Thursday

Thursday 19th November

9:30-11:00 Session

Charles Martin (pres), Henry Gardner, Benjamin Swift and Michael Martin: Music of 18 Performances: Evaluating Apps and Agents with Free Improvisation
Skot McDonald: BFDLAC, A Fast Lossless Audio Compression Algorithm for Drum Sounds
Rodney Berry, Ernest Edmonds and Andrew Johnston: Unfinished Business: Some Reflections on Adopting a Practice-Based Approach to Technological Research as an Artist
Lindsay Vickery: Through the Eye of the Needle: Compositional Applications for Visual/Sonic Interplay

11:00-11:30 Break

11:30-1:00 Session
Keynote Cat Hope
Andrew Brown: NIME 2016
Andrew Brown: Imitation and Autonomy as a Basis for Musical Agency
Liam Bray and Oliver Bown: Ludic Human Computer Co-Creation
Meg Travers (pres) and Cat Hope: Who Wants a Trautonium Must Build One

1:00-2:00 Lunch Rodney Berry: Tangible Bytebeats, Bert Bongers: Interactivation Studio

2:00-3:30 Session
Tim Gilchrist (pres), Meg Travers, Tara Surry, Skot McDonald, Morgan Strong and Craig Wale: The Sonic Bollart
Benedict Carey, John Taylor and Damian Barbeler: An Interactive, Multimodal Installation Using Real-Time Spectral Analysis
Meg Travers (pres) and Skot McDonald (pres): Studio Report – The Perth Artifactory
Jean-Michel Maujean, Lindsay Vickery and Cat Hope: Studio Report: West Australian Academy of Performing Arts, Composition and Music Technology Department

3:30-4:00 Break

4:00-5:00 Listening Walk: with Sophea Lerner

5:00-6:30 Dinner

6:30 Concert 2

Nigel Helyer: Biologging_Retrofit
Catherine Ashley: The Raven
Colin Black: A Disembodied Voice in [5.1 Surround Sound Radio] Space

Andrew Brown: Ripples
David Kim-Boyle: Point::Line::Plane

 

Nigel Helyer: Biologging_Retrofit

The ‘Under the Icecap‘ art and science collaboration aims to illuminate the fundamental connection between human activities and planetary dynamics, by creating an experimental installation and performance series that will visualise and sonify scientific and statistical datasets. In essence Under the IceCap renders complex environmental bio-logging data-sets collected by Southern Elephant Seals on their under-ice dives and open ocean transits with economic and climatic data, combining them to form 4D cartographic animations, sonifications and live performative and sculptural forms.

The byeline for the Institute of Marine and Antarctic Studies is Turning Nature into Knowledge. The Under the IceCap project supplies a second line Turning Knowledge into Culture encapsulating a powerful Art and Science synthesis and simultaneously raising the expectation but also the risk of the endeavour.

The complex bio- logging data collected by Southern Elephant Seals on their dives in the Antarctic (and collated as Surface Wind Speed, Depth with Salinity, Depth with Temperature and Ocean Bottom with Bottom Density) are transcribed onto the punch paper music-box system. This a crude but effective Digital to Analogue sonification of data values. This simple prototype illustrates the potential to render tens of simultaneous data streams onto a pianola or disc-klavier for ‘live’ performance.

The primary aim is to produce creative work which is compelling and affective but is at the same time a work of scientific utility tapping into both sides of the brain! The key focus is the relationship of the environmental knowledge generated from Antarctic bio-logging data with the Anthropogenic changes in the biosphere. For ACMC bio-logging data has been transcribed using a punch tape system on a series of multi-note range music boxes as a short live performance.

Dr Nigel Helyer (a.k.a. DrSonique) is an independent sculptor and sound-artist who has forged an international reputation for large scale sound-sculpture installations, environmental public artworks and inter-active new-media projects for museums and festivals. Nigel’s practice is strongly interdisciplinary, linking a broad platform of creative practice with scientific research and development in both Academic and Industrial contexts, in a complex meeting of Poetics and Technics, which he augments with an active interest in critical writing and advocacy. One of the hallmarks of his career is his commitment to collaborative and co- creative activity, expanding the boundaries of experimental trans-disciplinary practice, especially in the areas of Art and Science and Bio-Arts. He was an early collaborator with, and advisor to, the SymbioticA lab (UWA) realising such projects as; GeneMusiK, a prototype biological music remixing system, Host a sonic installation with live insects that has toured internationally (Ars Electronica,;Transitio MX; Science Gallery Dublin etc). He was also the Artistic Director of the infamous LifeBoat project shown in Oslo Fjord 2004, on a Baltic cruise ship during ISEA 2004 and in Zagreb 2006. Nigel has also worked as an artist & researcher at the Paul Scherrer Institut, Switzerland (as part of the Artists in Labs programme); with the Tropical Marine Research Labs at the National University of Singapore and he maintains a working relationship with the Exploratorium Museum in San Francisco. Nigel has held visiting Professorial positions at the School of the Art Institute of Chicago; Stanford University; the department of Architectural Acoustics (USYD) and the School of Computer Science and Engineering (UNSW); the Institute for Marine and Antarctic studies (UTAS) and currently in Media and Arts at Macquarie University.

He was Head of Sculpture at the Sydney College of the Arts (USYD) 1985~1990, when he left academia to take up creative research, developing the powerful virtual audio-reality mapping system, Sonic Landscapes in collaboration with Lake Technology (now Dolby Australia). He subsequently became the Artistic Director of the AudioNomad Research Group creating the AudioNomad location-sensitive environmental audio system at the School of Computer Science and Engineering at UNSW (funded under a Synapse ARC grant) which produced a series of substantial national and international exhibitions Syren, aboard the MV Opera in the Baltic Sea (ISEA2004), Syren for Port Jackson (MCA Sydney 2006), Run Silent Run Deep (National Museum of Singapore ISEA2008), Ecolocated (Belfast ISEA2009 + FACT in the AND Festival Liverpool 2009) and the GhosTrain Project (ABC + The Performance Space 2009/2010). A recent creative initiative concerns the sonification and musicalisation of environmental data. This method has been developed for a series of cultural and environmental audio-portraits, VoxAura, the River is Singing, for Turku, European Capital of Culture 2011; CrayVox, the result of a three month sojourn with the Cray-fishing community on the remote Houtman Abrohlos islands (WA); When Science meets Art, a three year ARC project with the Bundanon Trust 2014/7; Under the Icecap, a long-term collaboration with Dr Mary-Anne Lea of the Institute for Marine and Antarctic Studies and the Conservatorium of Music (UTAS) which investigates the sonic potentials of bio-logging data collected by Southern Elephant seals from the Southern Oceans realised as live music performance.

 

Catherine Ashley: The Raven

The Raven is a piece composed for electric lever harp. It utilises effects pedals, preparations, and extended techniques to create unique timbres not often associated with the harp.

Catherine Ashley is known widely as a dynamic and versatile performer on both acoustic and electric harps. She has collaborated with practitioners in almost every art form, premiered numerous new works and worked with musicians in every genre as well as being in demand as a session harpist for independent local bands, and various recording projects in Perth. She has also recorded on soundtracks for independent films, and has composed new scores for theatre, dance and circus, as well as original music for solo harp. Catherine performs regularly with orchestras across Perth including the WA Symphony Orchestra, Perth Symphony Orchestra and Fremantle Chamber Orchestra and performs with The Aeolus Ensemble, a duo with flautist Therese Löwdin (Sweden), which is a recipient of the ECKO Investments Chamber Music Prize. She performed with the award nominated 13- piece symphonic-pop collective “The Shallows” from 2010, and recorded on their single “Waiting for It”, as well their critically acclaimed EP “Step Into: The Shallows”. Catherine also performs in the award nominated duo “Duelling Harps” which has performed sell-out shows at Perth Fringe World, Melbourne Fringe Festival, Adelaide Fringe Festival and the 12th World Harp Congress in Sydney.

 

Colin Black: A Disembodied Voice in [5.1 Surround Sound Radio] Space

The theme of radio and the voices of the dead – or spirits – has emerged time and time again within radio works, but very little radio art work has been developed that utilises 5.1 surround sound production and broadcast techniques. With this work Colin Black artistically explores the idea of “A Disembodied Voice In Space,” within the added space or dimension of 5.1 surround sound, as opposed to the monophonic or stereophonic “acoustic frame” that has been chiefly used to date. The work creates an immersive sonic environment that takes the listener inside its constructed sonic world, where the disembodied voice thematically develops the notion of the formless body and instantaneous travel via thought and desire. Text, musical composition, and sound effects (including location recordings) are given equal weighting within “A Disembodied Voice In [5.1Surround Sound Radio] Space.” The work’s sound world is an aural space that is both influenced by reality and distorted by the idea of the spirit world; to achieve this pluralistic aural space, the work’s sonority was created by blending techniques from both electroacoustic music and musique concrète.

Dr Colin Black is an internationally acclaimed sound artist having won the New York Festivals 2015 award for sound art, the Prix Italia Award 2003 and achieving final round selection in the Prix Phonurgia Nova (France) 2010, 2011 and 2015 for his major sound works. Black has received multiple national and international commissions to create innovative major works for installation, performance and broadcast in Australian and across Europe. Black’s curating credits include, international festival/showcases of award winning Australian acoustic art and radio art at London’s Resonance104.4fm, Kunstradio (ÖRF, Austria) and Toronto’s New Adventures In Sound Art. In 2013 he also curated the Australian Broadcasting Corporation’s Sound Fix: Your Weekly Dose of Transmitted Audible Art series. Black completed his PhD at the University of Sydney where he was a recipient of the University of Sydney Postgraduate Awards Scholarship. More recently Black has become a visiting research fellow at Goldsmiths, University of London, an adjunct fellow at the University of Western Sydney and a casual academic lecturing at the University Technology, Sydney. Black is also the founding member of The International Radio Art (and Creative Audio for Trans-media) Research Group For more information see: www.colinblack.com.au

 

Andrew Brown: Ripples

Ripples is a work composed and with software developed by Andrew Brown where the human performance initiates a cascade of responses from the computer software system. The work emphasises chordal and arpeggiated patterns derived, in the machine’s case, from underlying patterns of oscillation conditioned by observations of the musician’s performance. The work was originally conceived as a work for digitally controlled pianos. This proposal is for a reinterpretation of the work for electronic instruments, keyboard controller and software synthesizers.

Andrew R. Brown is an educator, researcher, musician, author and programmer. He holds a Ph.D. in music and is Professor of Digital Arts at Griffith University in Brisbane, Australia. His academic expertise is in technologies that support creativity and learning, the creation of computational music and art, and the philosophy of technology. Andrew’s creative activities focus on real time audio-visual works using generative processes and live coding performance. He has performed live coding and interactive music in many parts of the world and his digital art works have been shown in galleries across Australia, USA and China. He is the author of Music Technology and Education: Amplifying Musicality, co-author of Making Music with Computers: Creative Programming in Python, and editor of Sound Musicianship: Understanding the Crafts of Music. For more information visit http://andrewrbrown.net.au

 

David Kim-Boyle: Point::Line::Plane

point::line::plane explores various synergies, intersections and relationships between primitive geometrical and sonic units. Complex sonic textures are created from basic sine tone and square wave oscillators the parameters of which are gradually transformed over time. Analytical data derived from these textures is used to drive various three- dimensional visual transformations of a grid of interconnected nodes which helps visualize sonic phenomena that are not readily perceived. The work is performed live with MaxMSP/Jitter.

David Kim-Boyle is an Australian composer and new media artist whose music has received widespread recognition for its delicately nuanced sonic qualities and innovative use of technology. His work has been performed and presented throughout North America and Europe at various festivals and contemporary music events and he has been a guest artist at some of the world’s leading computer music research facilities including the Zentrum für Kunst und Medientechnologie (Karlsruhe), the Sonic Arts Research Centre (Belfast), and STEIM (Amsterdam). His creative practice is focused on the development of real-time graphic scores that explore the musical possibilities of extended open-forms and his research has been regularly presented at many of the world’s leading forums for new music research including the International Computer Music Conference, the Digital Audio FX Conference, the New Interfaces for Musical Expression Conference and published in journals such as Contemporary Music Review and Organised Sound amongst others. Current projects include a new work for the ELISION ensemble featuring a real-time reactive score, and a collection of piano etudes the score for which is based on the use of k-d trees for parametric mapping.