Fourth in the IMA Portraits series, this short introduces us to the life and work of electronic/contemporary composer Eliane Radigue. Radigue discusses methods of composition, the challenges and difficulties of live electronic music, as well as biographical episodes with Pierre Henry and her own goals in soundscape production and consumption. A lucid portrait of a dream manufacturer.
Synth East: Electronic Sound X NAC present
Subotnick film screening
Followed by Adam Buxton in conversation with Steve Davis
+ performance by Luke Sanger (BAR)
The all new Friday evening Synth East event is curated by Electronic Sound Magazine and the Norwich Arts Centre and kicks off with (possibly) the UK premiere of a documentary on musician Morton Subotnick, who at 90 years old, is known affectionately as the Father of Techno. It’s called Subotnick, Portrait of an Electronic Music Pioneer by Waveshaper Media who brought us the intoxicating 2014 documentary, I Dream of Wires.
Following the film we have writer, broadcaster, comedian and musician Adam Buxton chatting with Synth East alumni Steve Davis about music, life and modular synths. Finishing off the evening we have an ambient set from modular musician Luke Sanger as we relax into some beers in preparation for what’s to come for the rest of the weekend.
Tickets available now from NAC
Live performance for EMS Synthi 100, magnetic tape and computer setup (2021)
Radio Concert No.2 is a result of a continuous experimentation with combining the synthesizer EMS Synthi 100 and computer setup in a context of live performance that has been initially dedicated to a live radio broadcast. I have started developing this idea in a Radio Concert No.1 from 2018 and with this new piece, I have taken the idea much further. A complex synthesizer such as Synthi 100 is adapted to a virtuosic real-time sound manipulations that involve the use of computer as a complementary tool. Computer controllers that allow great deal of physical expressiveness in shaping the sound in real-time (such as Sensel Morph, foot pedal, TouchOSC app), interact with the synthesizer and allow rapid changes and complex organization of the material on the spot, that makes improvisation possible and fruitful. I like characterizing my approach lately as doing the inversion of the music-concrete – I don’t use any concrete sounds in my work, but with granular and micro-sampling techniques, I am recreating certain quality that we relate to concrete sounds. Radio Concert No.2 has couple of different recorded iterations as well as live video-version. This is an excerpt from 30min. video. This work the last piece that I made before leaving my job as head of Radio Belgade’s Electronic Studio.
Premiered at Espace Multimedia Gantner, Radio Belgrade, OUTRA festival, Heroines of Sound More info: https://www.svetlanamaras.com/radioco…
Join KQED’s Spark and take a listening lesson from sound artist Loren Chasse, as he mines the aural riches that surround us.
“On Instagram, Facebook, or Twitter the standard setting for videos is “mute”. More than 120 years after its invention silent cinema has become the default mode.
Today’s practice is supposed to make video consumption smoother. But it could also make us think about the frightening power silence could only attain with the advent of cinematic sound. In muting we might hear something far more unsettling than what words and images can show.”
“As a species we’re builders of borders & escapists. We construct structures that contain and we long to escape them. At least, that is what we think we are doing but we often invent new systems to deal with the old systems. In escaping we simply replace one uniform with another. One border with another. Perhaps it’s in our nature to constantly need these straight lines.
I’d like to talk about borders. Faulty borders.”