Today is the opening of Salon, an exhibition celebrating the artistic work of professional services and technical staff at the University of Brghton’s School of Media. Salon has been organised by academic administrator Claire Levitt, curated by SSGT Haley Moyse Fenning and showcases the work by eleven technical and administrative staff from the School of Media. Included are a sculpture and 500 copies of a new instructional text piece by Joshua Legallienne.
Immateriality is a travelling sonic arts exhibition that is touring the UK July 30th until 7th August 2019. It has been curated by DMSA staff/alumni Joshua Legallienne and features the work of DMSA graduates Ecka Mordecai and Jordan Edge, alongside newly-commissioned pieces by international artists Ingrid Plum (DK) and Robert Stokowy (DE) and UK artists Ben Jeans Houghton, Daniel W J Mackenzie, and David Leslie Stearn. More information about the tour can be found here: https://www.facebook.com/events/664673170668278/
ID Spectral are proud to present Overk (IDS003), the debut release from Egyptian-based instrumentalist Hossam Hilal. Set in hazy desert landscapes, to underground soundsystem culture, Hilal presents us with a collection of rich textural works that hint at styles of world music, packaged with the influences of psychedelic rock, ambience and electronica.
The journey begins with ‘Hurry up’, a collage of luscious tonal bodies and melodic electric guitar riffs, topped with a beauteous synthesis of sampled drums. As Hossam takes us into the more organic, off-kilter african percussions on tracks such as ‘Habitat’ and ‘Ma Fi Makan’, the artist begins to unveil his egyptian roots with more traditional, celebratory atmospheres of a city of with a rich cultural history. The EP closes with ‘Crippled Down’, a delicately dissonant blend of metallic textures and concrete basslines.
Follow Hossam :
Written and produced by Hossam Hilal
Mastered by Jamie Moore
Managed and A&Red by Louis Sterling and Jamie Moore
Distributed by State51 (London)
Join University of Brighton lecturers and guest speakers for a tribute to the art and music of David Bowie, celebrating 50 years since the release of ‘Space Oddity’. Covering music, journalism, photography and graphic novels, ‘Forever Stardust’ will include a talk by DMSA Staff Dr Stephen Mallinder and live music from Bowiesque.
The event is on Friday 12 July, 1900-2130 at Sallis Benney Theatre, Grand Parade, University of Brighton.
Free entrance for all David Bowie impersonators.
More info: http://blogs.brighton.ac.uk/davidbowienight/
Before the official launch of our Master’s programme and a much needed holiday break we talk to our recent graduate Amanda Brooks who presented a very ambitious experiment in immersive and 3D sound titled ‘SINKHOLE’. We hope to be able to present Amanda’s project again in the coming year! Stay Tuned and read below to learn more about her.
DMSA: Three important words that represent you as a creative person
AB:Progressive, Classical, Spooky
DMSA: When did you start working with sound and music?
AB: Live bands since 1984, sound phenomena since 2009 after my guitarist/sound guy had a stroke and there was no-one else who wanted to engineer the bands sound. I took the job on.
DMSA: In what ways has the DMSA course supported or helped you to develop into who you are today creatively and professionally?
AB: The DMSA course has inspired me to compose differently, it has helped me to develop technically which is one huge reason why I applied for the DMSA B.A and to understand the concept of sound art on a deeper level.
DMSA: Can you tell us a bit more about ‘SINKHOLE’, the piece you presented in our degree show this year?
AB: My final degree project ‘Sinkhole’ is about travelling sound lines, vertically, horizontally, and diagonally engulfing and surrounding the listener on a large scale (5 meters high sound cylinder) Inspired by Austrian architect and sound artist Bernhard Leitner. The concept derives from modern life as a human being where everything seems to be a race against time. ‘Sinkhole’ represents standing in a insurmountable sink under a giant tap where the listener hears pipes creaking and swelling, then the inevitable ‘water’ comes as sound, crashing vertically onto and around the listener. It is sonically big as well.
DMSA:You have been performing in quite a lot of bands. Any gigs coming up?
AB: I don’t have any gigs right now as I ‘walked’ from my two bands, ‘Undercover Agents’ and 20+ year old ‘Soul x Press’, I felt stuck and stagnated. Personally, from time to time, I do feel the need to maintain my place in the ‘un-comfort zone’ so I started a new project ‘Ditch the Demon’ where the music and band members are a little more ambitious.
DMSA: Other plans for the future? projects, events, visions?
AB: The future: I have applied for the DMSA M.A. which I am very excited about, I feel I need to continue my journey into all the aspects of sound phenomena in the field of sound art and design. I have a vision to gig, compose, freelance as a sound artist/designer and a session vocalist. I may even become an acoustician as well and sort out some live music venues !!
To mark the course’s longstading partnership with Chris Evans-Robert’s (DMSA Alumni, 2007) ITHACA Studio, Chris and DMSA have created a new award, launched on this year’s graduate show. Known for its cutting edge audio and light installations, ITHACA Studio and the ITHACA Prize want to celebrate innovative creative work by our students.
This year’s winners were Jedd Winterburn’s breath-taking Zenith and Olivia Louvel’s (Runner Up Prize) intense and through-provoking The Whole Inside.
You can watch excerpts from both pieces in the videos below.
Warning: The video contains strong language.
Cabaret Voltaire the DADA-inspired DIY, tape-machine, electronic project by Stephen Mallinder Richard H. Kirk and Chris Watson will release a rare soundtrack to the 1979 film Chance Versus Causality. The album will be available officially for the first time since the film’s release. Chance Versus Causality will be out on limited edition transparent green vinyl, CD and digitally on 30 August 2019 via Mute.
You can watch an excerpt here
Thursday, 25 July 2019 from 19:00-23:00 at The Rose Hill, Brighton
Emute Lab 4: Musically Intelligent Machines
Hosted by Chris Kiefer
Come and hear new music created by musicians in collaboration with artificially intelligent machines.
Expect some weird and wonderful experiments with new sounds and new musical instruments.
MARIJE BAALMAN: gestural live coding
MNISTREL: Live coding and uncanny interfaces
EVERYSONGIOWN: A Quantity Approach to Music Making
+ more artists who will be performing pieces made at our summer AI and music workshop
The Rose Hill
£6 / £4
Advance tickets: https://bit.ly/2JbzYXn
Thursday 13 June
Support: Olivia Louvel
Fracture Patterns is a live collaboration between UK artist duo Semiconductor and New York musician and producer Eartheater.
Show 8 – 10.30pm
This original commission by the Outlands Network combines large-scale multi-channel video works by Semiconductor with a new live soundtrack and performance by Eartheater, fusing both into a compelling theatrical production.
Eartheater explores experimental pop and fantasy combining her genre-breaking musical production with a singular visual aesthetic. Semiconductor’s visually and intellectually engaging artworks explore the material nature of our world and how we experience it through the lenses of science and technology.
Together, they invite audiences into the noise field, as they explore the collision and collusion of their respective practices.
1-9 June | DMSA Facilities| Grand Parade, University of Brighton
The private view is on the 31st of May and starts at 4pm. Last Entry – 9.30pm
Weekday opening times are from 10am until 5pm, and weekends from 12pm until 5pm.
We are honoured to be presenting to you the works by our third year students consisting of an eclectic mix of sound and musical compositions, live AV performances, experimental films, sound murals, generative art and installation pieces. Spanning across this wide range of practices and processes, all the works are supported by an underlying thread of challenging our perceptions and engaging us in a more attentive process of listening, feeling and experiencing.
This year we are happy to nominate four of our student pieces for the Nagoya Award and the newly launched Ithaca Awards. An * will be added next to the nominated pieces.
Good luck to all our students and congrats on their hard work!
Detailed schedule to follow.
AD Design: Jedd Winterburn
::Works on Display::
Thom Aurelius – MAX (Animation) | SS1
MAX is a short, animated film that depicts a story of a young boy, Max, who is experiencing the struggles of fitting in socially at high school. The project itself is a collaboration between two creative artists, Thomas Aurelius (producer, composer and sound designer) and Peter Golijanin (animator).
The animation’s main intention is to use the power of punk-inspired musical motifs and naturalistic sound-design to represent the feelings of Max as a character and the world that he is living in. This results in the audience relating themselves to the character of Max and his onscreen experiences.
Lost in Process is an audiovisual experiment intended for large screen projection. The film explores sound’s ability to evoke, shift and steer atmospheres in combination with visual material. The audio of the piece was created using a variety of elements, featuring self-captured field recordings, foley and manipulated instrumental compositions.
The visual material was created through the recording and arrangement of still and moving image content captured using an array of visual technologies; DV Tape, 35mm and 16mm film. Themes of destruction, time and surveillance are presented as the experimental film unfolds.
Danny Baron – A Call To Perish (Immersive Radio Play) | SDL
A Call to Perish is an immersive radio play, which explores a fictional settlement that takes a turn for the worst. The play travels through different areas of the settlement, highlighting its diverse and unique soundscape, executed through diffused sound. The main concept behind this project is to use sound to create an observable story for the listener without any visuals or, in other words, the internal cinema. This project is to be exhibited in a 5.1 surround sound setup, optimising the realism and making it as engaging as possible for the listener.
Amanda Brooks – Sinkhole (Sound Installation) | Performance Studio
Sinkhole is a multi-channel sound art installation exploring themes of descent and life’s daunting threat of ‘going under’.
Using processed field recordings taken in various railway transport systems, the piece extensively uses audio relocation and movement, with sound panning between multiple speakers in an immersive cylindrical formation. The audio of the piece is manifested as a heavy volume of ‘water’ dropping onto the listener, creating a feeling of standing in an insurmountable sink under a giant tap. The sound then takes on different directions, engulfing the listener horizontally, vertically and diagonally.
The digital audio workstation Logic Pro X audio was used, alongside a fundamental production system with IRCAM plugin software. T.R.A.X Voice Transformer v.3 was utilised for sound processing with S.P.A.T Revolution controlling the vertical, horizontal and diagonal movement of the audio.
Duncan Cabral – Digital Forest (Surround Sound Composition) | SDL
Digital Forest is a surround sound composition that utilises environmental sounds to create a sonic space. Examining concepts of audio exploration and immersion, Digital Forest looks at sound’s potential to transport a listener to another place. Sound design, soundscape building, and surround sound mixing are all used within this work. The digital audio workstation Logic Pro X was used extensively, with plugins such as Serum, ES2, ESE being utilised alongside hardware synthesisers such as the Korg Monologue, Microbrute and Yamaha CS.
James Carroll – London Atmospheres (Experimental Film) | SDL
London Atmospheres aims to utilise soundscapes and visuals in order to capture the urban atmosphere found in various locations of London. Exploring the relationship between sound and image in film, London Atmospheres focuses on how atmosphere and tension is created. The footage of this piece was shot in central London at night in order to relay the intended atmosphere, with field recordings of the various London locations also being taken.
The soundtrack London Atmospheres uses musicality alongside environmental sounds in order to create an immersive piece, with a sense of underlying suspense in order to capture the listeners attention. A variety of software was used in the recording and editing processes, such as Adobe Premiere Pro CC, FL studio 12 and Logic Pro X.
Jack Cleary – FLUCTUS (AV Performance) | Performance Studio
Fluctus, which is Latin for waves, explores the concept of brightness in sound and visuals.
The work synthesisers the ideas of musical “Brightness, Flux and Logos” presented by philosopher Heraclitus, which attempt to describe how the universe works.
Brightness is a sonic quality determined by the number of harmonics, the more harmonics the brighter the sound. Flux is fluidity whilst Logos is structure, generating the tension necessary for the string to vibrate to create sound.
Inspired by classical Indian and ambient music, the performance is produced using Ableton and a collection of electronic instruments. The visuals, created in Touch Designer, are vibrating lines organised into a spherical shape while the timbre of sound informs the colour of the visuals through interaction with an OSC controller.
Nile Ezra – Nightshift (Musical Composition) | SS1
Nightshift is a series of three atmospheric instrumental tracks, which explore themes of darkness, inspired by science fiction and horror films such as Interstellar and The Shining. Using the digital audio workstation Ableton, various sound design techniques such as sampling, granular synthesis and Foley have been implemented to create varying aspects of sounds reminiscent of nightfall.
Daniel Fadil – Erosion (Short Film) | SS1
Erosion explores the physical forces at the coast as a metaphor for Britain’s erosive nature towards languages from other shores, with the sounds of the physical washing out eternally those of a minority culture. In this case, the examined language is Romany, or rather, the remnants of it familiar to the artist. Even in its distanced existence from British influence, it has still been diminished to the point of no longer being a language. A narrative based on isolation and foreignness is used to play out the history of this phenomenon.
Singularity is an audio-visual live performance of two songs from of my upcoming release Human Condition.
The presentation, containing elements of improvisation, consists of one laptop running an Ableton Live set, which is navigated through the use of a MIDI controller. Live synthesizers and live vocals are utilised, with a second machine also generating realtime visual projections through the use Touchdesigner and a MIDI-interface.
The performance aims to present a coherent interactive relationship between sound and visuals in the context of an immersive live performance, countering the traditional DJ/laptop-performance of electronic music.
The Safe Space uses a quadraphonic audio set up to combine meditative tones and abstract art, forming an encompassing environment of mindfulness and peace. This project integrates research from the field of colour therapy, music therapy and spiritual influences. In the safe space the audience can gradually disengage from personal symptoms of anxiety or stress by experiencing the serene audiovisual display in their own time.
Guidance: this work contains sensitive content.
The Whole Inside is a generative sound mural combining artificial and human voices, expanding the plastic dimension of voice on contouring the body.
The work confronts femininity and abuse, when the body is being depersonalised, subsequently dissociated as a defence mechanism to cope with a traumatic event.
The harrowing polyphonic vocal composition is based on a text sourced from the Incels (involuntary celibates) forum. On debating how to murder a woman, some members of the Incels community propose diverse actions, one being to rape her then to “take a surgical knife, cut open her abdominal area and remove the organs”.
Since October 2018, the site incels.me has been suspended due to the content that violated the domain’s anti-abuse policy. Applying principle of conditional logic, the randomised audio is carrying on indefinitely, revealing itself to the experiencer over time.
Jamie Moore – The Lily Pond (AV Installation) | Performance Studio *NAGOYA AWARD NOMINEE
Consisting of three large projector screens and 6.1 channel surround sound, The Lily Pond is inspired by Monet’s Water Lilies series (1914 – 1926), in a modernisation of their concepts. The work runs for a total length of 1 hour 40 minutes, creating a slow moving and enveloping spectacle on a grand scale, which cannot be interpreted in the same way from any viewpoint or temporal instance.
It uses field recordings and video taken at Monet’s garden in Giverny, as well as images taken of his paintings at Musée de l’Orangerie in Paris, re-imagining the works and expanding them into a multi-sensory environment, within a contemporary context.
Joseph Purefoy – Sampling the World (Musical Composition) | SS1 – 229
Sampling the world is a five track EP exploring the art of sampling in an attempt to demonstrate the vast possibilities found in manipulating and repurposing a sound. The work was produced with the digital audio workstation Logic Pro and focuses on expanding audio from its original context, shifting sound to a new sonic dimension.
Dominic Rae – Fits the Frame | SS1 – 229
Fits in The Frame is an experimental folk-inspired concept EP. Informed by themes of narrative, Americana, analogue photography and folk music, it aims to explore the gap between the continuous, uninterrupted flow of time and people’s tendency towards quantizing the idea of time into discrete, separate moments and sections.
A key facet of the EP is the consideration of ‘Morii’, the desire to capture a fleeting moment, which brings together the ideas of music, photography and storytelling by each component’s intrinsic nature: music as continuum, photography as instantiative capture, and storytelling as a bridge between the two.
Luke Vosper – My Bedroom (AV Performance) | Performance Studio
Stemming from a desire for a more natural and immersive way of composing and performing electronic music, My Bedroom is a studio and live setup that focusses on DIY and self-built hardware and instruments. Drawing inspiration from a space used for composition, performance, and instrument construction, My Bedroom explores an improvisation-based approach to electronic music.
As well as analogue and acoustic instruments, My Bedroom takes full advantage of digital tools. Using custom software and patches alongside complex synthesis techniques and an extensive sample library, this allows the music of the piece to be created in an improvisation-driven, performative way.
Matt Were – Piano I Ching (Prepared Piano / Interactive AV Installation) | 229 *ITHACA AWARD NOMINEE
Piano I Ching is an interactive audiovisual piece. The audio from the installation starts when a webcam picks up movement within close proximity to the piano. This results in solenoids and motors being triggered, brushing, scraping and hitting the piano, giving a familiar object a completely new vocabulary of sounds.
Each casting yields two trigrams (a hexagram), and each of the trigrams is associated with a sound sequence relevant to the time of the year. This piece attempts to create a synthesis of a Western cultural icon, the piano, with an Eastern cultural icon, the I Ching, by interpreting the latter divinations through sound on a prepared piano.
Jedd Winterburn – Zenith (AV Composition for multiple screens) | Performance Studio *ITHACA AWARD NOMINEE
Zenith is an audiovisual installation that incubates the practise of attentive listening, inviting the listener to discover an awareness of sound that can enrich one’s life after the event. The unique viewing experience of Zenith is notably engaging, operating over two screens and 4.1 surround sound in a highly curated environment. Hosting a palette of noise curated to explore the fringes of musicality, Zenith aims to promote the abstraction of sound’s form and function.