Audible fields,All Around you

AUDIBLE FIELDS: BINAURAL NIGHT
THE CUBE CINEMA, SUN 22 NOV, 8pm

A special edition of audible fields devoted to the three dimensional world of binaural sound: 108 headphone inputs will be installed into the Cube auditorium, allowing invited artists to fully control the spatial perception of each listener. Featuring field recordings, films and live performances from Dallas Simpson and Phill Harding.

Please bring your own set of stereo headphones.

Binaural is a term used to describe the method of recording sound using tiny microphones placed inside the ears or mounted onto the side of a dummy’s head. When the recording is played back through headphones, the result provides the listener with a realistic representation of the space the sounds were original captured in.

This event is part of the All Around You season of sound art events heard during the autumn season in and around Bristol.

For information please see below.

http://allaroundyoubristol.blogspot.com

Dallas Simpson has spent over 10 years involved with recording and performing binaural soundworks. The subject of each recording varies from natural surroundings, to artificial environments. In addition to recording these soundscapes, Dallas Simpson has also performed live. A number of samples of his work are available for download from his website.
http://www.dallassimpson.com/

Phill Harding is a freelance composer/sound artist based in the Pennine Hills of West Yorkshire, England. much of Phill’s current work involves the use of environmental field recordings—focusing on the sounds we usually ignore or filter out—to point out the beauty in the mundane.
http://www.phillharding.org/

audible fields 8pm Thursday, 17th September 2009

audible fields

Audible Fields; Francisco López
Thursday 17th September 2009
Doors open at 8pm, Tickets £4 Advanced, £5.00 Door

Francisco López is internationally recognized as one of the major figures of the sound art and experimental music scene. Over the past 30 years he has developed an astonishing sonic universe, absolutely personal and iconoclastic, based on a profound listening of the world. He has realized hundreds of concerts, projects with field recordings, workshops and sound installations in 60 countries. His extensive catalog of sound pieces has been released by more than 180 record labels worldwide, and he has been awarded three times with honorary mentions at the competition of Ars Electronica Festival.

In this special edition of audible fields, Francico Lopez will discuss how his creative practise has been shaped over the past 30 years by two main environments of influence that divert from common music training: the independent home-music worldwide network (starting in the late 70s) and the influence of ‘real world’ sonic
environments, particularly from nature. His work with field recordings is not informed by representational goals but rather by the intention of creating new worlds of sonic experience based on a transformation of that source / inspirational ‘reality’.

This talk is in prelude to Francisco’s performance at the Arnolfini on the 18th September 2009 and forms part of the ‘all around you’ series of events taking place in Bristol and beyond over the coming autumn season.

http://www.franciscolopez.net/

audible fields 8pm Sunday, 12th July 2009

Audible fields,matt davies

Featuring performances from

Weather Machine (Robert Curgenven)
Elemental Music (Z'ev)
Also two exclusive field recordings from Francisco Lopez
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Individual Biographies

Weather Music
ROBERT CURGENVEN: WEATHER MACHINE
Returning to sound as the physical articulation of space through vibration, resonances and the body beyond merely hearing. Room harmonics and subtle feedback combine with pristine elemental field recordings - choruses of twittering insects from the verdant tropical rim, Aeolian fences underscore detailed recordings of desert storms.
“These unearthly visions reveal something about the palpable strangeness and near-alien experiences that can be encountered when one visits these extreme, physical zones. Far from offering us the comfort of a canopy, [this sound] is intent on exposing us to the rawness of desert winds and the heat of a merciless sun.”
http://www.recordedfields.net

Z'ev
Z’EV: ELEMENTAL MUSIC
Since 1984, Z’ev has been concentrating on performing in a more traditional mallet-percussion style, albeit with highly idiosyncratic and 'extended' mallet percussion techniques and 'self-made'/adapted instruments and accoutrements. In point of fact, Z'EV doesn't actually consider the results as “music" per se, but more as orchestrations of highly rhythmic acoustic phenomena.
It is also worth noting that Z'EV does not consider his performances as solos, but rather as the unique inter-reactions between five elements:(himself), (his instruments), (the particular physical space of the performance), (the particular time and geographic location of the performance) and (the energies of the audience). While the first two will of course remain the same, a change in any of the last three will result in a totally different performance.
http://www.rhythmajik.com

Francisco Lopez
Francisco López: Mamori Sound Project
Francisco López is internationally recognized as one of the major figures of the sound art and experimental music scene. Over the past 30 years he has developed an astonishing sonic universe, absolutely personal and iconoclastic, based on a profound listening of the world. He has realized hundreds of concerts, projects with field recordings, workshops and sound installations in 60 countries. His extensive catalog of sound pieces has been released by more than 180 record labels worldwide, and he has been awarded three times with honorary mentions at the competition of Ars Electronica Festival.

Mamori Sound Project is a 2-week workshop/residency for professional and semi- professional sound artists and composers with previous experience in the area of sound experimentation and field recordings. It takes place at Mamori Lake, in the middle of the Brazilian Amazon , and involves theoretical/discussion presentations, field work and studio work. The workshop/residency has a special focus on creative approaches to the work with field recordings, through an extensive exploration of natural sound environments. It does not have a technical character but is instead conceived and directed towards the development and realization of a collective project of sonic creation with the interaction of all participant artists/composers.
http://www.franciscolopez.net


Audible Fields, 8pm Sunday 31st May 2009

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Featuring performances by

Benedict Drew and Louisa Martin
Matthew Lovett and Ian Watson

Plus field recordings played within the darkened auditorium

Biographies


ben drew
Benedict Drew
Benedict Drew is an Artist who works in performance, sound and video. Current projects include a collaboration with artist Emma Hart and the trio Portable with Rhodri Davies and Louisa Martin. Benedict has also worked with Otomo Yoshihide and Sachiko M and with various improvisers including Tom Chant [as duo Suscete] Angharad Davies, Lee Patterson, Steve Beresford, Seymour Wright, Rhodri Davies, Mark Wastell and Matt Davis. He has travelled widely performing. Benedict has also composed the soundtracks for five films by Emily Richardson. A CD of these soundtracks was released in September 2004. Radio work includes producing and presenting Instant Radio Meeting and the Kchunk Radio series Resonance FM.
http://www.benedictdrew.com


louisa martin
Louisa Martin
Louisa Martin is an artist who works with live sound and performance. Interests include the idea of art as transmission; presentation, expression or action by non-linguistic non-representational means. Recent projects include a soundtrack for a film by Kathleen Herbert, and a collaborative cd release on Another Timbre with Rhodri Davies, Michel Doneda, Phil Minton and Lee Patterson. In addition to the trio ‘Portable’ with Benedict Drew and Rhodri Davies, Louisa has performed with various musicians and artists including Otomo Yoshihide, Dominic Lash, Angharad Davies, Tomas Korber, David Toop, Ivan Seal.


matthew lovett
Matthew Lovett

Matthew Lovett is an improvising musician with a background in free jazz as well as computer-based performance. He trained under Keith Tippett and has recorded and released music with Full Circle as well as the multi-instrumentalist Deri Roberts. Recent work includes a collaboration with percussionist Javier Carmona and electronics/turnablist Kamil Korolczuk on an extended Techno-based improvisation for night clubs.


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Ian Watson
Ian Watson Produces sound from broken down, found and re-kindled electronics and tape for 'The Sound of Aircraft Attacking Britain' and 'Lowe Opta'.
He has self-released several projects alongside Richard Bowers, Mark Jollliffe and Dsic on Phantomhead Recordings and has 2 forthcoming releases on Dielectric Records in the U.S.

http://www.myspace.com/matthewlovettianwatson

Audible Fields, 20:00 Sunday 15th February 2009


February Events

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• Jez riley French & Patrick Farmer
• Simon Whetham
• ‘Shanghai’ by Carpets Curtains (15 mins)
‘Ragtag’ by AVVA (Billy Roisz & Toshi Nakamura) (5mins)
• ‘Sources’ by Billy Roisz (video) with Andrea Neumann, Annette Krebs, Axel Dörner, Martin Siewert,
Martin Brandlmayr, Otomo Yoshihide, Rossi, Sachiko M (12 mins)

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Individual Biographies


Jez riley French

Jez riley French sounds like;
Intuitive Composition. Field Recordings. Objects. Surfaces.
Jez riley French has performed, exhibited and published widely across Europe. He lectures on field recording & intuitive composition & also runs the engraved glass label, the ‘in place’ blogspot & the seeds & bridges concert series in Yorkshire.
http://JezrileyFrench.blogspot.com
http://JezrileyFrench-inplace.blogspot.com
http://www.myspace.com/JezrileyFrench
http://engravedglass.blogspot.com
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Patrick Farmer sounds like;
The lightness of pine cones and other natural objects vibrating on a tightened synthetic skin.
Patrick Farmer has played with Kevin Shea, Helena Gough, Okkyung Lee, Dominic Lash, The Good Anna, Angharad Davies, Matt Davis, Rhodri Davies. He has a handful of releases coming out soon on labels such as Creative Sources, Why Not LTD of Malaysia, organised music from Thessaloniki, and also co-runs the label compost and height.
www.myspace.com/woodandwhisks
www.compostandheight.blogspot.com
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simon whetham

Simon Whetham sounds like;
'...a novelist' - Rinus van Alebeek, Berlin, 2008
The description Rinus gave Simon and his approach to composing using field recordings is perfect. His recorded and performance pieces are episodic, dramatic and evocative.
Simon's work has led him to record and perform in Iceland, Mongolia, France, Germany, Brazil and Estonia, and to perform alongside artists such as Fennesz, Philip Jeck, The Owl Project, Mira Calix, Plaid and Hauschka, to name but a few.
He has had work released by Entr'acte, Trente Oiseaux, Gruenrekorder, Earth Monkey and Filament, with upcoming releases through Lens Records and 1000fussler.
www.simonwhetham.co.uk
www.myspace.com/simonwhetham

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Carpets Curtains – ‘Shanghai’ (15 mins)

Combining live audio “micro-improvisations” (refined by architect Ivan Palacky) with live video manipulations (by visual artist Filip Cenek aka VJ Vera Lukasova), Carpets Curtains express an engaging and nuanced interplay of audio and visual material. With live visuals being based on improvised memory re-edits in which emphasis is placed on ambiguous “narration” whilst VJ software errors are used to reach new amoebic image qualities, the result is a principle or method of remaining fixed to moving images while vacating the essential aspects for building concrete
meaning. Such visual approaches find parallel in Palacky’s delicate musicalities, in which found objects and minimal electronics are fused to create elegantly small sound mixtures.

AVVA (Billy Roisz & Toshi Nakamura) – ‘ragtag’ (5mins)
"Ragtag" - in the sense of impenetrable, a colourful mixture - is the title of a joint work by Billy Roisz (visuals) and Toshimaru Nakamura (sound) which was created under the project name AVVA after a 2004 tour in England. Impenetrable and a mixture also describes the work principle behind "ragtag" well: At first there´s the sound of Nakamura´s mixing board by itself, without external input. Its musical inner workings turn gloomy and skeleton-like, stripped bare by recursive feedback loops. This is input into Roisz´s video mixer and becomes a part of its generation of images, which is no less recursive and self-reflexive than the sound design. The result is colourful, shimmering and impenetrable ?between reduced sound and an extensively emptied picture, between a skeletal rhythm and a matrix of video lines, a combination composed in such a way as to be less audiovisual than "technovisionary." The visionary mixture remains within rigid geometric framing: A minimalist rhythm begins, revealing a pattern of lines and stripes, at first solely its top third is in motion. It flickers and hums - in microtones or at high frequency - until a continuous basic pattern covers the entire picture. While the volume of Nakamura´s thumping feedback is gradually lowered, the clicking pulses have infected the entire structure of the image. A tachycardian aesthetic, both roughly trembling and finely chased, has come into being, and it is reflected in distant worlds of sine waves. The feedback concentrate is not removed in its entirety, as a monochrome structure of stripes is superimposed over the picture at the end. Possibly not as colourful, but still impenetrable. 
(Christian Höller)

Billy Roisz (video) with Andrea Neumann, Annette Krebs, Axel Dörner, Martin Siewert,
Martin Brandlmayr, Otomo Yoshihide, Rossi, Sachiko M (sound) – ‘Sources’ (12 mins)
For 'Sources' the solo soundchecks of eight musicians were recorded - sounds and video were saved seperately. The idea was to follow the paths of musical creation processes (and their corresponding visual techniques) and develop a video, starting with soundcheck-footage, to a complex result.
In the first stage the physical events that govern the production of sounds and take place for the most part "behind the scenes" have been visualised by entering the microcosm of acoustic phenomena via macro shots. The collected material served as an image and sound archive, and was the basis for the montage. The shots were synchronised with the soundtrack (aligning each sound source to the corresponding film sequence). The film/music miniatures produced in this way were then used as the source material for the final composition, partly pacifically coexisting, partly cheekily demanding for space. The single miniatures seem to be looking for collaborations, solo parts and rest.
 The result is a dramatic composition that evolved from the raw sources of sound-check materials during the process of investigating the possibilities and nature of audiovisual creation and perception.