Q
U A D R O P H O N I A #2.0
Internationales Festival Für Elektroakustische Kunst [ ]
14. und 15. Dezember 2012
Theater "O" in Nürnberg
EINGELADENE KÜNSTLER
Julian Scordato (IT): Apple Macbook Pro, Tc Electronics Konnekt 24D, Asus
Nexus 7, Korg Nanokontrol
Andre Bartetzki (DE): MacBook, SuperCollider, Motu Traveler, iPad, Korg
nanoKontrol, Kontaktmikrofone, Objekte.
Lawrence Casserley (UK): LC’s Signal Processing Instrument (SPI),
two iPads>TouchOSC App., a Novation “Launchpad”,
a Keith MacMillen “SoftStep” Foot Controller.
Yiannis Tsirikoglou (EL): MacBook Pro 13, Korg Microcontrol 2, Max/Msp
for control of sound parameters and spatial position
of separate sounds, M-Audio Audiophile.
Christopher Haworth (UK): Macbook Pro, 10.6.8., Midi Controller.
Bastus Trump (DE): MacBookPro mit Max/MSP, Ableton Live, Orphion, Wassereimer/Hydrophon.
Michael Ammann (DL): Diverse Kleinmembran Mikrofone, Laptop, Nuendo 4.1
Live Surround Processing, analoge und virtuelle Filter
JULIAN
SCORDATO (IT)
He graduated in Composition and New Technologies at the Conservatory
of Music in Venice. His chamber and electroacoustic music works
have been performed in Europe and America (Biennale di Venezia,
Festival 5 Giornate - Milan, Electronic Arts and Music Festival
- Miami, EMUfest - Rome, Re-New Digital Arts Festival - Copenhagen,
Gaudeamus Music Week - Utrecht, Siren Festival - Gothenburg, Deep
Wireless Festival - Montreal and elsewhere), selected in international
competitions (Roma Soundtrack Competition, Flores D’Arcais
Composition Prize, Conlon Music Prize and others) and broadcasted
(RAI Radio3, NAISA Webcast, Radio- Cemat). As a composer and performer
he participated in scientific events like the Meetings of Music
Informatics an the 8th Sound and Music Computing Conference.
He is a member of Arazzi Laptop Ensemble, group of electroacoustic
music performers and composers and he is currently interested in
the musical performance with the tablet.
Equipment: Apple Macbook pro, Tc Electronics Konnekt 24D, Asus Nexus
7, Korg Nanokontrol
http://www.julianscordato.com
LAWRENCE
CASSERLEY (UK)
He (born Essex, England, 1941) has devoted his career since the
late 1960s to the creation
and promotion of live performance electronic music. In 1967 he became
one of the first students
of electronic music on the new course at the Royal College of Music,
London, taught by Tristram Cary. Subsequently he became Cary’s
assistant, and then Professor-in-Charge of Studios and Advisor for
Electroacoustic Music at the RCM until his early retirement in 1995.
Since then he has focused on live computer processing in improvised
music, working with many of the leading improvisers, most especially
Evan Parker and his Electracoustic Ensemble.
While his primary focus is on the real-time transformation of other
musicians’ sounds, he also uses voice, percussion, home-made
instruments and found objects as sources for his Signal Processing
Instrument. His work is documented on more than twenty CDs, and
he has performed and given workshops throughout Europe and in North
and South America, Asia and Japan. Another important interest has
been collaboration with different media, starting with his intermedia
group ‘Hydra’ and work with sound poet Bob Cobbing in
the 1970s, the Electroacoustic Cabaret in the 1980s and his continuing
work with Colourscape,
including sound and light installations. He is a Director of Eye
Music Trust, who present Colourscape Music Festivals and other projects
in GB and other countries.
“Lawrence has also been doing all this wonderful work with
Evan [Parker] as well, and I’ve been listening to it for a
long time. One thing that’s important about this kind of work
is that it doesn’t obscure who the individual is, like a lot
of work around right now. Lawrence likes the idea of these virtual
personalities that emerge and get placed in conflict and contestation.
I think it’s very exciting.” George E Lewis - Interviewed
in The Wire - Issue 288.
“ ...o certo é que Lawrence Casserley consegue ser
mais inovador e criativo do que muitos dos chefes de fila da jovem
geração de ‘laptopers’.” - “...the
certainty is that Lawrence Casserley can be more innovative and
creative than many of the ringleaders of the young generation of
‘laptoppers’.” Rui Eduardo Paes
“With Casserley’s arrival, the internal dynamics of
the band changed completely. Lawrence redesigned the electronic
rig for the Parker band, and on ‘Drawn Inward’, it was
possible for any of the processing musicians - up to four of them
at a given moment - to take sound from any other player at any time.
The whole ‘machine of the group’, as Wachsmann called
it, accelerated. Everything was more manoeuverable, and also more
complicated. And no one was faster than Casserley, drumming on the
pads of his Signal Processing Workstation like a scientific congalero,
on his way to becoming a bona fide soloist inside the ensemble.”.
Steve Lake discussing the Evan Parker Electro-Acoustic Ensemble
Equipment: Lawrence Casserley’s Signal Processing Instrument
(SPI) is a continuing development since the mid 1990s. The original
version was created in MaxFST on the IRCAM Signal Processing Workstation,
and was completed during a residency at STEIM Amsterdam in 1997.
A paper on the original version can be seen at http://www.lcasserley.co.uk
// Two iPads running the TouchOSC App // A Novation “Launchpad”
// A Keith MacMillen “SoftStep” Foot Controller
www.lcasserley.co.uk // www.eyemusic.org.uk
YIANNIS
TSIRIKOGLOU (EL)
He is a composer / performer / sound artist born in 1981 in Larissa,
Greece. In 2000 he moved to Thessaloniki (Greece) where he studied
Civil Engineering. In 2009 he attended the Sonology course at
the Royal Conservatory in Den Haag, Netherlands and he has recently
finished the Sonology Master studies at the same school with teachers
like Kees Tazelaar, Paul Berg,
Richard Barrett, Joel Ryan and Johan van Kreij, dealing with subjects
including algorithmic synthesis, sound sculpting using mathematical
models and spatial composition / synthesis techniques.
As a member of the Thessaloniki based trio Eventless Plot, he
has released several tracks and
albums like the critically acclaimed Ikon cd on Granny records
(2009) and the new album Recon
which is released from Thanos Chrysakis’ label Aural Terrains
in July 2012. E. plot shared the
stage with artists like Giuseppe Ielasi, Angel, Vladislav Delay
[Synch festival 2008, Knot gallery
2011 (Athens) and many more]. He is also participating in the
digital sound duo Duel Protocol with Auris Bavarskis, making sound
installations and performances using new technologies and unconventional
ways (light feedback systems, typing processes) presented in venues
and festivals like Worm(Rotterdam), FIBER Festival(Amsterdam)
and Jauna Muzika Festival(Vilnius-Lithuania).
Yiannis is working also as a composer / sound designer on !lm,
dance and art installations. In 2011 he made the soundtrack for
the animation .::. .::. .::. [DUST], a collaboration with visual
artist Mariska de Groot originally made for 360 panoramic cinema
and 6 loudspeakers presented at Oddstream Festival 2011(Nijmegen,Netherlands),
nominated for punto y raya festival (Reina Sofía ,Madrid)
competition and presented in the international Fest of Contemporary
animation & media-art LINOLEUM (Moscow). .::. .::. .::. [DUST]
soundtrack was released from More Mars label in a special 3’’
cd edition. Recently he created music and sound for the dance
piece Mirage with the choreographer Loreta Juodkaite for the Korzo
theater in Den Haag.
Active in the free impro scene, he lately attended workshops by
Peter Evans, Evan Parker and Sarah Nicolls between others, collaborated
with many musicians and participated in the Sonology Electroacoustic
Ensemble, organized by Richard Barrett. For his multichannel compositions
as well as his live performances he is building his own Max/Msp
programs where mathematical models (as trajectories) and trackpad
information are used (together with special mapping systems) to
control several sound parameters and spatial position of sounds
at the same time. His goal is to create immersive new forms of
sound with “natural” or complex development in time
and space while preserving an intuitive real - time control.
Equipment: Mac book pro 13. A Korg Microcontrol 2. All the instruments
are made by me in Max/Msp for control of sound parameters and
spatial position of separate sounds. I build special mapping systems
that translate information from the computer’s trackpad
(several combination of fingers) to synthesis parameters in complex
ways for a “tactile” intuitive control as well as
I use several mathematical models to control sound and space.
My sound interface is a M Audio Audiophile.
soundcloud.com/yiannis-tsirikoglou // eventlessplot.com // duelprotocol.info
CHRISTOPHER
HAWORTH (UK)
Christopher is a sound artist and writer from North-West England
(UK). Much of his recent work focusing on the use of psychoacoustic
phenomena as a compositional material. Works such as ‘Correlation
Number One’ (2010) and ‘Vertizontal Hearing (Up &
Down, I then II)’ (2012) are designed in such a way as to
exaggerate aspects of everyday perception, encouraging ‘perceptual
creativity’ and engaging voluntary and involuntary mechanisms
of audition.
He also writes about music, emotion and subjectivity, the aesthetics
of the present moment, and the mediumship of the listener in post-war
experimental, electronic, popular music and sound art practices.
His publications include: “Xenakisian Sound Synthesis: Its
Aesthetics and Influence on ‘Computer Noise’”
(in Resonances: Noise and Musics, Continuum Publishing House, 2013);
“Ear as Instrument: Sound at the Limits of Audition”
(in Leonardo Music Journal, Volume 22, 2013); “Composing with
Absent Sound”, (in Proceedings of the ICMC, ICMA, 2011)
Education: Sonic Arts Research Centre, Queens University Belfast
(2009 - 2012) Title: “Vertical Listening: Musical Subjectivity
and the Suspended Present” / Goldsmiths University, University
of London (2007 - 2008) Mmus in Composition Chelsea College of Art
/ University of the Arts, London (2000 - 2003) B.A. in Fine Art
Research: Awards: “Correlation Number One”, winner of
‘Shut up and Listen!’ award, Dec 2011 / Articles in
peer-reviewed journals and books: ‘Xenakisian Sound Synthesis:
It’s Aesthetics and Influence on ‘Extreme Computer Music’
In: Resonances: Noise and Musics, Continuum Publishing House, 2013
(forthcoming) ‘Ear as Instrument: Sound at the Limits of Audition’
Leonardo Music Journal, Volume 22, Nov 2013. ‘Composing with
Absent Sound’, Proceedings of the ICMC, Huddersfield, 31 July
- 5 August 2011. San Francisco: ICMA, 2011. 415-420.
Conference presentations: “Sound Synthesis With Auditory Distortion
Products.” Co-authored with Gary Kendall and Rodrigo Cadiz.
International Computer Music Conference, Ljubljana, Slovenia, Sept
2012. “Giving Voice to the Inaudible: Perception and Non-perception
in Iannis Xenakis’s Late Electroacoustic Music” Xenakis:
The Electroacoustic Music, International Symposium, Université
Paris 8, May 2012. “Composing with Absent Sound” International
Computer Music Conference, Huddersfield, Aug 2011. “Against
Time: On Visual Aesthetics in Sonic Art”, Electroacoustic
Music Network Conference, New York University, Jun 2011. “Xenakian
Sound Synthesis: its Aesthetics & Influence on ‘Post-digital’
Computer Noise”, Noise, Affect, Politics Conference, University
of Salford, Jul 2010.
Selected performances: “Vertizontal Hearing (Up & Down,
I then II)” 8-channel, fixed media computer music composition
performed at ICMC, Slovenia, Sept 2012. “Vertizontal Hearing
(Up & Down, l then II)” Sonorities, Belfast, Mar 2012.
“Correlation Number One” 8-channel fixed-media computer
music composition performed at ‘Shut Up And Listen Festival’,
Vienna, Dec 2011. “Correlation Number One” ICMC, Huddersfield,
Aug 2011. “Correlation Number One” CMC New Music Marathon,
University of Ulster, Mar 2011. “Song of Blak Deth”
ICMC, New York University, Aug 2010. “Ghost Line Up”
60x60 ICMC, New York University, Aug 2010.
Exhibitions: “SHO-ZYG”, audio-visual exhibition, St.
James’s Hatcham Church, London, 21-27 Sept 2012.
Recordings: “Inchborough” by Littl Shyning Man. E.P.
released on Sonic360 records (Oct 2008). “Mockery” by
Littl Shyning Man. Album on Sonic360 records (Nov 2006). “Hart
of the Wud” by Littl Shyning Man. Album on Sonic360 records
(May 2005)
Selected press: 30 min live performance/discussion for ‘Scaledown’
show on Resonance F.M., June 2006. “‘Neath the Chewy
Bridge” included on ‘Mixing It’ BBC Radio 3 ‘selected
highlights of 2006’, Dec 2006
Selected radio: ‘Hanging With Mr Cooper‘ played on ‘Mixing
It ‘ BBC Radio 3, 01 Apr 2005. ‘Thee Hart Shaped Into
A Fist’ played on ‘Aural Innovations’, 20 Mar
2005. ‘Hart Broake’ played on Totally Radio, 21 Jan
2005. ‘Hart Of The Wud’, John Peel show BBC Radio 1,
08 Dec 2004
Equipment: Macbook pro, 10.6.8. / Midi controller
BASTUS TRUMP (DE)
Bastus Trump studierte Jazz-Saxophon und klassisches Saxophon an
der Hochschule für Musik Nürnberg. Im Laufe des Studiums
begann er sich auf den Bereich Live- Elektronik zu spezialisieren.
2009 erhielt er den Leonhard und Ida Wolf-Gedächtnispreis der
Stadt Fürth zur Förderung junger Künstler und ist
seither mit unterschiedlichen klangkünstlerischen Ansätzen
in Ausstellungen, Konzerten und Performances zu hören.
2011 schloss er den Masterstudiengang Sound Studies an der UdK Berlin
mit der Entwicklung eines elektronischen Percussionsinstruments
für Touchscreens ab. Neben seiner Lehrtätigkeit an der
Hochschule für Musik Nürnberg arbeitet er als Sound Designer
für Film-Produktionen und interaktive Medienanwendungen.
Projekte/Performances/Installationen
2008 Free-Jazz & Tanz Projekt mit Tobias Birke, Romantic Space
Sound: Performance/Installation zur Blauen Nacht 2009, 2009 Im Auge
der Zentrifuge: Klanginstallation, 2009 Radio Rohrdamm Berlin-Siemensstadt,
2010: Interdisziplinäres Kunstprojekt Sans Souci mit Katrin
Kaa Riedl (Video) und Alexandra Rauh (Choreographie) Nürnberg,
2010: QUADROPHONIA #1 Festival für experimentellen Klang und
Musik, Zentrifuge Nürnberg, 2011: Music for places: TransitRaum,
Klanginstallation an der Hochschule für Musik Nürnberg,
2011: Klanginstallation Goldrauschen, ORTUNG VII Schwabach Equipment:
MacBookPro mit Max/MSP, Ableton Live, Orphion, Wassereimer/Hydrophon.
http://www.bastus.de
MICHAEL AMMANN (DE)
Acoustic Improviser >> Phonetik // UKO // Spatial // Filter
1998 Hochschule für Kunst und Design Hannover. Klangkunst bei
Prof. Eller 1999-2004 Akademie der Bildenden Künste bei Prof.
Hölzinger / Prof. Georg Winter. Kunst und Öffentlicher
Raum. Seit 2002 Meisterschüler bei Ottmar Hörl.
“Ich begreife Improvisation als die Möglichkeit zum gegenwärtigen
schöpferischen Akt und die zeitgleiche/zeitnahe Veräußerung
und Rezeption meines situativen Selbst. Als Impulsquelle dient alles
was situativ auf mich wirkt und was ich ‘im Jetzt’ in
mir und im Außen erlebe. Ich kann es mir bewusst machen, es
aufgreifen und treffe Entscheidungen der Veräußerung.
Improvisation folgt meinem Bedürfnis nahe bei mir zu sein und
ist konzentrierte Forschung im Augenblick.”
Ich benutze live 3 Settings, die ich je nach Umgebung (Solo, Zusammenspiel,
Raum, Kontex) und Befindlichkeit einsetze.
1. Direkt Phonetik: Phonetische Improvisation nur mit Mikrofonen,
Panning über rechts/links Mikrofonie, keine Filter.
2. Laptop Phonetik: Direkte Manipulation der phonetischen Signale
mit virtuellen Filtern, Räumen, 4.0 Pannings. (Q4 Basic_Setting)
3. Filter Phonetik: Direkte Manipulation der phonetischen Signale
mit Hilfe von diversen analogen Effekten.
> Aufführungen (Auswahl): ARS Elektronica Linz (2003), Blaue
Nacht Nürnberg (2003/2006), Deutschlandradio (2004), Leipziger
Buchmesse (2004) und LNdW Berlin (2007), Metropolis WfS Amsterdam
124th AES Convention (2008), Hörbar Hamburg (2012), ImAusland
Berlin (2012) diverse Klangkunstfestivals.
> Interplay mit Eleonora Allerdings, Peter Fulda, Gunnar Lettow,
Stark Bewölkt, Jörg Hufschmidt, Rayka Wehner, Robert Schlund,
Tobias Robens, Peter Popp, Birgit Ulher, Sascha Pieler, Irene v.
Fritsch, Uwe Weber, Zoy Winterstein, Bastus Trump....
> Releases (Auswahl): Clinic - amorph fictions. Live Hörstück
im 5.1 Format und generiert für die Wellenfeldsynthese. (2005),
WORK 01-03 - Manipulated Instant Auditives (2006-2011), Paarung
01-10 (Teilstrukturierte elektroakustsche 4.1 Interplays)
> Filmton: 5.1 Neuvertonung ‘Metropolis’ 1927. Teilgeneriert
für die Wellenfeldsynthese (2006-2010). 5.1 Neuvertonung der
Film ‘Vampyr’ 1932 (2010) und ‘The Fall of the
House Usher’ 1928 (2010).
> Kooperation: Kunstsalon Fürth e.V., Metropolmusik e.V
Nürnberg., Hörkunst e.V. Erlangen, Zemtrifuge e.V. Nürnberg
> Research: Konzepte und Positionierungen zur Improvisation.
QTip - Analoges Tool zur Produktion und 4.0 Verortung von Klängen,
Equipment: Kleinmembran Mikrofonie (Mikrofon Panning), Laptop, Nuendo
4.1 Live Surround Processing, analoge und virtuelle Filter, (Kaoss
Pad, RAT, Pitch Shifter, Whammy, Ring Modulatoren, Delays digitale
und analoge 4.1 Raumsimulationen
www.m-ammann.de