Day 1: 20/01/2007
19:30 Drama Studio 1 GEMDays 2.3 – Inter-vention

Day 2: 21/01/2007
11:00 Drama Studio 1 GEMDays 2.3.5 – The making of the Suicided Voice
15:00 Drama Studio 1 GEMDays 2.4 – I.S.D. Trip

Day 3: 25/01/2007
13:15 Recital Hall MT-TV – Lunchtime concert

Day 4: 24/03/2007
17:30 St Paul’s Hall GEMDays Talk – Christian Eloy
19:30 St Paul’s Hall GEMDays 2.8 – SCRIME: Bordeauz Grand Cru

Day 5: 25/03/2007
10:00 St Paul’s Hall GEMdays talk – The art of multi-loudspeaker diffusion
19:30 St Paul’s Hall GEMDays 2.9 – Viva!

GEMDays 2.3 – Inter-vention

Mark Bokowiec + Julie Wilson-Bokowiec – Underwater
Underwater is the fifth movement of ROUTE originally conceived as a multimedia performance incorporating music dance and multiple video projection performed in 2001. The score was developed from sound recordings made on location in the Yorkshire Pennines, in peat bogs, streams and copses. The raw recordings were then manipulated using a variety of electro-acoustic processes and augmented with FM synthesis. ROUTE is available on the MPS Music & Video label.

Mark Bokowiec + Julie Wilson-Bokowiec – Hand-to-Mouth: Ventriloquism
For vocalist/performer, the Bodycoder System with live MSP. New work in-progress

A digital slight-of-hand, an act of interactive puppetry, a feat of electro-acoustic ventriloquism. Hand-to-Mouth is the second in a cycle of three interactive vocal works. In this piece the acoustic voice of the performer is so heavily processed that it is almost unrecognisable. Only the energy of the voice and the élan of the physical gestures of the puppet hand betrays the flesh and blood presence of a human ventriloquist. What we are presented with is the technological puppetry of the hands that manipulate the sound and navigate a course through a digital environment: a conversation between utilitarian and expressive gestures.

The piece is composed using four variable delay lines with pitch and delay controls, six granular pitch shifters, variable ring modulator objects, multi-tap delays and multiple loop buffers for live sampling and the building of complex multi-phonic soundscapes. There are no pre-recorded soundfiles used in this piece and no external sound manipulations. The piece is fully scored with few moments of improvisation.

Mark Bokowiec + Julie Wilson-Bokowiec – Bellmer
Bellmer is the fifth movement of a suite of pieces composed for SPIRAL FICTION a performance installation commissioned by Digital Summer, Manchester 2002 as part of the cultural programme of the Commonwealth Games.

Bellmer’s audio landscapes are derived from a small palette of field recordings that have been processed and gradually hybridised to the point at which they loose the sense of their origins and begin to emerge as pure electro-acoustic audio environments with their own discreet emotional and imaginal terrains. Into the darkening land that emerges the footsteps of a single slow melodic line unravels and meanders in and out of the shadows. Its steps are uncanny and the weight of its presence brings a sense of foreboding.

Mark Bokowiec + Julie Wilson-Bokowiec – The Suicided Voice
For vocalist/performer, Bodycoder System with live MSP, computer graphics & live video streaming. (additional video footage courtesy Francesca da Rimini)

The title of the work is derived from Antonin Artaud who writing about the art of Vincent van Gogh suggested that an artist must ‘suicide’ – sacrifice and let go of the received conditions of his art and materials in order to reach a point of authenticity and innovation.

The Suicided Voice is the first in a cycle of three interactive vocal works. The piece explores the notion of voicing and the digital /physical embodiment of the voice beyond the larynx. Extended vocal techniques are coupled with live processing to expose the multiplicity, potency and depth of the voice’s digital Otherness.

There are no pre-recorded sound files used in this piece and no external sound manipulations. The piece is fully scored with few moments of improvisation. The performer is required to both generate the acoustic sound and process and manipulate on the limbs of the body multiple digital ‘voices’ and soundscapes while navigating a complex live interactive MSP environment. The piece requires a very distinct aural, technical and cross-model perception on the part of the performer that makes this a fascinating performance to witness as well as hear.

The Suicided Voice was made in residency at the Banff Centre in Canada and completed in the electro-acoustic music studio facilities at the University of Huddersfield. The piece had it’s first performance at the Sonic Arts Expo in 2005 and will be performed again in Montreal and New York in 2007.

Mark Bokowiec + Julie Wilson-Bokowiec – Ghosts
Ghosts is a narrative piece based on three legends from the Aboriginal Dreamtime – a mythological time when man was in direct contact with the spirit world. Ghosts was composed in 1995 as part of a dance programme that featured the work of four choreographers working in collaboration with four composers. Ghosts was reworked in 1997 for the concert hall and is regularly performed and broadcast internationally. The sound sources for the piece are samples from a C sharp Didgeridoo and a variety of home made aboriginal Spirit Catchers. Samples were then manipulated using a variety of electro-acoustic processing techniques. Ghosts is available on the MPS Music & Video label.

Mark Bokowiec + Julie Wilson-Bokowiec – Lifting Bodies: out of the dust
For dancer, Bodycoder System with live MSP.

This is a revived work recreated especially for this performance. Lifting Bodies was originally commissioned by the Hungarian Computer Music Festival with funds from the British Council and performed at the Trafo Budapest. Lifting Bodies makes extensive use of grain~ objects. The piece has 2 main elements – a granular synthesis player using six grain~ objects to navigate and control 2 small soundfiles created by the composer and five unit~ objects to control 25 sine wave oscillators – the pitch movements of which are modeled on principles based on Cellular Automata.

GEMDays 2.4 – I.S.D. Trip

Constantinos Papadopoulos – Speeding life… Spinning head

Tristrum Cox – Wendego
The wendego or windego (depending on the country in which it is described) is a creature that inhabits the wild and lonely places. It finds its prey in those who spend too long alone and swoops down. What it does varies, in some accounts it merely follows you on the edge of your sight but always present, in the breaking of a twig, or a voice on the wind. Eventually the person would turn mad and run headlong to their doom in the forest, this is the version of the story that has inspired me most in this piece. Other stories however involve the beast devouring the person, causing them to run so fast that their feet set on fire or, in more unpleasant and grizzly tales creating a cannibalistic blood lust.

I have created an electro acoustic-piece that uses a single performer, inspired by the theme’s of operatic aria’s, using both audio and visual sources in order to tell this story.

This piece stems from my experiences in Amsterdam where I spent a week with Steim (Studio for Electro Instrumental Music) this year. Whilst there I explored the software and tools that Steim use, and was exposed to some fantastic examples of electro-acoustic music. Whilst there I also managed to see Waiting for the Barbarians an opera with music by Philip Glass. The various pieces and experiences merged into an idea to create something that would combine these ideas which was the inspiration to write this piece.

Rob Crisp – I Make Trees in Sleep

MT-TV – Lunchtime concert

Autechre – Bass Cadet

Bret Battey – Autarkeia Aggregatum

Autarkeia Aggregatum is an integrated sound and image composition emphasizing continuous flow and transformation. There are no cuts or splices in the visual aspect of the work; it unfolds instead as a constantly evolving, massed animation of a set of over 11,000 individual points.

When seeking a title for the piece, I turned to the Monadology — the philosopher Leibniz’s theory of fundamental particles of reality (monads). I appropriated the two words from that work: autarkeia (Greek) for self-sufficiency, and aggregatum (Latin) meaning joined, aggregated. The terms together appropriately suggest an aggregation of the activities of autonomous entities. More subtly, a resonance with Classicism draws me to the words. The resonance is one of an inner fullness of being expressed outwardly in elegant, self-sufficient restraint.

I produced the sound for Autarkeia Aggregetum with the help of the musical composition and synthesis programming languages Common Lisp Music (by Bill Shotstaedt) and Common Music (by Rick Taube). A primary tool was my Pitch Curve Analysis and Composition toolkit (PICACS) for providing naturalistic and expressive glissandi and continuous-pitch melodies. The animation technique involves various rotational algorithms, constrained Brownian motion, and time blurring, implemented as a custom plug-in for Apple’s Motion 2 video effects software.

Bitzer+Brunck+Weber – 458nm

Francis Dhomont and Inés Wickmann Jaramillo – Moirures

Dans Moirures, les images ne font que dévoiler la musique, à la manière d’une partition de formes, de textures et de couleurs. L’origine de ces images abstraites provient de reflets sur l’eau et sur des vitres en permanente vibration. Moirures a reçu le 3e prix au concours d’électroacoustique célébrant les 25 ans du Eastman Computer Music Center à Rochester (ÉU).

Moderat – Pfandfinderei

Ryoji Ikeda – formula

GEMDays 2.8 – SCRIME: Bordeaux Grand Cru

Christian Eloy – L’estran
In his compution to abreviate, the dictionnary tells us that L’estran (strand) is : the portion of the shore between the highest and the lowest tides. Every thing in this definition (portion – shore – between – the highest and the lowest) indicates the in-between, uncertainty , opposites, flesh or fish, land or sea, who knows ?

The word is ridiculously small for what it covers, as if it wanted to be very small in the face of what it actually reveals. Strange universe which never quite belongs to one element or another. Not belonging may not be blameless ? Only poetry and music can give L’estran its real meaning ; even the best dictionary, apart from this brief definition which is somewhat strict, purely geographical, must need to use poetical metaphor. Commissioned by GRM.

Anne Lore Guillemaud – Hors champs
Cette piece retrace un parallèle musical à la notion du hors champs empruntée au langage cinématographique. Ce qui se passe hors du champs reste cependant nécessaire à la compréhension d’une scène. L’intéret se porte sur l’espace qu’embrasse l’oreille et tout particulièrement sur les sonorités résiduelles. Elle crée un jeu auditif basé sur le détail sur ce qui peut apparaitre anodin en mettant l’accent sur les bruit auxquels nous prêtons souvent peu attention et sur leur potentiel musical .Il s’agit là de détourner l’intention initiale de la prise de son. Un travail sur l’inutile.

Christian Eloy – Musica mundana
Mixed, fusion and root music which focuses on vocals as fundamental means of expression

I could not have composed this piece a few years ago, I would have practiced some kind of self-censorship about these miscellanous parts which I have been able today to weld in some kind of huge “melting pot” that intends to be the reflection of the world we live in.

The emotional track which is inevitibly present in any vocal expression has indeniably allowed me to grant an expressive dimension to that music. I have been keen on producing a thorough work on “harmonisation” of various music and vocals, whether it be by origin or style. I’ve often been surprised by the multiple possible combinations of various musics, religious, traditional, contemporary, synthetic, as if in metal weldings . A genuine alchemy !

Many thanks to Irene Jarsky for lendind her voice. Commissioned by GRM.

Jean Michel Rivet – Embrasement
Tearing fire from crimson clouds, lightning soars up from the heights,
Obliquely, it crosses the sky and scatters light on the countryside.
Sarks and torches crawl under the trees.

Scarlet sizzling fawn crakings and silver streaks break out from all directions.
Ever changing reflections redden the glowing horizon : all is set ablaze.

Christian Eloy – Random Access Memory
At the same time, a wager and a tribute to the 50 years since Pierre Schaeffer made his first explorations into the audio world.

This short piece is a meandering voyage through the electro-acoustic memory of this first half-century. Colours, snatches, fragments, themes and signals created by the composers of these 50 years have produced the exclusive sound material of this music.

Laurent Soulié – Le cri ne peut attendre

… un être hagard se serre les tempes à deux mains et crie sous un ciel sanglant …

Edvard Munch – le cri – 1893

Jean Louis Di Santo – Roulements, rebonds
Sous un titre très évocateur et renvoyant à des jeux d’enfants, cette pièce consiste en une étude de différents types de rythmes : ceux formés par des coups distincts et espacés et ceux formés par ce qu’on appelle le grain du son. Il en résulte des jeux de rythme soulignés par des timbres vifs et contrastés

François Dumeaux – Elytre
Pièce en quatre parties d’une quête imaginaire.
Ce fil d’ariane m’a amené à mettre en scène un ojet sonore composite (personnage principal) dans différentes structures musicales (péripéties: départ, errance, combat, retour).
L’expérience enrichit notre perception ; ainsi le même objet, une situation identique seront perçus variablement à différentes étapes de notre parcours.

Christian Eloy – The scar of Ulysses
Multi channel

This title, borrowed from Erich Auerbach, German writer and critic deceased in 1957, immediately sets the scene on a plane where realism is depicted in the aesthetics of Western music.

Electro-acoustic music has the ability, using “concrete” sounds (with all the ambiguity implied by the word), of giving us an immediate sensation of reality, which we can all situate in relation to our references and private objects of reference; these are the profound notions of sublimitas and humilitas, which merge and unite in musical expression.

I have chosen a composition on eight channels, and sound recordings on the edge of a motorway, with an especially dynamic and very bold Doppler sound effect, which immediately informs and imposes movement in the finite space of octophonic music.

Every listener will be able to decipher his or her own images of a collective mental universe from the essence of this kind of artistic creation, just like the scar by which Ulysses was recognised by his former servant woman.

GEMDays 2.9 – Viva!

Federico Gardella – …come un’apparenza
for trombone and electronics

In …come un’apparenza the counterpoint between the trombone and computerised human voice finds its point of conjunction in singing. It is here that the word loses its sense and changes into pure sound. In the first part of the composition the trombone acts as a sort of catalyst, but also as an alter ego of the human voice; in the second part the sound of trombone turns progressively into singing, but as soon as this happens, the singing vanishes, like an apparition

Gabriele Vanoni – Cycles
for solo trombone and live electronics

I’ve always been fascinated by gesture as an important element of music, since I think it is probably, in the end, the most authentic expression of the composer, despite the technique and the eventual “somewhat rational” organization of the material (which are, obviously, still necessary components of creativity).

In this piece, therefore, the trombone is facing a series of gestures which are continuously proposed, eventually developed, sometimes transformed or simply repeated, in a continuous flow of time and all starting from the player on stage. The whole is then unified in one, single gesture, which is giving the title of the piece: a series of cycles, however linked altogether by a focused shaping of sound, in the course of time.

Matteo Malavasi – Ambient noise
for trombone, piano, percussions and electronics

Little noises from instruments became sound and electronic sounds became noise. They meet each other in the space of music, they create a complex sound like the sound of a single large instrument. The perception of changing sound through different situations is like the shifting perspectives of noise in a hypothetical environment.

As breath turns to a breeze, and the breeze to nature, the ear plunges into the soul of the woods, into the heart of the storm, into the echo of something – or someone – wafting through the music. Then, suddenly, it is silence again. And so the short season ends, as lightly as it started.

Giuseppe Giuliano – Viva!
Text by Lawrence Ferlinghetti – 2003
Read first time by the author at Cafè Bombay – Mexico City
Voice on computer tape: Nicholas Isherwood

Viva Italia libre
in the teeth of today’s fascism
Viva Garibaldi
Viva Sacco and Vanzetti
Viva pasta al pesto
Viva amore pan’ e vino
Viva Mexico insurgente
Viva Zapata & Pancho Villa
Viva Frieda Kahlo & Siqueros & Rivera
Viva Cuba libre
Viven los Sandinistas & los Zapatistas
Viva Chile libre & Salvador Allende
& Victor Jara & Nicanor Parra & Pablo Neruda
Viva America libre without George the Second
and his plutocracy
Viva Gandhi & Buddha & Martin Luther King
Viva Abe Lincoln
Viva Walt Whitman
Viva Franklin Delano Roosevelt and John Francis Kennedy
Viva Mother Jones and Dorothy Day & Emma Goldman
Viva Emily Dickinson & Edna St.Vincent Millay
Viva Joe Dimaggio & Maryln Monroe & Spencer Tracy and Catherine Hepburn
Viva all the San Francisco poets & painters
& Diane di Prima & Anne Waldman
& Jack Kerouac & Gregorio Corso & Allen Ginsberg
Viva Dylan Thomas & Bob Dylan & Woody Guthrie & Pete Seeger
Viva Studs Lonigan & Viva Studs Terkel
Viva civil rights & the American Civil Liberties Union
Viva hotdogs & beer at ballgames
Viva City Lights in San Francisco
Viva City Lights Italia
Viva our free life on earth
in the teeth of today’s fascism!

Copyright © 2003 City Lights Books – San Francisco

Giuseppe Giuliano – A Way
Text by James Joyce
Voice on computer tape by Manuela Galizia

My leaves have drifted from me. All. But one clings still. I’ll bear it on me. To remind me of. Lff! So soft this morning, ours. Yes. Carry me along, taddy, like you done through the toy fair! If I seen him bearing down on me now under whitespread wings like he’d come from Arkangels, I sink I’d die down over his feet, humbly dumbly, only to washup. Yes, tid. There’s where. First. We pass through grass behush the bush to. Whish! A gull. Gulls. Far calls. Coming, far! End here. Us then. Finn, again! Take. Bussoftlhee, mememormee! Till thousendsthee. Lps. The keys to. Given! A way a lone a last a loved a long the

James Joyce, Finnegans Wake, book IV

Giuseppe Giuliano – Vidh
Commissioned by Barrie Webb and dedicated to him, Vidh was written in 1987 and was premiered in London (Festival EMAS) during the same year. The score is written for twelve trombones, but it is also possible to play the piece in a solo version with a tape. In this case Barrie has recorded the tape realizing eleven tracks, and he plays the last part live, so that we can listen to twelve fantastic trombones with a very beautiful sound. The instrumental version places the twelve players in a circle around the audience. In the case of the solo version with tape, loudspeakers replicate this situation. The amplification of the solo depends on the space of the concert hall. VIDH is a Sanskrit root that indicates to see, to wit, the wit of man.