Cinema for the Ear

((audience)) (USA)
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ADRIAN MOORE’s 3Pieces comprises three abstract works based on recordings of violin, horn and piano which can be played separately or together. They were written as part of a collaborative creative event focusing around a horn trio. Originally conceived as ‘electroacoustic interludes,’ 3Pieces evolved into something much larger, taking in a research project exploring the nature of free play and improvisation within fixed medium works. As with earlier works, his concerns while composing 3Pieces were focused towards cataloguing and choosing usable material from a vast array of experimental sounds. The way the artist approached this was, first, to create a performance instrument (using a graphics tablet) that would possibly enable more ‘human’ interaction with material and, second, to begin to investigate recording, tracking and cataloguing the composition process. 3Pieces relies heavily on the former process. While each piece is focused upon one instrument, the spectre of the ‘horn trio’ remains. 3Pieces was realized in 2006—07 in the composer’s studio and premiered on March 20, 2007 during the Crossing Continents concert in Firth Hall of the University of Sheffield (England, UK). Thanks to Tom James (horn) and Peter Cropper (violin).

PHILLIP STEARNS’s Macular Degeneration is a collection of 5.1 surround works created during an artist residency at Harvestworks. Generated using only an analog mixer a handful of outboard effects units, pure feedback is explored as an expressive medium through the creation of immersive sonic environments and chaotic soundscapes. The project consists of five improvised compositions, each delving into different sonic terrains experiencedas electronic sound in its most raw state. Inaudible noise is amplified and distorted into chaotic oscillation; the primal screams of audio production equipment become a haunting chorus.

((audience)) is curated by Alexis Bhagat and Lauren Rosati. ((audience)) is a sponsored project of Harvestworks, a non—profit organization founded in 1977 that supports the creation and presentation of art works achieved through the use of new and evolving technologies.

ADRIAN MOORE studied at City University (London, UK) where he began to compose in the studio as well as assist EMAS (Electroacoustic Music Association of Great Britain, which became Sonic Arts Network (SAN), now Sound and Music) with concerts. The performance of tape pieces using multiple loudspeakers interested him, and his further study under Jonty Harrison at the University of Birmingham allowed him to work with and compose for the Birmingham ElectroAcoustic Sound Theatre (BEAST). His works have been performed and broadcast around the world and have received prizes and mentions in numerous competitions, including Musica Nova (Prague, Czech Republic, 1996, 2010), Noroit-Léonce Petitot (Arras, France, 1996), EAR’97 (Budapest, Hungary, 1997), Prix Ars Electronica (Linz, Austria, 1998), Bourges (Bourges, France, 1990, 2002) and Musica Viva (Lisbon, Portugal, 2004). He is currently Lecturer in Music at University of Sheffield where he is the director of the University of Sheffield Sound Studios (USSS). His motivations remain ‘acousmatic’ and current work includes multi-channel (5.1) composition, audio/visual, laptop improvisation, and large spatialization concerts using software developed at USSS.

PHILLIP STEARNS creates work that draws from a variety of disciplines including installation, audio-video, circuit sculpture, writing, performance art and musical composition. Deconstruction, dissection, and reconfiguration are methods he commonly employs in the interrogation of materials ranging from electronic objects, biological systems, images, light, video, and sound. His work generates phenomenological experiences that become pathways for interconnecting metaphorical spaces implied in the selection of specific materials, processes and media.

Phillip Stearns received his MFA in music composition and integrated media from the California Institute of Arts in 2007 and his BS in music technology from the University of Colorado at Denver in 2005. His work has been exhibited internationally at electronics arts festivals, museums, and galleries including: Harvestworks (2010 NYC); (2010 Chicago, IL); Festival De Arte Digital (2010 Belo Horizonte, Brazil); FILE (2009 Sao Paulo, Brazil); NIME (2009 Pittsburgh, PA); Filmer La Musique (2009 Paris, France); FONLAD (2009 Coimbra, Portugal); Torrance Art Museum (2008, 2007 Los Angeles, CA); Optica Film Festival (2011, 2008 Spain). He has participated in residencies at Museums Quartier (Vienna 2010), STEIM (Amsterdam 2007), Experimental Television Center (NY 2009), Harvestworks (NY 2010), is the current AIRTime Fellow at Free103Point9 for the 2010-2011 cycle, and curator for the 8th annual Bent Festival (2011).

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