The MTI² at the British Science Festival 2022

 

 

The MTI² had a strong presence at September’s British Science Festival including a talk, a performance and a sound installation.

James Andean presented the talk Stories of Sound to an unexpectedly very large audience. This engaging talk recognised his passionate believe that the role sound has in our perception of the world often goes unrecognised. The talk focused on ‘sonic narratives’ which is also a focus in his compositions, unpicking the unique and incredible capacity that sound has for communicating actions, environments and meanings within our lives – transporting us to new and remembered worlds, as well as building a sense of the world around us.

Anna Xambó Sedó presented When Virtual Meets Reality, a research concert at the Manhattan 34 Cellar Bar on September 16, 2022, consisting of a presentation, performance and Q&A. The presentation introduced the practice of live coding and the music technologies that were going to be used in the performance. The performance was a live coding session using the self-developed tool MIRLCa. The audience was invited to participate in a live chat by suggesting words or 'tags' to be used by the performer to search sounds. The session concluded with a Q&A including the results of an online survey distributed among the audience. The performance can be seen online here. The British Science Festival writes: ‘the same code that creates the web pages and apps we use every day can be used to create music'. She sources her sonic material in real-time from an online collection of Creative Commons crowdsourced sonic samples, Freesound.org. All such concerts are one-of-a-kind performances as decisions are made during the performance and, of course, audience input will always be different. 

Bret Battey’s contemplative, audiovisual installation Traces, Molten premiered Sep 13-16 at LCB Depot as part of DMU’s collaboration with the British Science Festival. The ultra-high-definition video was rendered with custom software that uses thousands of individual optimisation search agents to create highly intricate, gradually transforming textures. Battey provided a quote from Walt Whitman’s ‘Leaves of Grass’ as an epigram to the installation: ‘See ever so far, there is limitless space outside that, / Count ever so much, there is limitless time around that.’

Battey's Estuaries 4 receives ICMA ‘Best Regional Music (Europe) Award' for 2022

Bret Battey's audiovisual composition Estuaries 4 was awarded the ‘Best Regional Music (Europe) Award' for 2022 from the International Computer Music Association, from a field of 362 works submitted to the Association’s annual conference.

Battey's Estuaries 4 receives 'Best Video' award, MuVi6

Prof Bret Battey’s latest audiovisual composition, ‘Estuaries 4’ (2021), has been awarded the ‘Best Video’ prize by MuVi6, an international exhibition of video and moving image on synesthesia and visual music. It will be screened in the MuVi6 conference at the University of Granada in October and will be featured in an associated online exhibition and a print book release.  

‘Estuaries 4’ was also recently screened at the Sound and Music Computing Conference (Saint Etienne, France), the NoiseFloor Festival (University of Saffordshire), the International Computer Music Conference (University of Limerick), and the COMMUTE Festival of the Estonian Academy of Music and Theatre. It is also scheduled for September screening at the Over the Real video art festival in Lucca, Italy.


 

Newly Published: Bret Battey's book review of Ciciliani, et al 'Ludified'

Prof Bret Battey's review of Marko Ciciliani, Barbara Lüneburg and Andreas Pirchner (eds.), Vol. 1: Ludified: Artistic Research in Audiovisual Composition, Performance & Perception and Vol. 2: Game Elements in Marko Ciciliani’s Audiovisual Works. has now been published in Organised Sound 27(1). https://www.doi.org/10.1017/S1355771822000127.

 

New Work by John Young selected for AKOUSMAtique Competition, Montréal

John Young’s most recent work Le Chant en dehors (2022), realised in an 18-channel surround-sound ‘dome’ format, has been selected as a finalist in the AKOUSMAtique Montréal international competition, part of the Akousma Festival of Immersive Digital Music. Three finalists have been selected anonymously by a jury from 50 international submissions: the two other finalists are Nicola Giannini (Italy) and Panayiotis Kokoras (Greece). The finalists will spatialise their works in a concert in the Multimedia Room of the McGill University-based Centre for Interdisciplinary Research in Music, Media and Technology on 14 October 2022. Two prizes will be awarded: the  Francis-Dhomont prize (chosen by the jury) and the Micheline Coulombe-Saint-Marcoux prize (chosen by the public). 


 


Presence at NIME 2022

 

 

Visda Goudarzi and Anna Xambó jave presented a paper and a performance at the International Conference on New Interfaces for Musical Expression 2022 (NIME 2022, 28 June - 1 July), which has been virtually held at Waipapa Taumata Rau, Aotearoa / The University of Auckland, New Zealand.

The short paper “The Mobile Audience as a Digital Musical Persona in Telematic Performance” discusses a self-built mobile web app, personic, designed for distributed audiences to constitute a digital musical instrument. It can be read at De Montfort Open Research Archive (DORA): https://dora.dmu.ac.uk/handle/2086/22012

The performance “Ear to Waipapa Taumata Rau” is a live-coding performance by performers from two different continents remotely exploring the sonic components of Waipapa Taumata Rau. It can be watched on YouTube. The performance paper is available at DORA: https://dora.dmu.ac.uk/handle/2086/22071.

shreds by Gerard Roma and Anna Xambó @ ICLI2022 and WAC2022

 

Pulso performing shreds at the Web Audio Conference 2022, Cannes, France. Photo by Ariane Stolfi.
 
shreds is a collaborative live coding performance by electronic music duo Pulso (Gerard Roma and Anna Xambó). In this performance, the duo uses a self-built live-coding environment in JavaScript that shows two code editors, one for each performer. The piece has been presented online at the International Conference on Live Interfaces (ICLI 2022, June 20-23) in Lisboa, Portugal, and on-site at the Web Audio Conference (WAC 2022, 6-8 July) in Cannes, France. 

The performance presented at ICLI 2022 can be watched on YouTube. Further information about the performance can be found in this performance paper on De Montfort Open Research Archive: https://dora.dmu.ac.uk/handle/2086/22072