New Opportunity: OUTLANDS – Ambassadors

Friday 26th of October, 5-6pm | Performance Studio (R225), GP

On Friday 26th of October, Caleb Madden, artist and member of the Creative Sound & Music Research Group, will do a presentation about his upcoming OUTLANDS Project to our students and will offer them an opportunity to work with in the festival as ambassadors helping out with curatorial, technical tasks, event and stage management management, publicity etc.

About OUTLANDS:

OUTLANDS is a new national experimental music touring network, which brings together progressive producers, venues, and artist agencies from across the UK. The OUTLANDS programme includes original collaborations and bespoke productions from international musical artists such as Beatrice Dillon (UK), Eartheater (US), Boris (Japan) and UK visual artists Semiconductor and Keith Harrison. Caleb Madden will be coming in to introduce the aims and scope of the project and there will specific details about the forthcoming Raster Noton/Drift multi-projection AV production with artists Kyoka and Grischa Lichtenberger – including how to get involved through the creative producer placement opportunity and the workshops that run alongside each tour. There will also be information about how to access reduced / free tickets for UoB students.

Links:
https://www.outlands.network/

DRIFT FT. KYOKA / GRISCHA LICHTENBERGER / YTAC UK TOUR

Students will have the chance to register for free entry and artists Q&A for the upcoming concert of KYOKA / GRISCHA LICHTENBERGER / YTAC UK TOUR, on Sunday November 11th at De la War Pavillion.

More info about the event: https://www.dlwp.com/event/drift-ft-kyoka-grischa-lichtenberger-ytac/

Contact to register: s.w.mallinder@brighton.ac.uk

Professional Practice Masterclasses

We are happy to launch our series of masterclasses for this semester with talks and hand-on presentations on music production, arts curation, sound design and composition for theater, dance, film and radio. Most importantly, for this first round of sessions we focused on bring back alumni of the DMSA course who have succeeded in the professional world along with current students and members of the newly established Creative Sound & Music Research and Enterprise Group.

Joshua Legallienne On Tour

Joshua Legallienne, DMSA Alumnus and currently member of our team, will be on tour in late October with UK sound artist Timothy Didymus. The two artists will present a series of acoustic sound performances in Vienna and Berlin. As part of the tour, Joshua and Timothy will be doing an hour of live sound on Kunstradio and Austrian Ö1 radio which will be broadcast online and accessible worldwide 28th October 23:00-00:00.

More info on the dates:

24/10 | VIENNA – ALTE SCHMIEDE:
https://www.alte-schmiede.at/programm/2018-10-24-1900/

28/10 | VIENNA – ORF Ö1:
https://oe1.orf.at/programm/20181028/530674

and KUNSTRADIO.AT:
http://www.kunstradio.at/2018B/28_10_18.html

01/11 SPEKTRUM BERLIN:
https://spektrumberlin.de/events/detail/joshua-legallienne-timothy-didymus-500.html

DMSA Feature: PJ Davy

PJ Davy’s ‘Heads In The Cloud 2.0’ opens tomorrow at The Basement in Brighton as part of the Exploring Boundaries exhibition, Brighton Digital Festival. We briefly talk to PJ about his background, his creative vision and projects his is currently working on.

DMSA: Where do we find you now?

PD: I recently moved to London where I’ll be starting a new role as a Production Technician Intern at Trinity Laban Conservatoire of Music and Dance. I’ll be helping the production team provide sound and lighting for contemporary dance, orchestras, and operas. I’m looking forward to getting stuck into London, for a while. I miss the sea and fresh air, already, though.

DMSA: Three important words that represent you as a creative person

PD: Always be yourself.

DMSA: When did you start working with sound and music?

PD: I started working with sound and music, electronically, when I was 14 years old. A friend introduced me to Fasttracker 2, and I was hooked. It’s interface looked like the Matrix. You had to program in volume, panning, and other effects by sequencing numbers that scrolled up or down the screen. It forced some pretty nifty creativity within its limitations, but that’s always where the good stuff comes from.

DMSA: In what ways has the DMSA course supported or helped you to develop into who you are today creatively and professionally?

PD: DMSA opened up my eyes and ears to areas of sound and music I’d not yet explored. It broadened my horizons and opportunities to work with amazing artists I never thought I’d be working with, in worlds I’d never associated myself with. It challenged me to focus my time and effort into projects in a professional way, but always with experimentalism at its heart, and never in a direction that felt forced upon me. I feel like the course has developed my creativity to push my own work within the global art and music community.

DMSA: Other plans for the future? projects, events, visions?

PD: I’ll be with Trinity Laban until next September, so I’m currently looking for a masters program to continue studying in 2019. I have some projects I’m currently working on that I’m really proud of, something very personal, and some others I look forward to being able to share, nearer completion. On the 4/5/6th of October, I’ll be exhibiting my multichannel sound and light installation, Heads in The Cloud 2.0, for Exploring Boundaries at The Basement, in Brighton, at part of Brighton Digital Festival 2018. This second iteration of my installation will focus more on the traces of memories left behind once time has passed since originally posted. It’s easy to forget what of ourselves we’ve submitted onto the world wide web, but we leave behind our ghosts in the machine, possibly forever.

I aim to remain focused, be productive, and keep learning.

Heads In The Cloud 2.0 opens tomorrow and will be running till Saturday 6th.

PJ’s website: www.pjedavy.com

DMSA Feature: Guoda Dirzyte

The first feature for the new academic year is with our alumna Guoda Dirzyte. Guoda is currently based in Scotland and about to start her MA at Glasgow School of Art. We talk to her ahead of her workshop on experimental music instrument building (Friday 28th, Performance Studio, GP).

DMSA: Where do we find you now?

GD: After graduating I was all over the place for a little bit doing different projects, but now it looks like I will settle down for at least a year in Glasgow where I will be studying for Masters of Design in Sound for the Moving Image.

DMSA:Three important words that represent you as a creative person


GD: Ambitious. Imperfect. Explorer.


DMSA: When did you start working with sound and music?


GD: I started playing piano when I was 8 years old, but got bored after a few years and decided to switch guitar. However, that wasn’t satisfying enough either, so when I was 13, I started looking more into sound experimentation and instrument making. It got me hooked up then and it still fascinates me today.

DMSA: In what ways has the DMSA course supported or helped you to develop into who you are today creatively and professionally?

GD: DMSA gave me a lot of technical and conceptual knowledge of my own practice. Before starting my bachelor’s, I wasn’t sure what I was doing or why I was doing it. So DMSA gave me a lot of knowledge about different fields of sound studies, from creative programming to audio production, as well as connections for collaborations and different events.

DMSA: Can you tell us a bit more about Más Hangok?

GD: Más Hangok is an experimental ambient music collaboration between me and Maja Mihalik. I play a Japanese heritage inspired handmade instrument which is a crossover between the traditional Japanese lute also called shamisen and the western cello, as well as other experimental instruments (handmade synths, mechanical percussion gadgets). Instrumental experimentations are accompanied by Maja’s eerie vocals that are inspired by Hungarian folk traditions. We started this project at the beginning of our third year at Brighton university, as part of DMSA night event.

DMSA: Other plans for the future? projects, events, visions?

GD: My current plans are to be part of Fort Process festival this weekend were I will be showcasing my new interactive kinetic installaition – Skaņas laukums. Projects and visions wise, I always have some ideas spinning in my head, but it needs time and funds to make it actually happen. For some time now I’ve been looking to put together a solid record of collaborations with different artists, so hopefully this will happen in the future. But for now I mainly plan to concentrate on my Master’s.

Web: https://www.guodadirzyte.com/

Exploring Boundaries at Brighton Digital Festival

1-6 October 2018 | 12-5pm
The Basement
24 Kensington St, Brighton
BN1 4AJ
[map]
[facebook event]

Two of this year’s graduates will be presenting work as part of this year’s Brighton Digital Festival in an exhibition titled ‘Exploring Boundaries’ curated by Digital Music and Sound Arts in partnership with Our Future City (Brighton Dome) for Brighton Digital Festival.

Merging the physical experience of sound with the digital realm, Exploring Boundaries brings two works by UK-based artists PJ Davy (UK) and Jeph Vanger (UK/GR) to this year’s Brighton Digital Festival.

Vanger’s s ‘Sφera’ is a multichannel sonic environment where the physical presence of sound and the ongoing engagement become the priority. The piece pays tribute to the mournful sound of the Foghorn, using original recordings from the Foghorn Requiem (2013) field performance in which more than 50 ships gathered on the North Sea (UK) to perform an ambitious musical score.

PJ Davy’s ‘Heads in The Cloud 2.0’ is a multi-channel, sound and light installation concerning the digitisation of our lives through the internet. Heads in The Cloud presents a physical, human experience to reflect on our relationship with technology and each other, in an increasingly digitised world.

Programme

Sφera | 1-2 October 2018, 12-5pm
Artist Talk: 1st October, 2pm

Heads in The Cloud 2.0 | 4-5 Octber, 12-5pm and 6th October 12-3pm
Artist Talk: 4th October, 2pm

Please note that the facilities can be only accessed through stairs

Poster and Banner Design: Jedd Winterburn

DMSA Alumni featured at Fort Process Festival.

DMSA alumni Jeph Vanger, Jack Lister, Jordan Edge and Guoda Dirzyte will present work as part of this year’s Fort Process Festival.

The line-up is exceptional featuring music, talks and installations by Rhys Chatham, Aja, UKAEA, David Thomas Broughton, Kyoka, Grischa Lichtenberger, Max Eastley and more!

You can check out the full line-up here.

A nice feature of the festival can be found over at The Quietus.

Creative Sound & Music Research and Enterprise Group

Dr Maria Papadomanolaki has recently launched the Creative Sound & Music Research and Enterprise Group, a new research initiative focusing on sound and music related research across different media, contexts and applications. The aim of the research group is to create an interdisciplinary forum within the School of Media and across the University of Brighton, where ideas and practices are brought in dialogue with a common goal to develop strategies for impactful, outward and community facing projects, student and staff collaborations and practice-based research.

By bringing together researchers and practitioners from the School of Media who carry expertise on various areas relating to sound and music, the REG has the following interrelated strands
1) Creative Sound and Music in Community contexts
2) Music, Popular Culture and Digital Media
3) Immersive Music and Audio Research
4) Audiovisual Media Research

The above strands aim to address the ongoing research and practice topics of its core members but to also open up to debates relating, among others, to ecology, community engagement, heritage, mental health and well being, gender studies, open source technologies, design and innovation. The REG builds upon partnerships with, among others, the Lighthouse, Our Future City, Wired Sussex, Brighton Digital Festival to host events that create awareness and impact around the group’s research topics.

More info can be found here.

Exploring Boundaries: A DMSA Graduate Show Special Part 3 | Sound, moving image and interactivity

All the pieces precented in the Pt1 and Pt 2 are placing sound in relation to enviroments and particular issues using other media and advanced technologies to challenge the audience. In this last part we would like to present works that continue experimenting with media and technologies but have a more firm focus on moving image or interactivity. Sound for moving image is one of the profile areas in our course. Many of our graduate students have produced outstanding work for film and moving image, crafting their skills on both sound and video editing, film scoring, foley or storyboarding and production and launching successful freelance careers in the sector. This year, we have some exceptional graduate pieces exploring the boundaries between sound, film, performance, and installation.

Aki Purser’s 記憶 (Memory) is an audio-visual piece that explores the fragmented structures of human memory. Developed around the poem 記憶 (Memory) by Tian Yuan and taking inspiration from Phillip Larkins’ An Arundel Tomb, the piece examines the expiration of memory and its inability to withstand interference. The 5 minute film consists of rapidly fluctuating rhythms, upon which runs a continuous stream of black and white imagery. The broken rhythms are used to portray the fractured nature of memory and this is emphasised through sequences of still photography that have been adapted for the moving image.

Jordan Lewis’ The Nova Gathering is a multi-media art piece exploring the use of media in our ‘post-truth’ society. Using the structure of a new religious movement, The Nova Gathering, this piece takes visual, audio and performance elements to play on the idea of what truth really is. The Nova Gathering is primarily a satirical take on the way “facts” can be presented today, where the focus is more on the production and entertainment values, rather that the validity of the content. These thoughts led Lewis to consider how well he could replicate this kind of process in the fabrication of a fake organisation and its credibility.

Bobbie Cook’s The Hard Shoulder is an animated short film pulling influences from the 70s-90s in both animation style, technique and sound design aiming to create something faithfully nostalgic but also current and fresh. The story is about a Bonnie and Clyde type of relationship between a widower and his daughter travelling to find a man he believes can return his wife to him. The pieces has an upbeat mood driven by a kind of psychedelic mix of funk, jazzy influences and more recent flavours of hip hop. The animation style is inspired by Late 80s-early 90s Anime with the illustration and design in the style of artists like Eizin Suzuki and Hiroshi Nagai

Alvaro Villar Castillo reverse engineers the film industry’s visual storyboards to propose a method of sonic storyboarding. SONORAMA is a project that involves the creation of a cinematic album, both orchestral and synthesised composition for imaginary film situations. The installation aims to represent possible cinematic situations as leitmotifs for certain characters, imaginary scenarios and atmospheres for a film. It is presented to the public as a surround 5.1 installation. Speakers surround the audience sitting down in an illuminated bench in a dark room. The installation’s sonic content was inspired and based on already existing comics and storyboards, as if they were the screenplay of a real film. Each individual composition represents different a cinematic genre (ex. Sci-fi, Horror, Action) and scene (ex. Chasing…) All sounds were recorded and created with synthesisers and/or samplers for this specific installation.

Oskar Jeff’s Reconstructing Tapes is an audio-visual installation comprising of four VCRs, four corresponding televisions and a pair of speakers. A composition built entirely from VHS samples is split into two and transfer back to VHS tape. The two tapes play simultaneously, performing the full composition. The side televisions play looping static, expanding the space and drawing the audience inward. The tapes are deconstructed, reconstructed and finally deconstructed again within the space. The work is a reflection on the history of sampling practice, and explores how samples can be disconnected from their sources and used as raw creative material.

The idea of listening as a participatory activity is central to all the pieces presented. The pieces presented above present experimental approaches into film sound where the viewer/listener plays an important role in completing the work. The last two pieces presented in this post are expanding further the idea of interactivity. Jack Lister’s Flood the Box is a generative instrument that explores the use of water as an input medium for generative music. Combining both acoustic sound objects and in-the-box virtual instruments, Flood the Box aims to free the computer musician from the shackles of working to the metric grid. The audience is transported in their mind to their favourite body of water; whether that’s an ocean, a harbour, a lake or a diddy pond with the aim to feel that same peaceful and tranquil feeling that being near a calm body of water can bring.

Edward Scott’s Lissajous Sounds is an interactive sound installation comprising of a pendulum hung from the ceiling which, when spinning, creates a diffusion of sound that mirrors the movement of the pendulum through speakers that are set up in a circle around it. The pattern-like movement of the pendulum- and all pendulums- are called ‘Lissajous curves’, named after Joules-Antoine Lissajous, the physicist who studied them in 1857. When the pendulum ultimately comes to a halt, the sound stops; this reflects the phenomenon of sound as a moving body in space, happening as a process in time.

PROGRAMME

Performance Studio:

Private view: 1st June
Aki Purser / Jeph Vanger (1800 changeover)

2nd – 3rd June:
Jeph Vanger // Sφera

4th June:
DMSA Day / Alvaro Villar-Castillo // SONORAMA

5th June:
Alvaro Villar-Castillo // SONORAMA

6th – 8th June:
JORDAN LEWIS // THE N0VA GATHERING

9th – 10th June
Aki Purser // 記憶 (MEMORY)

Sound Diffusion Lab:

1st – 3rd June:
Oli Johns // The Miraculous Land – Library

4th – 5th June:
Edward Scott // Lissajous Sounds
PJ Davy // Heads in The Cloud

6th June:
Liam Eshgi-Luck // The Cacophonic Hospital

7th – 8th June:
Edward Scott // Lissajous Sounds

8th – 10th June:
PJ Davy // Heads in The Cloud

Ongoing Installations
Room 229
Oskar Jeff // Reconstructing Tapes
Sophie Kiarie // Soul
Liam Eshgi-Luck // The Cacophonic Hospital
Michael McKeown // Aquarium Music
Bobbie Cook // Hard Shoulder

Room 228
Jasmyn Bloch // FEMPORIS

The Shower room
Ivan Arbiol Camps // The Return of the Unwanted

Sound Diffusion Lab Foyer
Jack Lister // Flood the Box