As the new academic year kicks in, we have prepared a series of masterclasses for our existing and new students both for our BA and MA courses. As with previous years we will focus to showcase various strands of professional practices and carreer pathways from within our BA, MA and PhD student & staff community and beyond. This year we are happy to have a wide range of topics ranging from experimental music, sound art, music, mental health and wellbeing to performance and cross-dressing, composing for film and video games as well as, radio plays and music production projects.
We will be posting more information soon so watch this space.
We are proud to announce the third event for ID Spectral – a record label and creative agency that promotes both up and coming and established artists as part of a new creative network.
The imprint, setup in June 2017, has since signed tracks from artists including Aphex-twin approved Ability II, Hyperdub’s Loraine James, Yaporigami, Anji Cheung and more.
At IDS Live, attendees will have the opportunity meet the staff behind the agency, learn more about the project; from its partners, the official distribution contract, IDS radio and future plans, as well as to experience three live performances from the label’s artists, including performances by current students and alumni.
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.
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. FB Event
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.
Sonny Bacon Sonny Bacon – Lost In Process ( Experimental Film) | SS1
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.
Tarek El Goraicy – Singularity (AV Performance) | Performance Studio
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.
Brianna Leeds – The Safe Space (AV Installation) | SDL
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.
Olivia Louvel – The Whole Inside (Generative AV Installation) | SDL * ITHACA AWARD NOMINEE
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.
Wednesday 5th June | 12-8pm
Performance Studio, Grand Parade fb event page
Join Us for this year’s DMSA DAY, a full day of presentations, talks and performances, showcasing the work of our 1st, 2nd and 3rd year students, including experimental music, diffused audio pieces, experimental film, sound & moving image collaborations, sound art and radio art pieces as well as DYI and interactive instruments and processes.
This year we have the honour to have Kathy Hinde as our guest speaker.
Kathy Hinde’s work grows from a partnership between nature and technology expressed through audio-visual installations and performances that combine sound, sculpture, image and light. Drawing on inspiration from behaviours and phenomena found in the natural world, she creates work that is generative; that evolves; that can be different each time it is experienced. Kathy aims to create work that gives rise to a poetic and reflective experience that enriches an appreciation of the everyday, inviting a heightened awareness of the world around us.
Also, Radio Cascabel will be coming down to Brighton for a brief presentation of a new project space and sound art venue to be launched in London and to seek collaborations and proposals from our students.
The event will close with immersive audio-visual performances by Tarek, Luke Vosper and Jack Cleary. The performances start at 5pm.
The event is sponsored by the Creative Sound & Music Research Group (School of Media, University of Brighton).
Fraser Owen, currently in his second year on our course, offers a unique perspective merging gender-bending electronic music production and cross-dressing. This month we talk to him about his inspirations, visions and current projects. Fraser will be performing under his ‘Vince Vanity’ alias as part of the IDS showcase, this thursday @ Werks Central.
DMSA: Three important words that represent you as a creative person
FO: Ambitious, Provocative, Contemporary.
DMSA: When did you start working with sound and music?
FO: In my early teens I discovered electronic music and began to experiment using software belonging to my father (a video editor).
DMSA: In what ways has the DMSA course supported or helped you to develop into who you are today creatively and professionally?
FO: The exposure to a wide range of existing work has broadened my horizons and pushed me to re-evaluate my relationship to both sound, and the wider world of art. In my practical work I have begun to realize my aesthetic approach and apply it through a range of mediums and purposes.
DMSA: Can you tell us a bit more about your project Vince Vanity?
FO: Vince is the pseudonym I created for drag performance. Although Vince is a character/aesthetic, I also wanted her to reflect the thoughts and emotions in ourselves we try to ignore or hide, to provoke and connect to people on a personal level, and also as an experiment of self-discovery. Drag has also proved to be a way of expressing the thoughts, emotions, and interests which I do acknowledge but would rather not personify in my everyday life. I knew early on that I wanted to release music as Vince but delayed it until I felt completely comfortable expressing myself through this format. Working under the pseudonym, I found I had a much more focused approach by not letting too many of my personal feelings leak into the creative process. I also found a sense of liberation, possibly from the idea of hiding behind a character, and began to experiment a lot more. I have now created music, visuals, performance work, and combinations of these under this name.
DMSA: Other plans for the future? projects, events, visions?
FO: I would like to continue working in nightlife as a performer, to contribute to ensuring art maintains its place in the forefront. I am currently working on more music and more elaborate performances. I would like to work on more collaborative projects and begin to offer my skills as a freelance artist; where this will take me, I am unsure of, but I am excited for the future regardless.
The student-led label IDSpectral will be hosting a showcase this thursday 11th of April, 6-10pm GMT at Werks Central in collaboration with Casa Creativa. Expect a range of sounds, frequencies and vibrations by our students with live performances by Vince Vanity, Cyphon, Luke Vosper and Winnipeg, MN.
Next week’s masterclass is by Caleb Madden, multi-disciplinary artist and current PhD researcher (Creative Sound & Music Research Group) at the University of Brighton.
Caleb Madden is a multi-disciplinary artist who works at the intersection of critical theory and art to create audio-visual installations and performances. He is currently undertaking an PhD at the University of Brighton looking into the critical affordances of noise art practices. He is a founder member of the sonic arts collective The Spirit of Gravity, produces a monthly radio show for Resonance Extra, and is an interdisciplinary curator/programmer working both on the national experimental music network OUTLANDS and independently. He has performed and exhibited internationally at venues such as Clockenflap Festival in Hong Kong and Le Liue Unique in Nantes, France, and across the UK including Tate Modern, The Roundhouse, Fabrica Gallery and the De La Warr Pavilion.
About the session
The session will begin with an overview of my practice, focusing on relevant key works. The use of digital sound techniques will be examined through a discussion focusing on the interplay between the sonic and extra-sonic elements present in specific pieces. Various methods for the creation of sound will be explored, including the use of electro-magnetic pick-ups, circuit bending, glitch tactics, and video processing techniques. Ultimately, these experiments in sound will be grounded within a wider conceptual framework which attempts to consider the political agency of noise.