Wednesday 18th November

10:30-11:30 Registration

11:30-1:00 Session
Ian Stevenson: Performativity and Interactivity: Concepts for Framing the Pedagogy of Making
James Humberstone and John Taylor: Making Music Learning Fun: Designing an Interactive iBook for Informal Learning
Lindsay Vickery and Talisha Goh: Music Screen-Reading: Indicative Results from Two Pilot Studies
Timothy Opie: Implementing a New Bachelor of Sound Production at Box Hill Institute

1:00-2:00 Lunch

2:00-3:30 Session
Blake Johnston (pres), Michael Norris, Bridget Johnson and Ajay Kapur: Carme: A Multi-Touch Controller for Real-Time Spatialisation of Gestural Behaviour
Charles Martin: Gesture Study and Correspondences: Composing for Percussive iPad Apps
Vincent Giles: Scoring for Grid Controllers – Preliminary Considerations of Action, Gesture, Functionality, and Limitations
Mary Mainsbridge: Cracea: Gestural Performance

3:30-4:00 Break

4:00-5:00 Data Arena: Andrew Bluff​ and Ben Simons

5:00-6:30 Dinner

6:30 Concert 1

David Hirst: Spectral Variations 4 (for Francesca)
Blake Johnston: Cassure
Garth Paine: Soft Steps
Nadir (Alex White, Ben Byrne): Excessive Redundancy

David Hirst: Spectral Variations 4 (for Francesca)
Spectral Variations 4 is a studio-composed, electroacoustic work, taking a well known musical form, theme and variations, but recasting it int the electroacoustic genre through the use of spectral variations rather than melodic or rhythmic variation techniques. In Spectral Variations 4 (for Francesca), the theme is pre-composed for orchestral instruments, and the variations are in the form of spectral variations. The result is a series of evolving timbres that create a meditative style of work for contemplative listening. The work makes specific use of the Soundmagic Spectral suite of Audio Unit plugins, written by Michael Norris [ ] This work is a part of a larger project being realised with collaborating composer Peter Mounsey. It is dedicated to the memory of Francesca Woodman, who is best known for her black and white photography of herself, and other female figures, in unusual settings. Francesca died in New York, a tragic suicide, at the age of 22 in 1981.

David Hirst resides in Australia where he has worked as an academic at the Tasmanian Conservatorium of Music, La Trobe University, and at the University of Melbourne. He has a PhD in electroacoustic music composition and music cognition. His works have been performed in the United States, Canada, the UK, the Netherlands, New Zealand, and nationally within Australia. David has served as President and Secretary of the Australasian Computer Music Association, and has been an international juror for the ICMC, the Canadian Electroacoustic Community, and ACMA. He is currently Honorary Principal Fellow in the School of Contemporary Music at the University of Melbourne.


Blake Johnston: Cassure
Cassure is a piece for bowed guitar and electronics, using a custom made controller to allow for a range of control by one performer. Cassure explores the poles of texture and gesture possible on the guitar, with swarming masses interacting with strong, dynamic gestures. Through interaction with a foot controller, the performer has fine control over complex dsp chains, allowing for an enveloping sound world.

Blake Johnston is Wellington based sound artist. His creative output encompasses and often combines ideas from instrumental composition, kinetic sculpture, and music technology for live performance and gallery settings. Recent works have included a collaboration with Henry Dengate Thrush in the creation of a mechatronic instrument ensemble, The Polus Ensemble, works for a deconstructed piano and live electronics in his Brackets series, and two sound installations in the Low Noise exhibitions, entitled Hummingbird and Lilburn Loops. His work has been performed and demonstrated in Australasia, Europe and America. Blake is currently studying towards his PhD at the New Zealand School of Music.


Garth Paine: Soft Steps
Soft Steps is an enigmatic walk through dusty moments of memory — A revisiting of fleeting moments of experience, the long forgotten photographs at the back of the wardrobe, moments of exultation, of wonder, sadness and excitement — a post-modern collage of dreamy, abstract recollections – perhaps a dream. The work is about experience, about the abstract sensation of just being in space, moments of energy of perception of reflection on self and environment. It is cinema for the ears, drawing on the obvious metaphor through the sound of an old super eight projector in the opening stages, and falling back to the stopping of that project at the end. There are moments of concrete sounds such as pigeon wings in the roof of the railway station, through human sounds to abstract textures, grounded in the central section by a minimalist piano line. The work was created as a 5.1 surround sound acousmatic composition in the VIPRE lab at the University of Western Sydney. Field recordings were made using a Soundfield ambisonic microphone and a Sound Devices 788T. The work was composed in the second half of 2008.

Garth Paine is a professor of Digital Sound and Interactive Media at the School of Arts Media and Engineering and Digital Culture program at Arizona State University

Until mid 2012, Garth Paine was an Associate Professor in Digital Musics, at the University of Western Sydney where he established and directed the Virtual, Interactive, Performance Research environment (VIPRe) . He is particularly fascinated with sound as an exhibitable object. This passion has led to several interactive responsive environments where the inhabitant generates the sonic landscape through their presence and behaviour. It has also led to several music scores for dance works, generated through realtime video tracking and or bio-sensing of the dancers. His work has been shown throughout Australia, Europe, Japan, USA, South America, Hong Kong and New Zealand and in 2014, Korea, Macedonia, France, UK and Australia. .

Paine is internationally regarded as an innovator in the field of interactivity in experimental music and media arts. He is an active contributor to the International NIME conference and has been guest editor of Organised Sound Journal on several occasions. He has lead the Taxonomy of Interfaces/Instruments for Electronic Music performance (TIEM) projects with partners McGill University and the Electronic Music Foundation, resulting in on online database of current practice and opening up the discussion of a taxonomy for classification of new instruments to assist research in the field.

Paine’s performance work acts as a platform for research into new interfaces for electronic music performance. He has performed at, ISEA2013, InSpace, Edinburgh, UC Davis, Luxembourg Choreographic Centre, Dance Massive, Melbourne in 2013, Ear to the Earth Festival, – John Cage Centennial Festival – NYC, (2012), SiteWorks, Bundanon (2010),Agora/Résonances Festival, Paris (2006), New York Electronic Arts Festival (2007), Liquid Architecture (2007), Aurora festival (2006, 2008), and The Australian New Music Network concert series (2008).


Nadir (Alex White, Ben Byrne): Excessive Redundancy
A live multichannel version of their recently completed debut album Excessive Redundancy. The album explores the emergence of signal from noise. Foregoing linear development in favour of the construction of dense sonic environments, it asks listeners to hear music in a potentially overwhelming amount of sonic information. During the development and production of the record, we became increasingly interested in the possibility of presenting the material with a multichannel system, emphasising its spatial dimensions.

Nadir is focused on the development of and experimentation with custom aleatoric instruments for live electronic music performance, exploring the manipulation of analogue signals with digital processes with particular attention to the role of audiences as creative listeners, and as such we feel our work fits well with the conference’s theme, ‘MAKE!’. Nadir is Alex White (Modular Synth) and Ben Byrne (Laptop with Max/MSP). Together, we produce music saturated with opposites. Oscillations and chaotic interruptions envelop and contaminate one another, a host of possibilities lurking just below the surface. Broadly our work can be referred to as ‘noise’ music but as such it is not just sonically intense but based on an ongoing exploration of the relationship between signals and noise. Alex uses his analog modular synthesiser setup to produce oscillating signals which Ben manipulates in real time with his Max/MSP based software patch, our contributions together creating a dense and visceral music. This collaborative approach demands a highly disciplined and rigorous electronic musicianship. Along with each of us, listeners must navigate the ongoing proliferation of signals and noise in the music – signals constantly developing and being deconstructed only for new signals to appear.
Alex White

Alex White is a laptop and electronic based musician who seeks to create music that teeters on the brink of complete chaos whilst retaining barely discernible fragments of form and melody utilising computer and analog based feedback systems. These complex systems produce chaotic and noisy material that Alex then manipulates into a semblance of form. Over the past 11 years Alex has performed at events series and festivals across the east coast of Australia including; Disorientation, Impermanent Audio, Make It Up Club, Liquid Architecture, Electrofringe, Sound Series, High Reflections, Avantwhatever and The Now Now and many other one off events.

Ben Byrne is a scholar, artist and organiser dedicated to sonic art, media and culture. He is currently teaching in Media & Communication at RMIT University. He recently completed a PhD, producing a thesis, Murmur, that argues sound is a multiplicity. He has performed extensively in Australia and internationally over the past ten years. Notable performances include appearances at the Melbourne Festival, Melbourne Music Week, the Melbourne International Jazz Festival, the NOW now festival and series, Electrofringe, Liquid Architecture, What is Music?, Experimontag, Myopic Books Music Series, improvHelsinki, The Make It Up Club, Impermanent Audio and Avantwhatever events. He has also released music with Avantwhatever, Splitrec, Wood & Wire, Factorvac and Copy For Your Records, among others. His solo performances and records ask listeners to find their own path as music emerges from and disappears into a mess of signals, actions and noise. Alongside his solo work, he is a part of a number of ongoing projects including Nadir, Machine Death and the Splinter Orchestra.