Open call 2012
Lauren Sarah Hayes
UUCMS (Radek Rudnicki & Enrico Bertelli)
Porous Torsion (John Ferguson & Diana Salazar)
Hackspace Big Band
Stina Marie Hasse Jørgensen & Jeff Snyder
Sam Underwood & David Morton’s Sorbet Space
Benjamin Carpenter’s DIY Ebow
Open Call performances
Heavily improvised, playing with the collapse of massed, barely functional salvaged equipment and software systems made manifest in sound/noise and image, Howse presents a complex, process-driven constructivist performance; the symphonic rise of the attempt to piece together fugal systematics is played out against the noise of collapse and machine crash at the deserted border of control. Titled Substrat, the performance explores dynamic (electronic) systems linking earth, skin and dysfunctional technology; combining tabletop blaze and chemistry with skin/earth probes and glass-mirrored lasers.
Educated at Goldsmiths College, London in the late 80s, Martin Howse has worked with conceptual imaging, film and performance, before arriving at a specific interdisciplinary artistic research using software, materials and processes. Previous projects have included the ap02 distributed code-creation software developed in collaboration with _v2_labs, Rotterdam and an environmental computational work, entitled ap0201 installed deep within the Mojave desert.
The Ultimate Sonic Flash live act is a direct link between audience and performer through synchronization of flashing, radiant light and raw, industrial sound. It is an audiovisual experience – the listener is surrounded by shifting lights creating harsh, disorganized sound. Every live act is different. Ewa uses DIY sensors, pulsing, desynchronized lights, fire – everything which is a source of glare and builds cacophonic rhythms. The construction of live performance is based on oppositions – light/dark, sound/silence. The multisensory experience aims the listener to enter the presence, it is a different kind of meditation: through awaking of senses, a trance.
Ewa Justka is a polish electronic artist based in London. She currently studies BA Sound Arts & Design at LCC. Her work is focused on performative and philosophical aspects of ‘noise’. Ewa is interested in working with hand made electronics such as sensors and synthesizers, as well as traditional instruments. Her current preoccupations mostly concern the possible inter-relationship between light/sound and an acoustic instrument (accordion)/electronic devices.
Michael Page has been developing mechanical step sequencers over the past few years, taking a step back from digital technology to explore the elegance of simple solutions (Occam’s razor), demystification of technology and the joy of handcrafted objects. In performance the sequencer is used to trigger modified electronic instruments (casio sk5, drum toy, bent karaoke machine). Both the sequencer and modified instruments become practical tools for performance with constraints determined by their physicality so that their sound is shaped by these idiosyncrasies.
Michael has always been passionate about mechanisms; from teenage years spent making music with an alba midi system plugged into his 386 PC recording, editing and mixing loops in MS sound recorder, to an interest in experimental film making techniques and effects whilst studying animation at Norwich Art School. Whilst making music in Ableton Live he began to find the endless possibilities of making music solely in software hindered creativity and the precision of it too predictable and thus somewhat unsatisfying. In recent years Michael has focused his practice into developing music hardware (as opposed to modifying it), most notably developing a mechanical step sequencer which was shown at London Hackspace and appears at BEAM in 2012.
Lauren Sarah Hayes
Kontroll (2010) is a piece for prepared piano, self‐playing snare drum and live electronics, written for solo performer. The piece explores the interaction between computer, piano and performer, whereby the computer listens to the instrument and works both with the acoustic signal, and by extracting
information about the sound, which it uses as further processing data. Full control is given to the performer, allowing manipulation of, and absolute integration between the acoustic and electronic sound worlds, without an intermediary performer being required.
Lauren Sarah Hayes is a composer and performer from Glasgow who primarily works with combinations of acoustic instruments and live electronics. Her practice explores new strategies for piano and live electronics performance, as well as investigating ways of deepening the performer’s physical relationship
with the digital realm. Her background is in piano, mathematics and philosophy, all of which inform her solo performance work and current research towards a PhD in Creative Music Practice.
Live Mechanics explores new musical and sonic sounds of a real piano through human gestures, but without actually performing on the keys of the piano. The performer controls, through a pressure sensor glove, the vibrating motors that are placed on the stings of the piano. The vibrating motors are also used in the creation of the prerecorded sounds used in the piece. Different string instruments such as double bass and cello as well as brass instruments such as tuba and trombone are used to create sounds through the artificial vibrations of the motors. The performer, through a pressure sensor glove on the right hand, controls the vibrating amplitude of the motors. The left hand controls all other live processing and looping through a touchscreen. Sounds from the strings of the piano are processed lived along with the prerecorded sounds.
Tychonas Michailidis is an electronic composer/performer currently based in Birmingham, UK. His music focuses on the exploration of sound through digital technologies. He is currently working on a PhD in live electronics and sensor technology at Birmingham Conservatoire, Birmingham City University, where his research interest lies in human-computer-interaction and the meaning of
haptics when performing through sensor technology aiming for real time sound
© Martin Wilson
Rodrigo Constanzo will be performing a live set of improvised music using his ‘drums’ setup which includes very little drums at all. A three piece, nearly child’s sized kit, is modified, and augmented by home made electronic instruments including a three tiered zither like instrument, ‘electronic whisks’, circuit-bent drum machines, a nearly endless amount of brick-a-brack, and a vibrating sex toy, for good measure. The recent addition of a laptop and monome controller adds an additional layer of glitched out electronics including realtime concatenative synthesis and live sampling/processing.
Rodrigo Constanzo is a Spanish-American performer and composer living in Manchester, England. He is an avid improviser and performs regularly using home made electro acoustic, and modified electronic instruments. He has performed at the FUTURESONIC and Manchester Jazz Festivals in Manchester, the SOUND Festival in Aberdeen, and the Huddersfield Contemporary Music Festival. He is currently working towards an MA in Electroacoustic Composition at the University of Manchester and involved in several projects including Takahashi’s Shellfish Concern, an improv based performance-art group. He also co-runs The Noise Upstairs, an improv collective and label which puts on monthly nights and quarterly workshops in Manchester and Sheffield.
UUCMS (Radek Rudnicki & Enrico Bertelli)
Synthesis is an experimental piece and improvisation system, which is used in duo setting on one drum machine. The work explores man/machine interaction and is focused on rhythmic relations between sequenced beat-based material and live drummer improvisation. UUCMS (Unprecedented Unprotected Contemporary Music Set) is a collaborative project between Radek Rudnicki & Enrico Bertelli, where acoustic and electronic sound worlds collides in an experimental manner. Custom-made systems are made to create pieces originating from controlled improvisation. Diverse program ranges from techno-based loops, extended techniques on percussive instruments and found-objects. Everything is processed live, ruled by live and interactive scores with mixture of conventional and alternative notation – from manuscript paper to ink in an aquarium.
Enrico Bertelli (Italy) is a PhD candidate in Contemporary Performance – Percussion and Electronics, deeply interested in alternative performance solutions, focussed on the theatricality of the percussive gesture. Radek Rudnicki (Poland) is a Digital Composer and sound artist, who has produced remixes for Nude Music (Germany), Katapulto (Poland) and Tidy Kid (USA) among others. He also works as a sound designer and music composer who has made pieces for theatre, film and game sound design, as well as collaborating choreographers and visual artists. At present Radek is finishing his PhD studies in Digital Composition at the University of York.
Porous Torsion (John Ferguson & Diana Salazar)
Porous Torsion is the collaborative project of Diana Salazar (laptop/controllers) and John Ferguson (electric guitar/laptop/controllers). This duo’s collaborative practice involves a process of filtering and restraining semi-autonomous and chaotic agents (of human, electromechanical, and computational origin); notions of: touching at distance, negotiating inertias, setting processes in motion, and intervening within established trajectories, all inform their approach to “control”. Although understandings of “interface” and “instrument” are seemingly quite different for each performer, John and Diana’s integrated approach creates a rich musical language that draws upon traditional notions of physical causality in performance alongside more unpredictable relationships constructed via auditory gesture.
Diana Salazar is a composer and performer of electronic music. Her fixed media compositions have been performed throughout the UK and internationally. As a laptop improviser she works with Max/MSP software using live sampling, real-time audio manipulation and multi-channel spatialisation to create rich and dynamic sonic environments. She is currently a lecturer at Kingston University, where she and John Ferguson co-direct KUDAC (Kingston University Digital Arts Collective).
John Ferguson is a post-digital/electronic musician and lecturer at Kingston University. John has performed nationally/internationally and has published via Creative Sources Recordings, Leonardo Music Journal, Soundmuseum.fm, and Clinical Archives. From his perspective, music is an emergent form, radiating from pre-composed situations and instrumental ecologies, the performance of and in which it is improvised. Inspired by instability and focusing on tactile interaction, John’s pseudo-anthropomorphic practice raises issues of causality, agency and legibility.
Foxes in the City is a solo performance using vocals, a yamaha keyboard and a computer interface. The computer triggers different parameters (effects, panning, chord changes, synthesis) through a perceptual analysis of different vocal and touch gestures the microphone is receiving. The piece merges elements of experimentation and song format. It is influenced by experimental music, sound poetry, rock and folk music from South America.
Gregorio Fontén is a composer and a poet from Chile, currently enrolled in a MMus in Creative Practice at Goldsmiths College. Along with the group “Foro de Escritores”, he is one of the main exponents of experimental poetry in Chile, with his work described as one of ramshackle and unique songs, whose effect is hallucinatory, corrosive; both strange and beautiful. He performs as a poet, solo musician or with his band and has had electronic surround compositions and chamber woks performed in Chile, Argentina, Europe and U.S.A.
Fontén rehearsing and testing a new computer system to interact with his performance at BEAM!
Jack James is a composer and artist with an interest in sound within a multidisciplinary context and exploring the use and meaning of technologies used in the creation and mediation of sound through the creation of bespoke digital and analogue systems. Jack has a BMus (Hons) in Popular Music from Goldsmiths and he received a distinction in an MA Sound Arts at the London College of Communication. “Undisclosed Number” is a performance piece for modified, reclaimed hi-fi speakers and automated lighting. Each of the speakers, modified by the artist, becomes an independent photo-synthesizer that maps light intensity to pitch. Analogous to an individual voice within a choir, each speaker responds dynamically to the changing light environment, contributes single pitched tones to the harmonic whole.
In an exploration of the role of audio technologies within the production and consumption of sound, speakers are transformed from versatile yet passive devices that recreate sound dissociated from themselves and their surroundings into photospeakers; independent units that sound in a dialogue with the performer and the environment. Once turned on, the performer physically moving the speaker cabinets or one of the pre-composed changes to the lighting conditions, modifies the photospeaker’s sounding.
Many senses, like the eyes, ears, tongue or nostrils are scattered over a small area while the sense of touch covers the whole body. Tactile sensation is the first sense a newborn child develops and with which it has the first experiences in this world. As a result, the first memories a human gathers, are imprinted through tactile sensation. Therefore it is the sense that triggers the deepest link to human emotion.
Sn artist living and working in Vienna, Martin Rille’s Coded Sensation is realised through applying an ultra-thin sheet of chromium oxide onto the surface of fabrics and storing information through a magnetic modulation. Like in audio-tapes this technique is extremely sustainable. Stories and poems in audio are stored on the surface of these coded fabrics. A reading head, which consists of an electromagnetic sensible coil, reads the magnetic fluctuation in the chromium oxide. It then is transformed into an acoustic media. This process works reciprocally.
Cube with Magic Ribbons is an audio-visual composition for live performance, which partly draws on the visual paradoxes of M.C.Escher but is also inspired by the impossible spaces found in the two dimensional graphics of early computer games such as Asteroids and Pacman.
Simon Katan is a London-based composer and performer whose diverse activities aside from writing traditional scores include computer music, interactive installation, performance art, and game design. He studied a BA in music at the Welsh College of Music and Drama (2001), an MMus in composition at Goldsmiths University (2005) and is currently working on his PhD as an Isambard Research Scholar at Brunel University. His works have been exhibited and performed extensively in the UK at festivals such as Spitalfields, Greenman, Sonorities, and Borealis festival and also abroad in Slovenia. Germany, Norway and Sweden.
The WiGI (Wireless Gestural Instrument) is a heavily modified Buchla Lightning/Arduino based infra-red gestural midi instrument developed by Richard Scott at STEIM. The Buchla Lightning is two infra red conducting wands which can be used as percussive controllers, as a kind of sophisticated theremin, as virtual space controllers and in many other ways. Richard Scott has combined these wands with two wireless Arduino boards and custom handsets creating a additional bank of switches, controllers and shift keys used to alter the response and mapping of the wands on the fly as it is mapped through STEIM’s interface software JunXion. The data is then routed to the live sampling environment LiSa.
The instrument is primarily designed to be an performance improvising instrument but Richard is also exploring its potential as tool for acousmatic composition and as a means of interacting with other media, for example film, light and sound diffusion. Richard Scott lives in Berlin where he composes acousmatic music and curates experimental music nights such as AUXXX Berlin and Basic Electricity. He is an Artistic Resident at STEIM, Amsterdam focusing on infra-red and movement based performance technologies. He performs with Richard Scott’s Lightning Ensemble, Grutronic and Evan Parker.
Hackspace Big Band
Music Hackspace is a place for artists, innovators, entrepreneurs and hobbyists passionate about music and technology. They foster innovation by gathering skilled professionals and facilitating exchanges between disciplines, from software development to music installations and production. The Music Hackspace organises weekly events where professionals present their activities. For music geeks, professionals and artists, the Music Hackspace offers facilities to develop projects, collaborate and network. For professionals of the music industry, it offers a window on innovation, as members share knowledge and document their practices and projects. Being a member of the hackspace means yu can use the music equipment available in their studio, access the workshop, soldering stations, 3D printer and laser cutter of the Hackspace. All members can present their works and project and receive feedback and support.
Members from the Music Hackspace will be coming along and performing together on the Sunday of BEAM. You can find out more about the Music Hackspace from their website. There is also a discounted BEAM ticket offer for all London Hackspace members. £30 weekend pass instead of £35, or £40 with symposium instead of £55. Members should email firstname.lastname@example.org for the discount code or look on the Hackspace Wiki.
Alex McLean is one third of the seminal live coding slub but for BEAM will be performing a minimal solo set with his new smoothdirt live coding system.
From a linear perspective of time, live coding will always be somewhat distant from human experience. As computer programming is a fundamentally indirect manipulation of sound, is live coding really live? If we consider the flow of time from past to future, the time necessary to modify an algorithm acts as an impenetrable barrier between coder and experience. An alternative perspective is to think of time in terms of cycles. From this perspective, if a coder’s actions lag behind the present moment, then they are also ahead of it. They are inside time, the cycle of development enmeshed with rhythmic cycles of music, in mutual resonance. Smoothdirt is a simple language built around this simple idea, allowing extremes of repetition at multiple scales to be explored as musical performance.
Alex will produce broken techno from his laptop for around twenty minutes.
Open Space installations and demonstrations
Mike Cook presents a selection of his homemade interactive electronic instruments:
The SpoonDuino – Winner of the Beam Day Construction competition the SpoonDuino uses a spoon to play a conducting mat. The location of the spoon on the mat controls frequency and waveform.
MIDI Glockenspiel – A child’s toy from Early Learning converted into an electronic instrument by the addition of solenoids and an Arduino.
CD Harp player – This instrument is made from scrap CD drives rescued from a skip. The read head mechanism is extended to produce a plucking motion for the strings of a Lute Harp. The plucking is controlled by MIDI messages.
RFID Sequencer – Using RFID (Radio Frequency Identification) tags, of the sort normally used to allow access control systems to open doors, this is a physical sequencer. It contains 32 RFID readers, allowing complex sequences to be built up. Each tag is “enrolled” with a MIDI channel and note number and it’s location in the sequence is determined by which peg it is placed on. It has serval playing modes, including an interactive drone mode.
Mike Cook spent 21 years as a Physics lecturer at Man Met University until they closed down the Physics department and he had to get a proper job. During his time lecturing he wrote for 15 years for computer Magazines mainly Micro User and Acorn User producing 200 electronic constructional articles. Then he went on to work for Pace designing digital set top boxes and then to Pac designing access control security products. Now retired and busier than ever.
The Augmented Tonoscope is an artistic study into the aesthetics of sound and vibration through its analog in visual form – the modal wave patterns of Cymatics. Dr Hans Jenny coined the term ‘Cymatics’ when he studied this subset of modal wave phenomena using a device of his own design – the ʻtonoscopeʼ. Through his Practice as Research PhD project Lewis is designing, fabricating and crafting a contemporary version of Jenny’s sound visualisation tool – a sonically and visually responsive hybrid analogue/digital instrument that produces dynamic Visual Music – the Augmented Tonoscope, which will appear at this year’s BEAM Festival.
Lewis Sykes is a musician, interaction designer, digital media producer and curator and qualified Youth & Community Worker specialising in the Arts. Lewis is one-half of the sound and interaction project, Monomatic and Director of Cybersonica – an annual celebration of music, sound art and technology (now in its ninth year). Lewis is in the second year of a practice as research PhD at MIRIAD, Manchester Metropolitan University exploring the aesthetics of sound and vibration.
Stina Marie Hasse Jørgensen & Jeff Snyder
Move/Bevæg Dig is an installation that explores the listener’s experience of words as musical expressions and sonic experiences. Move/Bevæg Dig makes it possible for the listener to walk inside a sentence or a word and scrutinize every detail of the utterance. Depending on how the listener moves around in an environment while wearing the custom-designed headphones, a voice will try to speak the words “Move” or “Bevæg Dig”, the Danish equivalent to ”Move”. In this way, the interactive element (the sensor technology) produces a dynamic relation between the human body, the surrounding environment, and the sounds generated real-time.
Stina Hasse (b.1983) specializes in the intersection of sound art and contemporary culture. Hasse is completing her master thesis about interactive sound art. Jeff Snyder (b.1978) is a composer, improviser and instrument-designer active in the New York City area.He performs on analog modular synthesizer in duos with Sam Pluta and Eric Wubbels, and also leads a band his electro-country alter ego Owen Lake.He is currently the Technical Director of the Princeton University Electronic Music Studios, and the Associate Director of PLOrk, the Princeton Laptop Orchestra.
SYNTH-A-SKETCH is an audiovisual installation intended to present a modern day interpretation of the Etch A Sketch created in the 1950s by André Cassagnes. The installation is comprised of a small, handheld enclosure. On top of the enclosure are two knobs, one of which controls drawing along the x-axis, the other the y. The SYNTH-A-SKETCH generates sonic drawings with visuals on a digital screen. By shaking the device, drawings on screen get erased in a vivid display of colors and text accompanied by a random sequence of frequencies, which strives to combine the physical and digital in a multisensory way.
Raphael Arar is an American composer, new media artist and design technologist with Ukrainian and Egyptian roots. As a classically-trained musician and first-generation American, Raphael’s works play on themes of tradition and history, while incorporating facets of the present and future. His work strives for the synthesis of nostalgia and novelty, resulting in sonic alloys indebted to the past.
Ed Wright recently completed a practice based PhD in music focusing on combining electroacoustic and instrumental composition with Professor Andrew Lewis at Bangor University. His work is mainly focused towards the electroacoustic end of the musical spectrum, although he writes for and plays ‘real’ instruments as well; most notably violin and viola, and he has a particular interest in live and physical methods of performing and engaging with electronic music.
Crosswire is a piece of music, manifested as a computer program (written in Max/MSP 5). Historically many of the artefacts of musical creation have been almost interchangeable with the actions that they represent, CD recordings and notated sheet music spring to mind. In addition to this many of the systems set down by composers to create a piece of music are sets of parameters or restrictions within which performers work and create new, fresh interpretations.
This becomes clear when considering the almost total lack of volume, timbral, or articulatory information written down in a Bach fugue or the defining nature of the chord progression in many types of jazz. Crosswire builds on these phenomena and rather than being a computer program designed as a way to facilitate the creation or execution of a piece of music, instead is the piece of music.
Monometamicromatic, a live, barely-controlled ongoing collision between algorithmic step sequencers, sliced percussion, misapplied programming languages, cascaded effects processing and monome control surfaces. The musical material constantly shifts between tribal beats, pulse-based ambient layers and crafted designer noise as performance passes between LED matrices, Python and Clojure code blocks, delay lines, beat fragments and – somewhere in the middle – a human performer.
Nick Rothwell [cassiel] is a composer, performer, software architect, programmer and sound artist. He has built media performance systems for projects with Ballett Frankfurt and Vienna Volksoper (choreographer: Michael Klien) and Braunarts, and interactive installations for Sonic Arts Network and TECHNE (Istanbul).
He has worked at STEIM (Amsterdam), CAMAC (Paris) and ZKM (Karlsruhe), and performed with Laurie Booth (Dance Umbrella, New Territories), and at the Different Skies Festival (Arcosanti, Arizona), the ICA, and the Science Museum’s Dana Centre. He is currently working with Simeon Nelson and Rob Godman on large-scale projection works (Poland, Estonia, Durham) and for the Wellcome Trust.
Taking cues from Lucier’s Music on a Long Thin Wire and Gregory Bateson’s ideas of ecologies of systems, Resonant Systems creates an oscillating and evolving system of inharmonic sounds by exciting the resonant nodes of cymbals with sinewaves. The piece will be show as installation and in performance during the festival weekend.
Scott Mc Laughlin is a composer and improviser (cello, live electronics) based in Huddersfield, UK. Currently he teaches at CeReNeM (University of Huddersfield), and University of Leeds. His current research is concerned with treating instruments as complex systems, finding and amplifying the inherent instabilities in these systems through ideas of feedback/recursion/ hysteresis, identity/difference, inharmonicity/microtonality, ambiguity, chaos/complexity theory. Recent performances have been given by Duo Hevans, Sebastian Berweck, Jonathan Sage, Metapraxis Ensemble, Crash Ensemble, and Trio Scordatura.
The ag.granur.suite is an extendable, modular system for sound design, composition and live performance. Build around a granular synthesis engine, it enables its user to explore the continuum of rhythm, pitch and timbre.
The iPad controller, fanTouchControl, features an innovative user interface, which makes full use of the multitouch capabilities of the device, and facilitates expressive and intuitive control over the software during live performance.
Adrian is classically trained pianist of Polish origin, a composer of instrumental, electroacoustic and electronic music and a self taught programmer. He received a degree in Creative Music Technology from the University of Huddersfield with a special award for creative programming. His work has been performed in London (Kings Place), Aldeburgh (Snape Maltings, Britten Studio), Champaign (IL, USA), Huddersfield and York. Currently he is studying for a Masters by research degree at the University of Huddersfield and from September 2012 he is starting a PhD in Media Arts Technology at Queen Mary University of London. His current research is focused on the use of multitouch-screen interfaces for live performance of electronic music.
Sam Underwood & David Morton’s Sorbet Space
Wandering the corridors of the Artaud Performance Centre, fresh from the latest performance, you are struck by the sound emanating from behind a door. The notice beside the door reads “SORBET SPACE – cleanse your aural palate”. You enter. The room is darkened, with mattresses and large cushions on the floor. The others in the room do not stir. A dense, astable string drone powers down from above, altering as you move across the room. You find a space to settle. The drone meanders and shapes over time, accompanied by occasional mechanical clicks and clonks.
The SORBET SPACE features instruments emerging from a significant new collaboration between Sam Underwood and David Morton. Sam is a musician, sound artist and instrument designer. A hacker at heart; he can’t help but twist and develop, to find new ways of creating music, sounds and interfaces with instruments and technology. He is coming to the end of a year-long sabbatical which has seen a number of projects flourish, including work related to his time on the PRSF New Music Incubator. David is a musician, occasional guitar builder and former BBC Research Engineer. He now acts as a consultant to technology companies.
Together they have recently formed Morton Underwood, to explore their dual passions of music and sound art through instrument building and experimentation.
Benjamin Carpenter’s DIY Ebow
Benjamin Carpenter brings his piece the ‘DIY Ebow’ to the UK for the first time for BEAM 2012. Benjamin reverse engineered a commercial version of an electronic bow (Ebow) for a commission in 2010, later refining the design and building 9 more, each including a different sized bass or guitar string that were tuned to vibrate at different harmonics, to create this beautiful sculptural installation.
The piece is comprised entirely from hand-fabricated parts (except the tuning machines) including wooden boards of old growth douglas fir with very small and numerous rings of growth. Sounds being emitted from these strings are passing through the layers of the wood which, of course, represent the number of years the tree was alive. This adds layers of meaning to the sound that is resonating through, and being amplified by, the boards.
Benjamin Carpenter is an interactive Artist/Fabricator/Teacher who works in the space between our industrial heritage and the momentum of contemporary media. His work is a meditation on life in the 21st century, the history that led to it and the future that lies ahead. Earning a B.F.A. in metalsmithing and an M.F.A in Sculpture set the stage for a career building larger-scale architectural, kinetic, interactive and educational projects. Now living in Oakland, CA he spends his time pursuing his interests individually and with the collaborative groups 5 Ton Crane and Applied Kinetic Arts. He has shown his work locally, nationally and internationally. Backbone is the moniker under which he does commissioned work.
A machine that plays the music of the stars! Star Music is an encounter between two narratives; the perception of light as sound and sound as light, and an invitation for the audience to consider a relationship between western music tuning systems and the ordering of the stars. Sound and light combine in a way that can be experienced as dreamy, wonderful and mysterious and yet any suggestion of the sublime and the beautiful is underpinned by a harsh, earthy evidence of process and pragmatism.
Paul White is a 23 year old artist, and student at University College Falmouth (Incorporating Dartington College of Arts). He works with materials in a way that allows the materials to reveal themselves. He plays with boundaries. Where the parameters of performance space, performer, duration, the ‘voice’, destruction, and creation can seem retentive or secure, the permeability of his work asks questions of this and questions answers. The phenomenological experience of the things that happen is more important to me than the reasons that made them occur. How long it has been happening is unclear, and it doesn’t seem to be coming to an end either.