Performances with patterns of sound and light.
See also the day programme, which will take place in a different venue.
Full Bleed, Paul Wolinski
Paul Wolinski’s time is mostly taken up with being one quarter of the noisy instrumental band 65daysofstatic. He is here with a rare solo show, actually a debut of a performance built around his recent solo album Full Bleed. Wolinski is taking this album as a jumping-off point for a PhD research project, exploring new forms for composition to aim at, beyond the traditional disciplines of live performance and albums.
xname is Eleonora Oreggia, a multimedia artist born in Milan and currently based in London. Her live performances are developed through the use of artificial lights and home-made micro-oscillators which generate sound waves. The light, transformed in electric current, passes through the circuit and exits in the shape of a sonic frequency, while the sound, modulated by manipulating the light sources, becomes tactile and synesthetic. The result is an hypnotic spectacle dominated by stroboscopy and industrial and noise-techno frequencies.
Tiling session, Theo Burt
Tiling sessions attempts to tessellate sets of tiles over an area. These spatial algorithms are presented as series of vivid, brutal and euphoric progressions of sound and colour. Humans are attuned to recognize patterns within a narrow time frame – too fast, and individual events appear to merge into one whole or disappear altogether, too slow and we have forgotten them by the time they repeat. The tiling system is designed to shift in speed from slowly placing individual tiles to laying hundreds per second, causing individual events to blur into continua. As one temporal structure becomes imperceptible, we become conscious of new ones, previously too slow for us to recognise.
Tim Shaw and John Bowers
Drawing on Soviet experiments in image/sound translation and esoteric theories of correspondence, Shaw and Bowers have created a number of devices with which they will physically investigate local geological materials from the surrounding Sheffield area. The varying textures, colours and structures of the rocks will be directly translated to sound through the audification of variably illuminated microscopic images and spectral reflections. Live feeds from microscopes and various sound generation techniques will allow this cross-sensory performance to provide an expanded sense of the carboniferous.
Alex Keegan and Alex McLean
Keegan is one third of Sheffield agrobeat band Blood Sport, and McLean is one third of London/Falmouth/Sheffield live coding band Slub, with recent solo release Peak Cut EP on Computer Club. They’re combining their respective research interests in music psychology and algorithmic music to explore the limits of entrainment in audio/visual beat perception.
Made possible through funding and support from Crafts Council, the University of Leeds, the CCI Exchange, the EPSRC Communities and Culture Network+ project “Inhabiting the Hack”, the AHRC Digital Transformations Weaving Codes, Coding Weaves project, and the support of Access Space, Electric Work, Danger Noise Audio and Sheffield Design Week.