{"id":2051,"date":"2025-10-14T11:18:05","date_gmt":"2025-10-14T10:18:05","guid":{"rendered":"https:\/\/blogs.gre.ac.uk\/sound-image\/?p=2051"},"modified":"2026-02-18T17:41:03","modified_gmt":"2026-02-18T17:41:03","slug":"25-02-shared-frequencies-artist-in-residence-showcase","status":"publish","type":"post","link":"https:\/\/blogs.gre.ac.uk\/sound-image\/2025\/10\/14\/25-02-shared-frequencies-artist-in-residence-showcase\/","title":{"rendered":"25\/02: Shared Frequencies: Artist in Residence Showcase\u00a0"},"content":{"rendered":"\n
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Loudspeaker Orchestra Concert Series<\/strong><\/p>\n\n\n\n

Venue:<\/strong> Bathway Theatre <\/p>\n\n\n\n

Date: <\/strong>Wednesday 25 February 2026<\/p>\n\n\n\n

Time:<\/strong> 7pm (doors 6.30pm)<\/p>\n\n\n\n

Entry:<\/strong> \u00a35, booking is required<\/p>\n\n\n\n

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BOOK HERE<\/a><\/div>\n<\/div>\n\n\n\n

Shared Frequencies opens the doors to our laboratories to showcase a programme of works incubated and developed as part of our Artists-in-Residence programme at the SOUND\/IMAGE Research Centre. Engaging with our World Class Labs facilities and expert staff, artists including Shiva Feshareki amongst others, will present new works developed with the SHIFT immersive 360\u00b0 audiovisual system, highlighting how cutting-edge technology can reshape sound, space and performance in exciting new directions.\u00a0<\/p>\n\n\n\n

The evening concludes with a Q&A, offering audiences the chance to hear directly from the artists about their creative processes. <\/p>\n\n\n\n

Line-Up:<\/strong><\/p>\n\n\n\n

Shiva Feshareki: LIQUID ZIGGURAT<\/em><\/p>\n\n\n\n

Jo Hyde<\/p>\n\n\n\n

Jake Williams x Will Young<\/p>\n\n\n\n

Paulina Kompanowicz <\/p>\n\n\n\n

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Shiva Feshareki <\/strong>
A doctoral composition graduate from the Royal College of Music, Shiva Feshareki is an Ivor Novello award-winning British-Iranian composer and turntablist, at the intersection of contemporary-classical and electronic music. She has performed internationally in concert halls, art galleries and raves, with notable appearances at BBC Proms (Royal Albert Hall, London), Southbank Centre (London), Barbican Centre (London), De Bijloke (Ghent), Helmut List Halle (Graz), Sonar (Barcelona), Moscow Museum of Modern Art, Casa Del Lago (Mexico City) Mutek (Montreal), Berliner Festspiele (Kraftwerk, Berlin), Konzerthaus (Berlin), Hellerau (European Centre for the Arts, Dresden), Kunstfestspiele Herrenhausen (Hannover), Amsterdam Dance Event, and Greek National Opera (Athens). She has performed her works alongside the BBC Singers, BBC Concert Orchestra, Chorwerk Ruhr, Vocalconsort Berlin, BBC Symphony Orchestra, Konzerthaus Orchestra Berlin, London Sinfonietta, London Philharmonic Orchestra, London Contemporary Orchestra, Ensemble Modern, Netherlands Chamber Choir, Vienna<\/p>\n\n\n\n

LIQUID\u00a0ZIGGURAT<\/strong><\/em><\/p>\n\n\n\n

Music as architecture. Sound as living matter.<\/strong><\/p>\n\n\n\n

LIQUID\u00a0ZIGGURAT\u00a0<\/em>is a boundary-pushing 3D performance-installation where experimental electronic music, spatial sound, and ancient geometry collide. Drawing on Persian architectural heritage and the physics of vibration, Feshareki treats sound as a fluid, sculptural material\u2014something that moves, mutates, and physically inhabits space.<\/p>\n\n\n\n

Inspired by ancient\u00a0ziggurats\u2014mathematical and spiritual structures dating back to 3000 BC\u2014this work translates universal geometries into dynamic spatial sound patterns. Frequencies swirl, collide, and re-form around the listener, creating an immersive, visceral experience of sound as invisible architecture.<\/p>\n\n\n\n

For this performance, Feshareki presents a live-improvised spatial turntablism version of\u00a0Liquid\u00a0Ziggurat, electronically transforming vinyl in real time\u2014from DnB and psychedelic Iranian pop to symphonic classical\u2014distributed across Bathway’s modular 44-speaker 3D sound system. Records become raw material; space becomes the instrument.<\/p>\n\n\n\n

Expect deep bass architecture, rotating textures, and shape-shifting sonic structures that push spatial audio into uncharted territory. This is not a concert you watch\u2014it\u2019s a sonic environment you step inside.<\/p>\n\n\n\n

LIQUID\u00a0ZIGGURAT\u00a0i<\/em>s generously supported by an Arts Council England National Lottery Project Grant.<\/p>\n\n\n\n

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Joseph Hyde<\/strong><\/p>\n\n\n\n

Joseph Hyde is a composer and media artist. His background is in electroacoustic music, which began with a stint with BEAST (Birmingham ElectroAcoustic Sound Theatre). Since then, his work has moved into diverse areas, incorporating a wide variety of stylistic influences, live electronics, audiovisual and immersive elements. It has been presented around the world and has won a number of awards. He is a regular collaborator, usually with non-musicians: dancers, visual artists, technologists and scientists. He worked for many years as an academic, but since 2023 has been freelancing, working on a variety of projects from next-generation drone shows to interactive soundscapes for a high-end spa.<\/p>\n\n\n\n

Signal to Noise (360 refit)<\/em><\/strong><\/p>\n\n\n\n

Signal to Noise<\/em> is a live audiovisual performance which has been through a number of versions over the last year or so. The 360 version was made with the help of SHIFT facilities at Bathway in 2024\/5.<\/p>\n\n\n\n

The work is an exploration of the phenomenology of noise and how it interacts with our perception, particularly when combining sound and image. The material I am using often skirts the edges of comprehensibility, playing with illusion and attention, persistence of vision and vanishing points. I’m interested in certain types of natural phenomena – bird murmurations, patterns of plant growth, cloud and wave formations – and how these are similar to the chaotic patterns found in analogue signals. I explicitly play with this similarity in this performance, aiming to bring a timeless and organic quality to the digital realm.<\/p>\n\n\n\n

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Jake Williams <\/strong><\/p>\n\n\n\n

Jake Williams is a DJ, composer, scholar and educator whose practice intersects turntablism and soundscape composition. Using a diverse range of audio materials, including field recordings, internet rips, damaged vinyl, Shazam and his own studio productions, he creates edge-of-your-seat improvised digital DJ performances that draw discursive links between various experimental and dancefloor music cultures and explore the politics of noise and public music-playing. He has recently completed a practice-based PhD at the University of Birmingham, was awarded an Arts Council DYCP grant for an artist residency at the SOUND\/IMAGE Research Centre in Greenwich, published several articles, co-edited a special issue of the Organised Sound journal entitled Radical Education in Electronic Music Past & Present, <\/em>and performs regularly, both solo and as part of the free improvisation group Spectral Karaoke.<\/p>\n\n\n\n

AV SET<\/em><\/strong><\/p>\n\n\n\n

Turntablist\u00a0Jake\u00a0Williams\u00a0and digital video artist Will Young will perform a short improvised AV set using a set of techniques developed on residency at the Bathway Theatre in September 2025, built around a collection of heavily degraded vinyl records recovered from\u00a0Jake\u2019s mum\u2019s shed.\u00a0<\/p>\n\n\n\n

<\/p>\n\n\n\n

Paulina\u00a0Kompanovych<\/strong><\/p>\n\n\n\n

Miniatures of\u00a0Lviv: Listening to the city across the time<\/em>\u200b\u200b\u200b\u00a0\u00a0 \u00a0 \u00a0 \u00a0 \u00a0<\/strong><\/p>\n\n\n\n

My project portrays the soundscapes of my hometown through field recordings, voice and visuals created in ambisonics. It weaves together intimate and collective perspectives, reflecting on how familiar sounds have transformed since the war began. Combining memories, emotions, and fragments of history with present realities of fear, resilience, and hope, the work invites listeners into immersive spaces where inner imagination meets outer environment. Multilingual voices highlight Lviv\u2019s multicultural identity, while Christian faith underpins the search for strength in difficult times.<\/p>\n\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

Loudspeaker Orchestra Concert Series Venue: Bathway Theatre  Date: Wednesday 25 February 2026 Time: 7pm (doors 6.30pm) Entry: \u00a35, booking is required Shared Frequencies opens the doors to our laboratories to showcase a programme of works incubated and developed as part of our Artists-in-Residence programme at the SOUND\/IMAGE Research Centre. Engaging with our World Class Labs facilities and expert […]<\/p>\n","protected":false},"author":93,"featured_media":2072,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[59],"tags":[],"class_list":["post-2051","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-loudspeakerorchestra2526"],"featured_image_src":"https:\/\/blogs.gre.ac.uk\/sound-image\/wp-content\/uploads\/sites\/29\/2025\/10\/03-Shared-Frequencies-Showcase.jpeg","author_info":{"display_name":"em9767t","author_link":"https:\/\/blogs.gre.ac.uk\/sound-image\/author\/em9767t\/"},"jetpack_featured_media_url":"https:\/\/blogs.gre.ac.uk\/sound-image\/wp-content\/uploads\/sites\/29\/2025\/10\/03-Shared-Frequencies-Showcase.jpeg","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/blogs.gre.ac.uk\/sound-image\/wp-json\/wp\/v2\/posts\/2051","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blogs.gre.ac.uk\/sound-image\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blogs.gre.ac.uk\/sound-image\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blogs.gre.ac.uk\/sound-image\/wp-json\/wp\/v2\/users\/93"}],"replies":[{"embeddable":true,"href":"https:\/\/blogs.gre.ac.uk\/sound-image\/wp-json\/wp\/v2\/comments?post=2051"}],"version-history":[{"count":4,"href":"https:\/\/blogs.gre.ac.uk\/sound-image\/wp-json\/wp\/v2\/posts\/2051\/revisions"}],"predecessor-version":[{"id":2387,"href":"https:\/\/blogs.gre.ac.uk\/sound-image\/wp-json\/wp\/v2\/posts\/2051\/revisions\/2387"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/blogs.gre.ac.uk\/sound-image\/wp-json\/wp\/v2\/media\/2072"}],"wp:attachment":[{"href":"https:\/\/blogs.gre.ac.uk\/sound-image\/wp-json\/wp\/v2\/media?parent=2051"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blogs.gre.ac.uk\/sound-image\/wp-json\/wp\/v2\/categories?post=2051"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blogs.gre.ac.uk\/sound-image\/wp-json\/wp\/v2\/tags?post=2051"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}