Day 1: 18/02/2015
17:30 Phipps Concert Hall Pre-Concert Talk – James Mooney
19:30 Phipps Concert Hall Event 1 – Hommage to Daphne Oram and Delia Derbyshire

Day 2: 19/02/2015
09:15 Phipps Concert Hall Sound Projection Workshop 1
11:30 Phipps Concert Hall Sound Projection Workshop 2
17:30 Phipps Concert Hall Pre-Concert Talk – Isnaj Dui
19:30 Phipps Concert Hall Event 2 – Ben Potts / Isnaj Dui

Day 3: 20/02/2015
10:00 Phipps Concert Hall Sound Projection Workshop 3
14:00 Mac Labs CAM 2/10 Live Coding Workshop
17:30 Phipps Concert Hall Pre-Concert Talk – Kasper T. Toeplitz
18:00 Atrium Sound Installation – Elías Merino
19:30 Phipps Concert Hall Event 3 – Aaron Cassidy / Kasper T. Toeplitz
21:00 Atrium Event 4 – Algorave

Day 4: 21/02/2015
12:30 CAMG/01 MAX Poweruser Symposium
17:30 Phipps Concert Hall Pre-Concert talk – Radek Rudniki and Laurent Segretier
18:00 Atrium Sound Installation – Elias Merino
19:30 Phipps Concert Hall Event 5 – Radek Rudnicki / Laurent Segretier

Day 5: 22/02/2015
12:00 Atrium Great Yorkshire Wiggle
17:30 Phipps Concert Hall Pre-Concert Talk – Robert Henke
18:00 Atrium Sound Installation – Elias Merino
19:30 Phipps Concert Hall Event 6 – Olivier Pasquet / Robert Henke

Event 1 – Hommage to Daphne Oram and Delia Derbyshire

Roberto Gerhard – DNA in Reflection (Audiomobile no. 2)
Roberto Gerhard’s DNA in Reflection (Audiomobile no. 2) was created in 1963 to a film by Hans Boye and Anand Sorhabai, two doctoral students at the Molecular Research Laboratory, Cambridge. Gerhard referred to the work as an ‘aleatoric soundtrack’ in that the music and image were not tightly synchronised but complimented each other.

Delia Derbyshire – Dr Who Theme
This piece hardly needs any introduction. Composed by Ron Grainer, it was realised by Delia Derbyshire and Dick Mills at the BBC Radiophonic Workshop, using basic tone and noise generators. The piece was assembled using analogue tape cutting techniques—cutting up segments of tape for each note and sticking them together using white adhesive splicing tape. In this case three monophonic magnetic tape machines were used: one for the bass line, one for the melody, and one for the sweeping, hissing, white-noise sounds. The three tape machines operated independently of each other, with no synchronisation: in order to play back the track, it was necessary to manually start all three tape machines at exactly the same time, hoping for the best that the three tracks would stay in sync. During the process of putting the tapes together, according to Dick Mills, one note was found to be out of time. In order to identify this so that it could be corrected, it was necessary to unwind the three reels of tape along the lengthy corridors of the Radiophonic Workshop’s Maida Vale studio (formerly an ice rink) and search for the one tell-tale piece of white splicing tape that was out of alignment with the others. This particular version of the Dr Who theme was released as a single, and a slightly adapted version of it was used on air from November 1963—the very first episode—up to 1967.

Daphne Oram – Contrasts Essonic
This is the first concert piece based on Oramics drawn sound, that is, the first piece created using Oram’s pioneering ‘Oramics’ machine (see below). The version presented here is the ‘tape only’ version, i.e. it does not include any element of live, instrumental performance. The piece, however, also exists as a version with piano (in collaboration with Ivor Walsworth). The sounds of the Oramics synthesizer can easily be identified as the whistling, floaty-sounding pitched sounds that first occur about four minutes into the piece. Contrasts Essonic was first performed at the Queen Elizabeth Hall, London, in 1969.

Delia Derbyshire – Blue Veils and Golden Sands
This piece was originally composed for a 1968 ‘World About Us’ documentary entitled ‘The Last Caravans’, about the nomadic Berbers / Tuareg and their camels in the Sahara Desert. The principal sound sources were a recording of Derbyshire’s voice and the ringing, when struck, of an old green aluminium lamp shade. As Derbyshire said, ‘the camels rode off into the sunset with my voice in their hooves and green lamp shades on their backs.’ The piece was later used as incidental music in the Dr Who serial ‘Inferno’, broadcast in 1970.

Daphne Oram – Pulse Persephone
One of Oram’s most renowned compositions, Pulse Persephone was completed and performed at the ‘Treasures of the Commonwealth’ exhibition at Burlington House, London, 1965. Oram constructed this piece from individual sounds from various countries in the commonwealth, including steel pan and African drums and flutes which were laid over a deep pulsing bass sound. The piece was later used for a ballet, Alpha Omega.

Daphne Oram – Rockets in Ursa Major
This piece was composed as incidental music for a play by Fred Hoyle, performed at the Mermaid Theatre, London, in 1962. In contrast with France and Germany, where the experimental electronic music activities of the late 1940s and 1950s were officially endorsed by state radio and television stations, there was no such institutional support for electronic music activities in Great Britain. Hence, much early electronic music was ‘applied’—composed as incidental music for films, plays, and TV and radio programmes.

Delia Derbyshire – The Delian Mode
Derbyshire generally composed music of a contemplative, ethereal atmosphere with interwoven layers of sustained tones, and sparse textures combined with precise temporal placement of looped rhythmic patterns. She called her own compositional style ‘music to watch sculpture by,’ and The Delian Mode, composed at the BBC Radiophonic Workshop, fits that description rather well. Although it stands perfectly well as a composition in its own right, it was used—along with Blue Veils and Golden Sands—as incidental music in the Dr Who serial ‘Inferno.’ The piece also provides the title of a 2009 documentary, directed by Kara Blake, that explores Derbyshire’s life and work.

Daphne Oram – Four Aspects
This is Daphne Oram’s first electronic concert piece, performed at the Queen Elizabeth Hall in 1960. The piece has a simple ABA code form, and is a study in electronic tone colour, from pure tones to abundant complexity. The compositional techniques used are generally simple, and the harmonies heard are built on the lower frequencies of the harmonic series, resulting in much tonic/dominant chording. In 1960 electronic music was not readily accepted, particularly in conservative Great Britain, and this piece was specifically designed to provide a simple bridge with conventional, instrumental music.

Delia Derbyshire – Towards Tomorrow
We started with a theme tune and we finish with a theme tune. This was written for a TV series with the same title that was first broadcast on 7th December 1967. It is described by one online commentator as ‘a perfect subversion of a classic brave-new-world dynamism phrase. The “tomorrow” I imagine here is the antithesis of that which the BBC in the 1960s made much play of promoting to its audience; instead, it could easily be some kind of dystopia, a state of decay…’

Event 2 – Ben Potts / Isnaj Dui

Ben Potts – Cuboid
Cuboid is the first piece in SHAPE, a series of works exploring the boundaries between geometry, sound and sculpture. Cuboid is based around the square, rectangle, cube, and cuboid shapes.

Isnaj Dui – Euplexia+ (live set)
Tonight’s performance will feature pieces from last year’s Euplexia as well as new works.

Elías Merino – Subflection

Subflection is a 20’ loop computer-generated A/V installation. This piece explores the poetic/philosophical relationship between subject and object in two chapters. The first chapter called The_Doppelgänger deals with the concept of the Other as the neighbour, through the Mary Shelley’s Frankenstein metaphor and the thoughts of Sartre. The second chapter called The_Other_In_itself deals with the concept of the emancipation of the other as a subject itself, through the ideas of freedom, autonomy and moral subject of Emmanuel Kant.

Event 3 – Aaron Cassidy / Kasper T. Toeplitz

Aaron Cassidy – The Pleats of Matter

Matter thus offers an infinitely porous, spongy, or cavernous texture without emptiness, caverns endlessly contained in other cavern: no matter how small, each body contains a world pierced with irregular passages, surrounded and penetrated by an increasingly vaporous fluid, the totality of the universe resembling a ’pond of matter in which there exist different flows and waves’

Gilles Deleuze, The Fold

The Pleats of Matter (2005-2007), which takes its title from the first chapter of Deleuze’s The Fold (an investigation of the Baroque, Leibniz, and the monad), is a work that explores the nature of folds, bends, and pleats, and their concomitant implications of surplus, enveloping, collapsing, and obfuscation. It is a work in which overflowing trajectories of material and process collide, overlap, collapse, and slide, where strata melt and rupture and deform, and where form and shape are only the final byproduct of lines folding into one another, of shapes subsumed by other shapes, of forms twisted within other forms.

Matter that reveals its texture becomes raw material, just as form that reveals its folds becomes force. In the Baroque the coupling of material-force is what replaces matter and form.“ … “Perhaps only at the limit does texture become most evident, before rupture or tearing, when stretching, no longer being opposed to the fold, now expresses it in its pure state… The way a material is folded is what constitutes its texture.

The guitar itself, or at least the physical, sound-producing manipulation of the instrument, is a folding: the interaction between finger and string and fret, the bending and wrapping of strings with the nut and bridge and tuning pegs, the folding and slackening from the tremolo bar …. In this work, these folds are all made independent, not so much layered as merely simultaneous. The two hands traverse the fretboard independently, freed from their conventional roles and geographies. Either hand might at any moment be plucking, strumming, depressing a string, scraping, sliding, or bending, and moreover, these actions are as likely to appear behind or above an already- depressed fret as below. Joining this interface between finger and fret and string are the actions of the tremolo bar, itself bent and folded by both hands and the occasional elbow, two footpedals that bend and shape and twist pitch and timbre, and a further array of amplification and processing modifications on two additional electronic strands.

The multiple is not only what has many parts but also what is folded in many ways.

The electric guitar, perhaps more than any other instrument, involves a massive chasm between the physical process of sound production and the actual sounding result. The instrument includes the ability to separate thoroughly the physical from the aural, with sound distorted and refracted and disembodied through any number of layers of electronic manipulation. This work aims first to push the lacunae of this separation to their limits, and second to envelop and embrace these gaps as being part of the essential and fundamental character of the instrument. An extensive and wildly indeterminate scordatura is employed (the work is written in an extended tablature notation throughout), and, while the (physical) motions of the various eects pedals and amplification levels and patch changes are notated in detail, the actual sonic character of the effects patches themselves are left open and unspecified. Thus, while the physical component of the work is entirely repeatable and vaguely predictable, the sonic and timbral component is open to dramatic and indeterminate variation from performance to performance and from performer to performer.

… a flexible or an elastic body still has cohering parts that form a fold, such that they are not separated into parts of parts but are rather divided to infinity in smaller and smaller folds that always retain a certain cohesion. Thus a continuous labyrinth is not a line dissolving into independent points, as flowing sand might dissolve into grains, but resembles a sheet of paper divided into infinite folds or separated into bending movements, each one determined by the consistent or conspiring surroundings.

The title of the work, too, is a deferential and not particularly veiled reference to Richard Barrett’s Dark Matter, or, more specifically, to transmission, the work for electric guitar and live electronics that forms the crucial central thread of the larger work. It was impossible, in writing an electric guitar piece for Daryl Buckley, to avoid acknowledging the influence that Richard’s music and ideas (not least in Dark Matter, a work for which I hold unmitigated enthusiasm) have had on my work over the last decade. transmission casts a particularly long shadow, and, to mix metaphors, raises the bar for the instrument’s repertoire very high indeed. The challenge of writing in that shadow has been frightening and exhilarating. The work is dedicated in friendship and thanks to Daryl Buckley.

Kasper T. Toeplitz – Almasty

Event 4 – Algorave

Curated by Julio d’Escriván under the auspices of the Sound | Music | Image | Collaboration Research Centre and featuring Yaxu, Norah Lorway, Shelly knots, Sick Lincoln with support from TOPLAP and Sound and music.

The Electric Spring Algorave presents four of the best known artists in the genre for an evening of dance-oriented music performance. Sick Lincoln and Yaxu are actually pioneers of the genre and have performed widely both at home and abroad. Shelly Knotts and Norah Lorway are two of the most talented emerging voices in this rapidly expanding discipline. It is a privilege to have them all as guests at Electric Spring. If you have never attended an algorave, be prepared for the steady beats of the club dancefloor being generated in realtime by live coding: Algorithms to rave by!

MAX Poweruser Symposium

This symposium is organised by Alex Harker with presentations by Kasper Toeplitz, Robert Henke, Pete Dowling, Hans Leeuw discussing aspects of their work and code.

Kasper T. Toeplitz – Noise As Input, Noise As Filter: A Compositional Approach
Through the years my interest in music moved from working with sound to working on noise – when, at the same time (but it took years) my position in the (musical) world evolved from being a “contemporary” composer, writing symphonies, operas, string quartets or pieces for (mostly acoustic) ensembles to becoming a “noise” musician, a “noisician”, or at least a musician deeply involved into (working with) noise and the electronics. Maybe as a paradox this quest for noise made me collaborate with contemporary dance projects, up to the point of sometimes using dancers as the only musicians for some compositions (Capture and Désastre) before turning them into instruments (Inoculate? and Data_Noise). Quite often, my compositional work became (mostly) electronic music which takes as its starting point the use of noise, similar to the (white) canvas of a painter or rather to the block of stone of a sculptor.

Hans Leeuw – Blurring the Borders Between Acoustic and Digital Control
As an experienced trumpet player my instrument is an extension of my body. In this talk I take this a step further and shows how I search for ways of sound design and mapping that add the digital world as an extra dimension of embodiment.

Peter Dowling
softlySoftly(extending, msp, with, gen)
genaholic = confessions_of_a_;
1) High quality modern DSP algorithms in gen~
2) Why we love gen~
3) Why we hate gen~
4) Interlude: learning to love GenExpr
5) Why we love Max
6) Why we hate Max
7) Why should creative people be concerning themselves with nuts and bolts?
8) Complaints and any other business.

Robert Henke – Lumière II – developing a framework for a large scale laser show in Max
Robert Henke’s laser performance Lumière II utilizes audio rate signal processing in Max not only for sound synthesis but also to create the control signals for the lasers. The presentation will provide detailed insight into the functionality of his software and the concepts behind it. Code for laser control demands sample accurate timing also for control signals. A special focus of the talk will be on the methods employed to achieve highly effective code that meets this criteria. The second main topic is the interactions between artistic desires, the necessity to program a dedicated environment to achieve the initial goals and the transformation of the project as a result of the knowledge and inspiration gained by using these new tools.

Event 5 – Radek Rudnicki / Laurent Segretier

Laurent Segretier – MEMENTO
The creation of an imaginary city can be seen in the video installation Memento, whose sound design is the fruit of a collaboration between the artist and composer TNEM. Through the shifting of pixels, the accent is placed on chaos, like a cataclysm creating a new typography, a shift of the continents, passing from destruction to creation. Sound design by TNEM.

Laurent Segretier – LUST
In LUST, Segretier samples selfie porn videos from swinger websites, filming and remixing them on a broken screen to form a muddled loop of writhing body parts. Over the past two years, he has primarily produced work on the subject of childhood memories that persist into adult obsession, both from personal and collective imagery. Sound design by TNEM.

Laurent Segretier – NOLI ME TANGERE
In his earliest work NOLI ME TANGERE (Touch me not) the artist takes his intimate photographic work as the genesis, and breathes new life into the images. A love letter to my wife. She lived in France, I lived in Asia, using skype as vehicle. Sound design by TNEM

Radek Rudnicki – Digital Electricity
Both of tonight’s sets are linking generative music with detailed sound design and improvisation. Dense textures, glitches and abstract beats are generated live with modular synthesiser and drum machines. Loop based, carefully designed to micro level grooves are collided with generative modular synthesiser patches. Music reminiscences ambient, dub and electronica however is not falling into any of the mainstream genres.

Laurent Segretier – RBT#04
Segretier is deeply inspired by Japan, which he sees as the driving force of youth culture over the past 30 years. Like many people of his generation, his dreams are born through games and cartoons. One video RBT #04 captures Gundam robots, generally seen to reflect the ideas of modernity and futurism defined in twentieth-century literature and film. Distorted and deconstructed through exploratory manipulative techniques, he constructs an archaeology of these fantastical figures, which he reprocess with the latest imaging technology to recapture them as one might revisit his or her own memory, resulting in a new digital form. Sound design by TNEM.

Laurent Segretier – Skyler and Bliss
Hong Kong remains the backdrop to the science fiction movies of my youth. The city reminds me of my former training in the financial sector. It is a city in which I could have succeeded in finance, but as far as art goes it is a young city, and I am a young artist. A frustration emerges; much like the mold, the artist also had to develop new skills by killing o his former desires and manipulating technology. My new series entitled HONG KONG surface project shows a new direction in my artistic research in which my technique becomes ever simpler, reducing the traces of pixelation until objects appear almost as they were found and photographed. Skyler and Bliss presents tectonic plates based on satellite images of the Arctic. Working in a hot and humid Hong Kong where mushrooms grow ferociously, a city artificially refrigerated by climate control, this series provides a conceptual image of a imaginary typographic map for survival. Sound design by Monty Adkins.

Radek Rudnicki – SF a/v solo
Both of tonight’s sets are linking generative music with detailed sound design and improvisation. Dense textures, glitches and abstract beats are generated live with modular synthesiser and drum machines. Loop based, carefully designed to micro level grooves are collided with generative modular synthesiser patches. Music reminiscences ambient, dub and electronica however is not falling into any of the mainstream genres.

Great Yorkshire Wiggle

A Module Synth Afternoon led by Ben Wilson
The Great Yorkshire Wiggle is a synth meet for users and enthusiasts of synthesizer gear with a heavy leaning towards to modular synthesis. Events are free and everyone is welcome, bring some gear, check out other people’s systems, have hands on demos and meet with the designers and manufacturers involved in the scene. There’s also a gear raffle with eurorack modules and accessories to be won.

Event 6 – Olivier Pasquet / Robert Henke

Olivier Pasquet – β Pictoris b
β Pictoris b is an extrasolar planet located approximately 63 light-years away in the constellation of Pictor. Discovered in 2008 from a picture taken in 2003, the fact that it periodically spins at 100,000 km/h is just one of its mysteries. This piece is one of the early steps into a taxonomy and travel toward infinitesimal and infinite architectures. It comes from a collection of generated pieces in which the narrative stream of consciousness seeks a minimalistic interior monologue. The limits of perception and understanding set the anatomy of the piece beyond its own duration. The piece belongs to a collectivist and connectivist context of series. The overall thus builds a physical and imaginary constructed universe that would eventually be freely interpreted as a speculative realism. Each element is explored and classi”ed like exoplanets; nobody knows how many they are and how they are made.

Robert Henke – DUST
Dust is about the exploration of noisy, grainy textures and about very slow movements of seemingly static sonic material, shredded into myriads of microscopic particles.

The sources are leftovers of digital processes or field recordings; splashing waves captured in Australia on a beach with lots of pebbles, steam from a coffee machine, crackles of the lead out groove of an old record, electrical discharges from a big transformer, bells, organ pipes, bowed piano strings. The sonic treatments create dense and layered streams of sound, remixed and distributed in space during the performance, slowly filling the room, sometimes barely audible, sometimes very loud, spanning the whole spectrum from the lowest possible rumble to ultrasound. Dust is based on self written granular synthesis algorithms and can be presented live in many ways, including a variable number of audio channels.