Day of workshops and performances, Tuesday 5th Feb, York UK

Feb 1, 2013 at 3:19pm

Day of workshops and performances, Tuesday 5th Feb, York UK

Supernatant Music Technology Workshops & Live Performances
Tuesday February 5th @ Rymer Auditorium, Music Research Centre, University of York

Seminars 11am-5pm // Performances 7-9pm
Ticket valid for both events: £5 + BF.
There is no admission fee for University of York students, staff & associates.

On Tuesday 5th February the Music Research Centre at the University of York will host a day-and-evening session of Supernatant seminars, workshops and live performances by renowned creative and technological practitioners from a range of backgrounds and perspectives. Themes will include human-machine interface design, physical modelling, generative process, enhancement of live performance and software synthesis.

Speakers & Performers:
Ben Eyes (University of York)
Matthew Collings (University of Edinburgh)
Nicolas Bougaieff (University of Huddersfield)
Oliver Larkin (University of York)
Robert Tubb (Queen Mary, University of London)
Theo Burt (University of York)
Wassim Alsindi (Supernatant Laboratories)

For further information & tickets, please visit: http://supernatantyork.eventbrite.co.uk/

Supernatant & The Centrifuge gratefully acknowledge financial support from the PRS For Music Foundation.

Session Information
Ben Eyes – Digital Augmentation Of Physical Instruments
Ben Eyes is a musician and sound engineer working out of Leeds and York. He has performed electronic music for over ten years in various guises but is currently working with dancefloor music as Quip and listening music as Ben Eyes. His influences include early electronics, mistakes, studio outtakes and other obscure, non purposeful recordings. His seminar is focussed on his current research into physically modelled drum augmentation and his thoughts on performing live electronic music in the 21st Century.

http://www.quipmusic.co.uk

Matthew Collings – Extending Live Performance Using Technology
Matthew is a composer and sound technician based in Edinburgh and has recorded and performed extensively, including recent collaborations with Ben Frost and Dag Rosenqvist (Jasper TX). He will present a suite of novel techniques which may be used to extend the traditional roles of the live performer, coaxing previously unattainable sounds and timbres from a familiar starting point.

http://cargocollective.com/mcollingsmusic

Nicolas Bougaieff – Novel Human-Machine Interfaces For Performance & Production
Nicolas is a electronic musician and audio programmer working in Berlin having recently completed a Ph.D. at the University of Huddersfield. He will discuss his work on Human Machine Interfaces (HMIs) with the music software company Liine. Electronic music production and performance can be seen as a holistic activity involving the body as much as the mind, and the default computer HMI of mouse and keyboard often falls short.

http://liine.net/

Oli Larkin – Unusual Sound Processing & Synthesis
Oli works at the Music Research Centre at the University of York, developing software to support artist collaborations and computer music research projects and teaching music technology. He will speak about his work producing creative software that explores unusual sound synthesis, processing and control techniques.

http://www.olilarkin.co.uk/

Robert Tubb – Mathematically Inspired Approaches To Live Rhythm Sequencing
Robert is an electronic musician and audio programmer researching for a PhD at Queen Mary, London. He will talk about novel approaches and methodologies to representing rhythm digitally. The bulk of MIDI-style sequencing is carried out in a piano-roll type representation. This descends from traditional score which has evolved to suit western classical music. However for modern electronic genres such as dance music, driven by repetitive rhythms, this layout is rather unwieldy. In the case of live improvisatory performance, a piano-roll is pretty much impossible to manage. We hear audio in the frequency domain, we play musical instruments in the frequency domain – i.e. the notes in a scale are frequencies. Rhythm is an equally cyclical, harmonic phenomenon so why then should we be specifying everything as points in time?

http://www.rootnot.co.uk/

Theo Burt – Audiovisual Perception Tricks
Theo Burt is an artist based in York working with computer sound and image, live performance and installation. His audio-video work concentrates on perceptual relationships between sound and image, setting up tensions between the intelligibility of processes and the intuitive experiencing of their results.

http://www.theoburt.com

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