NOVARS Research Centre Blog

MANTIS FESTIVAL - 30 October - 1 Nov 2020 : LeahBarclay

noreply@blogger.com (Unknown) — Sun, 25 Oct 2020 11:40:00 +0000

MANTIS Festival

of Electroacoustic Music,

30th October – 1st Nov 2020

https://mixlr.com/mantisfestival
DOWNLOAD THE PROGRAMME [PDF]
Over this weekend we will be featuring fixed media, interactive, and audio-visual work by special guest artist Leah Barclay (Australia); the winners of JTTP 2020 (Canada) Mélanie Frisoli, Léa Boudreau, Simon Coovi-Sirois, Simon Chioni, and Jeremie Jones; and NOVARS composers: Tasos Asonitis, David Berezan, Louise Chandler, Ricardo Climent(+Manusamo&Bzika), Alex Cook, Joel Drake, Guillaume Dujat, Thomas Evans, Sarah Keirle, Irving Kinnersley, Harry Ovington, Mark Pilkington, Sebastian Schmidt, Patrick Shepherd, Ryan Woods, Yuting Wu.
We are defeating unstable times with some creative ideas and alternatives to the usual MANTIS concerts diffused over our impressive 56-loudspeaker surround sound system; instead, we invite you to enjoy the following concerts and talks over Mixlr, arguably the best streaming service for audio to date but also try some of our experimental proposals for DJ gigs, remote listening, live multiplayer gaming jam with NINJAM and a live broadcast on Twitch.

https://mixlr.com/mantisfestival
Times are UTC+00:00 (London)

DOWNLOAD THE PROGRAMME [PDF]

MANTISFestival is on Mixlr

PROGRAMME

Ryan Woods and Tara McKelvey: Catching a Moment (through-out the Festival).

FRIDAY 30th OCTOBER - Times are UTC+00:00 (London)
Concert 1 | 19:00-20:00 | NOVARS Composers
Concert 2 | 20:30-21:30 | MANTIS presents: JTTP 2020 Winners Concert

SATURDAY 31st OCTOBER - Times are UTC+00:00 (London)
Talk | 12:00-13:30 | Leah Barclay (by Zoom)
Concert 3 | 14:00-15:30 | Leah Barclay
Concert 4 | 19:00-20:15 | NOVARS Composers
DJ’d (Seb Schmidt) virtual hangout | 21:00 | TBC

SUNDAY 1st NOVEMBER - Times are UTC+00:00 (London)
Concert 5 | 14:00-15:00 | Timbila Live Aid Game Concert ft. Ricardo Climent & Mark Pilkington & Manusamo&Bzika
* Watch on Twitch via This link or
* Download the game and attend the concert live via this link

SonicMaps throughout the Festival by Harry Ovington

A Path To Shore (1)

A Path to Shore (2)

MANTIS MUSIC FESTIVAL: DIGITAL OVERLAYS - 29 Feb - 1 March 2020

noreply@blogger.com (Unknown) — Tue, 18 Feb 2020 21:24:00 +0000

MANTIS MUSIC FESTIVAL DIGITAL OVERLAYS
Saturday, 29 Feb. - Sunday, 1 March 2020
Manchester (UK)
Where?: Martin Harris Centre
Bridgeford St, Manchester, XGM M13 9PL
DOWNLOAD PROGRAMME (PDF)

Join us in the Cosmo Rodewald Hall at the Martin Harris Centre for three concerts of new music! Our variety of fixed media, interactive and audiovisual works by invited guests, past and present student composers and staff will be diffused over our impressive immersive 56-loudspeaker surround sound system.

Special guest artists include composer Sam Salem, violinist Linda Jankowska and urban anthropologist Jessica Symons (Visioning Lab). Also composers Donal Sarsfield, Lee Fraser and Falk Morawitz.

NOVARS artists include: Adriana Ruiz, Sebastian Schmidt, Aikaterini Iilia, Irving Kinnersley, Hongshuo Fan, Harry Ovington, Alexander Masche, Yuting Wu, Benoît André, Hayley Suviste, Ryan Woods, Chris Rhodes, David Berezan and Ricardo Climent.

Tech team: Guillaume Dujat, Hongshuo Fan.

WORKSHOP AND SEMINAR: "DIGITAL OVERLAYS" Alongside the three concerts, this year's edition we are holding a WORKSHOP AND SEMINAR including presentations, show-and-tell demos and discussions around the theme "DIGITAL OVERLAYS" and in the context of SOUND, SPACE AND INTERACTIVE ART.

We are asking participants to think of a "Digital Overlay" as a watermark of the world and the spatial media; as the aural surrounding your body; as meeting place between the real and the augmented; as a multi-layer device spread over or across the physical; as your digitally-social-self ... you name it. Saturday presentations include (provisional):

12.00h - 12.20h Dr Jessica Symons (Visioning Lab) Seminar talk: Let's imagine: a digital world without screens (*)
12.20h - 12.40h Sam Salem and Linda Jankowska – “Raft Breaks” insights (performance at 6 pm)
12.40h - 13.00h Chris Rhodes – VR and EMG data in interactive music
13.00h - 13.20h interval
13.20h - 13.40h Hongshuo Fan – Real-time Environmental Data (installation)
13.40h - 14.00h Ricardo Climent –Virtual Doppelgängers and the Noh Mask
14.00h - 14.20h Ryan Woods - "Digital Overlays: Democracy or Dystopia?"
14.20h - 14.40h interval
14.40h - 15.00h Ignacio Pecino - SonicMaps v.2 - Locative Audio
15.00h - 15.20h David Berezan – Music and Sports
15.20h - 15.40h Hayley Suviste – Way down to Pomona (Echoes)

15.40h - 16.00h Falk Morawitz - on the gamification of music performance

PROGRAMME RESUME

Saturday, 29 February 2020

WORKSHOP AND SEMINAR: "DIGITAL OVERLAYS" 12 noon to 4 pm

Several presentations and discussions in response to the above theme in the context of SOUND, SPACE AND INTERACTIVE ART.

INSTALLATION WORK (Foyer Martin Harris Centre - throughout the festival):

AR installation by Jessica Symons (Visioning Lab). Download Android app from here

TWO CONCERTS (Cosmo Rodewald Concert Hall):

18:00-19:30

Concert One: Sam Salem, Linda Jankowska and NOVARS composers.

20:00-21:00

Concert Two: NOVARS composers and performers

Sunday, 1 March 2020

[ ] INSTALLATION WORKS (Foyer MHC) - ongoing

AR installation by Jessica Symons (Visioning Lab), and NOVARS Composers.

ONE CONCERT (Cosmo Rodewald Concert Hall):

14:00-15:00

Concert Three: NOVARS composers and performers

PROGRAMME DETAILS

MANTIS SPRING 2020: DIGITAL OVERLAYS

Saturday, 29 February 2020

18:00-19:30

Concert One: Sam Salem, Linda Jankowska and NOVARS composers.

Sam Salem | Linda Jankowska (violin) | Raft Breaks | Solo violin, tape, live electronics and video | ca. 20'
Yuting Wu | Viruses |2019 | Fixed Media (Stereo | 5'
Alexander Masche | The Boy Who Cried Wolf | 2020|Fixed Media (Stereo) | 5.31
Irving Kinnersley | Song of Glass 2015 | (Stereo)|12'
Donal Sarsfield - Glorify the Brick (2019), for voice and tape (curated by Sam Salem) | 13'
Ryan Woods | Yellowstone | Fixed Media (Stereo) | 5'
Lee Fraser - Pline Expol A (2016), Fixed Media (curated by Sam Salem) | 9'

20:00-21:00

Concert Two: NOVARS composers and performers

Adriana Ruiz | Memories of the pacific 2020 | Fixed Media (8-channel) |ca. 15'
Aikaterini Iilia | Meditative| 2019 | Fixed Media (Stereo)| 5'
David Berezan | Run 2019 | Stereo audio-visual | 10.4'
Sebastian Schmidt | lifting19 [07-12] | 2020 | (Stereo)| 5

MANTIS SPRING 2020: DIGITAL OVERLAYS

Sunday, 1 March 2020

(Cosmo Rodewald Concert Hall):

14:00-15:00

Concert Three: NOVARS composers and performers

Hayley Suviste | Lōka 2019 | Fixed media, 8-channel | 27.14
Benoît André | Sub 4.5 2019 | Fixed Media (Stereo) | 4.22
Harry Ovington | Splitting Airs | 2020 | Fixed Media (Stereo) | 13.48

BIOGRAPHIES

SAM SALEM, COMPOSER

Sam Salem's biography / statement:

I create audiovisual works for performers, electronics and video, which challenge traditional notions of concert presentation and instrumental virtuosity.

My compositional process begins with a set of locations, a line on a map connected by a particular theme, history, or set of constraints. I capture moments, surprises, and ultimately, like prominent London-based psychogeographer Iain Sinclair, I offer a reading of my chosen locations, a divination made through an “act of ambulatory sign- making”. I excavate my locations, and the layers of myth and history that I uncover form my building blocks.

Having received a PhD in Electroacoustic Composition in 2011 from the University of Manchester, I have since shifted my practice in order to incorporate live performance.

My electroacoustic works have been performed at festivals and concert series around the world. These works have also received several awards and nominations, including: the HearSay Prize (Winner, Best Sound Category, 2015), Prix Palma Ars Acustica (Nominated by Radio Television Suisse, 2015), Concours Luc Ferrari (Winner, La Muse En Circuit, 2012), Prize Phonologia (Finalist, 2013), Metamorphoses (Finalist, Musique et Recherches, 2012), Competition Destellos (Nominated by Grand Jury, 2012), Joensuu Soundscape Composition Contest (Third Prize, 2011), 11th Musica Viva Composition Competition (Winner, First Prize, 2011).

My first works for live performers, my London Triptych, are based upon the lives of William Blake (Not one can pass away, 2015), Austin Osman Spare (Untitled Valley of Fear, 2016) and Nicholas Hawksmoor (The Great Inundation, 2017), and were written for Distractfold Ensemble. Not one can pass away has received 16 performances by 5 different ensembles. Untitled Valley of Fear was premiered at Darmstadt in August 2016, and has also been performed at Café OTO and HCMF. Untitled Valley of Fear was nominated for a British Composer Award (Sound Art Category) in 2017. The Great Inundation was premiered at Cut & Splice 2017 and subsequently broadcast on BBC Radio 3.

In 2017, I participated in the Earle Brown Music Foundation International Summer Academy for Young Composers, one of 8 composers selected from 206 applicants, and the only successful applicant from the UK. The resulting piece, The Lovers (for string quintet, 2 object operators, performative electronics, tape and video), was premiered by Talea Ensemble as part of the Time Spans Festival in New York in August 2017. The Lovers was noted as being “impressive” and “chamber-orchestra pandemonium with accomplished video work” by the New York Times in their review of the festival. Brilliantly, and importantly, I was also described as “young”.

In 2018, I completed a commission for Ensemble Soyuz 21 (The Tower, for Electric Guitar, Cello, Percussion, Live Electronics, Tape and Video) and composed a new solo violin work (The Raft Breaks, for Violin, Objects, Live Electronics, Tape and Video), written for Linda Jankowska.

My most recent project, Midlands, was commissioned by The Bludenz Days of Contemporary Music Festival and the Ernst Von Siemens Foundation and is my first concert-length work. It was premiered in October 2019.

I am also a founding member and co-artistic director of Distractfold Ensemble. Distractfold received the Kranichstein Music Prize for Interpretation from Internationales Musikinstitute Darmstadt (IMD) in 2014, becoming the first British ensemble to receive the honour. In 2017 we curated and co- produced Cut & Splice in collaboration with SAM and BBC Radio 3, which culminated in a weekend festival in March 2017 and BBC broadcasts in April 2017. I am currently PRiSM Lecturer in Composition at the RNCM.

Linda Jankowska (violin) biography"

Photo credit: Fabio Lugaro

Linda Jankowska (Poland/UK) is a musician whose artistic practice orbits around long-term collaborations and multifaceted modes of working with sound that stretch her limitations. Primarily a violinist, she works at an intersection of contemporary extended instrumental performance, sound art, improvisation and composition. She is also an active concert producer, contemporary performance researcher and educator. Linda is a founding member and co-artistic director of Distractfold Ensemble. Distractfold received the Kranichstein Music Prize for Interpretation from Internationales Musikinstitute Darmstadt in 2014. Together with Distractfold she held residencies at Harvard, Stanford and Columbia Universities. In 2017 she also curated and co- produced Cut & Splice Festival in collaboration with Sound and Music and BBC Radio 3. She performed internationally at festivals such as KLANG, rainy days, Kalv Festival, International Summer Courses Darmstadt, Le Bruit de la Musique, Nordic Music Days, Bludenzer Tage Zeitgemäßer Musik and at Kammer Klang (London) and Outer Ear (ESS Chicago) concert series, among others. She recorded for Kairos and Another Timbre. She has also performed in large-scale dance productions with Sadler’s Wells, New Movement Collective and Nagelhus Schia Dance Company..

Pictured above Dr Jessica Symons

Dr Jessica Symons

Seminar talk: Let's imagine: a digital world without screens
The days of devices are over. Soon interactive digital imagery will flicker over furniture, walls, desks. Our hands will wave, our backs straighten, our days of sitting hunched over desks and phones will disappear. We will wear glasses and then contact lenses which transmit visual information directly to our retina. Tiny speakers will provide audio. Our clothes will provide power.

In this talk, Dr Jessica Symons will share insight from her research as an anthropologist and work as Director of Visioning Lab, a creative digital studio making immersive content using augmented and virtual reality. She will invite the audience to imagine a world where we communicate without devices as intermediaries and instead tools for digital use are woven seamlessly into our daily lives.

Installation: Groups of People by Visioning Lab
This piece was shown at the Lightwaves Festival at Salford Quays, Manchester in North West England in 2019. Anthropologist Jessica Symons worked with artists Amber McCormack and Jacki Clark and visitors to the Immersive Lab at The Landing to make digital sketches in virtual reality inspired by L.S.Lowry.

To see the 3D work, download the app from Google Play or the App store and open it. The app will open your camera. Hover the camera over the 'trigger images' here and watch them come to life!

Download Android app from here

Bio: Jessica is interested in transformative practices and how emerging technologies impact on social and environmental dynamics.

She has worked as a creative digital consultant for over 25 years across public, private and third sectors, as a researcher in the University of Manchester and as an IT consultant in large multinationals, SMEs and startups developing technologies and business models for the internet, mobile phones, smart cards and ecommerce.

Jessica speaks at conferences and public events in the UK and internationally on how to engage communities in understanding their creative potential and how to shape the development of emerging technologies for sustainable and social purposes.

LinkedIn: Dr Jessica Symons

Twitter: @jessicasymons

MANTIS FALL FESTIVAL: 26-27 October 2019 with Annie Mahtani

noreply@blogger.com (Unknown) — Thu, 10 Oct 2019 21:51:00 +0000

MANTIS + Annie Mahtani

Join us in the John Thaw Studio at the Martin Harris Centre for three concerts of new electroacoustic music! Our variety of acousmatic, interactive and audiovisual works by past and present students and staff will be diffused over our immersive 56-loudspeaker sound system.

Our special guest artist for this festival is Annie Mahtani, an electroacoustic composer, sound artist and performer working and living in Birmingham (UK). She will be bringing her works Racine torques, Aeolian and Past Links to the MANTIS system on Saturday evening.

Annie Mahtani [Photo: Greg Milner, Birmingham (England, UK), February 7, 2019]

Other artists include: Benoit Andre, Tasos Asonitis, Ed Campbell, Luke Dobbin, Guillaume Dujat, Hongshuo Fan, Irving Kinnersley, Kevin Malone, Harry Ovington, Chris Rhodes, Hayley Suviste, Patrick Shepherd, Daichi Sugimura, Ryan Woods.

Schedule

Saturday, 26 October 2019

18:00-19:30

Concert One: Postgraduate Composers & Kevin Malone

20:00-21:00

Concert Two: Annie Mahtani

Sunday, 27 October 2019

14:00-15:00

Concert Three: New Postgraduate Works

MANTIS FESTIVAL 2-3 March 2019 with guest Darragh Morgan (violin)

noreply@blogger.com (Unknown) — Fri, 22 Feb 2019 22:33:00 +0000

Pictured above, Darragh Morgan Credits: Photography: Frances Marshall -

3D violinist and montage:Manusamo&Bzika

MANTIS FESTIVAL

With Darragh Morgan (violin)

Address:

Cosmo Rodewald Concert Hall

Martin Harris Centre for Music and Drama

Coupland Street

M13 9PL, Manchester, UK

PROGRAMME

Saturday 2 March 2019

6pm Concert 1 (90 minutes)
Pierre Boulez: Anthemes II (Darragh Morgan, Violin + electronics)
Manuella Blackburn/Camden Reeves: The Eye of the Stars (Toy piano + electronics)
Manuella Blackburn: Landline (fixed media)
(Interval 10)
Ricardo Climent: Duel of Strings (Darragh Morgan "non-virtual Violin" v.s "Virtual strings")
Luke Dobbin: Angle Cadence (fixed media)
Chris Rhodes: Musica Corporis (fixed media)

8pm Concert 2 (60 minutes)
Hayley Suviste: In those Days/Community (fixed media)
Adriana Ruiz: Vuelvo al sur (fixed media)
Tasos Asonitis: Concurrent.States.Becoming (audio visual)
Benoit Andre: Child’s Play (fixed media)
Sarah Keirle: Okypete and Aello (fixed media)

Sunday 3 March

1pm RedDALSA CD Launch (Martin Harris Centre Foyer)
RedASLA is the Latin-American Network for Sonic Arts, an organisation started in 1995 and aiming to disseminate worldwide sonic creativity and research from its members.
From RedASLA’s viewpoint, Sonic Art amalgamates any artistic activity focused on sound as the means for creative expression, while providing technology with a primary role in the creative process.
RedASLA embraces Sonic Arts from an open perspective, consciously aiming not to set boundaries or constraints on the variety and broadness of any sonic expression or aesthetic consideration from its members.

This double album is the Vth and VIth published CD since the Network started.

2pm Concert 3 (60 minutes)
Hongshuo Fan: Handwriting - WuXing (Performer + electronics + video)
Seth Scott: Burnout/Anatomy of Three Velociities (fixed media)
Ryan Woods: Featherless Bipeds (fixed media)
Steve Summers: Eternal Cosmic Heat Dissipation (fixed media)
Simon Hellewell; Diverged at a Yellow Wood (Performer, Violln + electronics)

Biography: Darragh Morgan

Irish violinist Darragh Morgan has a hugely diverse career. Concerto highlights include working closely with Arvo Part, performing his Tabula Rasa at the RTE Living Music Festival, followed by over 20 performances with London Musici / Rambert Dance Company. Regular solo appearances with the Ulster Orchestra include the world premiere of Sir John Tavener’s Hymn of Dawn which he also performed with the Istanbul Symphony Orchestra, Dallapiccola's Tartiniana Seconda, world premiere of Bill Campbell’s Swim for Violin & Orchestra, live on BBC Radio 3 from Sonorities Festival and Samuel Barber’s violin concerto which Darragh also gave the South African premiere of with the KZN Philharmonic Orchestra. He has recorded Donnacha Dennehy’s Elastic Harmonic with the National Symphony Orchestra of Ireland, with whom he has also premiered Brian Irvine’s A Mon Seul Desir and gave the world premiere of Andrew Poppy’s Darwin’s Sin Draw with the Crash Ensemble. Other concerto appearances include Koln Kammer Orchester, Camerata Tinta Barocca Cape Town and Cyprus Symphony Orchestra.

As a chamber musician and soloist Darragh has performed at many International Festivals including Warsaw Autumn, Wien Modern, Ars Musica Brussels, Maerz Musik Berlin, Festival d’Automne Paris, Klangspuren Schwaz, Osterfestival Tirol, Dubrovnik Summer Festival, Lucerne Festival, National Arts Festival South Africa, BBC Proms Chamber Music, Aldeburgh, Spitalfields, Cheltenham, Brighton, Huddersfield Contemporary Music Festival, ICMC, Ether Festival, City of London Festival and St Magnus International Festival. He is violinist and founding member of the Fidelio Trio with whom he has appeared at the Wigmore Hall, Shanghai Oriental Arts Centre, Symphony Space New York, Casa da Musica Porto, Johannesburg Musical Society and recorded Michael Nyman’s complete piano trios for MN Records. They are currently Artists in Residence at St Patricks College, Dublin. Previously as violinist with The Smith Quartet Darragh performed and recorded with as diverse artists as Philip Glass, Louis Andriessen, Gavin Bryars and Steve Reich. They appeared internationally at Seoul Arts Centre, Bang on a Can Marathon New York, The Phillips Collection, Washington D.C. and made an acclaimed recording of Philip Glass’ complete string quartets on Signum Records.

World-class international groups Darragh has led include Ensemble Modern, London Sinfonietta, Musik Fabrik, Birmingham Contemporary Music Group, Remix Ensemble, Athelas Sinfonietta and Red Note Ensemble, collaborating with conductors such as Pierre Boulez, Oliver Knussen, Heinz Holliger, Paul Daniel, Francois-Xavier Roth and En Shao. He has been invited to lead the Macau Orchestra, Les Siecles, Opus 20, English Touring Opera, BBC 2’s Genius of Beethoven series, English Session Orchestra and throughout the 2004 season was Artistic Director of Baroque 2000 in South Africa.

Darragh has recorded over 50 CDs for labels including Mode, NMC, Black Box, Altarus, Naxos, Nimbus, Signum and Delphian. He broadcasts regularly on BBC Radio 3, NPR, CBC, WQXR, RTE and WDR.

Darragh is currently professor of violin at The Royal Welsh College of Music and Drama, guest violin lecturer at Royal Conservatoire of Scotland and previously Director of The Junior Guildhall String Ensemble. Darragh is Course Director of Pro Corda Violin Course. He has taught chamber music and contemporary music performance at the Royal College of Music, Trinity Laban Conservatoire, Britten-Pears Young Artists Programme and Apple Hill Centre for Chamber Music. He has been invited to give masterclasses at Stellenbosch Conservatorium, Busk Aid Soweto, Hong Kong Academy of Performing Arts and Birmingham Conservatoire. In 2010 Darragh curated The Irish-American Series at Kings Place, London and has been Artistic Director of CoMA’s Open Score project and Music @ Drumcliffe in Ireland. Darragh has appeared as a mentor on the RTE series Classic Jam, working with a young string quartet and also as mentor to Katie Derham in the Sky Arts production, First Love.

Darragh has premiered music by Johannes Maria Staud, Michael Nyman, Arvo Part, John Tavener, Gavin Bryars, Kevin Volans, Howard Skempton, Yannis Kryakides, Emmanuel Nunes, Gerald Barry, Graham Fitkin, Mira Calix and Stephen Montague. Composers who have dedicated works to him include Michael Finnissy, Chris Newman, Donnacha Dennehy, Joseph Phibbs, Richard Causton, Joe Cutler, Deirdre Gribbin, Ed Bennett, Micheal O’Suilleabhain, Piers Hellawell, Andrew Poppy, Morgan Hayes, Dmitri Smirnov, Christopher Fox, Lukas Ligeti, Jonty Harrison and Simon Emmerson. He has collaborated with a wide range of artists including Rokia Traore, Thomas Ades, Emmanuel Pahud, John Tilbury, Joanna MacGregor, writer Alexander McCall Smith, French Horn player Richard Watkins and Jazz saxophonist Peter King.

Darragh studied with Detlef Hahn at the Guildhall School of Music & Drama, London. He has received chamber music coaching from The Amadeus & Takacs String Quartets, and participated in masterclasses with Sidney Griller, Yehudi Menuhin, Mauricio Fuks, Paul Zukofsky, Pinchas Zukerman, Yfrah Neaman, Pierre Amoyal and in the field of Irish traditional music during his formative years with the legendary Sligo fiddle player Joe O Dowd. Darragh plays an 1848 Giuseppe Rocca violin, generously on loan from the Morgan-Rocca Instrument Trust which is administered by The Royal Society of Musicians.

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Supported by

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CD 1 RedASLA

1. s.laag (8’43”) / 2016 - Ricardo Climent

2. Homenaje a las ciudades invisibles (4’16”) / 2017 - Otto Castro

3. 4. 5. Sistemas volátiles / 2011 - Adina Izarra

3. I. Convolución (4’23”)

4. II. Chiuiui (3’24”)

5. III. Refrán (3’46”)

6. Graffiti (6’00’’) / 2013 - Mauricio Fonseca López

7. Palabras vacías (6’23”) / 2017 - Ricardo de Armas

8. La otra concertación (13’12”) /- Eduardo Cáceres

9. Words through the worlds (1’02”) / 1997 - Ricardo Dal Farra

10. Interlineal (10’46”) / 2017 - Rodrigo Sigal

CD 2 RedASLA

1. Repetition of perception (7’40”) / 2012 - Rodrigo Sigal

2. Líneas y puntos de otro tiempo (Sin Tiempo IV) (9’00”) / -rev. 2017- - Daniel Schachter

3. Residual I (7'23”) / 2017 - Daniel Quaranta

4. El sueño del GOUL (5’15”) / 2004 - Eleazar Garzón

5. Fútbol (5’02”) / 2017 - Alejandro Brianza

6. Quedate con el cambio (1’24’’) / 2017 - Jorge Variego

7. Listening animals (8'00”) - Alejandro Albornoz

8. posdomingo 02.10.2016 (7'36'') / 2016 - Ana María Romano G.

9. Islas temporales – Asuntos del alma (a José Vicente Asuar) (9’41”) / 2017 - José Miguel Candela

RedASLA - The Latin American Network for Sonic Arts

OVERVIEW

RedASLA is the Latin-American Network for Sonic Arts, an organisation started in 1995 and aiming to disseminate worldwide sonic creativity and research from its members.

From RedASLA’s viewpoint, Sonic Art amalgamates any artistic activity focused on sound as the means for creative expression, while providing technology with a primary role in the creative process.

RedASLA embraces Sonic Arts from an open perspective, consciously aiming not to set boundaries or constraints on the variety and broadness of any sonic expression or aesthetic consideration from its members.

This double album is the Vth and VIth published CD since the Network started.

RedASLA OBJECTIVES

To incorporate new ideas and a diversity of working methodologies are among RedASLA’s primary objectives. More specifically RedASLA aims:

1) To consolidate spaces that foster collaboration and the exchange of ideas between artists who place sound at the centre of their methodology and creative thinking.

2) to fostering and promote worldwide Sonic Arts created by its Latin-American members and to showcase work from other Latin-American artists.

3) to establish institutional relationships and formal exchanges with other artistic associations with similar interests.

4) to organise meeting, concerts, seminars, recordings, publications and any other activity related to Sonic Arts in Latin-America.

5) to become a primary source of information for activities related to Sonic Arts on an international level and with particular reference to activities taking place in Latin-America.

6) to serve as a support centre and institution for artists in need of assistance and backing infrastructure.

CURATORIAL

The vast majority of pieces proposed for this cultural production can be divided into three types of works:

A first group of compositions that refer to everyday sounds and their sonic environment.

A second type of pieces with a high level of sonic abstraction which apply highly processed electronics to sonic materials, making them unrecognisable; or which make use of electronic sounds that have no connection to the environment.

Finally, there is a third group of works that combine the sounds of the environment with electronic sounds to create an interplay between the sounds of an "everyday" world and those of a "fictitious" one.

This last group shaped the curatorial line since it proposed a dialogue between the works carrying "everyday" sounds as opposed to the pieces that used a timbre palette far removed from the sounds of the environment. To explain it in another way, some works appeared to carry out a representation of "reality", while others projected their identity throughout the imaginary and the fictional.

Having said that, fiction is understood from the perspective of the first two groups. In the first one, "real" sounds project the author’s intentionality when constructing the sounds of its environment, while printing its subjectivity. On the other hand, "fiction" linked to electronic sounds can also be understood as a metamorphosis of the soundscape and it can even be seen as a representation of the unique imaginary of the artist.

The third group of pieces submitted to this call for works seems to negotiate everyday sound worlds and imaginary ones, taking to the liminal the theme of representation and including sound images that mostly come from inner worlds.

Otto Castro / Curator

MANTIS Festival 27 - 28 October 2018 - Guest artists: Brona Martin, Danny Saul, Dark Matter, Seed Studios

noreply@blogger.com (Unknown) — Tue, 16 Oct 2018 08:17:00 +0000

Guest artists: Brona Martin, Danny Saul, Dark Matter, Seed Studios

*** Concert 1: Saturday 27 October 18.00, John Thaw Studio Theatre, University of Manchester UK ***

Daichi Sugimura: Watertrails
Sarah Keirle: Blue Lungs
Chris Keogh: Les Espaces d'Abraxas
Harry Ovington: The Chattox Dem
Guillaume Dujat: Divine Cut
Hayley Suviste: NGC4993
Kelly Jones: la caverne á l'intérieur
David Berezan: Lightvessels

*** Concert 2: Saturday 27 October 20.00, John Thaw Studio Theatre, University of Manchester UK ***

Hongshou Fan: The Verse of Autumnal Wind (Gavin Osborne, flute)
Falk Morawitz: 56Fe
David Berezan: Unearthed
Adriana Ruiz: La Fiesta del Diablo
George Stenos Frantzios: Reconstruction
Steve Summers: Small Incredibly Big Container

*** Concert 3: Sunday 28 October 14.00, John Thaw Studio Theatre, University of Manchester UK ***

Dark Matter (BEER)
Brona Martin: Sowing Seeds
Tasos Asonitis: Topology of a Groove
Hayley Hedges: Motion in Stasis
Danny Saul: Exaggerations/Scenes

Tickets: http://events.manchester.ac.uk/ev…/event:eiq-jk8dbt59-qtsu8b

*** Concert 4: Sunday 28 October 19.30, Beer Nouveau, Brewery Tap 75 North Western Street, M12 6DY, ***

Music and performances by Luke Dobbin, Alex Cook, Epa Fassianos, Guillaume Dujat/Joe Beedles, Steve Summers, Connor Haynes, and more

*** Work from Seed Studios (Trafford) workshop participants running throughout the festival (room G16, Martin Harris Centre, University of Manchester ***

Musical Duel: Sigma Project (Saxophone Quartet) vs. Bass Clarinet Virtual

noreply@blogger.com (Unknown) — Sun, 30 Sep 2018 13:27:00 +0000

FESTIVAL i ARA QUE?,

Ateneu Cultural Ciutat de Manises, Valencia

30 September 2018

6 pm

Premiere of Ricardo Climent's new composition project in the form of a Performance Battle, in collaboration with Sigma Project , Alena Mesarosova/ Manu Ferrer (3D modelling and rigging).

EASTN-DC Manchester: A festival of Digital Creativity - Mantis Concerts Announcement

noreply@blogger.com (Unknown) — Fri, 22 Jun 2018 08:57:00 +0000

http://eastn.uk/manchester

TICKETS!

https://bit.ly/2MejIog

COSMO RODEWALD CONCERT HALL

Martin Harris Centre for Music and Drama

with the
MANTIS Diffusion System
55 Genelec Speaker surround!

WEDNESDAY 27th JUNE 2018

18:00 – 19:30 Concert 1

Next City Sounds - Hofmann / Kempf / Pich / Wilcox
Did I Sleep? - Edward Campbell
TABÚ - Rosalía Soria
Le voci del mondo - Giuseppe Gavazza
B is for Bird - Ricardo Climent
Machinic Propositions - Mongrel (Henrik Frisk / Anders Elberling)
La Fiesta del Diablo - Adriana Ruiz
Night Escape - Brona Martin

20:00 – 21:00 Concert 2
Javaari - Manuella Blackburn
Dense - Kim Hedås
Spin - Brümmer / Lintermann
Blue Lungs - Sarah Keirle
Fontana Remix - Gianluca Verlingieri

THURSDAY 28th JUNE 2018

09:00 – 11:00 Workshop 1: Diffusion workshop with 55 genelec

(free via eventbrite invitation)

https://www.eventbrite.com/e/the-european-art-science-technology-network-week-tickets-46754854027

14:00 – 15:30 Concert 3

Divine Cut - Guillaume Dujat
In Those Days / Community - Hayley Suviste
Karst Grotto - Nikos Stavropoulos
Chromatocosmos - Epa Fassianos
Unearthed - David Berezan
Requiem da Ballo - Gianluca Verlingieri

TICKETS!

https://bit.ly/2MejIog

http://eastn.uk/manchester

25 June'18 @ 12 noon - Eastn-Dc Manchester kick-off! A Festival of Digital Creativity

noreply@blogger.com (Unknown) — Thu, 21 Jun 2018 22:10:00 +0000

MATINÉE#35: PHDs FALK MORAWITZ & GUILLAUME DES ALLIMES :MULTICHANNEL COMPOSITION

noreply@blogger.com (Unknown) — Thu, 15 Feb 2018 14:02:00 +0000

GETTING STARTED WITH MULTICHANNEL COMPOSITION.

THURSDAY, 15 MARCH 2018 • 12:00-13.00 STUDIO 1 NOVARS RESEARCH CENTRE

Semester Highlights: PhD Mario Duarte's piece Metzil performed by BBC Philharmonic conducted by Mark Heron

noreply@blogger.com (Unknown) — Fri, 08 Dec 2017 11:41:00 +0000

Pictured above, Composer Mario Duarte

Last 14th of November 2017, the BBC Philharmonic, conducted by Mark Heron, performed Mario Duarte's 'Metztli' (a NOVARS PhD) including live electronics! The programme also included Laura Bowler's '3811 Nautical Miles', a new work by Larry Goves, and Grace-Evangeline Mason's 'Kintsukouroi'. Finally and after the interval Psappha Ensemble

performed David Horne Resonating Instruments and Tom Coult (a Music graduate from The University of Manchester) Two Games and a Nocturne.

This has been the cherry on the top to Mario Duarte's PhD which included other pieces such as:

1. Aquí (2013)

Violoncello 3’54’’

2. La Peste del Olvido (2014)

String quartet //Fixed media 5’58’’

3. Ehécatl (2014)

Trombone & electronics 5’18’’

4. Xinachtli (2015)

Woodwind Quintet & electronics 10’52’’

5. Achtli (2015)

Flute , electronics & Piano

2 Percussionists

Fixed media 6’21’’

6. Elegía o Transportarán un cadaver por express (2015)

Fixed media 10’44’’

7. Manc’umbia (2016)

Soprano Saxophone & electronics

10’34’’

8. Axólotl (2016)

Bass Clarinet & electronics

14’44’’

9. Metztli (2016)

Full or Chamber Orchestra & electronics

15’08’’

Mario taking the bow!

His portfolio of compositions, which was examined in November (and passed with minor corrections!) and researched the use of the DNA sequences as a system for music composition and his main objective was to generate musical material from a particular sequence of DNA.

Mario's system of composition was implemented using an interactive mapping system as a compositional tool. This interface he designed can obtain a musical rendering of the genetic material through the replication of different stages of DNA coding. This tool uses a Parameter Mapping Sonification (PMSon) approach.

The nine compositions above were included in Mario's portfolio, each exploreing the use of sonification and musification as a compositional tool to generate and organise musical materials.

The aim of his PhD Research at NOVARS research is to create an intelligible corpus of music that integrates science, literature, cultural heritage and the social sphere in order to deliver my musical discourse.

The BBC Philharmonic and Psappha present this concert as part of New Music North West 2017, a major festival showcasing talented North West composers.

Full details of the Festival can be found here: NMNW

Programme:

Mario Duarte Metztli

Grace-Evangeline Mason Kintsukuroi (Golden Repair)

Daniel Kidane Sirens

Laura Bowler 3811 Nautical Miles

Larry Goves hollow yellow willow (world premiere)

Interval

Psappha Ensemble

David Horne Resonating Instruments

Tom Coult Two Games and a Nocturne

MANTIS Sonification Festival and NWCDTP Symposium Call for works

noreply@blogger.com (Unknown) — Fri, 08 Dec 2017 11:19:00 +0000

Data Sonification in Music Composition and Humanities Research
3-4 March 2018 - Manchester, UK
NOVARS, Manchester University, England

Submission deadline: 15 January 2018, 5pm GMT

About:
What do molecules sound like? Are musical timbres encoded in DNA? Can social networks evolve audio?

NOVARS Research Centre solicits works for its symposium and concert series on artistic data sonification, exploring the methodologies and results emerging at the intersection of science and music.

Details of the event and how to submit are shown below.
The symposium will include keynote speaker/s, presentations on current sonification research, fixed media concerts, sound installations and live performances.

What are we looking for?:
We welcome submissions in the form of paper presentations and musical compositions from any creative artistic and scientific background. As a NWCDTP network collaboration, we especially encourage postgraduate students to apply, and welcome submissions from early career and independent researchers.

We encourage a broad range of submissions exploring the artistic and scientific use of sonification, with a special focus on the following sub-themes (although not limited to):

Sonification and social networks and metadata
Molecular sonification (sonification of chemical and physical systems)
Sonification of cryptocurrencies, blockchain and cryptography audio
Environmental data sonification
Aesthetics of sonification
Sonification from gesture recognition devices
Music and sports sonification
Sonification with Smart Cities data

Musical Works:
The Mantis festival will host 3 concerts (Saturday 6-7pm and 8-9pm, Sunday 2-3pm) and is calling for works for its main Saturday concert. Composers may submit one work in any of the following categories:

Works for fixed media with up to eight channels
Works combining live electronics and acoustic instruments (the organisation will not provide performers for the accepted submissions)
Audio-visual works

Duration: preferably under 12 minutes

Symposium paper sessions:
We encourage submission of paper presentations on one of the topics specified above (or related) using sonification as a key methodology for music composition or to gain insight into data using sonification in a non-music discipline. It is possible to accommodate extended sound demonstrations or full music pieces in the presentation, if desired. Paper sessions will be held Saturday the 3^rd, 11am-5pm.

Symposium submission/registration Fee: There is no submission or registration fee.
Attendance: required.

Important: The organisation regrets not to be able to attend the costs of the transport, accommodation, etc for participants whose works were accepted. The organisation will not provide performers for the accepted submissions.

SUBMISSION DETAILS:
Method: Accepted submissions via wetransfer.com or dropbox only.
Email: falk.morawitz@postgrad.manchester.ac.uk

All submissions must include:
- Contact details of the participant (e.g. name, email, affiliation if any).
- 300 word biography of the main applicant and also for other attendees (e.g. performer)
- Technical Requirements (*)

Music and audio-visual submissions:
- Music only in stereo wav, aif or flac format (e.g. 48 kHz/ 24 bit). Multichannel submissions accepted but needs to also provide a stereo reduction. Audio-visual submissions only on .mov or vimeo link
- 300 words about the piece – please tell us how it relates to the symposium theme of sonification

Paper Session submissions:
Provide a 300-word abstract. Full papers also accepted but you need to make clear the main topics being connected / discussed.

(*) Technical Requirements:
- The concerts will run using the MANTIS System (up to 24 channel genelec surround). We also provide video projection, mixing console, microphones, cabling and equipped room for the ‘paper’ sessions.
- In case of live performances composers / performers should bring all additional gear necessary to realise their works (e.g. computers, sound cards, etc) and provide a detailed stage map.

Review Panel:

Staff and PGs at NOVARS Research Centre

MANTIS SONIFICATION FESTIVAL & SYMPOSIUM - 3-4 March 2018

noreply@blogger.com (Unknown) — Fri, 08 Dec 2017 11:18:00 +0000

3-4 March 2018

Co-organised by NOVARS Research Centre and the North West Consortium Doctoral Training Partnership (NWCDTP)

Experiencing Data in Sound: What do molecules sound like? Are musical t imbres encoded in DNA? Can social networks evolve audio?

John Thaw Studio Theatre
Martin Harris Centre for Music & Drama
Coupland Street
The University of Manchester, UK

NOVARS Research Centre pushes the boundaries of musical expression throughout the sonification and musification of a broad range of data.

Price: £8.50 / £5.50 / £3

special 2 - concert rate: £12 .80 / £8.80 / £4.80

special 3 - concert rate: £19.20 / £13.20 / £7.20

MANTIS FESTIVAL - Special Edition - @ New Music North West. 13 November 2017

noreply@blogger.com (Unknown) — Tue, 07 Nov 2017 21:05:00 +0000

The MANTIS (New Music North West) concert programme on 13 November 2017 @ 5 pm features some of the works from the recent Festival, as well as new additions as follows:

Après moi, la pluie (2017) Guillaume Dujat

Lescun (2017) Sarah Keirle

Rondo on Canvas (2017) Chris Keogh

Offshore (2017) David Berezan

Finland, as experienced by the sea (2017) Falk Morawtiz

Kinesis (2017) Hayley Suviste

Study for White Noise and Sine Tones (2017) Seth Scott

The Accusation Live (2017) Stephen Summers

------

13 November 2017

Starts: 17:00 13 Nov 2017

Ends: 18:00 13 Nov 2017

What is it: Music concert

Organiser: Martin Harris Centre

How much: Free

Who is it for: University staff, Adults, Current University students, General public

This event is presented as part of New Music North West 2017, a major festival showcasing new music in our region. Full details of the Festival can be found here: www.rncm.ac.uk/festivals/new-music-north-west

NOVARS @ The Sonifcation Festival "audible data streams" in Berlin!

noreply@blogger.com (Unknown) — Tue, 07 Nov 2017 20:51:00 +0000

Pictured above Ricardo Climent's "Oxidising the Spectrum" performed live,
in the form of a game-audio piece at the Festival, using Unreal Engine 4

From Friday, 27th – Sunday, 29th October 2017, we were delighted to attend the festival "Sonifications – Audible Data Streams" (Sonifikationen – klingende Datenströme), organised by The Berlin Society of New Music. The event took place an the wonderful Berlin venue of Villa Elisabeth in Invalidenstraße, often home for the renowned Inventionen Festival.

We had the opportunity to experience a selection of sonification strategies in the form of compositions, live interactive installations and performances and panel-like open debates.

http://en.audible-data-streams.com

Manchester's contribution on Friday 27th consisted of three previously presented works at ZKM's Sonfication symposium "Strömungen" by Professor Ricardo Climent („Oxidising the Spectrum“, 2004), a Live game-audio interactive performance and two fixed media works PhD candidate Falk Morawitz („Spin Dynamics“ , 2016 and „Nuclear Magnetic Resonance“, 2014), who has a dual background in music and chemistry.

A further contribution to the festival was Ricardo Climent's contribution to the Sunday's panel, devoted to the artistic dimensions of sonification („Sonification versus Composition“) and moderated by Prof. Michael Harenberg. These included also the participation of Marc Bangert, Julian Klein, Hans Tammen, Ludber Brümmer and Gerriet K. Sharma.

FRIDAY 27 OCTOBER 2017

7 pm
OPENING OF SOUNDINSTALLATIONS and Sound Vitrine
YoHa (UK) „Lungs ‐ Slave Labour“(2005), Florian Dombois (CH) „Circum Pacific 5.1“ (2001),
Julian Klein (D) „Brain Study“ (2004), Martin Hachmann (D) „Angst“ (2017), Terry Fox (1943-2008) „Berlino“ (1988), Jutta Ravenna (D) „SesamSesam“(2017)

7.15 pm
Tomoko Mio (J), Embodiment of WLAN-Traffic
3D-Data-Solo-Dance-Performance

7.30 pm
Opening of Soundbar with a sonification selection

8 pm
CONCERT AND PERFORMANCES
Premier of Open Call Works / Sonificationen from the Club-/Experimental Scene e.g. internet cookies, astrophysical data, weather data, DNA-data, resonance behaviour of atoms

Group Performance with public interaction Goldox/Guffond/Heissmeyer „From Cloud To Fog“, 2016

Hans Tammen (NYC) „Conflict of Interest“, Endangered Guitar, 2017 (Premier)
Live-Electronic Performance

Alberto de Campo (D) „ Navegar E Preciso“, 2006
Andrea Polli (NYC) „ Heat and the Heartbeat of the City“, 2004
Johannes Kreidler (D) „Charts Music“, 2009

ZKM-Selection: Ricardo Climent (UK) „Oxidising the Spectrum“, 2004
Live-Electronic Performance

/ / / BREAK / / /

Falk Morawitz (UK) „Spin Dynamics“ , 2016
Falk Morawitz (UK) „Nuclear Magnetic Resonance“, 2014

Åsa Stjerna (S) „Vom Himmel holen“, 2017
Live-Electronic Performance

Jasmine Guffond with Jessica Ecomane „Listening Back“, 2017 (Premier)
Laptop-Performance with Andrea Belfi und Jeremy Coubrough, Percussion

SATURDAY 28 OCTOBER 2017

23 – 10 pm

SOUNDINSTALLATIONS and Sound Vitrine

YoHa (UK) „Lungs ‐ Slave Labour“(2005), Florian Dombois (CH) „Circum Pacific 5.1“ (2001),

Julian Klein (D) „Brain Study“ (2004), Martin Hachmann (D) „Angst“ (2017), Terry Fox (1943-2008) „Berlino“ (1988), Jutta Ravenna (D) „SesamSesam“(2017)

daily 3 – 10 pm

Soundbar with a sonification selection

3 pm

KLANG KUNST WISSEN – examples from the archive of Deutschlandfunk Kultur, Sendereihe Sonarisationen

Sonification as an interface of science and art. About the alternating influence of music, science and technology within the genesis of a work.

Performance KLIMA | ANLAGE of sound artist Werner Cee and Sukandar Kartadinata.

Making climate change sensually perceptible. Current researchs results control an acoustic sculpture.

Participants: Werner Cee und Sukandar Kartadinata (D), Dr. Thomas Hermann (D), Prof. Alberto de Campo (D), Rodrigo Pérez-Garcia

Moderation: Marcus Gammel (D)

4.45 pm

Tomoko Mio, Embodiment of WLAN-Traffic

3D-Data-Solo-Dance-Performance

5 ‐ 6.30 pm

PANEL 1

Sonification as extending compositional means: Sonifications‐Interfaces as Instrument?

Participants: Jasmine Guffond (AUS), Prof. Florian Dombois (CH), Marcus Schmickler (D), Åsa Stjerna (S), Prof. Volker Straebel (D). Moderation: Marcus Gammel (D)

8 pm

CONCERT WITH THE KAIROS QUARTET

Premier of Open Call works and own repertoire with sonifcations from the New Music Scene e.g. topografic Data of the Berlin Wall, Cello-Vibrations, GPS-Data

Iannis Xenakis (1922-2001), st/4 – 1,080262 (1955-62)

For String Quartet

Lula Romero „Dérive“ 2017, (Premier)

For String Quartet and Live Electronics in “Dérive” with GPS-Data of the composer as flâneuse in public space

Luc Döbereiner, „Resolution“, 2017, (Premier)

For Cello, Transducer and Live-Electronics

Knut Müller „Thorn“, 1996,

For String Quartet

Martin Iddon „Mohl ip“, 2010,

For String Quartet

/ / / BREAK / / /

Terry Fox, “Berlin Wall Scored for Sound”, (1980-88)

interpreted and realized as an instrumental version for String Quartet by Arnold Dreyblatt, 2017

ZKM-Selection: Marcus Schmickler „The Bonn Paternization“, 2009

SUNDAY 29th OCTOBER 2017

3 – 10 pm

SOUNDINSTALLATIONS and Sound Vitrine

YoHa (UK) „Lungs ‐ Slave Labour“(2005), Florian Dombois (CH) „Circum Pacific 5.1“ (2001),

Julian Klein (D) „Brain Study“ (2004), Martin Hachmann (D) „Angst“ (2017), Terry Fox (1943-2008) „Berlino“ (1988), Jutta Ravenna (D) „SesamSesam“(2017)

4.45 pm

Tomoko Mio, Embodiment of WLAN-Traffic

3D-Data-Solo-Dance-Performance

5 ‐ 7.30 pm

PANEL 2

Sonification versus Komposition

Teilnehmer: Lecture-Performance: Hans Tammen (USA), Ricardo Climent (UK), Julian Klein mit Prof. Marc Bangert (Key-Note, D), Prof. Stefan Weinzierl (D). Moderation: Prof. Michael Harenberg (CH)

8 pm

CONCERT with Musicians from Switzerland

Instrumental works with Sonification

Alvin Lucier „Copied Lines“, 2011

For Trombone and thirteen Strings: Roland Dahinden (CH) and the Ensemble Junge Streicher (Berlin)

Improvisation „free lines_one“, 2017

Roland Dahinden (Trombone) , Hildegard Kleeb (Piano), Alexandre Babel (Drums)

Alvin Lucier „Panorama“, 1993

Für Posaune und Klavier: Roland Dahinden (Posaune) , Hildegard Kleeb (Klavier)

/ / / BREAK / / /

Improvisation „free lines_two“, 2017

Roland Dahinden (Trombone) , Hildegard Kleeb (Piano), Alexandre Babel (Schlagzeug)

Mio Chareteau „White Piece“, 2016

For grand piano prepared with 150 white paper cards, Hildegard Kleeb (Piano)

ZKM-Selection: Ludger Brümmer „Spin“, 2014

MANTIS Festival 28 - 29 October 2017: Jonty Harrison & Manchester Composers

noreply@blogger.com (Unknown) — Thu, 12 Oct 2017 09:32:00 +0000

MANTIS Festival 28 - 29 October 2017

MANTIS (Manchester Theatre in Sound) presents concerts of new electroacoustic music, featuring guest artist Jonty Harrison presenting a full concert of his work Going / Places, as well as new works by Manchester composers. The Festival features the large-scale MANTIS sound diffusion system for an exciting and immersive listening experience.

John Thaw Studio Theatre, Martin Harris Centre, University of Manchester

Facebook: MANTIS Manchester
Twitter: @MANTIS_Festival

28 October 18:00 - 19:30 Concert 1

Mark Pilkington TBC (15:00)

David Berezan Offshore. 4-channel fixed media (9:00)

Sarah Keirle Lescun. Stereo fixed media (8:00)

Chris Keogh Rondo on Canvas. Stereo fixed media (4:16)

George Stenos-Frantzios Babel. Stereo fixed media (5:16)

Adriana Ruiz La fiesta del Diablo. 8-channel fixed media (10:00)

Guillaume Dujat Après moi, la pluie. Ambisonic fixed media (10:00)

Yuwin Qin Pot/Line/Block. 4-channel audio-visual (5:00)

Hayley Suviste Kinesis. Stereo fixed media (7:40)

28 October 20:00 - 21:00 Concert 2

Jonty Harrison Going / Places (60:00)

29 October 14:00 - 15:00 Concert 3

Seth Scott Deuchar Study for White Noise and Sine Tones stereo fixed media (6:00)

Epa Fassianos Land of the Sirens. Stereo fixed media (27:00)

Sophie Delafontaine Ressort spiral. Stereo fixed media (10.49)

Harry Ovington I... Audio-visual (ca. 8:00)

Hayley Hedges Freezing Point v2.0 Stereo fixed media (4:48)

3-4 June 2017: Rob Hordijk's advanced workshop on Analogue Synthesis

noreply@blogger.com (Unknown) — Mon, 05 Jun 2017 08:35:00 +0000

One year after the acquisition of the Hordijk synthesiser by the University of Manchester in UK, Rob Hordijk kindly agreed to return to NOVARS and give Postgraduate Students a focused workshop on some of the most complex modules / panel areas of the synthesiser system. Alongside Novars's avid students, Hordijk system owners in the UK such as Dan P, Sam Weaver or Sam Salem were also invited and enormously contributed to the level of the discussions emerging from the demos. The workshop was nicely and smoothly put together by synthesiser expert Richard Scott, who's PhD at Novars fundamentally embraces analogue technology. FREE VIDEOS SOON!
Although the workshop was only accessible by invitation, NOVARS has commissioned a/v artist Mark Pilkington to work on a montage of the workshop sessions over the summer.

These audiovisual materials will be freely available of the NOVARS video channel on Vimeo when completed.

Picture above, Rob responding to some hard questions by the enthusiastic attendees.

Some Postgraduates in attendance

Richard Scott (left) talking to Dan P (right) before the start of one of the sessions

NOVARS studio 1 setup for the Hordijk workshop

NOVARS invited to attend Co-production for Value Creation – Collaborative Funding Workshop – the Atrium, Manchester Science Parks

noreply@blogger.com (Unknown) — Fri, 26 May 2017 15:28:00 +0000

On May 24th, we at NOVARS were invited to attend the "Co-production for Value Creation", a Collaborative Funding Workshop initiative started by the Business Engagement Office at the University of Manchester and fantastically facilitated by FutureEverything.

The event took place at the Atrium, Manchester Science Parks (MSP), a co-working like wonderful space for innovation and UK’s leading provider of specialist environments and growth support to science and technology companies.

A small group of academics from different disciplines where pre-matched to companies in the region in the fields of digital agencies, film/visual production, biometrics and fitness, app and mobile games development, Virtual and Augmented reality and online platforms.

The sessions were oriented toward the construction of an original project Pitch in the following areas:
· Human behaviour and technology
· Text analysis
· Composition for gaming
· Software Engineering
· Text mining

· GeospaAal data analysis

At the end of the one-day session, each resulting idea was "Pitched" to a Judging Panel consisting of the following:
· Dr Andrew James – Associate Dean for Business Engagement & External Relations, Faculty of Humanities, University of Manchester.
· Martha Sama – Head of Business Development – Creative, Digital & Tech, MIDAS

· Prof Ana Carden-Coyne, Director of External Relations, School of Arts, Languages and Cultures, University of Manchester.

We are happy to announce that our project virtuoso was funded! and therefore we will produce a prototype of the idea during the summer.

For us it was a first-hand experience on how novel ways of thinking by the Business engagement office, alongside an expert guiding team such as FutureEverything, can dramatically accelerate the construction of networks and partnerships with Industry and across academic disciplines. Given the right conditions, this is something that would normally take years to build!

Post by Ricardo Climent

11 May 2017: Interactive Tools Showcase - MusM in Composition at Novars

noreply@blogger.com (Unknown) — Thu, 11 May 2017 09:56:00 +0000

MusM40242 Interactive Tools and Engines
Interactive Tools and Engines focuses on a creative project involving the conception, development and creative use of an interactive musical work or system involving new media technologies and gestural interfaces. Projects may involve the use of interactive audio-visual tools or game-physics-audio engine tools. The course provides the knowledge to document and create interactive systems at a professional level, e.g. for computer music conference submission, and to probe the creative aspects deriving from the system.

s.laag at Ludo 2017 conference, bath spa. Novars research on game-audio

noreply@blogger.com (Unknown) — Thu, 04 May 2017 09:14:00 +0000

NOVARS research in game-audio was presented by Ricardo Climent at Ludo 2017 conference in Bath Spa. The dual contribution consisted of a paper entitled "Composing Interactive Music with Physics, Graphics and Gameaudio Engines" and a a live performance on Climent's piece s.laag for bass clarinet, game-audio and scanned performer and composer. Bath performance can be see here.

"It was a great joy to attend this game-oriented conference which was very well organised. It drifts a bit from the type of conferences I normally attend (more about computer music and interactivity) but I gain a lot of knowledge from peers. I was very impressed to see the work from our colleagues at Leeds Beckett Richard Stevens and Nikos Stavropoulos for the spatialisation of acousmatic music with Unreal Engine 4. I also enjoyed every aspect in the conference devoted to 8-bit nostalgia and was keen to learn about game music and orchestras. There is loads for innovation in the latter, which still lacks or radical experimentation". I think I will skip their next one but perhaps will return in 2019".

Philips Pavillion as a musical instrument in s.laag

Deconstructed bass clarinet

A romantic distant shot of the Expo 58 in Brussels in the final scene

Another unreal engine take with Marij Van gordon (left skeleton) and Ricardo Climent (right skeleton) live performing within the virtual world. Climent is also (physically on stage facing the screen and controlling the set)

PAPER BRIEF

7. Ricardo Climent: ‘Composing Interactive Music with Physics, Graphics and Gameaudio Engines’
This paper examines how and why game-engines have stimulated creative thinking in the construction of sonic-centric immersive environments by this author. More specifically, it investigates the way a number of recent compositions unfold musical narratives using gameaudio technology at the core of their thinking, while revealing the crossover between compositional methods and game-studio practices.
Although it has a major focus on the work s.laag (ICMA European Region Award 2016) for scanned performer, composer and bass clarinet (commission by Marij von Gorkom), the paper unfolds thinking across previous game-audio works composed by this author such as; Role-Playing Music Instruments (a 1969 VCS3 synth from EMS and a Timbila from Mozambique), sonically-driven expedition (Ho, a sonic expedition to Vietnam, Aural Scramble for immersive-cryptography, [5] for immersive geolocative media) and two biosimulators (B is for Bird and The Microbial Ensemble). It finally reflects on what new forms of spectatorship this compositional approach can emerge.
s.laag is an interactive musical work composed by the author for Dutch Bass Clarinettist Marij Van Gorkom, as part of the dutch-uk.network project. It includes 3D models by both Climent and Manusamo & Bzika based on 3D Body scanners provided by Simeon Gill at the University of Manchester. The piece employs sonic path-finding techniques using game- engine tools to explore the concept of "modular metaphor". It navigates across the intersections between the Real, the Virtual and the modular augmentation of a musical instrument. The Dutch word 'laag' means low but also layer, stratum and thickness, which resonate more with the compositional thinking behind this piece. Slaag (pass in Dutch language) evokes the sonic fluxus between the acoustic instrument and the electronic medium.

PhD Composer Falk Morawitz returns from the Örö Artist Residency Program in Finland

noreply@blogger.com (Unknown) — Sat, 29 Apr 2017 08:47:00 +0000

As part of his PhD programme, Composer Falk Morawitz, took an active residence at the Örö Island aiming to capture the chemical and acoustic footprint of its natural environment.
He adds "Örö Island is a Finnish island that has only been opened to the public in 2015. With only a handful of houses located on the island, it offers an almost untouched natural habitat. During my stay on Örö, I plan to record the environmental sounds of the island (birds, mammals, sea sounds), but also measure the amount of water and air pollution of the island (using standard analytical equipment)"
Falk Morawitz is currently undertaking a PhD in Composition placing molecular sonification at the core of his research enquiry. The PhD is supervised by Prof. Ricardo Climent (Interactive Music, NOVARS) and Prof. Gareth Morris (Chemistry) both at University of Manchester.
Below some pictures taken by Falk during his residency

Sound and music made from molecules (artist’s note on website):
https://soundcloud.com/falk-morawitz/spin-dynamics-stereo-reduction https://soundcloud.com/falk-morawitz/nuclear-magnetic-resonance-2014-full
Music made from only city sounds:
https://soundcloud.com/falk-morawitz/nocturnal

PhD Composer at NOVARS Danny Saul to graduate in the summer of 2017

noreply@blogger.com (Unknown) — Fri, 07 Apr 2017 08:24:00 +0000

Back in December 2016, PhD composer Danny Saul was confirmed the award for the degree of Doctor of Philosophy. Among his portfolio of electroacoustic works he included 'Friction Storms', the emblematic 'Rise', 'Glitches / Trajectories' and 'Iteration Banger' among others, which are now part of Novars's catalogue in the music library (and his thesis).

Danny has played a very significant role as part of the MANTIS technical team and has recently been appointed technical director of distractfold ensemble taking responsibilities from Sam Salem who step down due to other University commitments in Kent. He is actively contributing to undergraduate teaching (as TA) at Novars.

Congratulations to Danny!

Colloquium#1: MACHINE IMPROVISATION IN MUSIC AND ARTIFICIAL INTELLIGENCE- Dr René Mogensen

noreply@blogger.com (Unknown) — Mon, 06 Mar 2017 15:52:00 +0000


Colloquium#1: MACHINE IMPROVISATION IN MUSIC AND ARTIFICIAL INTELLIGENCE- Dr René Mogensen

Colloquium#1

We are delighted to announced the launch of "Colloquium" here at NOVARS!

* Colloquium are set of sandpits for discussion and knowledge exchange between NOVARS guests and our postgraduate students.

* Colloquium's focus is on NextGen/emerging technological topics which are related to audio, music and interactivity.

Our first guest is Dr René Mogensen (Denmark) whose specialism is on Machine improvisation in music using Artificial swarm and learning algorithms.

PhD Julian Avila: Prix de Composition musicale - INAEM. Paris celebration concert @ Colegio de España

noreply@blogger.com (Unknown) — Mon, 20 Feb 2017 22:42:00 +0000

CitéScope

CONCERT DU PRIX DE COMPOSITION MUSICALE COLEGIO DE ESPAÑA / INAEM

Le 23/02/2017
Collège d'Espagne

Avec Julián Elvira, flûte Prónomo et flûte subcontrebasse ; Sérgio Carolino, tuba ; Marij van Gorkom, clarinette basse et Julian Ávila, électronique live. Ce dernier étant le lauréat 2015 du prix.

LOW sequencies est un projet d’avant-garde, né de la volonté de montrer les possibilités expressives d’une nouvelle forme de composition musicale : la diffusion spectrale.

Concert organisé grâce au soutien de l’Instituto Nacional de las Artes Escénicas y de la Música.

MANTIS SPRING 2017: Van Gorkom (dutch-uk.network), MacKay and Blackburn

noreply@blogger.com (Unknown) — Mon, 20 Feb 2017 12:16:00 +0000

Marij Van Gorkom (*) - Bass Clarinet and Electronics Programme

Julián Ávila - Worstward (2017) 8'

Richard Scott - Black Wood Dialogues (2017) 5'-15'

Falk Morawitz - Inner Resonance (2017) 7'

Rosalía Soria - Kronos (2017) 5’

Ricardo Climent - s.laag (2016) 15’

(*) Marij Van Gorkom (dutch-uk network project) is supported by:

Research Network Fund. School of Arts, Histories and Cultures, University of Manchester, UK

Morawitz and Climent at ZKM: Strömungen Symposium on artistic sonification

noreply@blogger.com (Unknown) — Fri, 02 Dec 2016 11:35:00 +0000

At the Novars Research Centre there is a tradition of artistic sonification across our research community. From Mark Pilkington's live sonification of Jodrell Bank telescope data as part of the Alan Turing Conference, to PhD enquiries involving DNA/RNA musification by composer Mario Duarte, to Falk Morawitz's PhD on Molecular Sonification, Rose's Soria sonification of State Models dynamic data and Ricardo Climent's biomusical systems' data mapping such as, the Microbial Ensemble (in collaboration with Dr Quan Gan) or his former work 'NYSE' based on 100 years of Standard and Poor's statistics passed onto Csound.

Both PhD Falk Morawitz and Prof. Ricardo Climent attended the Strömungen Symposium on artistic sonification kindly invited by the ZKM organisers. A phenomenal experience providing loads of food for thought to be shared back to the Novars community.

Pictured above: Microbial Fuel Cell live performance at the Kubus (ZKM), as live game-audio

Strömungen

Symposium on artistic sonification

Fri, 02.12.2016 – Sun, 04.12.2016, ZKM_Lecture Hall

Description

Within the context of the symposium the potentials of artistic sonification are to be fathomed out. There will be panel-discussions, concerts and lectures, i. a. by Till Bovermann, Kristin Clark, Ricardo Climent, Martin Rumori, Marcus Schmickler, Alexandra Supper and the ZKM | Institute for Music and Acoustic.

Programme

Fri, December 2, 2016
2 pm	Ludger Brümmer	»Opening adress«
3 pm	Florian Grond	What does art add to sonification and sonification to the arts?
4 pm	Axel Volmar	The Auditory Culture of Science: Trained Ears, Auditory Displays and the Prehistory of Data Sonification
5 pm	Kristin Clark	The future of sonification and music art
6 pm	BREAK
8 pm	Concert I	Works by Till Bovermann, Florian Grond and Falk Morawitz
Sat, December 3, 2016
10 am	Ricardo Climent	Oxidising the Spectrum - a Microbial Fuel Cell Musical System
11 am	Falk Morawitz	Molecular sonification of nuclear magnetic resonance in ½ spin systems: An overview
12 pm	Alexandra Supper	Sublime Frequencies: sonification discourses in science and art
1 pm	BREAK
2 pm	ZKM \| Institute for Music and Acoustic	tba
3 pm	Jiajun Yang	Model-Based Sonification / Interactive Functional Sound
4 pm	Panel-Discussion
6 pm	BREAK
8 pm	Concert II	Works by Ricardo Climent, Alexandre Rodrigues, Marcus Schmickler and Ludger Brümmer
Sun, December 4, 2016
10 am	Till Bovermann	Computation as material in audio livecoding
11 am	Marcus Schmickler	Sonification as material (in the domain of the immaterial)
12 pm	Martin Rumori	Sonification is sound supremacy plus digitisation

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Morawitz and Climent at ZKM: Strömungen Symposium on artistic sonification

Strömungen

Symposium on artistic sonification

Fri, 02.12.2016 – Sun, 04.12.2016, ZKM_Lecture Hall

Programme

Data Sonification in Music Composition and Humanities Research
3-4 March 2018 - Manchester, UK
NOVARS, Manchester University, England

Le 23/02/2017
Collège d'Espagne