Sonorities, Belfast, April 2015
Please Use The Tramps Provided has been selected as one of the the centre piece works at Sonorities 2015, Irelandís premier festival of digital and contemporary music, digital arts, sound art, video and installation art.
The theme of this years festival is 'fractured narratives', which suited Tramps remediated late night Tube journey from north to south London on the Victoria line (specifically inspired by frequent dashes to catch the last train to Brixton after flying to Stanstead).
Requiem Revisited, CCA Glasgow, March 2015
Matthew Collings and I gave a second performance of Requiem for Edward Snowden to a full CCA thanks to support from Cryptic Nights
Photo: Alex Woodward
Thanks to our musicians Emma Lloyd, Pete Furniss and Clea Friend, and also thanks to Sean Williams for his (as ever) detailed sound projection
Matthew and I now have funding to perform the piece at the Fringe thanks to Creative Scotland's Made in Scotland stream.
FMRL (aka pm'd for Maths), Novars Manchester, Oct 2014
As the saying goes on Muffwiggler "audio, or it didn't happen"!
No pics and no sound, but was invited to perform at Novars in Manchester as part of Sines & Squares festival alongside some other modular musicians. Thanks to all organisers and participants for a fine time!
Requiem for Edward Snowden, Reid Hall Edinburgh, Oct 2014
I spent much of my 'professional development' time over the summer creating visuals in collaboration with composer Matthew Collings for our Creative Scotland and New Media Scotland funded project 'Requiem for Edward Snowden'
We premiered it to a full Reid Hall on October 11th, with thanks to our musicians Emma Lloyd, Pete Furniss and Justyna Jablonska, and also thanks to Sean Williams for his (as ever) detailed sound projection and Matt Giannotti for help with score arrangements.
Pulse programming, Glasgow's Old Fruitmarket, Oct 2014
Have been working with Matthew Collings over the summer on a big project (more of which to come...), and as a by product I performed live visuals to Matt's set taken from his albums Splintered Instruments and Silence Is A Rhythm Too at Glasgow's Old Fruitmarket.
It was fun, and a real test due to darkess and volume... at one point my whole rig threatened to turn to dust due to bass weight! Probably the biggest bill I've been on to date, other acts were Scanner, Gazelle Twin and Wrangler
Reid all about it, June 2014
Was asked by Reid School of Music at ECA to provide an illustration using some of my graphic scores for marketing purposes
Jmmmmmmmca Hmmmm, April 2014
Was kindly invited to participate in a discussion of mumbling as sound design in the BBCs adaptation of Jamaica Inn on BBC Radio Ulster's Arts Extra show... Here's an extract from the discussion
INTER/acting, March 2014
Made the long trip to Bangor to talk about graffiti and graphic scores at INTER/actions Symposium on Interactive Electronic Music. Paper examining graffiti using Smalley and Schaeffer in progress!
Bleep Forest, March 2014
Delighted to finally play some arpeggiating algo-rhythms with Marcin Pietruszewski in the basement of Edinburgh's Forest Cafe.
Image courtesy of Timo Preece
What is Sound Design?, November 2013
Performed Tramps and gave a talk on "Form(s) and Code(s)" at What is Sound Design? Symposium to celebrate 10 years of MSc Sound Design at Edinburgh. Thanks to Martin Parker for organising, and his continued support during my MSc, PhD and subsequently as a colleague at ECA
Image courtesy of Martin Parker
Seeing Sound, November 2013
Was kindly invited to present a paper at Seeing Sound at Bath Spa Uni on my current research into graffiti as graphic score
OCD/DC, July 2013
Clicks, fizz, flutter, splutter and hiss!
Modular synth, gestural control, micro edited monodic study
LLEAPP 2013, April 2013
Laboratory for Laptop and Electronic Audio Performance Practice, Inspace, University of Edinburgh, April 2013
The original Edinburgh LLEAPP conveners (Sean, Owen, Lauren and Jules) were successful in attracting funding to host a 2013 event, this time thanks to an ECA Career Development Grant, with additional support from New Media Scotland.
Stills Sound Workshop