Skip to content

BEAM Train and AV Gallery 2011

BEAM Train 2011
The BEAM TRAIN category invited artists to submit or create podcasts, recordings and interactive games to captivate and entertain festival-goers on their 40 minute tube journey from central London to Uxbridge Station.

All BEAM TRAIN tracks (they’re brilliant!) will be made available through this website a few days before the festival starts, to download onto your mp3 players. Here’s who you’ll be listening to…

Museum of Techno – Dave Green
Museum of Techno – Introduction to the Museum by museumoftechno


Book of Latter Day Saints – Scott Cazan
BEAM Train 1 Cazan-BookOfLatterDaySaints by beamfestival

Noctambulismes
BEAM Train 6: Emilie Mouchous and Andrea Jane Cornell – Noctambulismes by beamfestival


L’idée du voyage – Andrea Cohen
BEAM Train 2: L’idee du voyage by Andrea Cohen 9’32 by beamfestival


Isolate Sub Bass: a selection
Isolate Sub Bass Track 6 by beamfestival
Isolate Sub Bass Track 8 by beamfestival
Isolate Sub Bass Track 3 by beamfestival
Isolate Sub Bass Track 4 by beamfestival

After the storm – La Cosa Preciosa
BEAM Train 4: La Cosa Preciosa – After the Storm by beamfestival

Observant people amongst you will have now found out the annoying news that the Metropolitan Line will now be down on Sat 25th and Sun 26th: all the more reason we say to BOOK ACCOMMODATION on campus and stay for the weekend! You can still get to Uxbridge by tube – on the Piccadilly Line – but we suggest you download more than one BEAM TRAIN track for the journey…
L’idée du voyage

AC: ‘In 2007, during my stay at De Monfort University I created a radio performance on stage, which was presented on May 8th 2007 at the Trinity Chapel of Leicester. For this performance I have asked students, colleagues and friends to send me recorded sounds (texts or soundscapes) that evoke for them the idea of “voyage”. I have received sounds from all over the world (USA, Brazil, Poland, Greece, Argentina) and in many languages. For the same performance I had composed many fragments using the sounds of means and places of transportation. With all these sounds I composed “L’idée du voyage” (The idea of voyage”), ( 9’56 home studio, 2010) created for Festival Futura, (Crest, France) and broadcast at France Musique, Radio France.’

Andrea Cohen was born in Buenos Aires, Argentina. She trained at the Ecole Normale Superieure de Musique in Paris, where she received a bachelor’s degree in piano and chamber music performance. In 2005 she was awarded a doctorate by the University Paris-Sorbonne. She created and performed in several staged pieces of experimental music theater and composed incidental music for theater and videos. Since 1985 she has been working in Radio France as radio artist and producer. She has conducted workshops and seminars on radio art in France, UK, Germany and in Latin America. Currently she is an Associate Researcher at the IOCT ( Institute of Creative Technologies, De Monfort University, Leicester, UK). She lives and works in Paris, France.
Isolate Sub Bass: a selection, Alexandra McGlynn and Aurelia McGlynn-Richon, 2010.

AM: ‘This piece is formed of four joint compositions of recorded soundscapes by me together with my daughter’s music. The six tracks describe the everyday, overlooked activities of daily travel either on foot or on wheels – schoolboys walking home, a train, cars going past or pushing a shopping trolley around a supermarket. They encompass the polyphonies that these activities produce including my rain coat or bag brushing against the microphone lead, ambient speech of train passengers & train announcements, train wheels screeching as they turn a corner, the warning alarm when train doors are closing, people walking and talking on the pavement and the noise of supermarket announcements.’

Aurelia McGlynn-Richon: ‘began studying classical guitar in 2004 on the First Guitar Course, Royal Academy of Music, London. Attended Asian Music Summer School in 2006 including in introduction to the Chinese pipa, organised by the Asian Music Circuit. Took part in guitar master class with the guitarists Eden-Stell, London Guitar Festival, Kings Place, November 2008. Awarded Music Scholarship to St. Marylebone School, September 2009. Performed Vivaldi’s Guitar Concerto in D, RV93, (with violin and cello), St. Marylebone Music Scholars’ Concert, Wigmore Hall, June 2010. Took part inSoundscapes of East London combining Garage Band music with Mum’s sound recordings, July 2010 curated by Fruit for the Apocalypse (previewed at Cafe Oto). Awarded Year 7 Music Prize, St. Marylebone School 2010. Participated in Gals With Guitars, en masse electric guitar performance, composed by Sharon Gal, Elevator Gallery, Hackney April 2011. Taking part in classical guitar master classes with Craig Ogden, Purcell School of Music, May 2011 and Graham Devine, RFH, South Bank, June 2011.’

Alexandra McGlynn: ‘studied fine art, anthropology and photography. Photographed the Isle of Dogs, London, where my mother was born and grew up, from 1988-1990. Began making sound recordings in 1995 and later low budget digital films. In 2002 I started photographing the structures and objects my daughter Aurelia, then aged four, was making. For me, it was important to document the ephemeral results of playing – often overlooked by parents and teachers, and how Aurelia set about classifying them, ritualistically, into different groups: those made with dolls, those made with furniture and those made with smaller objects (paper, card, leaves, bananas) often inscribed. Sometimes the groups overlap. The act of photographing the structures, whilst Aurelia was away at nursery, turned an event for my daughter alone into a photographic representation for a viewer that became the work Play. In 2010 Aurelia, who is now a Music Scholar and I started making sound pieces together; her music and my sound recordings. I am interested in how self determination can be mediated through the family, religion, ritual, music, schooling, ageing, chaos, revolution, emigration, separation, abuse, personal history, nature and our environment.’

 

La Cosa Preziosa (Definitely the shortest BEAM TRAIN track!)

After the storm (stereo, 1’12’’ field recording, organic track) by La Cosa Preziosa (Italy): A meditative organic track about suburban nature pulling itself together after the turbulence of a rainstorm. ‘After the storm’ is a brief meditative organic track that captures the special moment after the rain: when nature takes a breather and puts itself back together. Birds are back with their song, the last few resilient drops tap a rhythm and the wind dies down in the background: all the elements of the natural soundscape come together to produce an overall sense of relief and escaped danger. To human ears this translates into a soothing and serene moment of reflection, which speaks of renewed energy and optimism. This is the reason why I am sending it as my contribution to Beam train: I hope it might be a quick acoustic shot of energy for the listeners on their train commute to the Beam festival, to accompany them in transit from something dreary to something good.

La Cosa Preziosa (Susanna Caprara) is an award-winning emerging sound artist from the south of Italy living between Italy and Ireland. With a keen interest in acoustic ecology, La Cosa Preziosa is committed to producing original work (aural dreamscapes, soundscapes and experimental organic tracks) by exploring the intersection between the realism of field recording and the possibilities of dramatic staging. Regularly presenting her work across Europe and the US, La Cosa Preziosa is a participant of the Ear to the Earth network and has recently been selected as a winner of the ‘Europe: A Sound Panorama competition’ (Goethe Institut Belgrade, Deutschlandradio Kultur, ZKM Institut for Music and Acoustics Karlsruhe, Radio Belgrad and the European Broadscasting Union Ars Acustica Group). In addition to her sound art work, La Cosa Preziosa is also the founder & director of the first artists’ residency to open in her native Basilicata, Palazzo Rinaldi.
Museum of Techno introductory tour podcast: one hour of beautifully balanced humour about the sorts of sounds and experiences you might even have at BEAM… Highly recommended listening!

London’s Museum of Techno exists to preserve, research and celebrate our shared electronic music heritage. The museum’s collection may be traced back to 1837, to founder Sir James Soame’s unique collection of badboy kickdrums – enjoy your visit! This extensive tour features Museum Administrator, Diane Waymire, demonstrating our new audio tour system; the Technicians begin a major recategorisation of the Sir James Soame Collection of Booming Kickdrums; and we smash the sonic atom with Phil Durrant, who tells us about his history in piano house and hardcore rave production, and his subsequent journey into the minimal world of micro-improvisation.  Dave Pape is an independent music producer and co-creator of the Museum of Techno.
Noctambulismes

Noctambulism occurs in the deepest phase of sleep. Sitting up in bed, the unseeing eyes on the noctambulists expressionless face open, as the sleeper arises from the place of rest, to unconsciously navigate the physical environment. Dreams are not believed to occur when in this slow wave sleep phase, consciousness relaxes its firm grip, and the sleeper is suspended in the void of the unknown nothing. Noctambulismes is an episodic aural excursion through the nocturnal expanse of the somnambulist plane. Noctamublismes refer to the nodes in a string of dream-like sequences stitched together by the audible hiss of “silence”. The noctambulist is swept back and forth between the ebb and flow of ocean waves, lulled by lilting bells and chimes, thrust into unfamiliar metaphysical environments. There is a forward movement to the piece, but it is hesitant, as it is uncertain, whether the next sequence will result in rest or great perturbation, as noctambulists are prone to experiencing night terrors.

The first sounds E Gmackrr and AJ Cornell melded together were broadcast from CKUT Radio’s Master Control Room to the city of Montreal, it was a hurried affair that has turned in to a solid relationship based upon the act of listening. E coaxes sharp textures from her hand made electronic instruments, AJ enjoys sustained sounds of the saw and field recordings. Through their collaboration, A and E have tried to find alternatives to the regular performance contexts and have also worked with video artists, writers, as well as around visual scores designed by Boston-based movement artist Joe Burgio.

E and A have been improvising together in many contexts, and recorded 2 self-released albums as well as 2 collaborative ones. They recently presented 3 radio-based works, including 2 sound installations and a radiophonic piece entitled Noctambulismes.

Their work was presented at Deep Wireless Radio Art Festival (Toronto), Re:sound Falmouth 2011, Radia Network, output:Noise (Syracuse,NY), Bent Festival NY, free103point9 Transmission Arts (Exitrip publication, NY). The Chicago-based organization Radius has commissionned the duo to produce a new radio-based piece for early 2012.

Scott Cazan
Book of Latter Day Saints is a piece constructed from a field recording of a small corner of the 19th arrondissement in Paris. The recording is played back through speakers that are laid onto a wooden table containing a laptop and a clip-on piezo microphone attached to the firewire cable of an audio interface. As the recording is played back from the laptop the piezo microphone picks up the sound of data flowing through the firewire cable, the ticking of the hard drive and many other components in the computer as well as the sound of the field recording itself resonating through the wooden table. All of this combined creates a rich sonic texture of feedback that is then performed by simply changing the gain and manipulating the position of the piezo microphone.

Scott Cazan is a performer, composer, and sound artist who frequently explores human relations with technology, the act of listening, networks and the physicality of sound. He has performed and shown his work with institutions such as REDCAT (LA), Machine Project, CENTQUATRE (Paris), PACT Zollverein (Essen), Ausland (Berlin), Art Cologne, Ensemble Zwischentöne (Berlin), and the University of California. He has collaborated and performed alongside a variety of artists such as Michael Pisaro, Ulrich Krieger, Mark Trayle, Carole Kim, and many others. He holds a BFA from the University of California, Santa Barbara and an MFA from the California Institute of the Arts where he has studied with Mark Trayle, Michael Pisaro, Sara Roberts, Ulrich Krieger, and Morton Subotnick among others. Scott currently resides in Los Angeles, California where he teaches and performs regularly. His music can be heard on Khalija Records and at www.scottcazan.com.

BEAM AV Gallery 2011
This was a category that we designed for anyone who wanted to share AV work or couldn’t physically get to the festival but wanted to show stuff anyway. The work could take the form of video, audio, online games, project documentation or a new App that had been developed – we were open to anything and everything!

Bots Conspiracy – were chosen to perform in our Bursary section but were unable to attend sadly. Their films will be shown as interval music on Friday night: click here for a sneak preview!

LOXOS were also chosen to appear in our Bursary section but were also unable to attend so their installations will be presented as (very beautiful!) films in the AV Gallery.

 

 

 

1. Alan Bigelow “HE SAID, SHE SAID” is a lover’s conversation in text, image, and sound. The dialogue is random: he says one thing, she says another–the truth (and music) is someplace in between… The work is created in Flash and uses text, video, and audio. The audio files are obtained online and edited using Sound Studio.

Bio: In 2010, Alan Bigelow was a World Technology Network Award nominee and a finalist for the International New Media Competition of the 24th Stuttgart Filmwinter (Germany). He was also a 2010 finalist for the New Media Writing Prize at the Poole Literary Festival (UK) and the Screengrab New Media Art Award (Australia). His work, installations, and conversations concerning digital fiction and poetry have appeared in Turbulence.org, Rhizome.org, Los Angeles Center for Digital Arts, 14th Japan Media Arts Festival (The National Art Center, Tokyo), FreeWaves.org, The Museum of New Art (MONA, Detroit), Art Tech Media 2010, FILE 2007-2010, Blackbird, Drunken Boat, Media-N: Journal of the New Media Caucus, E-Poetry 2007/2009, IDEAS, the Istanbul Contemporary Art Museum (Turkey), Electrofringe 2008, New River Journal, Hallwalls Contemporary Arts Center, and elsewhere. Recently, in addition to teaching full-time at Medaille College, he was a visiting online lecturer in Creative Writing and New Media at De Montfort University, UK.

 

2. Unstringed Guitar & Cymbals – What is the sound of a guitar with no strings? How can it sound? Argentine sound-artist Alan Courtis offers a possible answer for this question on “Unstringed Guitar & Cymbals”. The work explores the sounding possibilities of this singular no-instrument, reaching contemplative soundscapes with intense feedback textures, dense noise layers but also subtle ambiences. This project was first released on CD by US label Blossoming Noise and this short piece is a condensed version of that singular soundwork.

Alan Courtis was born in 1972 in Buenos Aires, Argentina. He was a founder member of Reynols. He has more than 200 solo releases and collaborations on labels like: P.S.F., Blossoming Noise , No-Fi, Antifrost, RRR, Tonschacht, 267Lattajjaa, Quasipop, Riot Season, Kning Disk, Beta-Lactam, Prele, Matching Head, 8MM, Public Eyesore, Herbal, Smittekilde, Sedimental, Slottet, Alt.Vinyl, Pogus, Mikroton, MIE, etc. He has toured extensively in Japan, Europe, USA, Australia, NZ & Latin America and has collaborated with musicians like: Pauline Oliveros, Lee Ranaldo, Nihilist Spasm Band, Jim O’Rourke, Yoshimi, Damo Suzuki, Makoto Kawabata, Eddie Prevost, Otomo Yoshihide, KK Null, Mats Gustafsson, Rick Bishop,Tabata,Toshimaru Nakamura, members of L.A.F.M.S., Thomas Dimuzio, Rudolf Eb.Er, Kouhei, Seiichi Yamamoto, Tetuzi Akiyama, Lasse Marhaug, Ashtray Navigations, Rapoon, Uton, Birchville Cat Motel, The New Blockaders, Kaffe Mathews, Jaap Blonk, Jazkamer, C.Spencer Yeh, Okyung Lee, Avarus, & Kemialliset Ystavat. His music always has strong experimental sense and usually based on high-skilled techniques of prepared sound, tape manipulations, processing of field recordings, live electronics, objects, cymbals, synthesizers, computer tools, playing traditional (both acoustic and electric) instruments as well as self-built, strange and unusual instruments (eg. unstringed guitar).

 

3. Alan Gleeson

Aesthetically my practice explores, through research and performance, the inner properties of sound in an attempt to derive new meaning, expression, and understanding from sounds with existing associations. With influences ranging from Musique Concrète, acoustic ecology, psychoacoustics and field recording. I question the sound environment we currently inhabit and reflect on the sonic worlds found in nature and industry, not to show a preference for either but to create a dialogue between performer, the material, and the listener.

I am from Ireland but now based in Berlin. Recent work has included performing in a re-interpretation of David Tudor’s work “Rainforest”, entitled Regenwald 2011 at the Club Transmediale festival in Berlin, and a showing of an installation piece “Topological Space” in collaboration with visual artist Katrina Sheena Smyth at the PS2 Gallery in Belfast.  All the pieces presented in the AV gallery are live, improvised, unedited recordings.  Soundcloud  WordPress

 

4. The Wild Hunt, Augustine Leudar

This ia a stereo mixdown of part of the largest multispeaker sound art installation in the world. It covered several acres inside the Eden project’s tropical biome and was commissioned for Hallowedens “Skate and scream” .
The event was great fun with 1.5 hectares of indoor rainforest filled with creepy noises and actors who all got well into their roles. Groups of up to 20 people walked through the largest indoor tropical forest in the world in complete darkness. One group was so scared they tried to escape through the fire exit ! Using parts of the previous “Biomes at night”installation as its base much of the original soundscape was stripped out and replaced with more “spooky” sounds. The installation also features various themes from mythology traditionally associated with Halloween such as ” The wild hunt” . The crown jewel of the installation was piece of live sound and performance art revolving around the myth of Pan and Echo. Actor Graham Naiken dressed as Pan several metres tall on stilts and eerily lit in a forest glade with his vocals processed live with GRM tools made for quite a spectacle – whatever he said was echoed back to the listener from speakers hidden around the bushes and hillsides – just as in the story of Pan and Echo. – what you hear here is a small part of the end result!

5. The Essential Super Mario World is part of an ongoing experimental audio series exploring the patterns and repetition built into videogames. Players control various videogame using a customized electric piano rather than a conventional gamepad controller. As the piano keys are pressed, they play the musical notes as well as executing the gamepad functions. Four people play through the levels necessary to beat Super Mario World for Super Nintendo while the resulting piano notes are recorded. The music is then divided into individual songs based on the separate game levels and collected together as an album, forming a somber echoing new soundtrack for the game. The monotony of the frenetic original soundtrack is contrasted distinctly with the tension in The Essential Super Mario World, which rises and falls analogous to the physical engagement of the player. The sounds slow to individual notes through the mundane areas of the level but build to frantic dissonant chords as the player tries to save Mario as he slips beneath the surface of the water. The piano interface transforms each videogame into a musical score that, while allowing for improvisation, must be followed.

Brian Patrick Franklin received an MFA from the Pennsylvania State University and currently an assistant professor of expanded media at Illinois State University. His studio practice includes the use of video, sculpture, sound art, interactive programming, and installation in the examination of systems as a way to reconcile conflicts in relationships of opposition. He often appropriates various elements of pop culture such as videogames and sporting events drawing on the repetition and intense spectacle of each. His work is exhibited internationally and is privately collected.

 

6. Video by LaComida 2008, Music by Federico De Biase 2008

 

7. Grief: Silence in Five Movements is a narrative performance piece on loss done in five arrangements. The piece examines the five stages of grief through words, sounds, and visuals. Using an eclectic mixture of sound sources, the piece makes extensive use sampling techniques, electroacoustic composition, the decaying sounds of magnetic tape, voices, mournful arrangements, and found sound. The accompanying visuals deal with the themes of denial, anger, bargaining, depression and acceptance through projected video art containing imagery pertaining to the subject of grief. A personal connection with nature is also prominent in these visuals and sounds, making note of the grieving and loss which occurs in all forms of life.

Uncertain is a sound project which was started from Indio, California in the Winter of 2007 by Florian-Ayala Fauna, who is the sole member of the project aside from the occasional guest collaborator. Florian is a visual artist, musician, androgyne, and admirer of fawns, seahorses, and moths who was born in 1991 in Norfolk, Virginia and grew up as a child in the dreary and desolate town of Bombay Beach, California. Their work seeks to collect, arrange, dissect, create, disfigure, beautify, set fire to, seed, and manipulate delicate, fragile sounds that vary from the organic to the unearthly. Sound sources frequently found in their music include natural field recordings, the noises of animals, processed acoustic instruments, synthesized and mangled electronics, and sounds found on decaying magnetic tapes.

 

8. A SYMPHONY OF SIRENS

This project has developed through the audio landscape of the streets of Chile, Argentina, Uruguay, Spain and Holland. The character “Pedestrian in Transit” travels along with symbols of transit, rescues and emergency situations. A mix of music, sound and image, evoking a very experimental and industrial side to electronic music, elaborated with the help of the Firemen of Barcelona as well as diverse audio and visual recordings from the environment surrounding us; sirens and warning signals, such as those from police cars, fire engines and ambulances, car horns, car parks, door bells, foghorns, loud speakers, alarm clocks, and telephones.

ARTe IN TRANSITo: Gaspar Lukacs Esguep is Chilean with parents from Hungary and Syria, and is a musician. In 1999 he embarked on a tour of Santiago de Chile, Buenos Aires and Montevideo in Uruguay, and it was on this tour that the character “Pedestrian in Transit” was created and the project Alarm Rave began. In 2001 “Pedestrian in Transit” opened the LEM Festival of Experimental Music in Barcelona, and also performed various times in Spain. In 2002 Alarm Rave happened again, this time in Amsterdam for the AZART Ship of Fools Festival and Panic Theatre. In 2004 “Pedestrian in Transit” participated in an electronic performance of Contemporary Art in the Civic Centre of Barceloneta, Barcelona. In 2008, Gaspar moved to Cambridge, and “Pedestrian in Transit” was ready to perform again.

 

9. Scenes at Nightfall is an audio composition in the tradition of reassembling. It is composed from bits of recordings made over the years with musicians such as Pamela Z, Joseph Celli, Jesse Gilbert, Diedre Murray and others. It also draws on natural sounds from the composer’s large archive of recorded material, including the melting of an Alaskan iceberg and the cries of wolves. All the sounds, including the instrumental sounds, were digitally manipulated and processed.  The work was begun in late 2010 when Thorington began culling through her archive to select materials for a series of short — but related — sound compositions. In Scenes of Nightfall, she should be thought of as a re-assembler, and the work as a reclaiming of old territory. The title refers both to the coming of night as we generally think of it, and to old age or aging.

Helen Thorington is a writer and sound composer whose radio and sound/music compositions have been aired nationally and internationally for the past thirty years. Producer of one of the first audio art works to be broadcast on National Public Radio (US, 1978), Thorington subsequently received commissions for radio work from RAI (Italy), RNE (Spain) and ORF (Austria), among others. Her “Parrot Talk” won First Prize in Macrophon ’91, the First International Festival of Radio Art, Wroclaw, Poland. Thorington has also created compositions for film and installation that have been premiered at the Berlin Film Festival, the Whitney Biennial and the Whitney Museum Performance Series. She has produced three narrative works for the web, and from 1998-2001 played a principal artistic role in the cutting-edge multi-location performance work, “Adrift.” Thorington has also composed for the Bill T. Jones and Arnie Zane Dance Company. She is the founder and co-director of New Radio and Performing Arts, Inc.; the national weekly radio series, New American Radio (1987-1998); the Turbulence.org and Somewhere.org websites; two internationally acclaimed blogs, Networked_Performance and Networked_Music_Review; and Networked a [networked_book] about [networked_art].

 

10. Joe Stevens
This work has been partly informed by my misfortune in one of my eyes not fully moving to one side. The current diagnosis for this is ‘internuclear ophthalmoplegia’, which apparently is a disorder of conjugate lateral gaze in which the affected eye shows impairment of adduction. Basically my left eye diverges from the right eye, which means that my brain “sees” double, or what they call ‘diplopia’. As my eyes no longer work together they see different images and my brain cannot comprehend the resulting information.  I have exhibited locally here in South West of England. I work across mediums; currently I have a photography exhibition – Landscape and Industry – at Lighthouse, Poole’s centre for the arts. I am working towards a bus tour of Poole trading estates, which will feature a special made soundtrack to accompany the trip. I’m working with Poole Museum on an exhibition around people’s working lives, due to open in one month. Previous work abstract animations – won at Sherborne House Open. Since shown on two big 25msq screens at Glastonbury and on BBC Big Screens across the UK. Also projected at UK Public Health conference at Bournemouth International Conference. I have complied a 1 hour radio piece ‘Sounds of the Seaside’ which was broadcast on resonanceFM (along with a number of other independent FM radio stations across Europe). Work developed from this project was featured in Sound Proof 3 in an exhibition at Homerton Library late last year. I am a regular contributor to Framework, phongraphy, radio program.

Where I have continued my interest in creating moving pictures. Painters, photographers, and filmmakers have inspired its making. I have treated these animated landscapes as a simplified drawing, while overlapping two views and exploring different time shifts to create a disjointed travel experience. Avoiding putting in more than is necessary, reducing and simplifying the colour space.  I have also explored a new direction with the soundtrack, which I constructed from sounds I recorded inside the car; driving along different tarmac textures and a field recording from a lay-by on the A30. These sounds have then been mixed and heavily treated.

 

11. Telsonic is a piece that explores the juxtaposition of individual sonic events and larger sound masses. Throughout the piece, rapid sonic gestures give way to explosions of dense sonic material, careening from moments of dense complexity, to simple rapidity.

Michael James Olson is a composer, media artist and Music Technology/Composition Graduate Instructor at Ball State University currently residing in Indiana. His work focuses on the intersections of traditional instrumentation with various media such as video, interactive electronics, and multi-channel audio. His works have been performed at festivals and venues such as NYCEMF (New York), SEAMUS (Miami), Noisefloor Festival (UK), EMM(Illinois), International Saxophone Symposium (Virginia), FEAsT Festival (Florida), Asim’itria Festival (Peru), Electroacoustic Juke Joint (Mississippi), Channel Noise (Georgia), and the ICMC(New York). Michael holds a M.M. from Georgia Southern University where he studied composition with John Thompson, and is presently a doctoral student at Ball State University where he studies composition with Michael Pounds and Keith Kothman.

 

12. Orestis Karamanlis
Acqua Alta is a stereo reduction of the original 5.0 surround work which was finalist at the 36th International Electroacoustic Competition at Bourges (France) and at VII Electroacoustic Miniatures International Contest, Junta de Andalucia (Spain).

 

13. Dancing Wu Wei (2010) is a generative animation created with the Processing programming language. It is accompanied by my own generative music, Beneath the Surface. Taken together, the two are meant to form an audio-visual experience of contemplation or meditation. Wu Wei is a Toaist concept that describes ‘effortless doing’. The sense of movement in the work is informed by my personal experience of Tai Chi, Chi Gong, and meditation. Both the graphics and the music are generated by intentionally using a minimal amount of code, so that the ‘effortless doing’ is reflected in the composing, as well as in its outcome.

Ron Herrema is a composer, teacher and researcher working at De Montfort University’s Music, Technology and Innovation Research Centre in Leicester, England. He is a native of Grand Rapids, Michigan and received his PhD in composition from Michigan State University, where he studied with Mark Sullivan. Other teachers have included Gerard Pape and Julio Estrada at the Center for Computer Music Iannis Xenakis, Paris.  He composes both acoustic and electroacoustic music, with a particular emphasis on algorithmic composition. In recent years he has also produced graphic art, in the realms of both photography and generative animation. His research has dealt with relationships between music and architecture, between music technology and politics, and between creativity and social software. His solo CD ‘Changing Weights’ was published by Capstone Records, and his compositions have been played internationally in concerts presented by such organizations as the Centre de Cultura Contemporània de Barcelona, Sonic Arts Network (UK), Stanford’s Center for Computer Research in Music and Acoustics, the International Computer Music Association, the Society for Electroacoustic Music in Sweden, and the Society for ElectroAcoustic Music in the United States, among others.

 

14. Select Sound Art: An online gallery of 37 select sound art pieces by Scott F. Hall.

Scott F. Hall [born 1963, California] is an intermedia artist working predominantly in the medium of sound for exhibition in the visual art context. He explores singly and intermixes: sound art [generated by actions or captured more passively in field recording], music, instrument design, sculpture, still images, and video. His work is shown in contemporary international galleries, museums, festivals, and alternative venues. Hall has invented numerous original instruments such as the Optivideotone, piezoelectric arpegguitar, electric bass harmonitar, and the microtonal power ambient electric bass guitar. He co-originated the term mobicapping [mobile image, video, or sound capture] and coined the term anadigicapping to describe his hybrid technique of capturing digital images and video through the aging optics of analog film cameras. To date, Hall has created several unique sound practices which usually work within the harmonious confines of the twelve-tone musical scale: scultura sana [sound sculpture, sonus animatio, sound animation], organum novum [neo-organum], and power ambient pealing [sonus pictura, sound painting]. Currently, Hall is developing a new microtonal sound practice of indefinite time signature which merges together organum novum and power ambient pealing to create a form which is free from the shackles of tuning and time.

 

15. TRAINOFTHOUGHTS

Trainofthoughts is an electroacoustic piece of music. It utilises musique concrète, acousmatics and radiophonic elements in the exploration of form and meaning. There is a double-simultaneous narrative, one of which is mundane, one of which is not. The simple narrative is that of a commuter travelling home from work using the London Underground. The other explores memory, fantasy, dream and various possibilities of human cognitive activity.  Its musical elements are related by the establishment of sonic relations through the means of the use of a series of harmonic fields. These sometimes portray long forgotten music theories, such as the Harmonic Proportion (6:8::9:12), or comprise micro-dense-polyphony, the crafting of sound at the edge of (may be even beyond) human perception. It does this by using micro-frequency content (12Hz for example) as the pitch grid upon which harmonic material is formed. In short: high-definition, ultra-fine filigrees of sound.  In addition, hundreds of hours of recorded material have been used. These sounds include, the sounds of ordinary urban life, train recordings, traffic, ambience, toilet flush, TV shut down and light switches to name just a few. All have been crafted to realise a seamless, thought provoking whole.

Stace Constantinou is a composer and music technologist. He uses a range of patterns combined in various ways to create music. These patterns may be inherently musical, mathematical, geometric, visual, text-based or intuited. His music speaks from the boundaries of harmonic conceivability often making use of microtones, complexity, nuanced ambiguity and allusion.  His works have been performed by Ensemble Exposé, Jane Manning, the Arditti Quartet, Nikos Veliotis, The Fidelio Trio, Rhodri Davies and most recently by the concert pianist Kate Ryder. He is the winner of both the Ricordi and Schillinger Composition Prizes and his pieces have been performed in concerts in the UK, on the continent and on the BBC Radio 3 & 4.  He lives in London with his wife and works as a composer and teacher. He is also a PhD student (in composition) at Kingston University, under the supervision of Dr Paul Archbold, reader in music.

 

16. Paper And Pencil was made with the items in the title (which will be exhibited alongside, at BEAM). It tells a story any creative individual can relate to and has accompanying ‘artwork’.

Growing up in South London from an Anglo-Japanese background, Taro Saotome first got involved in music by learning guitar in secondary school. After the best part of a decade playing in bands that didn’t go anywhere, working rubbish jobs and frankly just being too lazy he sought training and a career in sound and professional audio. He now works as a freelance sound designer and engineer.