall Tower – In you we trust – in Northern Ireland, at CARA- Celebrating Arts in rural Areas which is an Irish cross-border initiative, at N.K. Berlin and at the Push Festival in Sweden.In terms of education, prior to completing a PhD in Electroacoustic Music Composition and a Master of Arts in the same area (both at The Queen’s University of Belfast), I obtained a five-year degree in Economics at University of Valencia, Spain and another one by FUFAP, Alcala de Henares. webs:Weblinks –electro-acoustic.com – Projects compilation
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‘Mesh’ DIEM Electronic Media Project 2013

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In October 2013, I was lucky enough to take part in the 5x5x15 Electronic Media Project at DIEM (Danish Institue of Electronic Music) at the Royal Academy of Music, Aarhus, Denmark. The project commissioned five visual artist’s to collaborate with five composers currently studying at DIEM. I worked with Sebastian Edin a Swedish composer on composing a new audio-visual piece.

Prior to my visit to Aarhus, I created a sculpture from paper clips, plaster and formica (see pictures). The form was initially sketched-out using pen and paper, the resulting image eventually began to resemble that of a human body. The final sculpture using a modular design of objects that were inserted and positioned symmetrically onto a paneled surface. During the experience of hand-crafting the sculpture I became aware of the material differences of the physical properties, this knowledge is later translated into the digital domain. Once completed, the sculpture was filmed, photographed and then digitally transformed into a screen-based version.

Symmetry became a reoccurring spatial aspect in the convergence of real and virtual media. The dynamic malleability of the audio-visual medium reveals perceptual differences between consonance and dissonance. Composing music in this way becomes a translation of seemingly different modalities into a mutually comprehensible form.

The senses translate each other without any need of interpreter, and are mutually comprehensible without the intervention of any idea.
Merleau-Ponty, (1994) Maurice Phenomenology of Perception, London. pp. 234-235.

The result of the collaboration was Mesh and was premiered to the public in the chamber music hall at the Concert Hall Aarhus on the 5th November, 2013.

SonicInterMedia/NOVARS 2013

Had a fantastic time visiting ARS Electronica and the Anton Bruckner PrivatunUniverstat in Linz, Austria 13th – 16th October, 2013. I was there to screen my audio-visual composition Birth at ‘Deep Space’ within the ARS Electronica building. The venue features a ultra-high-definition imagery projection system in 16×9-meter format combined with a multi-channel sound system. The architectural design of the space, coupled with the latest audio-visual technologies, provides a unique platform to screen immersive audio-visual works.

During my visit, I presented a lecture, ‘Audio-Visual: A Sense of Language’ which focuses on the theoretical and practical concerns of the composition Birth. My NOVARS colleagues from NOVARS, Professor David Berezan and Constantin Popp, PhD candidate presented additional discussions on ‘An Overview of NOVARS Research’ and ‘Multi-Channel Stem Composition’.

The trip was made possible through a personal invitation from Professor Andreas Weixler of the Anton Bruckner University. A big thank you must also go to his partner Seh-Lien Chuang and the technical team for their support on the day of the concert.

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Turing – Morphogenesis 5.1 at Madlab, June 2013

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Invited speaker for the opening of ‘In The Mix HackSpace Weekend’ at Madlab, Manchester 07/06/13. Presented and debated compositional strategies of Turing – Morphogenesis 5.1 (2012). An acousmatic piece that conveys the propagation of sound entities perceptually anchored through the continued presence of their energetic characteristics within a multi-channel environment. Commissioned by the Department of Computer Science, the University of Manchester for the Turing 100 conference. The concept was inspired by Turing, Alan M., ‘The Chemical Basis of Morphogenesis’, Philosophical Transactions of the Royal Society of London, ccxxxvii (1952), 37-72.

Visualisation of Richard Scott’s ‘Several Circles’ (2013)

Several Circles is an stereo acousmatic piece in three parts taking as its starting point the 1926 painting of the same name by Wassily Kandinsky. It was mostly realised on a Serge modular analogue synthesizer though the piece was subsequently montaged and edited in a DAW but a bare minimum of subsequent digital processing were used. The electronic nature of all the sounds is not concealed; indeed the piece is a celebration of the instrument’s rather unique organic qualities and particularly its ability to suggest percussive transients characteristic of metal, glass and wood.

Composed in the composer’s studio in Berlin between June 2011 and January 2013.

The visualisation was coded by Mark Pilkington at Thought Universe Studios, Manchester June 2013. Pixels were extrapolated from an arbitrary image using audio convolution to create motion in 3D space. The image suggests spatial optical transitions within and beyond the screen. Built with Processing.

Thanks to Dr. Ricardo Climent for the use of Studio 2, NOVARS, the University of Manchester.

Peterloo 5.1 – Salford Sonic Fusion Festival March 14-24th 2013

Peterloo will be featured in the Salford Sonic Fusion Festival 2013.

Peterloo is a 5.1 sound composition inspired by a historical event that came to be known as ‘The Peterloo Massacre’, that happened in Manchester, England on the 16th August, 1819.

The sound material consists of location recordings captured from recent student protests held in Manchester 2010 and the rural the setting of Maccelesfield Forest, Cheshire in 2010. Historical transcriptions and archive sound recordings were gathered with the help of Dr. Robert Poole of the University of Cumbria, The Peoples Museum, Manchester, The North West Sound Archive and the British Library. The text transcriptions provided a narrative framework to structure the electroacousitc sounds. The soundscape recordings were sonically transformed using a computer and spatially arranged within a 5.1 loud speaker array. The spatial aspect of the composition considers the listeners position, reception and inclusion.

Salford Sonic Fusion Festival celebrates cutting-edge international explorations in contemporary music from across the globe and blurs the boundaries between avant-garde classical, experimental electronic popular and improvised music.

The School of Sound International Symposium 2011

Awarded a busary from Dolby Laboratories to attend the School of Sound International Symposium 2011. Attending the event informed my PhD research at NOVARS University of Manchester in audio-visual composition within electroacoustic music. SOS is an annual event offering a series of masterclasses exploring the art of sound in film, the arts and media.

Southbank Centre
London
27 – 30 April 2011


MANTIS 2011 – MANCHESTER’S SONIC META-ONTOLOGY PROJECT (PART ONE).

Mark Pilkington MANTIS 2011

‘Peterloo’ world premiere will feature in Manchester’s Sonic Meta-Ontology Project (Part One).
Festival Date: 5th March 2011

Place: John Thaw Studio Theatre, Martin Harris Centre for Music and Drama

MANTIS Sonic Meta-ontology encapsulates a number or newly created compositions, sonic events and ambisonics field-recording trips across the City of Manchester and the North West. The project will be showcased in two parts (5th March 2011 and 10th June 2011) in the form of concert events and experimental laboratories at Manchester University. It will also have alternative outcomes in other venues in town. ‘Manchester’s Sonic Meta-ontology’ will explore whether there is really such thing as a ‘Manchester sound’ and if so, what is it, can we experience it, and can we understand it? Substantive empirical investigation will be in partnership will local agents and artists in the region, which will look into the creation, identity, and survival of the real truth of Manchester’s Sound.

NOVARS