EXHIBITIONS& EVENTS

PROGRAMME www.audiograft.co.uk

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25/02–02/03 10:00–18:00 Daily The Glass Tank, Oxford Brookes University, OX3 0BP

27/02 18:00 Free Launch NightRichard Hamilton Building, Headington Hill Campus, Oxford Brookes University, OX3 0BT

28/02 19:30 £5/4Holywell Music Room, Holywell Street, Oxford, OX1 3BN

EXHIBITIONS EVENTS

26/02–03/03 Open during gallery hours Opening Event: 26/02 17:00–19:00 Project Space, Modern Art Oxford, OX1 1BP

06 Helmut Lemke Klangeln

07 ROLF JULIUS

28/02–02/03 10:00–18:00 Daily Opening Event: 27 February 18:00–21:00 Richard Hamilton Building, Headington Hill Campus, Oxford Brookes University, OX3 0BT

08 PIERRE BERTHET09 MAX EASTLEY 10 Ben Gwilliam11 Kathy Hinde

12 Felicity Ford14 Stephen Cornford15 Kostis Kilymis16 Charlotte He!ernan 17 Alex Allmont

& Aya Kasai 18 Emma Souter31 Austin Sherlaw-Johnson19 Iain Harvie22 Paul Whitty

08 PIERRE BERTHET

27 JOHN TILBURY

24 RAY LEE

30 Tim Parkinson  

17:30 Free Drama Studio, Headington Hill Campus, Oxford Brookes University, OX3 0BT

Efthymios Chatzigiannis Samuel Roberts

01/03 19:30 £5/4 Modern Art Oxford, OX1 1BP

34 DANIEL TERUGGI 37 Susanna Borsch

02/03 19:00 £5/4Modern Art Oxford, OX1 1BP

38 PHILL NIBLOCK 40 Valerio Tricoli

13:00–17:00 FreeModern Art Oxford, OX1 1BP

42 HEARth: an afternoon of participatory listening and learning For full HEARth schedule please check www.audiograft.co.uk

31 Austin Sherlaw-Johnson 32 The Set Ensemble Dominic Lash, Sarah Hughes, David Stent,

Bruno Guastalla, Paul Whitty

25 Stelix 26 Henrique Portovedo Ref4mation

Tim Howle, Paul Dibley, Iain Harvie, Brett Gordon

39 Thomas Ankersmit 41 Ornis Kathy Hinde & Sabine Vogel

Stephen Eyre

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EXHIBITIONS

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Helmut Lemke, 25/02–02/03 The Glass Tank Rolf Julius, 26/02–03/03 Project Space

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Pierre Berthet, 28/02–02/03 Richard Hamilton Building Max Eastley, 28/02–02/03 Richard Hamilton Building

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Ben Gwilliam, 28/02–02/03 Richard Hamilton Building

Piano Migrations by Kathy Hinde

In Piano Migrations nature appears to control machines as they come together to create a delicate and ever-changing musical score.

The inside of an old upright piano, rescued from destruction, is transformed into a kinetic sound sculpture. A video of birds landing on telegraph lines is projected directly onto the piano strings: the movements of the birds trigger small machines to twitch and !utter, causing the piano strings to resonate.

“I have a passion for creating work that connects with the natural world and try to reveal the often overlooked poetic qualities and rhythms of the everyday. In order to develop and inform my practice, I have recently been working alongside biological and environmental scientists, to bring a stronger research element to my creative methods. My relationship with nature, and knowledge of nature continues to be a really important aspect of my creative work, and a rich source of inspiration.”

Kathy Hinde

www.kathyhinde.co.ukall photos by Kathy Hinde

Kathy Hinde, 28/02–02/03 Richard Hamilton Building

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Felicity Ford, 27/02 Richard Hamilton Building

Sonic WallpapersDr Felicity Ford

Sonic Wallpapers explores the wallpaper samples held in the collection of the Museum of Domestic Design & Architecture - part of Middlesex University. Based on interviews and "eld-recordings, the project expands how we normally contemplate wallpaper, drawing our ears into a context which has historically been discussed in purely visual terms.

Wallpaper is self evidently designed visually, but we experi-ence the rooms where it hangs with all of our senses, and our memories are stimulated as much by sounds and smells as by sights. A cheery 1960s design might remind someone of a co#ee pot gurgling away on their granny’s stove, while a stately 1920s design might evoke the memory of high heels clacking down tiled, Art Deco corridors.

Associations like these linking places, memories and sounds are the basis for Sonic Wallpapers; they are what allow us to move between the aural and the visual.

The project was developed using interviews and "eld-recordings. Interviewees o#ered their opinions on a selection of wallpapers in the MoDA collection, and then record-ings based on their responses were collected over a number of months. These interviews and sounds were collated into short Sonic Wallpapers, composed to compli-ment the actual wallpapers held in MoDA’s collection, and to help us to “view” them in a new way.

I am interested in what sounds mean, rather than in purely how they sound, and so the connec-tions between sound and memory in Sonic Wallpaper are particularly relevant to my practice. During my PhD studies I became intrigued by sound’s ability to describe the material world.

Consider the di#erence between the acoustics of a bathroom and a church, or the sounds of round pebbles on the beach vs. a zipper zipping, and you can see that their descriptive qualities make sound-recordings an ideal medium for celebrating the physical world. I am interested in processes which help us to explore the reality we live in – and especially in strate-gies for focussing our attention on the ordinary sounds which we hear all the time and perhaps take for granted.

Some of the sounds which are socially important to us are so familiar that we don’t necessarily hear them consciously; the "rst sound you heard this morning; the tone of your partner’s voice; the birds that sing in your street; and the sounds created by the people you love moving about in your home, for instance.

During my PhD I made several radio shows exploring such sounds, and created objects – knitted headphones; pillows with speakers embedded in them; artist publica-tions etc. – intended to celebrate everyday sounds. Working on Sonic Wallpapers with MoDA has allowed me to continue along similar lines, exploring an ordinary, domestic material using the descriptive and evocative medium of sound.

MoDA’s wallpaper collection is well suited to Sonic Wallpapers, because many of the designs in the collection were available on the mass-market to the British public, and carry an ordinariness not present in collections of rarer or more exclusive wallpaper designs. Also, the time-period of British home-décor covered by the MoDA collection made it possible to select wallpapers from periods within living memory for this project,

allowing interviewees to remember homes from childhood.

There is a dreamlike or fantasy dimension to many of the responses to MoDA’s wallpapers which range from “that would be great in a room with an indoor swimming pool” to “I would love to have a room just for making jam, and to put that paper in there”.

However wallpaper has always been connected to the fantastical, and in Britain, wallpaper fashions have often been both nostalgic and exotic. In Little Palaces, Mark Turner writes about the popularity of “the old and the antique” and “exotic wallpapers” in London’s 1920s suburban semi-detached houses, and in interviews, people struggled to date wallpapers which could as easily be printed today as in the 1950s or even the 1980s, because of the cyclical nature of trends.

Somehow with wallpaper – as with fashion - the past is continu-ally recycled into the present. Sonic Wallpapers celebrate the inherent nostalgia, domestic fantasy and home-creativity connected with wallpaper. Through sound, the project links the questions we ask in the DIY store with the spaces we imagine in our minds when we are !icking through sample books.

Sonic Wallpapers put the sounds of clocks, "sh-tanks and other textures from everyday life beside questions we’ve all asked about our homes, like “where would we put this wallpaper”? and “could I live with that”?

BADDA 4770 © Museum of Domestic Design & Architecture used with their kind permissionsounds recorded: looms, clocks and wallpaper-printing machinery

BADDA 4380 © Museum of Domestic Design & Architecture used with their kind permissionsounds recorded: super-8 projector, sparklers, popcorn popping

BADDA 4782 © Museum of Domestic Design & Architecture used with their kind permissionsounds recorded: sounds of forests and walking outdoors

All content from Sonic Wallpapers, a project between the Museum of Domestic Design & Architecture and Dr Felicity Ford, 2011 - 2012

BADDA 4772 – © MoDA and used with their kind permission

Sounds recorded: splashing in the bath, blowing through a straw, aquarium sounds in the Aquatic Design Centre and in the Horniman Museum aquarium.

“This looks like children’s bedroom kind of wallpaper, and I don’t have children, so I don’t really feel drawn to putting it up anywhere in my house.”

“I like the contrast between the very muted pastel blue background and then these quite violently bright colours in front of that.”

“Bathroom. It’s in the bathroom, de"nitely. I know it’s di$cult to put wallpaper in a bathroom, but it would look great.”

“Obviously quite old, though, and not a design I would have expected from an older time.”

“Do you think they’re mackerel? I think they’re mackerel or sardines.”

“I think it would be really funny to have it in your living room, because it would be like having a huge aquarium.”

soundcloud.com/modamuseumsonicwallpapers.blogspot.co.uk/moda.mdx.ac.uk/home

This article "rst appeared in MoDA’s publication, Sonic Wallpapers and is republished for Audiograft 2013 with MoDA’s kind permission

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Stephen Cornford, 28/02–02/03 Richard Hamilton Building

invention of memory (2013)

two-channel audio installation in the shared spaces of the Richard Hamilton Building. Repurposed sound, mirrorless listening

Kostis Kilymis, 28/02–02/03 Richard Hamilton Building

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Charlotte He!ernan, 28/02–02/03 Richard Hamilton Building

Sounding every 100 pacesWhite Horse Hill, OxfordshireJanuary 2013

Purposeful SoundingThe Drama Studio, Oxford Brookes University September 2012

Alex Allmont & Aya Kasai, 28/02–02/03 Richard Hamilton Building

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Emma Souter, 28/02–02/03 Richard Hamilton Building

Browsing HistoryAudio Visual Arrangements by Emma Souter

An exhibit demonstrating visual and aural compositions created by looking at and transposing patterns produced while browsing the internet.

As a society we spend much of our time searching and browsing the internet, and like creatures of habit we stick to certain paths for our information, communication, entertainment, socialisation, validation, remuneration and consumer needs.

Surprisingly, this work is composed by an artist with no formal musical training using seemingly random patterns, yet the notes produced have a natural musicality to it, giving rise to the question if any patterns formed can be truly random upon closer examination.

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WHAT’S A COMPUTER?

Iain Harvie, 28/02–02/03 Richard Hamilton Building

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Anne Ryan & Jean Wykes, 28/02–02/03 Richard Hamilton Building

L’JAWR are a feral vocal improvising duo brie!y brought together to explore the corridor of Oxford Brookes Audiograft 2013. Jean Wykes is a student of Contemporary Fine Art at Oxford Brookes, enjoying performance, installation, "lm making and oil painting. Anne L Ryan is a voice and sound practitioner who uses voice as an instrument in performance, music theatre and workshops. Both are members of Oxford Improvisers.

www.annelryan.co.uk

Photo: © 2013 Anke von LoewensprungPermission to use granted 

Mike Blow & Aya Kasai, 28/02–02/03 Richard Hamilton Building

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EVENTS

Listening to the River Exe from !rst marsh at Fortescue Farm

Paul Whitty, 28/02–02/03 Richard Hamilton Building

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Ray Lee, 27/02 Richard Hamilton Building

After Alison Knowles – a Fluxus cover

For two performers, or four hands Materials: Alison Knowles's #2 Proposition (1962) salad ingredients ampli!ed chopping boards

knives and graters contact microphones bowls

Instructions: Organise salad ingredients according to the

sounds produced by their preparation. Cut and grate vegetables.

Use prepared chopping boards as a surface for this action. Amplify and order the sounds coming from this process. Listen for relationships. Embellish food preparation process with sounds of food preparation process. Proceed in this way until an edible salad is made.The performance ends when the piece is made.

Stelix, 27/02 Richard Hamilton Building

After Alison Knowles, a Fluxus cover by

Stavroula Kounadea and Felicity Ford islicensed under a Creative Commons

Attribution-ShareAlike 3.0 Unported License.

Reference: http://www.aknowles.com/salad.html

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Henrique Portovedo, 27/02 Richard Hamilton Building

Cascando: a radio piece for music and voice

Beckett wrote three Radio plays with music: Rough for Radio No. 1, Words and Music, both written in 1961, and Cascando, written in 1962.

In a sense it can be said that adding music to Beckett is a super!uous exercise because of the intense musicalness of all Beckett’s texts; indeed, I have given a paper on the theme of Beckett as Music. What is important in Beckett’s use of music in these plays is the idea of the role of music as an autonomous member of the cast of a play. Music is not there simply in some kind of supporting role even if, in the case of my music for Cascando, it does relate, interdependently, to the other two characters, Opener and Voice. So whilst having, as it were, a mind of its own, the character Music is nevertheless sensitive and responsive to the needs and demands of the characters with whom it cohabits.

I also play both parts, Opener and Voice, since I regard them as contra-dictory facets of the same personality, and I try to express both their single identity and the signi"cant di#erences that exist between them. Opener is both ‘enabler’ and ‘controller’, creating space for Voice to tell his fraught and anguished story, but also cutting him o#, often in mid sentence. Sometimes Opener encourages Voice – ‘full strength’, and ‘come on’. Opener also controls the entries of Music, sometimes permitting only brief appearances, with or without Voice. But less than halfway into the play Opener himself appears to be struggling with unspeci"ed forces (‘they’) and towards the end there is a strange, unfathomable but beauti-ful sequence where Opener’s contribution becomes more speci"c with references to ‘outings’, and to the ‘path’ leading to the ‘village’, to the ‘inn’. Voice, however, throughout the piece, is obsessional – a writer tormented by a story (with a character Woburn) which he is unable to "nish. Voice observes and describes Woburn, a character broken free from his author, and a throw-back to some of the creations, like Molloy, in Beckett’s earlier novels. Typically, Woburn’s adventures evoke images of nature, in particu-lar of the sea. I have occasionally referred to this with Music, with quasi-naturalistic e#ects, although the piano is the sole sound source. Most of the time Music is re!ective and does not get embroiled in the agitation and staccato rhythms of much of the text, nor the anguish or resignation. Rather, Music acts as a stabilizing factor, unifying the disparate qualities of the text. It has, I hope, a presence, but is not intrusive.

Technical rider:

Voice part on CD; 2 speakers either side of the piano. Two channels, so that the ‘opener’s’ voice comes out of one speaker, and the ‘voice’ part out of the other. The piano accompanies live, probably not miked.

John Tilbury, 28/02 Holywell Music Room

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There’s something in there text: Ken Edwards music: John Tilbury

There’s something in there

At least…there may be. Who can say more than that?

It comes in there, or is there, sometimes. It’s suggestive of…

No-one can say what it is.

What?

What is out here is found. It was found in the woods. In the dark woods, in the midst of it all. Like the poet, in the midst of a journey, it steals away.

It’s out here. It’s made of steel.Steel in the woods. It curves, all the way in.A steel cave, and what’s in it.

There’s de#nitely something in there.

Let’s say a probability.

A throat. There are rivets all down its throat. But that’s not it. What it is, is in there, as opposed to out here. By out here is meant all that isn’t in there.But where would there be?

It’s a throat, and a gnarl in the throat. Something gnarled.Like in the woods, a gnarling, throat rivets. Or a tongue.

That would be something.

There are rivets all the way down the tongue of the thing, if it is a thing, and not just a space.

You see, it could be in#nitely deep. The spaces could be silences. They could phosphoresce, that is, liquefy.

Where does that thought happen?

There are some things here you don’t even want to think of. You can’t, you can’t say the words properly. They used to say it was because you had a short tongue. A poet would understand, sometimes the space seems in#nitely deep, and at other times it’s like a patch of dark velvet a$xed to the outside. I comes in there, I subsequently speech-compensate for this, as though the lake of my hearts, as the poet says, almost destroyed…

What?

The poet would understand.

I mean that it’s in there, not the rivets, the rivets go all the way down to it, or you go down. Say it’s part of your brain. Or your mouth.

Inside your mouth.Where the harmonic series dances.

Or my mouth, if you like. In my mouth. Or on my tongue.

I know that!

“This heart within me I can feel, and I judge that it exists. This world I can touch, and I likewise judge that it exists.”

It is said a poet said that.He said it in the woods.No-one knows any more.

It could be that someone was lost.

Lost in the woods. Or lost in thought. It’s the same thing.

By that is meant, that one kind of space is replaced by another kind. You go from the outside to the inside, it can’t be explained any further than that. You’ll have to look it up. You go from out here to in there, meaning…

There may not be any in there.

What was that?

I can’t say. It’s private. Never mind. I am privileged to do so. You what? I do have access to it. Or… it depends. I can hear a voice.

It moves from in there to out here, and then back again. If you get the drift. It is reminiscent of foxes in the garden, just before dawn. The little foxes with big ears. You need a keen ear. Like the little dog, you know, the little dog peering down that great trumpet, in the old wind-up days, but who can say if a sound emanates, and if it emanates what it signi#es, and if it signi#es, what does that signify? For instance, is it signi#cant? To the dog,

John Tilbury, 28/02 Holywell Music Room

that is. A little dog, white with brown spots. Let’s call him Spot. “I am I because my little dog knows me.” A poet said that. Is the dog even looking for signi#cance, or authority, say? The question is, who is to be the master? But it could be comforting. It could be the only comfort he has, this evidence of private space, emanating into public space, replacing replacing replacing…

Well, there’s a certain pleasing symmetry about that, dog on one end of the trumpet, god on the other. Symmetry can substitute for certainty. Stop/Silence

Where was I?

I could say that I believe there is something in there.Although I have no grounds for such a belief.

The dog Spot got up and walked away. He walked away from his master and god.

It’s a sort of placeholder.

Look. See Spot go.

Go, Spot.

I have lost my tongue.

It’s in there. Somewhere.

Ken Edwards is a writer and editor based in Hastings. His books include Intensive Care, Good Science, 3600 Weekends and eight+six (poetry) and the novel Futures. The text of There’s something in there... was commissioned by John Tilbury, with the request that it relate in some way to the piano. Meditations on the interior space of a grand piano led to re!ections on inner and outer spaces generally, both physical and psychological - and in the end the piece was also in!uenced by a welded steel sculpture, Beyond and Within, by Joanna Mowbray, encountered in the Yorkshire Sculpture Park. There are incidental references to Camus, Gertrude Stein, Dante and Beckett. Ken Edwards.

Ken Edwards’ poem captures the materiality of the piano – that is, the wood and steel from which it is forged, their provenance and the processes they undergo. Even in its natural state such material possesses and suggests certain sound qualities. In the Steinway factory in Hamburg, where some of the sounds in the piece originated, one can observe and hear the gradual ‘instrumentalisation’ of the material (human agency at work), a procedure which is mirrored in the piece itself – the piano represented both as a sound object to be exploited and as an (historical) instrument to be played.

In the latter part of the poem the history of the piano is "nally alluded to, charmingly evoked through the time-honoured image of His Master’s Voice. Analogously, !eeting references to the classical repertoire may be heard. The ending suggests that perhaps the (acoustic) piano cannot survive. Certainly in its 19th century incarnation it is threatened by obsolescence, overtaken by an aggressive and predatory new technology. Samuel Beckett prophesied its demise in Watt:

“The piano is doomed, in my opinion, said the younger.

The piano-tuner also, said the elder.The pianist also, said the younger.”

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Phill Niblock’s “Pan Fried” was written in 2001. It was written for Reinhold Friedl. “Pan Fried” is a too obvious pun on Reinhold’s name, and the English verses the German pronunciation of the letter combination “ie”. The piano was played with a single nylon string tied to a single piano string. The string was stroked with rosined "ngers, with the open pedal held down. Several octaves of C sharp and F were recorded, using a stereo Neumann microphone and a Bosendorfer piano.

Tim Parkinson, 28/02 Holywell Music Room Austin Sherlaw-Johnson, 28/02 Holywell Music Room

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Programme:

James Tenney, Swell Piece for Alison Knowles (1967)Bruno Guastalla (cello), Sarah Hughes (zither), Dominic Lash (double bass), Tim Parkinson (piano), David Stent (guitar), Paul Whitty (harmonium)

Michael Pisaro, Rêve [Harmony Series 8b] (2005)Sarah Hughes (piano), David Stent (guitar)

James Tenney, Swell Piece no.2 (1971)Bruno Guastalla (cello), Sarah Hughes (zither), Dominic Lash (double bass), Tim Parkinson (piano), David Stent (guitar), Paul Whitty (harmonium)

Richard Glover, Imperfect Harmony (2013)Dominic Lash (double bass)

James Tenney, Swell Piece no.3 (1971)Bruno Guastalla (cello), Sarah Hughes (zither), Dominic Lash (double bass), Tim Parkinson (piano), David Stent (guitar), Paul Whitty (harmonium)

Composers:

James Tenney (1934-2006) was a composer, teacher, pianist and conductor. He was a founding member, conductor, and pianist of the Tone Roads Chamber Ensemble (New York, 1963- 70), and founder and musical director of Tone Roads West in Los Angeles (1973- 5). He was also involved in the ensembles of Harry Partch (Gate 5 Ensemble, 1959-60), Steve Reich (New York, 1967-70), and Philip Glass (New York, 1969-70), and has performed and/or conducted music by Charles Ives, John Cage, Morton Feldman, Erik Satie, Arnold Schoenberg, and others.

Michael Pisaro is a composer and guitarist, a member of the Wandelweiser Composers Ensemble and founder and director of the Experimental Music Workshop. Several CDs of his work have been released by such labels as Edition Wandelweiser Records, Compost and Height, confront, Another Timbre, Cathnor, Nine Winds and others. He has performed many of his own works and those of close associates Antoine Beuger, Kunsu Shim, Jürg Frey and Manfred Werder, and works from the experimental tradition, especially John Cage, Christian Wol#, James Tenney and George Brecht.

Richard Glover grew up in Lich"eld and studied at the University of Hertfordshire for his undergradu-ate degree in Electronic Music before moving to Hudders"eld, where he gained a distinction for his MA in Music Composition. He completed his PhD with Bryn Harrison at Hudders"eld, investigating perception and cognition within music of sustained tone textures. He is currently working as a Research Fellow in the music department and teaching

The Set Ensemble, 28/02 Holywell Music Room

All of the compositions in tonight’s programme explore harmony and the nature of the sustained tone. James Tenney’s Swell Pieces are part of his Postal Pieces, a series of compositions all printed on post cards. The three Swell Pieces all explore the possibility of a swell from minimum to maximum volume and back, with the added challenge to the performers that timbre should change as little as possible; the three pieces have di#erent harmonic requirements (free choice of pitches; the whole ensemble playing the same tone; a perfect "fth). Michael Pisaro’s Harmony Series is a long series of pieces that omit any reference to speci"c pitches. This in intended, paradoxically, to focus the musicians and listeners on harmony both in terms of pitch and of the human relations within the ensemble. Rêve is based on a poem by Samuel Beckett. Richard Glover’s Imperfect Harmony, written for Dominic Lash, is receiving its world premiere in this concert. The composer writes: “Much of the music I am involved in making at the moment is drawn from an interest in gradual change, in an e#ort to draw focus towards the changing colours of the sounds themselves. Working with Dominic on this piece has helped me explore further how the mechanics of the instrument, and the physicality of the performer, can help support that focus, rather than becoming the focus”.

Set Ensemble musicians

Bruno Guastalla has been a violin and cello maker/restorer for the past thirty years, and also a musician. Questions around perception, language and shape-making seem to come up a lot. He has collaborated amongst others with Philipp Wachsmann, Dominic Lash, and dancer Macarena Ortuzar. He is a member of the collective Oxford Improvisers. www.brunoguastalla.net

Sarah Hughes is an artist and musician currently based in West Sussex. She plays zither and piano in improvising groups and as a founding member of the Set Ensemble. She performs with long-term collabora-tors Patrick Farmer, Daniel Jones and Stephen Cornford and also performs in various open-form improvisation and composition ensembles, playing throughout the UK and Europe. She is the co-founder of Compost and Height.sarahhughes.org www.compostandheight.com

Dominic Lash is a freely improvising double bassist, although his activities also range much more widely. Based in Oxford, he has performed with musicians such as Tony Conrad (in duo and quartet forma-tions), Joe Morris (trio and quartet), Evan Parker (duo, quartet and large ensemble) and the late Steve Reid. His current projects include The Dominic Lash Quartet, The Set Ensemble (an experimental music group focused on the work of the Wandelweiser collective), The Convergence Quartet, a trio with John Butcher and John Russell and duos with Patrick Farmer and with Nate Wooley.www.dominiclash.co.uk

Tim Parkinson (b.1973) is an independent composer, based in London, UK since 1997. Music has been written for various groups and ensembles including Apartment House, Reservoir, London Sinfonietta, [rout], Chroma; and for various instrumentalists including Stephen Altoft, Angharad Davies, Rhodri Davies, Julia Eckhardt, Anton Lukoszevieze, Tanja Masanti, Andrew Sparling, Craig Shepard, Philip Thomas, Stefan Thut. Music has been performed in UK, Europe, USA, Armenia, New Zealand, Japan. He is also active as pianist and performer.

David Stent is an artist and musician working with text, image and collaborative practices. Recent works include The Müleskinders: A Prototype Publication at Banner Repeater’s Diagrammatic Form exhibi-tion and Writing as Occupation at Meantime Project Space, Cheltenham. Other recent publications include A Fingertip on Black Bulb published by Compost and Height and The Depiction of Dissemination, an essay published to accompany the New Perspectives on Joseph Wright conference at The University of Derby. www.davidrjstent.blogspot.com

Paul Whitty is a Composer and Sound Artist whose work has found its way into spaces and contexts as diverse as the Mecca State Bingo Hall in Kilburn, London; Addenbrookes Hospital in Cambridge; the o$ce of Beacons"eld art gallery in Vauxhall and the freezer compartment of a fridge in Romford, Essex. Recently Paul has been engaged in a series of interven-tions in pre- existing contexts – re-reading, re-organ-ising, recategorising, re- distributing and re-sounding the materials that are found there. These contexts can be scores, actual physical sites or instruments.

www.setensemble.blogspot.com

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Daniel Teruggi, 01/03 Modern Art Oxford

Daniel Teruggi

Born in Argentina in 1952, he has developed his professional career in France, where he lives since 1977. Composer and researcher, he works since 1981 in the Ina (National Audiovisual Institute) in Paris, in the GRM (Musical Research Group, founded by Pierre Schae#er en 1958). He has been the Director of the GRM since 1997 as well as director or the Research depart-ment in Ina since 2001. SHe has composed nearly 80 works, mainly for the concert and always using electroacoustic devices with or without acoustic instruments. He is the author of numerous research articles related to sound and musical perception as well as musical analysis. His music has been performed in more than 30 countries and published in di#erent CD collections.

In recent years he has been actively working on the preserva-tion of audiovisual collections and particularly the case of electro-acoustic music, where content and container are strongly linked and where the traditional models of conservation are not e#ective. He has been the coordinator of the FP6 European project PrestoSpace. Actually coordinating the FP7 European project PrestoPRIME and participant in the Europeana project. He is founding member of the Electroacoustic Musical Studies network, in charge of an annual conference on electroacoustic music analysis.

PhD in Art and Technology, Daniel Teruggi, has developed an impor-tant educational activity at the Sorbonne University or as visiting professor in Hertfordshire (GB), guest professor at the TU Berlin and Universidad 3 de Febrero (Arg).

Transmutations, 2009, 20’Acousmatic music for 8 sound sources

Music, in its historical groove, has taught us that to think of “musical” sounds and of other sounds. The Twentieth century has opened our ears to these other possible sounds and potentially to all the sounds of the world. I have often thought that any sound could be good for making music. This is a generic thought, in which the components of music have little in!u-ence regarding the power of the possible sound modi"cations and the metamorphosis that their organisation and contextualisation in time and space may produce regarding their initial meaning.

I am now less convinced of this approach… the richness of the initial sounds used in a musical composition, transcends the whole work and deter-mine its character. A very simple sound, in its spectral organisation and morphology, would have lots of trouble to climb high musical heights! However; this was the initial challenge of “Transmutations”; to use any sound to make (what I consider) a good music. This is how I choose, almost by chance (“almost” means that I would never work with a sound I would reject), among isolated sounds extracted from music, or directly recorded.

An incomplete inventory would show:

A sound recording speci"cally done for the work A defective sound recording An accidental sound recording One measure extracted from a well known opera A musical Mexican myth extracted from a CD I got

from a gas-station A chord extracted from a ballet

The alchemic concept of “transmutation” has been since a long time, recuperated by physics and biology to explain the transformation or radioac-tive elements, or the evolution of species. The word remains however associated with the transformation of lead into gold and, from a mythological point of view, to the change in forms. This term is perfectly adapted to the purpose of changing any possible sound into a musical sound; and this particular aspect of transformation and association of elements within a structure is an essential concept in this work. There is also another “transmutation”: the trans-mutation of sound in space, caused by movements, which change the perception of sounds. We witness then a transmutation through the movement of the sources, which, through this unusual context, reveal other possible ways of listening.

Turbulences, 2012

In physics, turbulence means “the state of a !uid, liquid or gas, in which the velocity at any point has a vortex character: vortices whose size, location and orientation are constantly changing. Turbulent !ows are characterized by a very unorganized and unpredictable behaviour with the existence of many di#erent spatial and temporal states. Such !ows occur when the source of kinetic energy that moves the !uid is relatively intense regarding the viscous forces opposed by the !uid in order to move”.

This de"nition corresponds fairly accurately to my work on the sounds. They all underwent a «source of kinetic energy» beyond their spectrum, timbre or rhythmic structure. The kinetic energy makes the sounds move within the circular space around the listener with little predictable behavior and a certain relationship between the nature of sound and speed of the movement. Regarding sounds moving in the air, turbulence is an invisible but perceptible movement that a#ects sound and gives it a whirling behavior which in turn acts on the nature of sound and "ts into the relationship among sounds. This work was originally called “Inharmonic turbu-lences”, but I preferred to simplify the title to Turbulences; the inharmonious aspect is rather a personal landmark in relation to my recent acous-matic and instrumental works, where I exploit the possibilities of harmonic sounds in a spectral perspec-tive. Here some temporary harmonicities may arise, but they are the result of reactions produced by the turbulences.

36 37

Bernard Parmegiani : Rêveries, 2007, 14’A pioneer in electroacoustics, Bernard Parmegiani recently celebrated his 80th birthday. He began his career as a sound engineer before joining the GRM (Groupe de Recherches Musicales) in 1959. Composer of numerous electronic works (70 concert pieces), he has also composed for "lm, television, advertisements and sound design (including the famous Paris Airports jingle). Revered by many artists from the electronic music scene. He is undoubtedly one of the electro-acoustic composers closest to the current generation of electronic musicians.

Rêveries Premiered in Brussels at the Marni Theathe on October 20th 2007, by Musiques et Recherches (“L’espace du Son” Festival) on the occasion of Parmegiani’s 80th birthday celebrations.

One can recommends Rêveries to the listener who "rst tackles Parmegiani’s monumental body of work without knowing where to start. This trajectory across soundscapes is also a daydream of the composer bases on his previous work.

A condensed example of his style and sonority can be experienced here.

Within fourteen minutes, it is possible to recognise his emblematic sounds: birds, crackling "re, humming crowds from the inner and outer worlds; The clashing impacts of reversed angle points, and, above all, the terrible and hallucinating train from L’OEil écoute (The Listening Eye): In a single operation, it drags and leads this sonic stream through a series of metamorphoses, before rounding it up with the dramatic announcement of the start of a play that will leave us, fully awake, facing reality.

François BayleFrançois Bayle was born in Tamatave, Madagascar, in 1932 and spent the "rst fourteen years of his life there and in the Comoros. He then moved to Paris, where he taught himself music. In 1958-60, François Bayle joined the Groupe de Recherches Musicales (GRM) and Pierre Schae#er – Olivier Messiaen and Karlheinz Stockhausen (1959-62). In 1966, he was appointed director of the GRM, which became part of the Institut National de l’audiovisuel (INA) in 1975. He was the head of the Ina-GRM until 1997.

François Bayle initiated the creation of the Acousmonium (1974), he established the Ina-GRM’s record collections, organised concerts and broadcasts and supported the development of musical instru-ments using advanced technology (SYSTER GRM Tools, Midi Formers, Acousmographe). In 1992, he founded the Acousmathèque. This ‘acoustic library’ now contains over 2000 works written from 1948 onwards; it also organises seminars and provides composers portraits (Empreintes).

Awards: Grand Prix des Compositeurs SACEM (1978) – Grand Prix National du Disque -(1981)- Ars Electronica Prize (Linz 1989) - Grand Prix de la ville de Paris (1996) – Tribute from the CIME (Sao Paolo 1997).

Daniel Teruggi, 01/03 Modern Art Oxford

Sohrab Udumanchants, airs and

dances (2005)for Ganassi-type treble recorder

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for treble recorder and live-electronics

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Jeff Stadelman

Koral 3 (2008)for soprano recorder

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Susanna Borsch, 01/03 Modern Art Oxford

38 39

Phill Niblock, 02/03 Modern Art Oxford Thomas Ankersmit, 02/03 Modern Art Oxford

40 41

ORNIS are Sabine Vogel on !utes with live electronics and Kathy Hinde on live video, objects and ice.

For Audiograft, ORNIS present a work inspired by their performance in an empty swimming pool. Re!ecting their concerns with the world’s drinking water supplies, this piece invites you to contemplate melting ice, torrential storms and the absence of water.

Sabine Vogel (DE) takes the sounds from the inside her !ute, the microcosm of her !ute world and transports these sounds into a sound-able-hear-able world, bring-ing what is inside into the outside. She then combines this world of sound with "eld recordings, the natural macrocosm of existing sound, forming a composed mixture between the macro and micro. For “in an empty swimming pool” she uses underwater record-ings of the canals in Amsterdam and big ocean waves recorded in Australia.

Kathy Hinde (UK) projects images onto three screens of ice that melt and change during the performance. The projected images sometimes merge into the patterns and textures of the real ice, and at other times create paradoxical illusions of boiling water and torrential rain. Kathy mixes footage she has "lmed in many loca-tions including melting frost in Sweden, waterfalls in Brazil, icicles in the French Alps, cascading water from Yorkshire canals, and waves on the Su#olk coast.

Working with pre-composed sections and live improvi-sation, ORNIS combine sound and image into a spatial, immersive experience.

This piece is supported by STEIM, EMS and ArtSpaceLifeSpaceSabine Vogel’s composition work for this piece is supported by the Ministry of Science, Research and Culture of Brandenburg.

Ornis, 02/03 Modern Art OxfordValerio Tricoli, 02/03 Modern Art Oxford

42

Ideology scrapbook for HEARth

For the full HEARth programme

please refer to HEARth guide book

� STELIX AKA Stavroula Kounadea

& Felicity Ford

HEARth, 02/03 Modern Art Oxford

For more events and ticket bookings please visit www.audiograft.co.uk

27/02 18:00 PIERRE BERTHET Launch Night RAY LEE Felicity Ford Henrique Portovedo Ref4mation Richard Hamilton Building, Headington Hill Campus, Oxford Brookes University, OX3 0BT

28/02 19:30 JOHN TILBURY Tim Parkinson Austin Sherlaw-Johnson The Set Ensemble Holywell Music Room, Holywell Street, Oxford, OX1 3BN

01/03 19:30 DANIEL TERUGGI Susanna BorschModern Art Oxford, Oxford, OX1 1BP

02/03 19:00 PHILL NIBLOCK Valerio Tricoli Thomas Ankersmit OrnisBasement, Modern Art Oxford, Oxford, OX1 1BP

TheSonic Art

Research Unit