A must see!!!
Apologies have only just been told of this event, but encourage all DMSA to go along
WARM UP FESTIVAL
Many Apologies but in case you had missed the updates the Masterclass scheduled for today Jan 27 with Nye Parry is to be rescheduled
Next week’s Masterclass with Stephen Mallinder – Monday Feb 3 will start at 5.30pm in the Performance Studio
Don’t miss out: Free to All DMSA Students!
(Non-DMSA Tickets: Workshop £8/5 concs. Evening £8/5 concs. Combined ticket: £12/8 concs.)
A daytime workshop with evening performances from the sonic arts group AUDINT and their affiliates.
AUDINT is a London-based art collective operating across the fields of sound, performance, theory/fiction, film and installation. Following recent exhibitions and performances at Spike Island and Tate Britain, this event opens a window into the themes explored in their recent Book UNSOUND: UNDEAD. Working at the intersection between the latest sonic theory and practice, AUDINT push contemporary sonic making and thinking into new realms, between the real and the fictional, the living and the dead.
This workshop and live event extend the collective’s research with performances and presentations from AUDINT members and collaborators, including Eleni Ikon, Agnès Gayraud, Jenna Sutela, and Anne Duffau (TBC)
Afternoon seminar // 2-4pm // SPECIFIC DISSONANCES
Eleni Ikoniadou, Al Cameron and Caleb Madden will explore the perceptual and cultural peripheries of the sonic in a seminar based around contributions to the recent AUDINT – UNSOUND: UNDEAD book.
For the past ten years the group has been researching the periphery of sonic perception (unsound) and its potential to activate a continual intersection between fiction and fact, pressuring thought to become something other than what it has been. The group’s recent volume Unsound: Undead collates 64 new essays to probe how unsound serves to activate the undead. Contributors from a variety of disciplines chart these warped zones, mapping out a zigzagging timeline stretching from the 8th century BC (the song of the Sirens), to 2013 (acoustic levitation), and speculatively extending into 2057 (the emergence of holographic and holosonic phenomena).
Evening event // 7:30-11:30PM // UNSOUND: UNDEAD * brief descriptor for each act to follow.
A series of live performance:
Eleni Ikoniadou and Caro: The Lament – (voice and live electronics)
Agnes Gayraud – (voice and glossolalia piece)
Jenna Sutela, and Anne Duffau
TO BOOK YOUR PLACE EMAIL: email@example.com
Eleni Ikoniadou is a member of AUDINT and Senior Tutor in Visual Communication at the Royal College of Art. Her research is situated at the intersection between computational culture, theory-fiction and audiovisual practice. Her latest monograph is The Rhythmic Event: Art, Media, and the Sonic (MIT Press, 2014). She is co-editor of the Media Philosophy… Read more »
For as long as recording and communications technologies have existed, the potential of the vibrational continuum that connects sound to infrasound, ultrasound and other inaudible frequencies has been evoked to access anomalous zones of transmission between the realms of the living and the dead. For the past ten years the AUDINT group has been researching…
Next week’s session, Mon Nov 25, with Leon Radinski Gorman has been postponed. Leon has a work commission and unable to present – we are pleased our practioners are busy – the session will be reaaranged for next semester.
Due to the situation with the academic strike action, the following week’s Masterclass with Rosanna Mead, may also be subject to resceduling to a later date but we will confirm closer to the date.
And a big thank you to Fraser aka Vince Vanity for a wonderful masterclass on Monday and big thanks to all those who attended.
Sounds is curated by Phoenix artist, scientist and musician Ed Briggs. He works with ‘theatrical substances’ such as electronics, instruments, biological material, noxious, volatile chemicals, lasers and lenses to make sound and performance. He is currently working on an AHRC funded practice-based PhD looking at artists re-enacting and modifying scientific experimental practice.
On 16 October we’ll be joined by Bobby Barry. Bobby makes improvised electronic music mostly using mundane household objects – a shaver, electric toothbrush, pencil sharpener – eking out rich textures and layered harmonies from the waves of electromagnetic resonance emitted by them. An album of collaged field recordings, Through Acheron, was recently released by WIAIWYA Records, and, with the duo, Far Rainbow, Bobby has also released several albums through labels including Fractal Meat Cuts, Slightly Off Kilter and Linear Obsessional.
Date: 16th October
Time: 6.30pm – 8.30pm (Doors at 6.30pm, Event at 7pm)
Tickets: £5 / £2.50
Presented as part of Wednesdays at Phoenix.
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
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.