{"id":1806,"date":"2024-11-07T17:14:37","date_gmt":"2024-11-07T17:14:37","guid":{"rendered":"https:\/\/blogs.gre.ac.uk\/sound-image\/?p=1806"},"modified":"2024-11-07T18:34:14","modified_gmt":"2024-11-07T18:34:14","slug":"sound-image-2024-festival-talks-3","status":"publish","type":"post","link":"https:\/\/blogs.gre.ac.uk\/sound-image\/2024\/11\/07\/sound-image-2024-festival-talks-3\/","title":{"rendered":"SOUND\/IMAGE 2024 Festival – Talks 3"},"content":{"rendered":"\n

Day Three: Saturday 9 November<\/strong><\/h3>\n\n\n\n

10am-12pm: Talk 3<\/strong><\/p>\n\n\n\n

Lecture Theatre, Stockwell Street Academic Building<\/strong><\/p>\n\n\n\n

Bret Battey<\/strong> – Estuaries 4: Events and Continuums<\/h3>\n\n\n\n

A core contrast in music of our time has been between music comprised of discrete note events vs. music of continuums. Algorithmic techniques have traditionally emphasised the former. ‘Estuaries 4’, the last of the author\u2019s ‘Estuaries’ series of audiovisual compositions, reflects the author’s drive to find fruitful intersections between algorithms and both discrete-event and continuum thinking. Considering this distinction as a continuum itself, he suggests some ways in which audiovisual approaches can apply across that continuum.<\/p>\n\n\n\n

Bret Battey<\/strong> (b. 1967) is Professor of Audiovisual Composition at the Music, Technology, and Innovation Institute for Sonic Creativity at De Montfort University, Leicester, UK. He creates electronic, acoustic, and audiovisual concert works and installations, with a focus on generative techniques. He has been a Fulbright Fellow to India and a MacDowell Colony Fellow, and he has received recognitions and prizes from Austria’s Prix Ars Electronica, France’s Bourges Concours International de Musique Electroacoustique, Spain’s Punto y Raya Festival, MADATAC and MuVi4, Abstracta Cinema of Rome, Amsterdam Film eXperience the Texas Fresh Minds Festival, the International Computer Music Festival, and the Red Stick International Animation Festival for his sound and image compositions. He pursues research in areas related to algorithmic music, haptics, and image and sound relationships. He completed his masters and doctoral studies in Music Composition at the University of Washington and his Bachelors of Music in Electronic and Computer Music at Oberlin Conservatory. His primary composition and technology teachers have been Conrad Cummings, Richard Karpen, and Gary Nelson. He also served as a Research Associate for the University of Washington’s Center for Digital Arts and Experimental Media.<\/p>\n\n\n\n

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Dr. Nick Cope<\/strong> – Journeys East<\/h3>\n\n\n\n

Journeys East examines the work in progress on a feature length documentary derived from material shot in Tibet, Qinghai, Sichuan, Yunnan and other regions of China and Southeast Asia, whilst traveling, living and working in the region since 2005. The work examines survival of indigenous spiritual and cultural heritage through the onslaught of colonial and post-colonial pressures, modernity, post-modernity and the anthropocene. The survival and dissemination of Buddhist, and in particular Tibetan culture, and wider regional iterations of indigenous Buddhist art, culture, spirituality and intangible cultural heritage has been recorded in both still and moving image, and sound. This talk presents the ideas informing the work in progress which draws on non-traditional and experimental documentary formats informed particularly by Erik Knudsen\u2019s notions of \u2018Transcendental Realism in Documentary\u2019. Questions of how digital media practice can represent and communicate core themes and concerns of Buddhist religious practice, culture and philosophy, and how can one employ a practical approach to cinematic documentary narrative to reveal qualities of spirituality and transcendence, will be central to the documentary output. The work emerges contemporaneously alongside a long term visual music collaboration with former Professor of Contemporary Music at the University of Kent, Dr. Tim Howle; and approaches to the edit and working with sound and image are informed by themes explored in that collaboration. In particular, notions of what it means to compose with sound and moving image in works where the sonic and visual are treated as commensurate (which can be seen to extend notions of what constitutes visual music) and audio-visual practices that look to musical modes of composition in their realisation. More recent work begins to engage with wider notions of \u2018the soundscape\u2019 (Schaefer), sound walks, sound-ecologies and field recording, and to bring these into the realm of visual music composition. Taking Viola\u2019s analogous view of the video camera as a form of microphone, then visual music composition can be extended to explore video recordings within frameworks opened up by notions of soundscape, sound walk, field recording practices, acoustic ecology, and the ambient. These practices can be extended too into documentary production (see Rogers, 2014).<\/p>\n\n\n\n

In locating the wider research contexts for his practice, Cope (2012) has noted his work to explore notions of an affective, expanded cinema of attraction and sensation, citing Birtwistle\u2019s observation (2010) that \u2018a number of filmmakers, yet surprisingly few theorists, have concerned themselves with the ways in which the senses of sight and sound combine, mix and sometimes blur in cinematic experience\u2019; Kennedy\u2019s analysis (drawing on Deleuze) of film working ultimately through sensation, and Beugnet\u2019s Cinema and Sensation being essential touchstones in locating the sensory explorations this practice explores. <\/p>\n\n\n\n

Dr. Nick Cope<\/strong> is an artist, filmmaker and academic based in Vietnam and currently working part-time for RMIT University Saigon campus. Former Senior Research Fellow and Head of Humanities & Social Sciences at Xi\u2019an Jiaotong-Liverpool University, Suzhou, China; Nick has also worked for the Universities of Sunderland, Hull and Southampton Solent. He has been a practicing film, video and digital media artist since 1982, and completed a PhD by Existing Creative Published Work in October 2012. This locates a contemporary visual music practice within current and emerging critical and theoretical contexts and tracks back the history of this practice to initial screenings of work as part of the 1980s British Scratch video art movement, and later collaborations with electronic music pioneers Cabaret Voltaire and others. Collaborating with electroacoustic composer Professor Tim Howle since 2002, work has been screened and presented and papers given relating to the collaboration at conferences, concerts, galleries and festivals, nationally and internationally. A close and prolonged engagement with Practice Research agendas has accompanied this creative media practice since the early 2000s, developing strong academic network links and a variety of published outputs, including DVD and online publication of video material, journal articles and book chapters.<\/p>\n\n\n\n

A personal website and archive is online at http:\/\/www.nickcopefilm.com<\/p>\n\n\n\n

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Cornelia Lund<\/strong> – Where Are We Now: How to Navigate Contemporary AV Performance between Decolonial Tech and Real-Time AI<\/h3>\n\n\n\n

The current landscape of AV performance emerged approximately 25 years ago when increased computing capacities made real-time image processing more widely accessible. New performative forms, such as VJing, emerged, and old concepts of audiovisual combinations, such as visual music, gained new relevance and meaning. My curatorial and academic research has accompanied this process ever since, mostly in the context of fluctuating images, an independent platform for the presentation of and reflection on media art, design and music with a focus on audiovisual artistic production, based in Berlin. Taking my research as a starting point, this presentation proposes to present a condensed portrait of the field of real-time AV performance and its history. Against this backdrop, it will discuss current technological and cultural developments and the epistemic changes that they entail, asking: How does the field of AV performance situate itself in relation to contemporary discourses and developments in the realm of the arts and music such as the concept of the post-digital or decolonial approaches to performance and technology? What are the reactions to the overall hype of AI?<\/p>\n\n\n\n

Dr Cornelia Lund <\/strong>is an art, film and media scholar and curator living in Berlin. She has worked for years in research and teaching, mainly on audiovisual artistic practices, documentary film and practices, design theory, and de- and postcolonial theories (including at HU Berlin, University of Hamburg, PUC S\u00e3o Paulo). Since 2004, she has been co-director of fluctuating images, an independent platform for media art and design (www.fluctuating-images.de). From 2012 to 2018, she has been Senior Research Fellow in the project \u201cThe History of German Documentary Cinema 1945\u20132005\u201d at Universit\u00e4t Hamburg (funded by the DFG). Currently, she is a Research Fellow at the University of the Arts Bremen. She has curated and collaborated on numerous screenings and exhibitions, latest examples are Connecting Afro Futures. Fashion x Hair x Design (2019), Laboratoire Kontempo Kinshasa\u2013Berlin (2021\/2022), Under Construction (2023\u2013).<\/p>\n\n\n\n

Her publications include Audio.Visual \u2013 On Visual Music and Related Media (2009),The Audiovisual Breakthrough (2015), as well as the online platforms Post-digital Culture (2016\u2013), Lund Audiovisual Writings (2017), and decolonial.etc.br as the result of a workshop at PUC SP (2021\u2013).<\/p>\n\n\n\n

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Jaros\u0142aw Kapu\u015bci\u0144ski<\/strong> – Point Line Piano: Embodiment and Abstraction in VR<\/h3>\n\n\n\n
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Composer Jaros\u0142aw Kapu\u015bci\u0144ski specializes in creating audiovisual works across various media. Many of his compositions are interactive, often involving musicians\u2014particularly pianists\u2014who control visual content, or more recently, general audiences who paint audiovisual worlds in VR. In this presentation, Kapu\u015bci\u0144ski will discuss his work, focusing on the VR collaboration with the OpenEndedGroup, Point Line Piano<\/em>, a project that reimagines the composition, performance, and reception of piano music by fusing these three modes. As you interact with it, your ears, eyes, and hands act in concert. The work enables a spatial and full-body experience of abstraction not found in any other medium. <\/p>\n\n\n\n

Jaros\u0142aw Kapu\u015bci\u0144ski <\/strong>is a Polish-born intermedia composer and pianist. He presented his works at numerous art and music venues worldwide, including the Museum of Modern Art in New York, the National Reina Sofia Museum in Madrid, the Palais de Tokyo in Paris, National Arts Centre in Canada, EMPAC, ZKM, and Yerba Buena Center for the Arts. He has received awards at the UNESCO Film sur l’Art Festival in Paris, the VideoArt Festival in Locarno, and the International Festival of New Cinema and New Media in Montr\u00e9al. Kapu\u015bci\u0144ski has lectured internationally and is currently Associate Professor at Stanford University.<\/p>\n\n\n\n

Marc Downie and Paul Kaiser have collaborated as OpenEndedGroup since 2001. Working in a broad variety of media and venues:, they make art for fa\u00e7ade, gallery, dance, stage, 3D cinema, print, and virtual reality. Their works respond to a wide range of materials \u2014 drawing, film, motion capture, photography, music, and architecture. They frequently combine three signature elements: non-photorealistic 3D rendering; the incorporation of body movement by motion-capture and other means; and the autonomy of artworks directed or assisted by artificial intelligence.<\/p>\n\n\n\n

OpenEndedGroup\u2019s films, installations, stage works, and VR pieces have premiered in such venues as MoMA, Lincoln Center, the Barbican, the Isabella Stewart Gardner Museum, the Brooklyn Academy of Music, the Hayward Gallery, Sadler\u2019s Wells, and the Berlin, New York, and Rome film festivals. Eight of their 3D digital films were the first of their kind to enter MoMA\u2019s permanent collection.<\/p>\n\n\n\n

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BACK TO SCHEDULE<\/a><\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

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