Day Four: Sunday 9 November
TV Studio, Stockwell Street Academic Building
4.30-6pm: Concert 7 – Live
Sally Golding & Matt Spendlove – Commune.sys
What happens when perception becomes the system — when signals think and bodies listen?
Commune.sys harnesses the social circuitry of perception and response, where sound, light, and sensation form a distributed field of relations. Signals flow across audience smartphones like synaptic impulses, connecting bodies through rhythm and vibration. Each participant introduces stochastic variation, shaping the evolving dynamics of the network through embodied awareness.
The work operates through a compressed architecture of code and signal — a latent framework unfolding through audience presence. Within this environment, programmed rules meet the unpredictability of human attention; randomness and focus act as co-authors in the composition’s evolution. Order and chance converge, generating emergent configurations of collective attunement.
As signals circulate, the work completes itself through the audience — a sensing network of human and technological nodes composing a social architecture of communication.
Sally Golding (b. 1979, UK/AU) is an Australian–British interdisciplinary artist-researcher and curator whose practice spans participatory installations, immersive audiovisual performance, situational sound, and creative–critical writing.
Golding explores how technologies shape perception, using sound, light, and spatial design to create multisensory experiences that engage audiences as active participants. With a foundation in expanded cinema and experimental music, her work draws on diverse media art histories alongside systems of logic and folklore—intersecting themes of sensation, presence, and agency. Reimagining elemental media materials—light, signal, amplification—her installations and performances respond to the social architecture of galleries, cinemas, and public spaces. These works frequently reference transmission systems, and decision-making technologies, inviting viewers into layered, sensorial environments.
Golding is an inaugural recipient of the Oram Award (New BBC Radiophonic Workshop/PRS Foundation) and a SHAPE+ Platform artist for innovative sound and audiovisual practices in Europe. Her work has been profiled in publications by Oxford University Press, Palgrave McMillan, Tate Modern, Bloomsbury, Millennium Film Journal, and The Wire. Presentations include Tate Modern (UK), Museum of the Moving Image (US), Serralves Museum (PT), Digital Culture Centre (MX), CA2M Madrid (ES), Institute of Modern Art (AU), Australian Centre for the Moving Image (AU), Metro Arts (AU), and San Francisco Cinematheque (US). She is co-founder of expanded arts platforms OtherFilm (AU) and Unconscious Archives (UK), and author of Parsing Digital: Conversations in Digital Art by Practitioners and Curators (Austrian Cultural Forum London).
https://sallygolding.com/about
Matt Spendlove (b. 1976, UK) is an artist from London who creates immersive installations, audiovisual performances and sonic artefacts. Across these situations he explores spatial ambiguity, structural form, waveform materiality and the illusory contours of psychophysics.
His work channels the dynamics of sound system culture by incorporating low frequency vibration alongside hacked code and optisonic experiments. He combines a preoccupation with emergent behaviour, rule based repetition and chaotic systems to generate enlivened visual stimuli and shape dubbed out, cracked and reductive sonics into audible geometric form. Through textured intricate production, his shows bring corporeal presence carved out with a minimalist’s scalpel.
International commissions, recordings and performances have included Mutek, Montreal; High Zero, Baltimore; Unsound Festival, NYC/Krakow; Club Transmediale, Berlin; Filmwinter, Stuttgart; Algorithmic Art Assembly; San Francisco; E-FEST, Tunisia; MoTA Gallery, Ljubljana; Cafe OTO, London; Melbourne International Film Festival; Metro Arts, Brisbane; and Serralves Museum, Porto.https://mattspendlove.com/about
Together, Golding and Spendlove investigate how expanded technologies reconfigure agency and shared presence — inviting audiences into immersive, live encounters where social and technological behaviours converge.
Sally Golding is supported by artsACT.
Scarlett Perdereau – Echoes Of Time
Echoes Of Time is an immersive, hybrid performance integrating dance, spatialised sound, and projected visuals. It draws audiences into a sensorial experience that plays with rhythm, scale, and embodiment across physical and digital realms. Originally conceived as a cyclical performance-installation, this adaptation distills the full-length work into a 20-minute format.
The piece explores themes of transformation, evolution, and liminality, moving fluidly between real-time performance and animated digital artwork projections, while a spatialised soundtrack deepens the work’s visceral and emotional resonance.
Alongside the dance performance, audiences are invited to populate the space to feel and contribute to the audio-visual environment —encouraging quiet co-presence, reflection, and informal, gentle participation. This participatory dimension reflects the artist’s ongoing research into somatic and immersive practices, exploring how digital art and choreography together can amplify sensory experience, communal presence and emotional narrative.
Echoes Of Time has been presented in theatre, studio, and gallery contexts, and is currently supported in its second development phase by Virtual Immersive Production Studio (University of Nottingham).
This work forms part of an ongoing creative practice-as-research, exploring aesthetic experience at the intersection of sound and image. It reflects the artist’s expansion into digital media and AV performance, investigating how immersive technologies and hybrid forms shape spaces of experience, and how embodied practice can amplify the emotional and disruptive potential of mediated environments.
Scarlett Perdereau is a London-based French performer, choreographer and movement educator working at the intersection of dance, visual media, music and immersive environments. Her choreographic language blends abstraction and emotional depth with a dramatic edge, creating experiences that move between performance, installation and education, often in dialogue with other art forms.
With over 20 years’ experience across stage, screen and site-specific contexts, she is currently developing her first immersive work, Echoes Of Time, in collaboration with Virtual Immersive Production Studio (University of Nottingham). The work premiered at Pegasus Theatre (Oxford) and was recently adapted for a gallery-based format at Kunstbanken Art Centre in Norway. Scarlett has presented work internationally and is increasingly engaged in XR, motion capture, and interdisciplinary research.
Her practice is grounded in somatics and Eastern movement philosophies, integrating them with formal choreographic composition to explore transformation, connection and the sensory intelligence of the body. She is particularly interested in how embodied practices and digital environments can converge to create emotionally resonant, immersive experiences across real, virtual and hybrid spaces.
Rob Parton – Kairos
Kairos is a live spatial sound performance that explores sound, space, and repetition. It has been developed through practice research on the MA Music and Sound Design at the University of Greenwich.
The title of the project refers to the Greek concept of non-linear time and being in the moment. Built around slowly evolving sonic environments, each performance invites audiences into a meditative listening state that can reduce stress and encourage reflection.
Inspired by Terry Riley’s ‘Time Lag Accumulator’ and Robert Fripp’s ‘Frippertronics’, the project draws on a custom made live performance system I have developed for improvising, live looping, and controlling spatial movement of sound in real time. Based around Reaper and a specially designed Lemur patch, this combines looping delays, synthesisers, samplers, and spatial effects controlled by MIDI for real-time movement of sound.
The work will incorporate field recordings triggered live using samplers, and synthesised sounds that have been specifically designed to evoke calmness. Each performance will be unique, responding to the moment, space, and audience.
Rob Parton is an electronic music and sound artist based in London. He works across spatial sound, field recording, and audiovisual performance. His practice explores how sound can shape perception, space, and mood. Under the name Arconic, he creates ambient compositions and live sets using environmental sound, and synthesis.
Rob is currently studying on the MA Music and Sound Design at the University of Greenwich, where he has been exploring how immersive listening can support calm, connection, and creative reflection. His work has been presented at Crux Festival in London, APNÉES Festival (Association for Performance, Electroacoustics and Sound Experiments) in France, and as part of the global Sonic Heritage Project by Cities and Memories.
https://www.instagram.com/arconicsound
Oktawia Paczkowska & Bartłomiej Sutt – heal your inner child (2024) for 2 snares, electronics and live-video
‘heal your inner child’ is an audiovisual composition with an interactive video layer and elements of improvisation. By incorporating well-known cartoon characters, it evokes memories of childhood and builds a bridge between generations — connecting both children and adults through shared cultural imagery. The work is not only a nostalgic journey back to innocence, but also a critical reflection on the behavioral patterns and messages absorbed during early childhood.
Curating content for children is a relatively new phenomenon. On one hand, there is a growing desire to protect younger audiences from harmful influences. On the other hand, we often underestimate how much children are capable of understanding. For decades, animated films contained violence or adult-themed innuendos, which now seem inappropriate by today’s standards. At the same time, much of contemporary children’s media has become excessively infantilized. If cross-dressing in early Mickey Mouse cartoons went unnoticed a century ago, why does it spark controversy today?
This piece is a call to reconnect with the inner child that lives within each adult — a child that, through sound and movement, expresses joy while confronting the toxic norms it may have absorbed growing up. Even in a contemporary music concert setting, ‘heal your inner child’ invites us to make space for play, emotion, and vulnerability.
The composition is structured in five parts. Movements I, III, and V are based on fixed media and a precisely composed score synchronized with audio-visual material. Movements II and IV, in contrast, are freely improvised, with live electronics generated in response to the performer’s movements. A camera placed in front of the percussionist captures motion, which is analyzed in Processing and used to control sound parameters in SuperCollider, particularly amplitude and texture.
Oktawia Pączkowska – composer and sound artist from Poland. Winner of numerous competitions, including the Composition Competition of the 10th International Harp Duo Competition (2024), the Keiko Yoneda International Composers’ Competition (2021), the Current Resonance Festival Call for Works (2021), Over the Rainbow: Compositions for Human Rights, the 61st Tadeusz Baird Young Composers’ Competition, the 2017 Call for Scores organized by Diaphonia Edizioni, and a three-time finalist of the PRIX CIME International Electroacoustic Music Competition (2019, 2021, 2023).
Her works have been performed both in Poland and internationally at festivals such as: Setkávání Nové Hudby Plus in Brno (2017), Tehran Contemporary Music Festival (2018), New Music Days in Lucerne (2018), New York City Electroacoustic Music Festival (2021), HELMCA Electroacoustic Music Days (2021), Lampi Di Rete Audiovisual Marathon (2022), Audio Art Festival in Kraków (2022, 2024), MUSICACOUSTICA-HANGZHOU (2023) and Warsaw Autumn (2023, 2024).
She has collaborated with ensembles such as Hard Rain Ensemble, XelmYa+, Figmentum Ensemble, and Spółdzielnia Muzyczna contemporary ensemble. She has taken part in the composer.pl residency program (2021), the JACK Studio for emerging artists (2023), and the international exchange program OneBeat Virtual #5 (2024).
She received the Scholarship of the Minister of Culture and National Heritage for outstanding artistic achievement (2020), the Creative Scholarship of the City of Kraków (2023), and the Young Poland Scholarship (2024). She earned her Master’s degree in 2021 from the Krzysztof Penderecki Academy of Music in Kraków. In 2018, she studied under Professor Bettina Skrzypczak at the Hochschule Luzern in Switzerland as part of the Swiss-European Mobility Programme. She is currently pursuing a doctoral degree at the Fryderyk Chopin University of Music in Warsaw.