http://hayletaleshome.blogspot.co.uk

http://www.60×60.com/2012_Environmental_Mix.htm

Source recordings from Gyllyngvase Beach in Falmouth.

Check the project out here…

http://www.voxnovus.com/60×60/2012_UK_Mix.htm

Friday 4th May 2012 14:30

Annie Mahtani – Past Links

Graeme Truslove – ConcretisationsX

Danny Saul – Etude On Space

Manuella Blackburn – Switched on

INTERVAL

Jason Bolte – Childsplay

Adam Stansbie – Fractions

Peter Batchelor – Kaleidoscope: Nebula

Visa Kuoppala – Nocturnal Debris

Eddie Wade – Void

Philip Reeder – Drowning

LEEDS INTERNATIONAL FESTIVAL FOR INNOVATIONS IN MUSIC PRODUCTION AND COMPOSITION

programmed on Friday 27th April:

Ryo Ikeshiro

Construction in Zhuangzi  12’

audio-visual

Philip Reeder

Upside Outward 7’

acousmatic

David Berezan

Buoy 11’

acousmatic

LCoM Student Pieces

Sam Salem

The Sun Warms the Memory 12’

acousmatic

Adam Stansbie

Fractions 9’

Excerpt from The Intangible Archive website:

“The Intangible Archive is the project that I’ve been working on, with sound artist/composer Philip Reeder. I presented on it last week at the Association of Art Historians conference, and I’m on my way to San Diego to present at Museums and the Web 2012. Rather than a linear, temporal sound walk, it’s a spatial way of engaging with memory. It’s an extension of the archive, where I’ve re-archived memories according to their links with place. People can search the archive by walking around St Ives, looking for memories to listen to. It comes out of my practice, which asks people to articulate their memories and finds creative ways of sharing those memories with others. Sharing memories with others is a form of re-archiving; augmenting the memories others through encounter. This creates a multiple, distributed archive, where there are many different forms of remembered encounter, each one unique, connected to place, and archived in the memory of each person that searches for fragments of the archive to make their own story of place. Voices that don’t often get heard getting their say in history. Making archival silence into archival noise.”

Drowning will have its Cornish premiere at The New Independent School of Philosophy

THE ARCHIVE: CHANGING SPACES, CHANGING STORIES

5.1 surround

12’30

95% 30lbs of Bone ‘The Fishery’ written by Johny Lamb

5% recontext

January 2012

Many thanks to Johny for giving his permission to radically transmogrify his fantastic song.
Fishery clip by philipreeder

featuring Eric Honour (saxophone) and Samuel Wells (trumpet)

SATURDAY, NOVEMBER 12, 2011
Doors open at 7:30pm, Concert begins at 8:00pm
Tickets $10; Students $5
Unity Temple on the Plaza
707 West 47th Street
Kansas City, MO 64112

Saturday, November 12th, the Kansas City Electronic Music and Arts Alliance returns to Unity Temple on the Plaza to present a concert of electronic music and video.  Electronic Spaces is drawn together from pieces that create sonic environments in which to immerse the audience in ways only possible in electroacoustic media.

Eric Honour opens and closes the concert with pieces for saxophone and electronics.  Ed Martin’sApparitions explores the interaction between the live performer and ghostly semblances of himself in the digital realm.  Per Bloland’s FeXIV (Iron Fourteen), accompanied by Scott Draves’s luminous video work, turns to the sun for its inspiration.  Drawing on melodic material by 12th century composer and abbess Hildegard von Bingen—whose visions frequently contained allusion to the sun—FeXIV is, according to the composer, “about noise, distortion, and chaotic feedback, as contrasted with placid harmonic motion.”

In addition to Honour’s work on saxophone, Samuel Wells also performs two pieces for trumpet and electronics.  Wells’s own (dys)function will have its premiere performance on Electronic Spaces.  Derived entirely from trumpet samples, the piece humorously considers the conflict between the potential of functionality and quality of dysfunctionality.  Wells is proud to say that he was inspired by Garrison Keillor’s comment, “Ahh, the trumpet.  Now there’s an instrument on which one can truly embarrass himself.”  Wells also performs Richard Johnson’s Introit, a piece exploring the sacred space of the cathedral and the Renaissance tradition of using popular tunes in mass settings.  Introit includes video by the composer.

Dennis H. Miller’s piece for video and electronics, Echoing Spaces, explores a number of virtual environments in which the primary elements recur (echo) both in immediate succession and at different times throughout the piece, always in varied form.  The visual imagery employs a number of similarly shaped elements that appear in overlapping, morphing configurations, and the restricted color palette helps maintain a focus on the primary objects.  Andrew Babcock’s Anagoge was created using only two monaural sound sources: a piece of magazine paper being crinkled, and a beard trimmer being turned on and off.  The composer’s goal from this was to extract every element of these simple samples and create a meaningful acoustic space from them.  The title, Anagoge, refers to the hermeneutic pursuit of interpreting a text to look beyond its literal, allegorical, and moral meanings in search of a transcendental reading suggestive of the spiritual or mystical.

Completing Electronic Spaces are pieces by Philip Reader and UK composer Manuella Blackburn.  Blackburn’s Vista Points employs electric guitar samples, frequently left raw and unmanipulated, to create a sonic space of turbulence and conflict, and Reader’s Hemispheric uses 5.1 channel audio to create an acoustic space in which the audience is immersed.

Eric Honour has developed an international reputation as an artist devoted to exploring and furthering the intersections of music and technology. His work as a saxophonist and composer has been featured in numerous international conferences and festivals like ICMC, Spark, FEMF, BEAF, EMM, and others. A member of the Athens Saxophone Quartet, he performs regularly in Europe and the United States, and has presented lectures and masterclasses at many leading institutions, including the Conservatorio di Perugia, Hogeschool Gent Conservatorium, Northwestern University, and the University of Oklahoma.

Honour’s new solo recording, Phantasm, will be released by Ravello Records on July 26, 2011. The album features eleven extraordinary works for saxophone and computer by such world-renowned composers as Karlheinz Essl, Luigi Ceccarelli, Lou Bunk, and others.

Samuel Wells is a composer and performer based in Kansas City, MO. A musician with wide and varied interests, he is always seeking new and exciting opportunities for expression. Hailing from Des Moines, Iowa, Sam has performed throughout the United States, as well as in Canada and France. He has performed electroacoustic works for trumpet and electronics as part of the Chosen Vale Trumpet Seminar as well as the Electronic Music Midwest festival.  Sam is currently pursuing degrees in both performance and composition at the University of Missouri-Kansas City, where he studies composition with James Mobberley, Paul Rudy, Chen Yi and Zhou Long, and trumpet with Keith Benjamin.

The Kansas City Electronic Music and Arts Alliance (KcEMA) was founded in 2007 to encourage and develop understanding and appreciation of electronic music and to create an expansive sense of community for electronic musicians and other artists in the Kansas City Area. KcEMA organizes concerts of electronic music and collaborative projects with generative and performing artists.  KcEMA provides a forum for electronic musicians and artists in other media to collaborate, exchange ideas, and grow as an interactive, supportive community.

Thanks to Andrew Cole for the heads-up.