WED 24 - FRI 26 NOV
WORKSHOP / PURE DATA /
NOW FULLY BOOKED
THU 25 NOV
ALKU DJs [ES] / 7.30pm - 11pm
Classic computer music, early electroacoustics, whale songs, bluegrass,
black metal and everything in between.
FRI 26 NOV
/ 10am - 5.30pm /
Steve Symons/Aura, Nick Collins/TOPLAP, Andrew Wilson/Anywhereblogs,
Tuomo Tammenpää/Creative R&D, Johannes Gees/Hello
LIVE / 7.30pm - 1am /
KLIPP AV [UK/SE]
SAT 27 NOV
LIVE / 7.30pm - 1am /
STEPHAN MATHIEU [DE]
MARK FELL [UK]
/ Thursday 25 & Friday 26 / Saturday
THURSDAY / 26 NOV / 7.30pm - 11pm
/ FREE /
ALKU DJs [ES]
Anna Ramos and Roc Jiménez de Cisneros have been active
in the area of computer music and digital arts since 1997, both
creating music and installations and publishing other artists
material on their home label, Alku.
These include: Jliat, Edwin van der Heide, Hecker, Charlie Ferrari,
Wobbly, Yasunao Tone, Team Doyobi, Powerbooks for Peace and Pita.
Alku return this year with an eclectic DJ set,
playing classic computer music, early electroacoustics, whale
songs, bluegrass, black metal and everything in between.
FRIDAY / 27 NOV / 7.30pm - 1pm
/ FREE /
Farmersmanual is a pan-European, multisensory disturbance conglomerate
creating new instruments for improvisation, networked performances
remote collaboration, developing ways of recording that encourage
openness and reinterpretation.
Farmersmanual have created a series of performances
and installations since 1996, continuously expanding their performance
and publishing practice
from music concerts to interdisciplinary cultural, aesthetic and
political experiments, which move away from static representations
of art and culture,
towards environments where the public becomes an essential part
of the work. Their latest experiments focus on integrating virtual
and physical space to create synaesthetical objects, presenting
an interconnected, holistic view of the world by layering sensual
Extracting a shadow from the skeleton of network
flow. A layer of technological reality usually hidden becomes
accessible through mediation
into sound and visual flicker. Erratically shifting from chittering
machines into the human realm. Replay in different timescales.
Different times. Different
speeds. Useless information still unpredictable.
During Ultrasound, Farmersmanual will produce
a networked concert between Huddersfield and elsewhere.
KLIPP AV [UK/SE]
Presented in accordance with the TOPLAP manifesto, so we can see
[as well as hear] beat cutting and body rocking algorithms develop.
Fredrik Olofsson works with visual and audio
art, programming, secret intelligence agents, and cafés.
Fredrik is the more important and generally
better turned out half of klipp av. Nick Collins is secretly a
hard working music researcher who develops new technologies for
laptop performance. Nick is the more important and generally better
turned out half of klipp av.
Live audiovisual cutting is the linking of
interactive generative beats with video and computer graphics.
A klipp av performance is extremely live all algorithmic
composition runs in realtime under a host of user controls, including
the difficult but powerful method of live coding, that is, programming
SuperCollider on the fly.
The audience witness the use of live video,
scratched and cut up in sync with the audio cutters running in
the music. Stutters in sound translate into stutters in video,
while the performers themselves dance frantically for the cameras;
the audience is involved through video and audio capture. More
subtle and abstract mappings are used, aside from live video,
some fantastic demonstrations of the techniques come with the
control of generative 3D graphics.
Mileece was born in 1978 in London, England.
She has a degree in Sonic Art where she specialised in generative
computer programming languages.
Her first album Formations [Lo-Recordings]
is comprised of a series of compositions, wholly or partly derived
from programs she wrote in SuperCollider.
The compositions themselves were inspired by
formations in nature: the rotating progression of sparse then
condensed spouts of growth in plants, the changing hues and intensities
of light, the sudden changing gusts to wisps of the wind,
the unfathomably intricate structures of snowflakes, the random
patterns of raindrops as they fall to ground.
Mileece believes that the computer can be transformed
from an inanimate object to something capable of participating
in the creation of music in a way which is interactive with the
composer as well as the audience.
In her programs, the computer assumes the role
of performer within a spectrum from the spontaneous to the directed
[even at times co-composer], navigating through restricted chance
operations to generate its uncannily human sounding formations
and sundry levels of listening.