Ultrasound 2004 logo
25, 26, 27 Nov, The Media Centre, Huddersfield
// Home // Showcase // Workshop // Installation // 2003 // 2002 //

WED 24 - FRI 26 NOV



ALKU DJs [ES] / 7.30pm - 11pm
Classic computer music, early electroacoustics, whale songs, bluegrass, black metal and everything in between.


SHOWCASE / 10am - 5.30pm /
Steve Symons/Aura, Nick Collins/TOPLAP, Andrew Wilson/Anywhereblogs, Tuomo Tammenpää/Creative R&D, Johannes Gees/Hello World.

LIVE / 7.30pm - 1am /


LIVE / 7.30pm - 1am /

LIVE SETS / Thursday 25 & Friday 26 / Saturday 27 /

/ 26 NOV / 7.30pm - 11pm / FREE /



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 Farmersmanual Farmersmanual


Farmersmanual is a pan-European, multisensory disturbance conglomerate creating new instruments for improvisation, networked performances and
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 experiences.

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 TOPLAP Logo klippav


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 Mileece Mileece


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.