Monday 14th of October, 5.30pm-7pm
Performance Studio, GP
We are excited to have Anna Celeste Edmonds with us to learn more about her site-specific practice and research merging sound, heritage sites and new media technologies. Anna is currently pursuing PhD research supervised by Dr Papadomanolaki, Dr Behrendt and Dr Winter.
About the masterclass
‘Songs of the Sea’ – A masterclass on audio as a tool for exploration and engagement in heritage
This masterclass will involve discussions around audio as a tool for exploring and engaging with heritage; drawing on past work as well as a recent site-specific project titled ‘Songs of the Sea’, located at Brunswick Square in Hove. The processes of assembling different kinds of audio content for an outdoor public engagement setting will be examined, looking specifically at local composer Roger Quilter and her interpretations of his piece ‘The Sea-Bird’.
Anna Celeste Edmonds is a sound artist and SEAHA-CDT doctoral student at the University of Brighton, exploring the areas of field recording, composition and voice in a heritage context. Her passion for landscapes and monuments has been present throughout her field and compositional work; researching different perspectives on audio capture and listener engagement. Previous work took the form of site specific and performative projects, with her current research moving towards locative immersive audio in outdoor heritage settings.
Songs of the Sea
Anna Celeste Edmonds and her immersive audio work in Brunswick Square
The Regency Town House,
13 Brunswick Square, Hove, East Sussex, BN3 1EH
Dr Papadomanolaki’s current PhD tutee, sound artist and field recordist Anna Celeste Edmonds will be stationed at The Regency Town House to discuss her doctoral work on heritage engagement through immersive audio, as well as her recent project involving three interpretations of local composer Roger Quilter’s ‘The Sea-Bird’, using the geo-locative mobile audio application ‘Echoes’.
Come along for a chat, or an opportunity to test the ‘Songs of the Sea’ audio experience in Brunswick Square, Hove.
Saturday 21 September: 12:00-13:00 and 14:00-15:00
Go to: https://www.eventbrite.co.uk/e/songs-by-the-sea-tickets-66565692779
Booking opens: 12 August 2019 12:00
Booking closes: 20 September 2019 16:00
Dr Maria Papadomanolaki has contributed a piece to ‘Place Language’ a international non-profit compilation album project inspired by the themes found in Robert Macfarlane’s widely-acclaimed book ‘Landmarks’. In particular it focuses on the book’s extensive topographic glossaries, the “word-hoard” of depictive landscape terms gathered from 30 different languages, dialects and sub-dialects around Britain & Ireland which are divided into sections by type of terrain (Flatlands, Uplands, Waterlands, Coastlands, Underlands, Northlands, Edgelands, Earthlands and Woodlands). Relying on these topograms, or “tiny place poems”, as creative prompts, Place Language seeks to inspire a renewed interest in our natural surroundings and reinvigorate our appreciation for the audible textures & patterns that characterize them in keeping with the book’s stated desire to “re-wild” our vocabulary.
The collection features the work of 28 different sound-artists, field recordists, and musicians from around the globe each of whom chose a topogram and recorded an impression of it thus lending new aspects of dimensionality through sound. These selections cover all nine Landmarks glossaries along with place-words of new coinage as prompted by the blank glossary which Macfarlane leaves at the end of the book for readers to fill in for themselves. The end result is a truly global, collaborative survey of place, language, and sound.
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/
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.
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.
Jordan Edge and Joshua Legallienne (DMSA Team) will be among the invited artists to participate in this year’s Koumaria Residency.
Organised by intermedia collective Medea Electronique since 2009, the goal of the residency is the creation of an educational experience for the participants that will inspire and exalt their future work. The cross-cultural dialogues that the residency engenders both create new artistic speculations and smelt older assumptions. Past residents have formed lasting friendships and new artistic partnerships. Medea Electronique, being an eclectic art collective, is interested in people from diverse cultural and artistic backgrounds. For us the residency serves as a model for future creative endeavors.
The 6th iteration of the soundcamp at Stave HIll Ecological Park will take place over the International Dawn Chorus Day weekend (4-5 May) with a program of live sounds of daybreak together with installations, walks, workshops and discussions exploring urban ecologies and sound.
The event is organised by Dr Maria Papadomanolaki and her colleagues at Soundcamp. This year it will also feature a new ‘Single-Material Performance’ by Joshua Legallienne (DMSA Team and DMSA alumni).
In Single-Material Performance, one or more performers manipulate a giant, bio-degradable plastic sheet to produce a range of complex sounds and rhythms. Due to the particular physical properties of the material, the sheet animates with very subtle changes in air pressure; causing the material to create sound as it interacts with itself. Performers respond to the fluctuations in air pressure by altering the form of the material to shape the sounds produced. The piece reveals the invisible and inaudible; sonifying infrasonic (sound waves below the lower limit of human audibility) variations in air pressure of the environment.
More info on the soundcamp project can be found here. The full program is here.
As part of the International Women’s Day 2019 campaign to #BalanceforBetter, Sound and Music showcase the profiles of 31 composers and their unique contributions to composition in the UK. Alumni Akiko Haruna and Guoda Dirzyte, current student Jade Gunner and DMSA Course Leader Dr Maria Papadomanolaki are profiled in the showcase that is part of the online archive of British Music Collection.
British Music Collection provides unparalleled access to the modern history of composition in the UK. Established in 1967 as a means for contemporary composers to deposit scores and recordings for performers to access, it now consists of almost 70,000 works and recordings from over 3000 20th and 21st century composers and sound artists.
The value in the collection is undeniable – providing access to over 50 years of contemporary composition – but it’s not without fault. The underrepresentation of female composers, or those who identify as female, across the original collection is stark, and a reminder of the progress that has been made, and must continue to happen, in and across new music.
Much of the British Music Collection now exists here online, and this provides a great opportunity to readdress this imbalance and the original aim of the collection: providing access to the work of contemporary composers.