Petroglyph

Heloise Tunstall-Behrens, Trinity Laban Conservatoire

Through ‘Petroglyph’, Heloise Tunstall-Behrens investigates myths surrounding Paleolithic stone carvings, inspired by Gobustan National Park in Azerbaijan.  The piece continues her interest in vocal writing, which began with an experimental opera, ’The Swarm’ written about honey bees.  The piece contains vocals from herself and Franziska Boehm, which are combined in formations inspired by the flocking patterns of birds, in an ongoing investigation into the dynamics of collective behaviour.  Tunstall-Behrens layers the vocals with field recordings of ringing stones and rock echoes as a further research into ‘archeo-acoustics’.  Written for Huddersfield Immersive Sound System (HISS), the piece will be performed at Huddersfield Contemporary Music Festival this year.

Biography

Heloise Tunstall-Behrens is a London-based composer, singer, performer and installation artist, working in the field between vocal and instrumental music, electronics and performance. Heloise’s research investigates the spatialisation of sound and the resonance of bodies, spaces and objects. She is currently working with dancers from Trinity Laban, where she is studying a Masters of Music in Composition, exploring the balance on the threshold between body, voice, space, and sound. In 2016, she received Arts Council England funding to write and perform The Swarm, a 60-minute choral work about swarming honey bees, which will soon be released as an album. In December 2018, she had an orchestral piece performed which explored the resonant frequencies of a cave. She currently sings and composes with the all-female Deep Throat Choir (Bella Union).

Tempus fugit

Paolo Pastorino, Independent Artist

Sed fugit interea, fugit irreparabile tempus, with this phrase Virgilio describes the temporal condition to which the man is subjected. It is a phrase that comes from a context of life very different from that of modern man but still calls a very delicate question as interesting and current, life as a function of time.

“Tempus fugit” comes from a series of personal reflections on the perception of time. A time that escapes and devours all the things it has created. A time as a state of consciousness and perception that expands and contracts itself. A time observed on the faces of others, on my city, on my nearests and dearests. That time which influences us in our choices and which constantly fills our present in imagining the future and remembering the past.

Biography

Paolo Pastorino (Sassari – Italy – 1983) is an electroacoustic-acousmatic composer and music technologies professor in high school.

Since 2006 he starts to work as sound technician for some Rock, Industrial and Nu-Metal bands. He studied and graduated in electronic music and sound technologies at the Conservatory of Sassari and he is specialized in the same course at the Conservatory of Cagliari. His compositions have been presented in several contemporary and electroacoustic music festivals in different countries of the world: Convergence 2019 (De Montfort university, UK), EMAS (UK), Sound thought (UK), NoiseFloor festival (UK), Sound Spaces (Sweden), NYCEMF (New York), Mantis Sonification (Manchester), Sonorities (Belfast), Spot – Octandre (Bordeaux), VERV (Venice), OUA Electroacoustic Music Festival (Osaka University Of Arts), Dias de Música Electroacústica (Portugal), Festival Contemporanea Acusmatica (Udine -IT), PLAY900 (Museo Novecento – Florence), Festival MUSLAB (Buenos Aires), Datscha Radio 17 festival (Berlin), Microtopies (Barcelona), Elektro Arts (Romania), Klingt gut! International Symposium on Sound (Hamburg), Forum Wallis – Festival International de Musique Contemporaine (Switzerland), Seoul International Computer Music Festival (Gwangju), EX_NIHILO (Mexico), NSEME Louisiana State University (USA), San Francisco Tape Music Festival (USA), Mixtur (Barcellona), NWEAMO Festival (Tokyo), CIM (Cagliari – IT), EMUFest (Rome), CIRMMT (Centre for Interdisciplinary Research in Music Media and Technology – Montréal), Art and science days (Bourges, France).

Annette Vande Gorne

SOUND/IMAGE19 – Special Guest

Concert Programme

Haiku: Spring, Summer, Winter

https://electropresence.com/en/oeuvre/41373/Annette_Vande_Gorne/Ha%C3%AFku

Tao – Terre

https://electrocd.com/en/album/2381/Annette_Vande_Gorne/Tao

Biography

Annette Vande Gorne can be heard in concert (more than 500) in many European countries, as well as Canada, China and South America, presenting repertory works of acousmatics in addition to her own works, usually on a 80-loudspeaker acousmonium. Her music focuses on the sounding energies of nature; she uses natural sounds and transforms them in studio to create an abstract, expressive, and non-anecdotal musical language. The relationship between text and music is another subject she often explores. She produced an acousmatic opera “yawar fiesta” which completely renews the genre while creating a link with the past. She studied classical music at the Royal Conservatory of Mons and Brussels, and with Jean Absil (fuga, instrumental composition). She also studied electroacoustic composition with Reibel and Schaeffer at the Paris National Conservatory. She is the artistic director of Brussels’ international acousmatic festival L’espace du son, and of the international competitions Espace du son (spatialization) and Métamorphoses (acousmatic composition). Vande Gorne founded and still leads the non-profit association Musiques & Recherches, and the studio Métamorphose d’Orphée (founded in 1982). She is the publisher of the electronic Lien and of the Electrodoc documentation center www.musiques-recherches.be She taught electroacoustic composition: Royal Conservatories of Liege, Brussels and Mons where she created a complete electroacoustic department in 2002. Professor emeritus since 2016.

SOUND/IMAGE19 Special Guests Announced!

We are delighted to announced the very special guests who will be joining us for SOUND/IMAGE19.

Annette Vande Gorne

Annette Vande Gorne can be heard in concert (more than 500) in many European countries, as well as Canada, China and South America, presenting repertory works of acousmatics in addition to her own works, usually on a 80-loudspeaker acousmonium. Her music focuses on the sounding energies of nature; she uses natural sounds and transforms them in studio to create an abstract, expressive, and non-anecdotal musical language. The relationship between text and music is another subject she often explores. She produced an acousmatic opera “yawar fiesta” which completely renews the genre while creating a link with the past. She studied classical music at the Royal Conservatory of Mons and Brussels, and with Jean Absil (fuga, instrumental composition). She also studied electroacoustic composition with Reibel and Schaeffer at the Paris National Conservatory. She is the artistic director of Brussels’ international acousmatic festival L’espace du son, and of the international competitions Espace du son (spatialization) and Métamorphoses (acousmatic composition). Vande Gorne founded and still leads the non-profit association Musiques & Recherches, and the studio Métamorphose d’Orphée (founded in 1982). She is the publisher of the electronic Lien and of the Electrodoc documentation center www.musiques-recherches.be She taught electroacoustic composition: Royal Conservatories of Liege, Brussels and Mons where she created a complete electroacoustic department in 2002. Professor emeritus since 2016.

Terry Flaxton

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British artist Terry Flaxton (b. 1953) has worked for decades with sound composition, photography and film, developing a particular interest in analogue video during the 1970s. He received a BA Hons in Communication Design in 1979 and spent over 30 years working as a cinematographer, which included shooting the third ever electronically captured movie with Channel 4 and the BFI’s Out of Order in 1986. His work today focuses on durational forms of the digital including sound, video, print and installation. He is widely recognised as an artist who creates challenging moving image work that has been featured in publications including A History of Video Art, Bloomsbury, 2006 and 2014; Diverse Practices, University of Luton Press, 1996; and A Directory of British Film and Video, Arts Council England, 1997. His works are held in various collections including Lux London, Video les Beaux Jours Strasbourg and AICE Milan. His 2008 work In Re Ansel Adams is in the permanent collections of the Harris Museum in Preston and the Royal West of England Academy of Art.