9 November - Creative Arts Building Huddersfield University
The theme of the installation is ‘shadows’, the challenge is to create
pieces that happen below the surrounding ambient sound: music that must
be sought out rather than music that imposes itself.
The recordings used in this installation are of an improvised
performance that was part of WofS 2008 which was a Weekend of
Speakers in St Paul’s Hall. As part of Mini WofS 2009 these sounds
are observed approximately 17 months and 120 meters removed from
their source. Also, the nearly 42 minute stereo recording is being
replayed across a six channel speaker array, so with overlap and
relative time dilation the result is a circa 17 minute arrangement.
Scott Mc Laughlin
This installation owes a lot to the struture/process of the Whitney
Music Box, but instead
of a single set of partials being arpeggiated I’ve superimposed
three different sounds in the hope that coinciding partials will
form new sounds as they slowly loop around.
Jeremy used to dream about table tennis with such intensity that he
sometimes found it difficult to sleep. He went to see the doctor
about it and once cured he never played table tennis again.
A Sound Check for Smytheson
Masked morphologies and timbral extremes invite the listener to
explore the space housing quiet interplay between sonic material
Graham Booth - “Subvert Real Space”
This installation piece was created specifically for mini-WOFS in
response to the brief of “Shadows”. The piece combines live audio
with pre-recorded sound files taken from various closed-in spaces
around the building. The live sounds of atrium space are selected
and sequenced alongside the “hidden” audio, with the intention of
bringing otherwise closed spaces out into the open. As people go
about their everyday business, they may find themselves
subconciously evesdropping on the building as a whole.
The ground floor of the atrium will be used as a performance space with
audience invited to experience the audiovisual event from the second
A live performance of fragile.flicker.fragment - an ongoing work
based on the paintings of Pip Dickens.
Graham Booth - “Untreated 2”
This short piece dates from early 2008 and represents my first
multichannel work. It is the second in a series of “untreated”
pieces, which consist solely of sequenced recordings of a
custom-designed DSP instrument.
Composed in March 1996, this 8 minute piece uses 4 synthesizer
presets from the Emu Proteus sound module as its sole source
material. These take the form of long, sustained string / flute-like
tones. It was composed using an early MIDI sequencer called C-LAB
Notator (the great-grandfather of Logic) which had a unique function
in that numerous sequences (containing a maximum of 16 tracks) could
be juxtaposed or overlaid / overlapped, enabling, in this case,
quite complex and smoothly developing harmonic fields to evolve over
time. One failing of the software was that if a note reached its end
point during one of these overlapping sections it would cut off with
a sharp abruptness. Fortunately these occasional interjections
created a satisfying contrast to the ersatz strings.
A vague tonality is set up at the start with a sustained low drone
which returns towards the end. In-between the harmonies stretch far
away from this. The macro-structure is a simple and symmetrical
upward then downward registral arc. Microtonal inflections are used
Whilst composing the then unnamed work, I heard on the radio the
awful news of the Dunblane massacre which unfortunately became
associated in my mind with the piece and perhaps began to influence
it. Subsequently I never felt able to play it publicly. Enough time
has now passed for me to feel comfortable for it to be heard and
though by today’s standards it is rather primitive in its sonic
world, it is, I hope, worth at least one hearing.
‘Dense’ is an exploration of space through sonic activity, inspired
by machine activities and realized through the ChucK programming
language ‘Dense’ also explores performative aspects of laptop
Rather than exploring space through the use of isolated sonic
gestures ‘Dense’ uses layers of ever changing sound to explore the
‘Dense’ is designed to be performed with a mobile audience able to
explore the changing sonority through their own movement.