Friday 20th November

9:30-11:00 Session

Paul Dunham (pres) and Bridget Johnson: A Fractured Earth: Sonification and Spatialisation of Seismic Data with Max/Msp and Speaker.Motion
Nigel Helyer: A Different Engine
Warren Burt: “A Plethora Of Polys” – A Live Algorithmic Microtonal Improvisational Composition for iPad
Michael Terren (pres) and Cat Hope: Map-Making Towards an Onto-Cartography of the Digital Audio Workstation

11:00-11:30 Break

11:30-1:00 Session
Brigid Burke: Escapee Gloss: A Symphony of Polymedia
Roger Alsop and Brigid Burke: Green Skies… Moments
Ben Byrne: Sound as Multiplicity in Experimental Music: Listening with Thoreau, Cage and Serres
Colin Black: Exploring a Disembodied Voice in Surround Sound Media Space
Terumi Narushima, Kraig Grady, Matthew Dabin, Christian Ritz and Stephen Beirne: 3D Printing Microtonal Flutes

1:00-2:00 Lunch Damian Castaldi: Play Ongaku – Interactivation Studio

2:00-3:30 Session
Michelle Stead: Writing The Wrongs of History: Listening and the Discourse of Gender in Electroacoustic Music
Mark Pedersen (pres) and Prue Lang: Glacier Melt: Embodied Knowledge and the Composition of Choreographic Soundscapes
Ros Bandt: Creating Sounding Spaces, The Why? Factor
Luke Harrald: Acousmatic Composition in a Blended World
Keith Halpin: Sonic Art as Metaphor and Mythology

3:30-4:00 Break

4:00-5:00 Meeting ACMA AGM

5:00-6:30 Dinner

6:30 Concert 3

Roger Alsop and Brigid Burke: Flow
Ros Bandt: Raptor
Lindsay Vickery: Inhabited Matter
Cat Hope: Dynamic Architecture 1 – Mark Cauvin
Warren Burt: A Plethora of Polys
Lindsay Vickery …With The Fishes…


Roger Alsop and Brigid Burke: Flow

Flow 2000 uses the Reynolds number equation ? = ???/? to provide ten potential numbers to generate a dynamic score, created in the Max environment, that responds to the performer and performance as it is taking place. The performer is able to interpret the score within a few paradigms; for example: air pressure 1- 10 refers to the pressure the performer should apply to exciting the playing the note indicated below, the angel of embouchure indicates the position the performer should angle the flute in relation to their mouth, key depression indicates the amount to which the performer should depress the keys in order to play the note, and units of time refer to the number of beat the performer should take to play the particular note. The performer can set the unit of time prior to performance in relation to their experience of the dynamics and reverberation time of the room. Flow 2000 responds to the ever-changing environment in which it is being performed, and it may be performed by any blown instrument it is therefore unique to every performance.

Roger Alsop is a sound designer, composer, musician and media artist.His activities range through working with VicHealth, La Mama, and theRoyal Botanic Gardens, Electro-Acoustic composition, musical andaudiovisual improvisations, live mixing, and sound and media design forperformance. He also teaches Sound Design (Victorian College of theArts: UoM) and Production Styles at Box Hill Institute, and has recentlytaught Performative Architecture (Melbourne School of Design; UoM).His interests are in developing interactive approaches for creativeworks that enhance the fundamentally hybrid nature of modern creativity.He has recently had works and writing presented in the internationalComputer Music Conferences, Korean Electro-Acoustic Music Society AnnualConference, Australasian Computer Music Conferences, InternationalSociety of Electronics Arts, CSIRO, the Prague Quadrennial 2015, andMelbourne Fringe.

Brigid is an Australian composer, clarinet soloist, performance artist, visual artist, film maker, video-maker and educator. She has performed and toured extensively nationally and internationally. Most recently, she has performed in the Fed Jam visuals on the Big Screen Fed Squareand in the ICMC13 International Computer Music Conference Perth,Echofluxx13 & 14 Festival Prague, Generative Arts Festivals in Rome &Milan Italy, Asian Music Festivals, Futura Music Festival Paris France, Asian Music Festivals, Mona Foma Festival Hobart, Melbourne International Arts Festival, ABC Saturday Afternoon Sessions Australia, The International Clarinet Festivals in Japan and Canada also Seoul and Australian International Computer Music Conferences/Festivals. She also curates with Mark Perderson Seensound Visual/Music series Melbourne Australia.

Brigid’s involvement in many audio visual performances has led her to integrate Bb/Bass clarinet, real time computer sound, live visuals and theatre in her performances to create innovative performances. Her main focus is integrating musical ideas with a combination of different media. Each component of media is a tool in the exploration of her artistic process: performance, composition, improvisation, installation, collaboration (with acoustic performers, dancers and other new media performers), video, real time video mixing, props, print making, pen and ink drawings, mosaic, glass, painting, crayons on different surfaces, water footage and animation (digital). Other ensembles Brigid performs with are Tri Duo, David McNicol, PAUSA II: Adrian Sherriff and collaborations with Carte Blanche: Ros Bandt, Roger Alsop and Ollie Bown. In 2008 she was a recipient of an Australia Council Project Fellowship and has received many awards and exhibited throughout Japan, Taiwan and Australia. Her most recent CD recordings have been reviewed and broadcast internationally. The Performing Arts Board of the Australia Council, Japanese Printing Corporation, ANAT, South Australian Govt., Australian Asian Foundation, Community Arts Centres and Universities has supported Brigid in her performances, compositions and artwork. She has a PhD from UTAS University of Tasmania and a Master of Music in Composition from Melbourne University.


Ros Bandt: Raptor

Raptor is an investigation of the flight of the Acquilla Chrysaetos, the Golden eagle taking us over the Joshua Tree Biosphere where it was recorded, to Beaver Creek. The granulated eagle calls are stretched to represent the psycho perceptual orientation of the eagle, solitary , looking down over the land. The harmonic drones of the bowed tarhu within this sound field position the eagle’s eye, creating a moving point through which we can share the dynamic movements through these spaces as it rides and tips the relationship between the planes of the dihedral angles intrinsic to its flight. The slow strength, power and control of these magnificent birds can defy our aerodynamic understanding as they sculpt the biosphere.

Ros Bandt is an internationally acclaimed award winning sound artist and composer who has pioneered acoustic art, site specific sound installations, electro-acoustic symphonies and sonic archaeologies on four continents. Recent ly she played her new tarhu composition Ggantija at the opening of the first archeoacoustics conference in Malta where she also gave a paper, and has just composed Windharps commissioned by the 12th international harps conference installing 10 international harpists to perform in surround sound installation of Aeolian recordings of harps from Australian makers played by the wind. Other commissions include WDR , ORF, WNYC, Paris Autumn festival, Zeitgleich Festival, and a year long ABC Residency. In 2013 her JaaraJaara Seasons comprised a year long indigenous seven season sonic audio visual calendar to encourage deeper understanding of country and indigenous ways of listening. She has now created an acoustic sanctuary in the box ironbark forest in Australia where she is observing changes in air and underwater soundscape ecology and where her Aeolian harps sound sculpture sings when the breeze is right. Ros’s soundings of unusual sites and environments are legendary and include the world heritage sites of the Yerebatan Cistern Turkey, Lake Mungo Australia, Ggantija Malta and many ancient sites and amphitheatres in the Aegean. She collaborates with many European artists and next year will install Listening through walls in the ancient Venetian Sabionara gate in the old city of Hania Crete with local artists and the public..She is an expert musician on historical flutes and recorders, psaltery and the new spike fiddle the Tarhu, as well as her original glass instruments and sculptures. She has a PhD in musicology and has won the Melbourne University Excellence for Research Award for her seminal book Sound Sculpture and founding the online data base and gallery The Australian Sound Design Project, documenting sounddesigns in public space in Australia. Her awards include the inaugural Benjamin Cohen Fellowship for Innovation, USA, the Sound Art Australia Prize, the NFSA award for sound heritage and the Don Banks Composers Award, Australia’s highest honour. Her music in water tanks is in the significant sounds register of Australian music at the National Sound Archive. Her books and writings on sound are well known. She is published by Wergo, New Albion, EMI, ABC Records, Move Records, Sonic Gallery, Double Moon, Pozitif Yappim, CAnbridge Scholars Publishing, and Hearing Places, also distributor.


Lindsay Vickery: Inhabited Matter

Inhabited Matter is an 8 channel electroacoustic work derived from sonified images of natural forms such as plants, stones and bark. The sonified matter was then processed using a range of spectralisation techniques. 8 processed audio files were then distributed using frequency, amplitude, brightness and noisiness data derived from their own realtime analysis.

Lindsay Vickery: Australian composer and improviser Lindsay Vickery has collaborated with Jon Rose, werner dafeldecker, Amy Knoles, Marek Chołoniewski, Annie Gosfield, the California Ear Unit, and MATA Ensemble. He has performed throughout Europe, North America and Asia as a founder member of New Music, Improv and Noise groups Decibel, Candied Limbs, SQUINT and HEDKIKR. His music includes works for acoustic and electronic instruments in interactive-electronic, improvised or fully notated settings, ranging from solo pieces to opera He is the head of composition at the Western Australian Academy of Performing Arts in Perth.


Cat Hope: Dynamic Architecture 1
Performed by Mark Cauvin

Dynamic Architecture 1 is a work for double bass and transducer, where the electronic part (sent to the transducer) is embedded in the double bass score. It was composed for Mark Cauvin by Cat Hope and premiered in October 2015. The work uses a unique score type that enables a simultaneous playing of the score and the electronics in a synchronized way. The electronic part consists of four sine tones, each tuned slightly lower than a unique tuning for the double bass, and played through a transducer resting on the body of the bass. The electronics ‘sound’ the bass, through its body and vibration of the strings. The double bass, performed on its back with three bows, is activated in different ways, through bowing of the tail piece, a bow ‘rehaired’ with guitar strings and delicate ‘col legno’ bowing to create multiple layers beyond the expected range of the double bass. The work takes its departure from what is often called dynamic architecture, a term that is often used to describe designs in urban architecture that prevent human engagement such as loitering sleeping or play. The shapes used provide key structural and harmonic information in the work that are elaborated on in the paper, along with the way the score player delivers the electronics.

Cat Hope is an accomplished Perth based musician, composer, songwriter, sound and performance artist whose practice is an interdisciplinary one that crosses over into film, video, performance and installation. Her work has taken her on numerous tours around Australia, the USA, Japan and Europe. Her recordings are distributed and published worldwide, and she has written soundscapes for dance and theatre companies as well as commissions for film and pure music works. Cat is a classically trained flautist, vocalist, improviser, experimental bassist and composer. She has directed and edited numerous short music videos and created audiovisual installations. She has conducted extensive funded research into communication technologies, audio recording in forensic science, noise notation, low frequency sound and surveillance techniques for use in performance. She is also an active researcher in the area of music archiving, digital art, graphic scores and electronic music performance. She has founded a number of groups, most recently Decibel new music ensemble, noise improv duo Candied Limbs and the Abe Sada bass project. She has also founded and written pop songs for Gata Negra (1999-2006).


Warren Burt: A Plethora of Polys

An improvisatory piece performed on an iPad. An algorithmic, polyrhythmic, polymicrotonal, polytimbral piece using the apps Gestrument, Thumbjam, Jasuto and Birdstepper, connected by Audiobus. A demonstration of how sophisticated the iOS environment has become, an exploration of the tuning possibilities of the apps Gestrument and Thumbjam, and an exploration in real time complex performances in a patching environment.

Warren Burt attended the State University of New York, Albany (BA, 1971) and the University of California, San Diego, (MA, 1975) before moving to Australia in 1975. In Australia he has worked in academia (La Trobe University, NSW Conservatorium, Victorian College of the Arts, Australian National University, Victoria University of Technology), education, and radio (freelance and commissioned productions for ABC and PBAA), and as a composer, film maker, video artist, and community arts organizer. His works have been performed and shown in the USA, Australia, Europe and Japan and he has had grants from the Australia Council, the Victorian Ministry for the Arts and the McKnight Foundation (USA), and has been artist in residence with a number of organizations, such as the Australian Commonwealth Scientific Industrial Research Organization, the Los Angeles based art-science think-tank International Synergy, the Broadcast Music Department of ABC Radio, the Monash University Music Department, the RMIT Department of Fine Arts, the American Composers Forum, and Art-Science Laboratory, Santa Fe, and the Djerassi Artists Program. Since the 1970s, he has toured and performed his electronic and computer music internationally, and has been especially active in the fields of interactive technology (especially with dancers and actors) and microtonality. Two books are currently available: ‘Writings from a Scarlet Aardvark: 15 Articles on Music and Art, 1981-93′ (Frog Peak Music, 1993) and ‘Critical Vices: The Myths of Post-Modern Theory’ (in collaboration with Nicholas Zurbrugg) (Gordon and Breach, 1999). Recent CDs include ‘A Book of Symmetries’ on “Zygotones: Loretta Goldberg” (Centaur, USA, 2000), ‘Five Tango Permutations’ on “Homo Sonorus – International Anthology of Sound Poetry” (NCCA, Russia, 2001), “The Animation of Lists, and the Archytan Transpositions” (2006, XI Records, New York) and “Poems of Rewi Alley” (2006, AAF, Melbourne). From 1992 until 2003, he was involved with Al Wunder’s ‘Theatre of the Ordinary’ in Melbourne, working improvisationally with dancers, actors and musicians. From 1998-2000, he held an Australia Council Composers’ Fellowship. In 2001 & 2002, he was Visiting Professor of Composition at the University of Illinois, Urbana-Champaign, USA. In 2003 he was involved in the reconstruction of Percy Grainger’s 1961 Electric Eye Tone Tool, one of the first light-controlled synthesizers. In 2006, he performed “17 Pieces for Adelaide” – a 6 hour long performance of live computer graphics and sound for Project 3, at the 2006 Adelaide Festival, as well as performing works for the Electric Eye Tone Tool at the Sound Symposium, St. John’s, Newfoundland, Canada. In 2007 he was awarded a PhD from the University of Wollongong, and was the recipient of a three year ARC Post-Doctoral Fellowship from the same university. He returned to Victoria in 2010, and currently teaches at both Box Hill Institute, Melbourne. Recent performances include an internet based performance where, from his living room in Daylesford, Vic, he performed the Fokker Microtonal Organ at the Muziekgebouw in Amsterdam, the Netherlands, for a live concert audience, in November 2011. In early 2012, he contributed “100xJohn: The View from Wombat Hill” to an internet based electroacoustic anthology sponsored by the Electronic Music Foundation, New York. In 2013 he was the subject of a Composer Portrait program on New Music Up Late, ABC-Classic FM, and performed with Catherine Schieve in the major multimedia production “Experience of Marfa” for the Astra Chamber Music Society, Melbourne. He also was one of the keynote speakers at the International Computer Music Conference in Perth, and was one of the keynote speakers at Cage 101, a conference at Sultan Idris University, Tanjung Malim, Malaysia. He delivered the Peggy Glanville-Hicks Memorial Address in both Sydney and Melbourne in November 2014. He currently teaches at Box Hill Institute, Melbourne, teaching composition, improvisation, aesthetics and music history, and writes regular articles on Music Technology for the online publication


Lindsay Vickery …With The Fishes…
for viola, cello, double bass and electronics

…With The Fishes… is a sibling to the 2013 work silent revolution. As the title suggests (and despite the nod to The Godfather) the work is a reflection on the future of our oceans (as well as an acronym summing up the situation). Like silent revolution, a range of music notations (including fragments of Debussy’s La Mer that wash through the score), are situated in the context of a collage of over 300 images and quotations by scientists, journalists and activists concerned with the state of things below the surface. These issues include the expansion of fossil fuel drilling into every ocean – including the arctic, rising sea- levels due to climate change, pollution from radiation leaks, jellyfish and algae blooms caused by fertiliser run-off, the thawing and release of ocean methane clathrate and the ever growing trash vortex. Although the predictions of the commentators quoted such Chris Hedges, Alan Weisman, Eric Grundhauser (Slate), Gwynn Guildford (Quartz) and Örjan Gustafsson differ – they range from severe to apocalyptic. …with the fishes… began as an idea for a graphic novel I planned with my son Max and this idea also plays into the aesthetic of the work (and the quote about the fate of climate skeptics). The work is performed from a scrolling score on three iPads networked to a computer that processes and spatialises the performance.

Lindsay Vickery: Australian composer and improviser Lindsay Vickery has collaborated with Jon Rose, werner dafeldecker, Amy Knoles, Marek Chołoniewski, Annie Gosfield, the California Ear Unit, and MATA Ensemble. He has performed throughout Europe, North America and Asia as a founder member of New Music, Improv and Noise groups Decibel, Candied Limbs, SQUINT and HEDKIKR. His music includes works for acoustic and electronic instruments in interactive-electronic, improvised or fully notated settings, ranging from solo pieces to opera He is the head of composition at the Western Australian Academy of Performing Arts in Perth.