"Genova VII 2001" was created shortly after the G8 summit in Genova, July 2001. The sound-materials used in this piece are taken from a news report about the death of the protester Carlo Giuliani who was shot dead by the police while he was trying to attack a police car. Other sound-materials were recorded in the middle of the Comlumbus Circle in New York. :: Open Ear - Cardiff 13/06/08 :: On June 13th 2008, 8pm till late, Open Ear hosted a free one night only event of experimental work in the ATRiuM Theatre at the University of Glamorgan's newly built ATRiuM, Cardiff School of Creative & Cultural Industries, Cardiff, Wales (http://cci.glam.ac.uk/). Curated by Garrett Lynch (http://www.asquare.org/) the event presented a series of interdisciplinary performances and projections by various sound and visual artists / groups working across the areas of art, music, media and new technologies within live performance / projected contexts.

Tags: performance projection experimental art audio-visual electro-acoustic max/msp laptop event cardiff atrium georg boenn

Challis and Smith's piece brings together motion sensing devices ands live improvisation. Challis research area is designing interfaces for musicians and users with special needs. Here he uses the same technology to trigger, shape and control stored soundfiles whilst Smith works with live conventional instruments subtly skewed by a little bit of DSP (Digital Signal Processing). As a backdrop to this, both use various devices to create a wash of sound as a kind slowly shifting texture from which events can sometimes leap to the foreground. But as with all improvisation, none of the above may take place on the night. This is the 'music of whatever happens'. :: Open Ear - Cardiff 13/06/08 :: On June 13th 2008, 8pm till late, Open Ear hosted a free one night only event of experimental work in the ATRiuM Theatre at the University of Glamorgan's newly built ATRiuM, Cardiff School of Creative & Cultural Industries, Cardiff, Wales (http://cci.glam.ac.uk/). Curated by Garrett Lynch (http://www.asquare.org/) the event presented a series of interdisciplinary performances and projections by various sound and visual artists / groups working across the areas of art, music, media and new technologies within live performance / projected contexts.

Tags: performance projection experimental art audio-visual electro-acoustic max/msp laptop event cardiff atrium smith challis

Exploring radio waves on a world band analogue radio, the performance should be perceived as both a linear and non-linear journey progressively moving through the sonic space of broadcast wireless networks and the physical geographies and cultural spaces they both represent and permeate. The performance traverses and returns across a radio band, a technological interface, along linear trajectories. Sounds with no correlation between their representation on this band and their 'actual' location will be captured, layered, reworked, transformed within new media to create a cultural and social sonic dérive where all spaces exist simultaneously. :: Open Ear - Cardiff 13/06/08 :: On June 13th 2008, 8pm till late, Open Ear hosted a free one night only event of experimental work in the ATRiuM Theatre at the University of Glamorgan's newly built ATRiuM, Cardiff School of Creative & Cultural Industries, Cardiff, Wales (http://cci.glam.ac.uk/). Curated by Garrett Lynch (http://www.asquare.org/) the event presented a series of interdisciplinary performances and projections by various sound and visual artists / groups working across the areas of art, music, media and new technologies within live performance / projected contexts.

Tags: performance projection experimental art audio-visual electro-acoustic max/msp laptop event cardiff atrium garrett lynch

In Thaw the performers generate and manipulate sonic and visual materials using a feedback and feed-through model of data production. The pure noise emerging from the analogue hardware's own electronic circuits - the mixer loops - is analysed and elaborated in the digital domain and spatialised over loudspeakers. This 'no input' network generates complementary graphics, resulting in an abstract universe of sounds, colours and shapes derived solely from an electronic system's internal noise. :: Open Ear - Cardiff 13/06/08 :: On June 13th 2008, 8pm till late, Open Ear hosted a free one night only event of experimental work in the ATRiuM Theatre at the University of Glamorgan's newly built ATRiuM, Cardiff School of Creative & Cultural Industries, Cardiff, Wales (http://cci.glam.ac.uk/). Curated by Garrett Lynch (http://www.asquare.org/) the event presented a series of interdisciplinary performances and projections by various sound and visual artists / groups working across the areas of art, music, media and new technologies within live performance / projected contexts.

Tags: performance projection experimental art audio-visual electro-acoustic max/msp laptop event cardiff atrium

PrifArc56 is a realtime audiovisual compositional environment which allows you to manipulate audio within the visual domain, much in the same way as a image editing application. Audio is captured into a virtual canvas where it can be subject to a number of visual based effect processes. In this performance random errors and misrepresentations collated over cyclical recording events are fed into the software and straightjacketed into a audiovisual compositonal structure. :: Open Ear - Cardiff 13/06/08 :: On June 13th 2008, 8pm till late, Open Ear hosted a free one night only event of experimental work in the ATRiuM Theatre at the University of Glamorgan's newly built ATRiuM, Cardiff School of Creative & Cultural Industries, Cardiff, Wales (http://cci.glam.ac.uk/). Curated by Garrett Lynch (http://www.asquare.org/) the event presented a series of interdisciplinary performances and projections by various sound and visual artists / groups working across the areas of art, music, media and new technologies within live performance / projected contexts.

Tags: performance projection experimental art audio-visual electro-acoustic max/msp laptop event cardiff atrium paul adams

This work takes an earlier idea of extending multiphonics (two or more simultaneous tones and their resultant difference tones) across the length of a natural breath. The tuba is amplified to a distorted level via a small microphone sunken into the bowels of the instrument, and two cameras take a live visual feed, the two images being projected (via 2 projectors) left and right of the performer. The visuals will be extreme close ups of the dents and tarnished metal of the tuba itself. The dialectic between the two tones is reflected in a series of resultant dualities: - bodily tension between the need for breath and the sheer physical effort of sustaining the multiphonics; - visual tension between the performer and the two live feeds - sonic tension between 'stillness', 'speed', 'noise' and 'harmony'. :: Open Ear - Cardiff 13/06/08 :: On June 13th 2008, 8pm till late, Open Ear hosted a free one night only event of experimental work in the ATRiuM Theatre at the University of Glamorgan's newly built ATRiuM, Cardiff School of Creative & Cultural Industries, Cardiff, Wales (http://cci.glam.ac.uk/). Curated by Garrett Lynch (http://www.asquare.org/) the event presented a series of interdisciplinary performances and projections by various sound and visual artists / groups working across the areas of art, music, media and new technologies within live performance / projected contexts.

Tags: performance projection experimental art audio-visual electro-acoustic max/msp laptop event cardiff atrium matt wright

:: Open Ear - Cardiff 13/06/08 :: On June 13th 2008, 8pm till late, Open Ear hosted a free one night only event of experimental work in the ATRiuM Theatre at the University of Glamorgan's newly built ATRiuM, Cardiff School of Creative & Cultural Industries, Cardiff, Wales (http://cci.glam.ac.uk/). Curated by Garrett Lynch (http://www.asquare.org/) the event presented a series of interdisciplinary performances and projections by various sound and visual artists / groups working across the areas of art, music, media and new technologies within live performance / projected contexts. :: Open Ear - Cardiff 13/06/08 :: On June 13th 2008, 8pm till late, Open Ear hosted a free one night only event of experimental work in the ATRiuM Theatre at the University of Glamorgan's newly built ATRiuM, Cardiff School of Creative & Cultural Industries, Cardiff, Wales (http://cci.glam.ac.uk/). Curated by Garrett Lynch (http://www.asquare.org/) the event presented a series of interdisciplinary performances and projections by various sound and visual artists / groups working across the areas of art, music, media and new technologies within live performance / projected contexts.

Tags: performance projection experimental art audio-visual electro-acoustic max/msp laptop event cardiff atrium malte steiner

Ampersand were formed in 2001 in South London, and utilise a collection of sounds improvising to create sonic sculptures. Their sound features the inside of pianos, shell casings, corrugated iron, scaffold and brass pipes. All sounds mesh amd intertwine creating multifaceted timbral music. :: Open Ear - Cardiff 13/06/08 :: On June 13th 2008, 8pm till late, Open Ear hosted a free one night only event of experimental work in the ATRiuM Theatre at the University of Glamorgan's newly built ATRiuM, Cardiff School of Creative & Cultural Industries, Cardiff, Wales (http://cci.glam.ac.uk/). Curated by Garrett Lynch (http://www.asquare.org/) the event presented a series of interdisciplinary performances and projections by various sound and visual artists / groups working across the areas of art, music, media and new technologies within live performance / projected contexts.

Tags: performance projection experimental art audio-visual electro-acoustic max/msp laptop event cardiff atrium ampersand

Semiconductor makes Sound Films, which reveal our physical world in flux: cities in motion, shifting landscapes and systems in chaos. Central to these works is the role of sound, which becomes synonymous with the image as one gets created, controlled and deciphered by the other. Tonight they will perform a series of works using a combination of their own real-time animation software, Sonic Inc. and image responsive live soundtracks. www.semiconductorfilms.com :: Cinema - 11/03/08 :: The majority of cinema as a form seeks to: 1. capture ideas and impressions of the spaces and places we inhabit or 2. visualise those we can't. The former of these, representation, has been more dominant throughout cinema's history. The lens has in effect become a means of capturing our 'reality', allowing us to store and later reproduce sights and sounds to be replayed as a substitute for personal memories. With the arrival of computing and it's now widespread use within cinema we see the latter begin to take dominance. Cinema as representation is changing to cinema as simulation, creating an era more important than the transition from silent to sound or from black and white to colour. Cinema has the possibility to become a form without any necessarily inferred referent, it is known, quantifiable (pixels) and so can be modified, abstracted, constructed in numerous ways. It's method of production can be improved, changed or even reconceived allowing it's authors to work as never before. Cinema arrives at the end of an era with promise of a new one enabling it to become immersive, live, participative, interactive, navigable, recombinatory, distributed, networked, coded etc. On March 11th 2008 Open Ear (http://openear.wordpress.com/) hosted an event curated by Garrett Lynch (http://www.asquare.org/) entitled Cinema presenting performances and experimental films on this theme. Video by Sebastian Robinson.

Tags: cinema open ear performance art audio video semiconductor sonic inc film experimental

Semiconductor makes Sound Films, which reveal our physical world in flux: cities in motion, shifting landscapes and systems in chaos. Central to these works is the role of sound, which becomes synonymous with the image as one gets created, controlled and deciphered by the other. Tonight they will perform a series of works using a combination of their own real-time animation software, Sonic Inc. and image responsive live soundtracks. www.semiconductorfilms.com :: Cinema - 11/03/08 :: The majority of cinema as a form seeks to: 1. capture ideas and impressions of the spaces and places we inhabit or 2. visualise those we can't. The former of these, representation, has been more dominant throughout cinema's history. The lens has in effect become a means of capturing our 'reality', allowing us to store and later reproduce sights and sounds to be replayed as a substitute for personal memories. With the arrival of computing and it's now widespread use within cinema we see the latter begin to take dominance. Cinema as representation is changing to cinema as simulation, creating an era more important than the transition from silent to sound or from black and white to colour. Cinema has the possibility to become a form without any necessarily inferred referent, it is known, quantifiable (pixels) and so can be modified, abstracted, constructed in numerous ways. It's method of production can be improved, changed or even reconceived allowing it's authors to work as never before. Cinema arrives at the end of an era with promise of a new one enabling it to become immersive, live, participative, interactive, navigable, recombinatory, distributed, networked, coded etc. On March 11th 2008 Open Ear (http://openear.wordpress.com/) hosted an event curated by Garrett Lynch (http://www.asquare.org/) entitled Cinema presenting performances and experimental films on this theme. Video by Sebastian Robinson.

Tags: cinema open ear performance art audio video semiconductor sonic inc film experimental

Semiconductor makes Sound Films, which reveal our physical world in flux: cities in motion, shifting landscapes and systems in chaos. Central to these works is the role of sound, which becomes synonymous with the image as one gets created, controlled and deciphered by the other. Tonight they will perform a series of works using a combination of their own real-time animation software, Sonic Inc. and image responsive live soundtracks. www.semiconductorfilms.com :: Cinema - 11/03/08 :: The majority of cinema as a form seeks to: 1. capture ideas and impressions of the spaces and places we inhabit or 2. visualise those we can't. The former of these, representation, has been more dominant throughout cinema's history. The lens has in effect become a means of capturing our 'reality', allowing us to store and later reproduce sights and sounds to be replayed as a substitute for personal memories. With the arrival of computing and it's now widespread use within cinema we see the latter begin to take dominance. Cinema as representation is changing to cinema as simulation, creating an era more important than the transition from silent to sound or from black and white to colour. Cinema has the possibility to become a form without any necessarily inferred referent, it is known, quantifiable (pixels) and so can be modified, abstracted, constructed in numerous ways. It's method of production can be improved, changed or even reconceived allowing it's authors to work as never before. Cinema arrives at the end of an era with promise of a new one enabling it to become immersive, live, participative, interactive, navigable, recombinatory, distributed, networked, coded etc. On March 11th 2008 Open Ear (http://openear.wordpress.com/) hosted an event curated by Garrett Lynch (http://www.asquare.org/) entitled Cinema presenting performances and experimental films on this theme. Video by Sebastian Robinson.

Tags: cinema open ear performance art audio video semiconductor time place film experimental

Semiconductor makes Sound Films, which reveal our physical world in flux: cities in motion, shifting landscapes and systems in chaos. Central to these works is the role of sound, which becomes synonymous with the image as one gets created, controlled and deciphered by the other. Tonight they will perform a series of works using a combination of their own real-time animation software, Sonic Inc. and image responsive live soundtracks. www.semiconductorfilms.com :: Cinema - 11/03/08 :: The majority of cinema as a form seeks to: 1. capture ideas and impressions of the spaces and places we inhabit or 2. visualise those we can't. The former of these, representation, has been more dominant throughout cinema's history. The lens has in effect become a means of capturing our 'reality', allowing us to store and later reproduce sights and sounds to be replayed as a substitute for personal memories. With the arrival of computing and it's now widespread use within cinema we see the latter begin to take dominance. Cinema as representation is changing to cinema as simulation, creating an era more important than the transition from silent to sound or from black and white to colour. Cinema has the possibility to become a form without any necessarily inferred referent, it is known, quantifiable (pixels) and so can be modified, abstracted, constructed in numerous ways. It's method of production can be improved, changed or even reconceived allowing it's authors to work as never before. Cinema arrives at the end of an era with promise of a new one enabling it to become immersive, live, participative, interactive, navigable, recombinatory, distributed, networked, coded etc. On March 11th 2008 Open Ear (http://openear.wordpress.com/) hosted an event curated by Garrett Lynch (http://www.asquare.org/) entitled Cinema presenting performances and experimental films on this theme. Video by Sebastian Robinson.

Tags: cinema open ear performance art audio video semiconductor brilliant noise film experimental

A.u.t.o.m.n.e. / Autumn the performance, deals with the genesis of the graphic video. It proposes a journey in time. The voice distorts the images, as if searching to describe the process it erases bit by bit the memory of making them. :: Cinema - 11/03/08 :: The majority of cinema as a form seeks to: 1. capture ideas and impressions of the spaces and places we inhabit or 2. visualise those we can't. The former of these, representation, has been more dominant throughout cinema's history. The lens has in effect become a means of capturing our 'reality', allowing us to store and later reproduce sights and sounds to be replayed as a substitute for personal memories. With the arrival of computing and it's now widespread use within cinema we see the latter begin to take dominance. Cinema as representation is changing to cinema as simulation, creating an era more important than the transition from silent to sound or from black and white to colour. Cinema has the possibility to become a form without any necessarily inferred referent, it is known, quantifiable (pixels) and so can be modified, abstracted, constructed in numerous ways. It's method of production can be improved, changed or even reconceived allowing it's authors to work as never before. Cinema arrives at the end of an era with promise of a new one enabling it to become immersive, live, participative, interactive, navigable, recombinatory, distributed, networked, coded etc. On March 11th 2008 Open Ear (http://openear.wordpress.com/) hosted an event curated by Garrett Lynch (http://www.asquare.org/) entitled Cinema presenting performances and experimental films on this theme. Video by Sebastian Robinson.

Tags: cinema open ear frédérique santune performance autumn art audio video software abstract 33db

Disinformation playing at the Open Ear Noise Event - "Kwaidan, part 3" from the Disinformation "Sense Data and Perception" CD, piano sounds from "Doppelganger" on "Sense Data and Perception", accompanied by dialogue from the track "The Source of Strontium 90" by Against All Authority, Most of the audio is from an electromagnetic noise collage based on "National Grid". The visuals are from the Disinformation "National Grid" video by Barry Hale.

Tags: sonic arts electronic music noise experimental avante

Disinformation at the Noise event -"Kwaidan, part 3" from the Disinformation "Sense Data" and Perception" CD, accompanied by dialogue from the films "Call It Sleep" by Isaac Cronin and Terrel Seltzer and from "Orphée" by Jean Cocteau. The visuals are from the Disinformation "National Grid" video by Barry Hale. The piano sounds are from the track "Doppelganger" from "Sense Data", with dialogue from "The Source of Strontium 90" off the "24 Hour Roadside Resistance" CD by Against All Authority.

Tags: sonic arts electronic music noise experimental avante

Disinformation playing Stargate at the Noise event

Tags: sonic arts electronic music noise experimental avante

Disinformation playing at the Open Ear Noise Event

Tags: sonic arts electronic music noise experimental avante

Janek Schafer playing at the Memory event

Tags: sonic art electronic noise turntable turntablism sound

Janek Schafer playing at the Memory event

Tags: sonic art electronic noise turntable turntablism sound

Janek Schafer playing at the Memory event

Tags: sonic art electronic noise turntable turntablism sound