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.
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.
Birth accepted into the International Computer Music Conference 2013 (ICMC) Perth, Australia. The piece will be screened in the Acousmatic Concert Program 1, between 1 – 2pm on the 12th August 2013.
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.
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.