tag:www.fasterthansound.com,2010://1 2010-03-01T08:59:54Z Movable Type 3.35 tag:www.fasterthansound.com,2010://1.105 2010-03-01T08:59:33Z 2010-03-01T08:59:54Z

Series: Faster Than Sound Title: Parallel Lives + Hush House Artists: Maja Ratkje, Kathy Hinde, Marina Rosenfeld (Parallel Lives) + Kathrine Sandys (Hush House) Date: Saturday 20 March, 7pm, pre-event talk 4pm (Parallel Lives), 12-5pm (Hush House) Venue: Hoffmann Building, Snape Maltings, Snape, Suffolk, IP17 1SP (Parallel Lives) RAF Bentwaters, Nr Woodbridge, Suffolk, IP12 2TW (Hush House) Tickets: £10 (Parallel Lives, 7pm), Free (Hush House + pre-event talk) Shuttle: £5 for a courtesy bus to Ipswich (leaving 9.45pm, for the last London service at 10.42pm). Must be booked in advance. Box Office: 01728 687110 and www.aldeburgh.co.uk...

joanaseguro Series: Faster Than Sound Title: Parallel Lives + Hush House Artists: Maja Ratkje, Kathy Hinde, Marina Rosenfeld (Parallel Lives) + Kathrine Sandys (Hush House) Date: Saturday 20 March, 7pm, pre-event talk 4pm (Parallel Lives), 12-5pm (Hush House) Venue: Hoffmann Building, Snape Maltings, Snape, Suffolk, IP17 1SP (Parallel Lives) RAF Bentwaters, Nr Woodbridge, Suffolk, IP12 2TW (Hush House) Tickets: £10 (Parallel Lives, 7pm), Free (Hush House + pre-event talk) Shuttle: £5 for a courtesy bus to Ipswich (leaving 9.45pm, for the last London service at 10.42pm). Must be booked in advance. Box Office: 01728 687110 and www.aldeburgh.co.uk tag:www.fasterthansound.com,2010://1.104 2010-03-01T08:48:05Z 2010-03-01T08:58:10Z

joanaseguro Marina Rosenfeld’s Cannons continues her investigation of forms of public address, amplification, and the social architecture of performance. Deploying both live players and customized resonating objects, including bass cannons and horns, Rosenfeld’s new work will be developed in situ at Aldeburgh and will bring her composition and live turntablism into confrontation with classical players from the London Contemporary Orchestra.
Maja Ratkje and Kathy Hinde’s piece Birds and Traces draws on the long and borderless migration of birds as inspiration. Using themes of spring, birds and the effects of climate change, their residency will involve local children re-interpreting Norwegian songs and featuring in the piece on many levels. The resulting work will be presented as a concert performance including acclaimed Norwegian accordionist Frøde Haltli, three installation rooms as well as facts on bird migration.
Kathrine Sandys Hush House captures the ghostly and invisible past of the Cold War in the UK through a compelling site specific sound installation. The journey to and across the site sets the scene for audiences experiencing the work and, upon entering the Hush House, there will be no ‘object’ to experience. Instead what will fill the space is a set of low sound frequencies selected from those that would have been generated by the jets originally tested in the space, creating a ghostly trace of the presence of technology. On the way out, in the original Control Room, a series of images, text and drawings outline the work and the site will be presented along with the opportunity for informal discussion. What Kathrine hopes the audience takes with them is a combination of a limited introduction to the history of the site, their own concept of Cold War military sites and technology and a sense of experiencing something – an ambiguous something. ]]> tag:www.fasterthansound.com,2010://1.103 2010-01-04T20:31:17Z 2010-01-04T20:36:43Z

Iain Sinclair / Alan Moore / Shirley Collins / Susan Stenger / F. M. Einheit / Graham Dolphin 30 January, 8pm, Hoffmann Building, Snape Maltings, Tickets £10 Box Office 01728 687110 and www.aldeburgh.co.uk...

joanaseguro Iain Sinclair / Alan Moore / Shirley Collins / Susan Stenger / F. M. Einheit / Graham Dolphin 30 January, 8pm, Hoffmann Building, Snape Maltings, Tickets £10 Box Office 01728 687110 and www.aldeburgh.co.uk Saturday 30 January 8pm Faster Than Sound: An English Journey – ReImagined ‘I am here, in a time of stress, to look at the face of England...’ J. B. Priestley, English Journey, 1934 Inspired by Priestley’s timeless classic, Iain Sinclair and Alan Moore – writers, film-maker, graphic novelist, psycho-geographers – undertake their own journeys across our England. Their first steps together, the opening chapter is a journey to Aldeburgh. They are joined by song collector and writer Shirley Collins, one of England’s greatest cultural treasures; composer Susan Stenger, creator of the 96-day-long ‘Soundtrack For An Exhibition’; F. M. Einheit, German avant-garde found-object percussionist; and visual artist Graham Dolphin, who specializes in text and image assemblages. It is a project like no other – a mapping of place in the here and now; electronic graffiti, folk music and unique writing styles intertwining; voices set in a haunted filmic soundscape. The ancient – the half-remembered, the recent past, the present. Hoffmann Building, Snape 8pm Tickets£10 Pre-event talk with the creative team. Jerwood Kiln Studio, Snape4pm. Admission free, but please book. Box Office 01728 687110 and www.aldeburgh.co.uk tag:www.fasterthansound.com,2010://1.102 2010-01-04T20:22:34Z 2010-01-04T20:40:32Z

joanaseguro An English Journey Re-Imagined. Iain Sinclair / Alan Moore / Shirley Collins / Susan Stenger / F. M. Einheit / Graham Dolphin Authors and psycho-geographers Iain Sinclair and Alan Moore re-imagine J.B. Priestley’s timeless classic An English Journey and undertake their own journeys across England in a first time collaboration. The project starts at Faster Than Sound in Aldeburgh with a collaboration between Sinclair, Moore and song collector Shirley Collins, composer/musician Susan Stenger and F. M. Einheit and visual artist Graham Dolphin, to communicate a special journey through the Suffolk countryside. An English Journey Re-Imagined brings together this esteemed collection of artists from across disciplines to collaborate on a highly distinctive project which will present a mapping of place in the here and now, electronic graffiti, folk music and unique writing styles intertwining with voices set in a haunted filmic soundscape. Faster Than Sound is the first chapter in this imaginative, yet to be written book, with other chapters taking place at Newcastle’s AV festival and beyond. tag:www.fasterthansound.com,2009://1.101 2009-10-30T16:55:59Z 2009-10-31T10:24:26Z

Russell Haswell. Bernie Krause, Chris Watson, Russell Haswell, Tony Myatt. Hoffmann Building, Snape Maltings, Saturday 7 November, 8pm - midnight Tickets: £10 Box OfficeL 01728 687110 and www.aldeburgh.co.uk For this pioneering Faster Than Sound project, leading UK multidisciplinary artist Russell Haswell brings together two of the world’s most acclaimed wildlife sound recordist and electronic music pioneers, UK’s Chris Watson and America’s Bernie Krause. They will join Haswell and surround sound researcher Dr Tony Myatt in a week long residency that will include talks, local field recording and culminate in a four hour three dimensional audio performance. The performance will integrate rarely experienced soundscapes from across the globe and electronic sound, presented over a bespoke three-dimensional sound system as a promenade performance. We have all heard the work of Watson and Krause, either through the soundtracks of David Attenborough’s wildlife documentaries or in epic films like Apocalypse Now. These two extraordinary talents also have a shared history as pioneers of electronic music, but have never previously met. Krause is also known for bringing the Moog synthesiser to Europe (introducing it to The Beatles and Stones. Chris Watson, prior to his work on BBC’s natural history programmes such as Spring Watch, was a member of Cabaret Voltaire and The Hafer Trio integrating experimental recording techniques and sound manipulations. Both artists have been powerfully influential on the development of electronic music. For the Faster Than Sound residency Haswell has also invited Ambisonics and surround sound researcher Dr Tony Myatt, Director of the University of York Music Research Centre. Tony will work with the artists to experiment with the latest 360 degree soundfield recording technology, and will develop a new third order ambisonic sound system for the event, combining octagonal and cubic loudspeaker arrays, to provide a three-dimensional canvas for sound projection in the Aldeburgh Music’s Britten Studio. The audience will be able to experience a fully immersive acoustic habitat that combines some of the most incredible sounds from the natural world plus experimental and electronic recordings. The residency was conceived and curated by Russell Haswell, who has previously curated for PS1/MOMA in New York, All Tomorrows Parties and Thyssen-Bornemisza Art Contemporary. Russell also releases computer generated sound recordings on such prestigious labels as Mego, WARP and Warner Classical. The event is produced by Aldeburgh Music with Joana Seguro. Faster Than Sound continues a long tradition at Aldeburgh of giving artists the space and opportunity to experiment and work in new ways. After three years staging Faster Than Sound at Bentwaters Airbase, as part of the Aldeburgh Festival, the possibilities for forging innovative collaborations between the worlds of classical and electronic music, players and composers and new technologies became apparent. What was needed however was more time to really make these partnerships flourish. Thanks to funding from the Paul Hamlyn Foundation, Faster Than Sound now takes the form of five week- long residencies a year which bring composers, players, technology and the natural environment together to create new work that is then premiered in Aldeburgh Music’s new workspace facilities at Snape, the recently converted industrial spaces known as the Hoffmann Building.]]> tag:www.fasterthansound.com,2009://1.99 2009-07-29T11:28:39Z 2009-07-29T11:29:19Z

To buy tickets for Faster than Sound events, please call the Aldeburgh Music Box Office on +44 (0)1728 687110 or email boxoffice@aldeburgh.co.uk...

boxoffice@aldeburgh.co.uk]]> tag:www.fasterthansound.com,2009://1.97 2009-07-29T11:16:37Z 2009-07-29T11:48:43Z

A diary for all current and upcoming Faster Than Sound events can be found on the Aldeburgh Music website. www.aldeburgh.co.uk also features a ticket booking service, along with travel and accommodation information....

Aldeburgh Music website. www.aldeburgh.co.uk also features a ticket booking service, along with travel and accommodation information. ]]> tag:www.fasterthansound.com,2009://1.96 2009-07-28T14:30:50Z 2009-07-28T14:32:06Z

Aldeburgh (Orld-bruh) n. A place of energy and inspiration for music and the arts: Aldeburgh Music World-renowned as an outstanding year-round performance centre, Aldeburgh is also a place where artists at all stages of their career can be inspired and energized. With inspirational scenery, a rich musical heritage and the time and space for musicians and audience to discover, create and explore, Aldeburgh is the place to help artists reach their full potential and define their own musical landscape. Further details, travel and accommodation information can be found on www.aldeburgh.co.uk...

www.aldeburgh.co.uk]]> tag:www.fasterthansound.com,2009://1.95 2009-07-14T18:35:55Z 2009-07-14T18:43:22Z

Scenographer and creator of the robots was born in Hannover, Germany. He has lived and worked in Barcelona since 1986. Formally trained as a concert violinist and naval constructor, he has worked extensively in theatre and opera, as well as for sound and movement installations. His work has a technical sophistication most uncommon in visual art and theatre. He was a Maat Collective Member together with Franc Aleu and Pere Tantiñá. His work focuses on the creation of impossible artefacts. He has collaborated in multiple scenography from the Barcelona Olympic games in 92, to collaborations with Bigas Luna, Jaume Plensa, Alfred Arribas, Enric Miralles and Xavier Mariscal, amongst others. He has designed many main pieces for La Fura dels Baus and Marcel·lí Antúnez. He developed and directed the chamber opera Orlando Furioso for 5 music robots and soprano with music by Michael Gross. He designed the thematic Pavillon OIKOS for EXPO 2008 in Zaragoza and is realising the 4 operas by Richard Wagner, The Ring of the Nibelung, together with Carlos Padrisa and Franc Aleu. Currently he is preparing an automatic puppet theatre situated in a container with music by Kats Chernin. www.olbeter.com]]> tag:www.fasterthansound.com,2009://1.94 2009-07-14T18:32:17Z 2009-07-14T18:32:59Z

Philip Marshall is a freelance print and digital media designer of eleven years standing. Working out of London, Paris and Berlin, Philip has collaborated for the past six years with David Sylvian and his art director Chris Bigg developing the Samadhisound website and artist sites, and again with Bigg on projects by Jóhann Jóhannsson for the legendary 4AD label. He has been designing online for Japanese fashion house Comme des Garçons since 2005. He is a participant in the Touch audio visual arts project, founded in 1982, and its sibling label Ash International, working closely with founders Jon Wozencroft and Mike Harding. Hands-on exploration of sound design was the natural extension of his work for Touch. www.philipmarshall.com]]> tag:www.fasterthansound.com,2009://1.93 2009-07-14T18:27:59Z 2009-07-14T18:29:22Z

Paul B. Davis utilises outdated/obsolete computer technologies, including most notably Nintendo games systems, in order to perform specialist interventions into the territory of the digital art medium. While the materials utilised are ready-made, the use principle is entirely hand crafted; Davis altering the existing code while adding nothing new. This idea, the implemented projection of an alternative potential onto a ready-made object, exactly and succinctly captures the structured abridgement, between computers and art, between theory and praxis, ongoing in Davis practice. Davis is a founder member of the pioneering programming ensemble, BEIGE, which also comprises Cory Arcangel (Team Gallery, NY), Joe Beuckman and Joseph Bonn. BEIGE members have subsequently used Davis hacked NES concept to create a distinct body of work that has been shown internationally. Aesthetically Davis images are solid slabs of reordered, pure proto-modernist colour. With his alterations a new game, a new screen and a new surface emerges. The materiality of a hacked game cartridge, set into the instantly recognisable Nintendo console, guarantees that the recession into a purely two-dimension digital fold is never as total as it is in the work of other digital artists, the work remains an object. Further, the dizzying hyper-graphics of many related practitioners are surrendered in favour of the neat, blocky pixilation of the outdated NES operating system. This show also includes an installation featuring 8-bit Construction Set, an art/music/concept work rendered in vinyl which will be mounted on a record deck within the gallery, visitors being invited to play it out to their own satisfaction. Quoting his influences as ranging from formalised British computing theory (Alan Turing) to the advent of widespread domestic console gaming (Mario), Davis has pioneered a truly unique strategy through a multiplicity of actions, networks and artistic creations. Davis practise is at once rigorous, conceptual, even nerdy, while nonetheless fully intimate with the patois, style, attitude and aesthetic of retrogressively inspired, data-bit multi-media contemporary culture, that has recently forced its way into the public consciousness www.post-data.org/~paul]]> tag:www.fasterthansound.com,2009://1.92 2009-07-14T18:21:32Z 2009-07-14T18:22:30Z

www.touchmusic.org.uk]]> tag:www.fasterthansound.com,2009://1.91 2009-07-14T18:02:37Z 2009-07-14T18:05:20Z

Jon Wozencroft is graphic designer, author and instructor. In 1982 Wozencroft founded Touch, an independent multimedia publishing company. In 1988 Wozencroft's book on his colleague Neville Brody was published as The Graphic Language of Neville Brody. Wozencroft and Brody went on to found and publish FUSE – an experimental publication of graphics and experimental fonts. He has been a lecturer at Central St Martins College of Art & Design and at the Royal College of Art, both in London. In 1994 he was appointed main tutor and assistant course director for MA Interactive Multimedia at the Royal College of Art. He is currently Senior Tutor in the Communication Art and Design Department at the Royal College of Art. www.touchmusic.org.uk]]> tag:www.fasterthansound.com,2009://1.90 2009-07-14T17:58:45Z 2009-07-14T18:01:41Z

Jon Hopkins is a musical shapeshifter: a composer, pianist and a self-taught studio wizard. He makes big, bold electronic music using walls of synths, twinkling melodies and amorphous bass rumbles. As such his two albums have seen him labeled by the likes of ambient patriarch Brian Eno as an electronic innovator while an impressive sweep of artists from Herbie Hancock to David Holmes, not to mention contemporary choreographer Wayne McGregor, lo-fi folkster King Creosote and musical bluebloods Coldplay, have all called upon the 28-year-old Londoner’s handiwork as a producer and composer. Which goes some way to explain why his new album Insides is his first in four years. Hopkins’s aesthetic is perpetually intriguing. He transcends genres, melding digital coldness with subtle, bucolic textures; veering from skewed elegance to strange, unsettling depths. Insides artfully constructed, unparalleled palette of rhythmic loops and treated piano can be partly explained by Hopkins’ unusual adolescence; he was a child piano prodigy before discovering the bleeps and beeps of dance music. In his west London bedroom he balanced a teen obsession with acid house, early hardcore and grunge alongside weekend piano tutorials at the Royal College of Music. At 16 he flitted between the twilight stoner world of drum‘n’bass pirate radio and German label Recycle or Die’s hypnotic electronica, and the classical discipline of playing a Ravel piano concerto. Hopkins honed his skills with years of experimentation on four-track tape recorders and old-school computer programs. After leaving school he toured Europe playing keyboards and samplers with Imogen Heap, before signing to Just Music aged 19. His first album, 2001’s Opalescent, was written in a Wembley bedsit while he jobbed as a session keyboard-player and engineer. A collection of instrumental songs with an escapist, pastoral feel, it earned him a cult following amongst the electronica cognoscenti. Although he was still naive about rave culture and its comedowns, Opalescent unwittingly tapped into a cultural shift as rave morphed into downtempo. His second outing, Contact Note (2004), was a more evolved set: a cinematic, layered work with a harder experimental edge. It earned Hopkins comparisons to and praise from Brian Eno. An introduction to the sonic alchemist lead to sessions that were later released as part of Eno’s album Another Day on Earth. It was this experience as well as collaborations with singer-songwriter King Creosote and the Fence Collective that lit the touch paper for the genuinely exploratory electronica of his forthcoming third album. Which is where we find Hopkins now: putting the finishing touches to Insides. He began work on it during autumn 2006. The following year he took a hiatus after being asked to produce King Creosote’s album Bombshell. Around the same time he was introduced to Coldplay by Brian Eno, which led to a stint as an additional producer on their new album Viva La Vida Or Death And All His Friends. Indeed, the band were so taken with the track Light Through the Veins - one of the most sublime moments of Hopkins’ new set - that they’ve used a reworked version to bookend Viva La Vida. Looking back on earlier, more rigidly sequenced work, Hopkins says he has moved away from the clinical accuracy of precision-tooled beats. “I try to base what I do now on recordings of me drumming on something, or beatboxing badly,” he says. It’s this collision of human imperfection and digital circuitry that lends his latest album a brilliant tension. Its fluttering piano motifs are abruptly overpowered by the sort of brutal basslines that wouldn’t be out of place tremoring the dancefloor at an east London dubstep night, or even accompanying avant-garde choreography – the first half of Insides formed the score to Wayne McGregor’s recent contemporary dance production Entity, which premiered earlier this year at Sadler’s Wells. The stunning beauty of tracks such as Vessel and Colour Eye has an ominous quality. Each track segues seamlessly into the next, with thunderous claustrophobic frequencies offset by familiar sounds - the submerged noise of cars on the street, birdsong, and cold currents of melody that open a window and let the day back in. Although steeped in the seriousness of classical composition, it is not a cerebral musical conceit for art boffs. It’s hardly even a dance record. Insides is about strange contexts: natural, arcane textures welded to uneasy rhythms. Beautiful acoustic melodies set against jarring bass. Insides is, above all, an audacious album with a modernist luster and magical aura all of its own. www.jonhopkins.co.uk]]> tag:www.fasterthansound.com,2009://1.89 2009-07-14T17:49:40Z 2009-07-14T17:51:24Z

Born in 1975. He has been active with experimental music since the early 90´s with various constellations. For the past 10 years he has been releasing albums on Touch, making music and sound for documentary film, television and commercials. He is focused on the sound of nature and its effect on humans, field recordings and the perception of time and space as experienced through sound, often electronically treated. He has also worked closely with Chris Watson on the project “Storm”, released in 2006, and a duet with Icelandic cellist Hildur Guðnadóttir. www.bjnilsen.com]]>