James Dashow: selections from 'Soundings in Pure Duration'

Call & Response is looking forward to hosting an audition of works from Soundings in Pure Durationby James Dashow.

This session is dedicated to the memory of flautist
Ann Cherry

James Dashow:
A pioneer in the field of computer music, Dashow was one of the founders of the Centro di Sonologia Computazionale at the University of Padova, where he composed the first works of computer music in Italy; he has taught at MIT, Princeton University, the Centro para la Difusion di Musica Contemporanea in Madrid and the Musica Viva Festival in Lisbon; he was invited by the Conservatorio di Musica Benedetto Marcello in Venezia to teach an intensive series of workshop/masterclasses in digital sound synthesis techniques applied in particular to compositional practices, and to various aspects of the spatialization of sound. 

James Dashow has had commissions, awards and grants from the Bourges International Festival of Experimental Music, the Guggenheim Memorial Foundation, Linz Ars Electronica Festival,the Fromm Foundation, the Biennale di Venezia, the USA National Endowment for the Arts, RAI (Italian National Radio), the American Academy and Institute of Arts and Letters, the Rockefeller Foundation, Il Cantiere Internazionale d'Arte (Montepulciano, Italy), the Koussevitzky Foundation, Prague Musica Nova, and the Harvard Musical Association of Boston. In 2000, he was awarded the prestigious Prix Magistere at the 30th Festival International de Musique et d'Art Sonore Electroacoustiques in Bourges. 

In 2011, Dashow was presented with the distinguished career award "Il CEMAT per la Musica" from the Federazione CEMAT (Roma) for his outstanding contributions to electronic music.

Soundings in Pure Duration n.2a, for pre-recorded percussion and hexaphonic electronic sounds:
This n. 2a in the Soundings in Pure Duration series makes considerable use of pre-recorded percussion sounds, especially a selection of wonderfully resonant African and Latin American instruments. The electronic sounds were generated entirely by Gustavo Del Gado's real time implementation via Max/MSP of Dashow's Dyad System, which offers a highly efficient way of generating and evaluating an immense variety of sounds using the Generating Dyad principle of the System. Further information and downloadable software relative to the composer's Dyad System and MUSIC30 are available at his website: http://www.jamesdashow.net/inglese/soft.html

Spatialization is of fundamental importance to the compositional conception, as both an expressive element as well as a structural determinant, particularly the movement >in< space and the movement >of< space, in synchronization with timbral and rhythmic developments. The sounds sometimes seem to generate space which can vary from the immediacy of close up to the huge dimensions and depths of enormous sonic panoramas. 

On occasion, 2 or 3 different kinds of space are present simultaneously to coincide with different kinds of phrasings...an attempt at spatial counterpoint that matches the contrapuntal interactions of the sounds and percussion phrases. Soundings 2b benefits from the abundance of material generated for this work, and has the same combination of instruments and electronic sound: another form, another conception.

Soundings in Pure Duration n.6, for octophonic electronic sounds:
This 6th in Dashow's series of Soundings in Pure Duration is all about timbre, time and space. Timbral developments are closely synchronized with the movement of sonic events, structured as variously paced dynamic phrases, in space.  Sequences of events are realized in a sort of spatial counterpoint where multiple trajectories of sounds are played simultaneously. The spatial choreography of the several timbral lines attempts to place the listener inside the counterpoint as it moves and transforms around the hall.  Composing with space generates a uniquely expressive kind of musical experience that can fully involve the listener in the musical work in genuinely new ways. 

Download:

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An immersive audio installation by Call & Response and Jacob Kirkegaard.

Artist Jacob Kirkegaard and sound art collective Call & Response have collaborated to create a sound installation that invites the audience to experience the hidden underworld of London’s water system.

The project takes the work of seventeenth century alchemist and scientist Athanasius Kircher as inspiration. Kircher was a polymath and inventor, who researched fields as diverse as medicine and Egyptology, and designed and constructed wondrous sound and vision automatons. These included a collection of so called speaking statues whose spiral mouths would lead out into the streets of Rome like giant trumpets. In this way the speaking trumpets or ‘hearing lens’ would reveal the cacophony of Rome to the listener. London Subterraneous aims to link Kircher’s ‘speaking trumpets’ with his fascination of geology and underground reverberations and find a way to explore London’s mundus subterraneous.

For this project, special microphones have been used to access sounds from a series of “stink pipes” that connect the city’s familiar terrestrial environment to a lesser-known complex network of sewers and rivers below. The towering, hollow pipes, now rusting fixtures dotted across London erected as safety valves to vent excess toxic gases along a newly built Victorian sewer network in the 1860’s allow us to connect through our past and eavesdrop on the capital’s underground world. The resultant exhibition is a portrait of some of the sounds created below ground and through the pipes themselves.

Jacob Kirkegaard said: 

“Although these stink pipes are nowadays "useless" this work aims to reveal them as poles of sound, or as singing flutes. In a way these are tones from the past.”

 

Jacob Kirkegaard is an artist and composer who works in carefully selected environments to generate recordings that are used in compositions, or combined with video imagery in visual, spatial installations. His works reveal unheard sonic phenomena and present listening as a means of experiencing the world. Kirkegaard has recorded sonic environments as different as subterranean geyser vibrations, empty rooms in Chernobyl, Arctic calving glaciers and tones generated by the human inner ear itself.

Based in Berlin Kirkegaard has presented his works at galleries, museums and concert spaces throughout the world, including MoMA in New York, LOUISIANA in Denmark, KW in Berlin, The Menil Collection & at the Rothko Chapel in Houston, Aichi Triennale in Nagoya, the Mori Art Museum in Tokyo, Japan - and most recently with a solo exhibition at the Museum of Contemporary Art in Denmark. His sound works are released on the TOUCH, Important Records, VON Archives & Posh Isolation labels.

http://fonik.dk/

 

Supported by:

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Lee Fraser: The premiere of 'Resin', along with 'The Visions of Ezekiel' from his release on Entr'acte

Call & Response are hosting a Lee Fraser listening session for the Last Friday of February 2016 atEnclave

Come listen to the premiere of his work Resin, mixed especially for the Call & Response sound system. 

Also playing will be Fraser's The Visions of Ezekiel, winner of the Luigi Russolo Grand Prize 2013 and part of his Dark Camber release on Entr'acte

 
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Call & Response are pleased to host a listening experience featuring artists from the LINE imprint.

Since 2000 the LINE imprint, curated and art directed by Richard Chartier, has continued to publish documents of compositional and installation work by international sound artists and composers exploring the aesthetics of contemporary and digital minimalism as limited edition Compact Discs and DVDs.

As a part of our collaboration with LINE, Call & Response will feature works from the following artists in 3D sound at our space at South London’s Enclave:

Richard Chartier
France Jobin 
Simon Whetham
Yann Novak
Stephan Mathieu

www.lineimprint.com 
www.enclaveprojects.com

Richard Chartier
www.3particles.com

Recurrence http://www.lineimprint.com/editions/cd/line_059/

In 2000, LINE began with Series by Richard Chartier, a work described by The Wire as: “it’s worth stretching the ears in search of Chartier’s sequences of exquisitely sculpted sonic events, as gorgeous detail bodies forth out of the shadows.” Since then, this work has remained unperformed, often “unperformable” due to live environments’ noise and audio system limitations.

In 2011, Chartier began a series of new works, Recurrence, the first revisiting Series‘ elements and reworking them into entirely new compositions. Drawn to the original sounds Chartier felt that they could be re-composed. The form they have taken contains isolated and discreet events strewn across the sound field, creating a strange landscape and altered sense of space.

Prompted by an invitation to perform in the ideal and intimate listening environment of artist/curator France Jobin’s Immerson event at the renowned OBORO in Montreal, Chartier was finally able to present the subtlety of this new Series, “Recurrence (series)” in two parts. Working at OBORO with their Head of Audio Research, Stephane Claude on its spatialization. Chartier finally presented versions of piece live in a multi-channel diffusion on November 17 and 18, 2011.

The Recurrence works are a continuing reflection on major aesthetic elements of Chartier’s artistic language as it has evolved through the years. This is Chartier’s first new solo studio album since 2010’s Fields for Mixing (Room40, Australia).

Simon Whetham
www.simonwhetham.co.uk

El Parque Está Situado En Su Propia Casa www.lineimprint.com/editions/digital/line_061/

El Parque Está Situado En Su Propia Casa (the park is situated in it’s own house) is the result of a residency I participated in through March 2012 at Campos de Gutierrez, Medellin, Colombia where all 8 artists-in-residence exhibited works in one of the city’s more central art space, Plazarte. My piece began as a performance on the exhibition’s opening night, using objects and recordings from Campos de Gutierrez. During the performance, and using transducers, I played sounds through an old guitar from Campos de Gutierrez and an oil drum found at Plazarte, both suspended from the ceiling. For the remainder of the month the piece continued to be exhibited in this way, playing subtle sounds captured during the performance and around the residency house through the objects.

Composed from field, performance and installation recordings from Campos de Gutierrez and Plazarte, both in Medellin, Colombia, March 2012.

Thanks to Andres, Chris, Alejandro, Bjork, Luke, Elisabeth, Aurelie, Juliana, David, Miguel, all at Plazarte and Campos de Gutierrez and Richard.

France Jobin
www.francejobin.com/

P Orbitalwww.lineimprint.com/editions/cd/line_054/

P Orbital was originally released on LINE_54 in 2012, as part of the album Valence. 
Valence is inspired by both the valence bond (VB) and molecular orbital (MO) theories. 
An atomic orbital is a mathematical function that describes the wave-like behaviour of either one electron or a pair of electrons in an atom. This function can be used to calculate the probability of finding any electron of an atom in any specific region around the atom’s nucleus. The term may also refer to the physical region defined by the function where the electron is likely to be.
Often, my compositions start with a feeling or emotional state. There is a likelihood of finding a certain emotion in a piece, but it is not guaranteed, nor do I know exactly when or where I will find it. The act of looking for that emotion in of itself will distort it. Although one would think experimental music grants complete freedom, when composing, I feel constrained by both my mental state and the way in which I build the piece.

I find an unlikely parallel in quantum theory and composing. The electron that can exist on a different orbital plain can never have its velocity measured or even its exact location known, due to the intimate connection between particles and waves in the wacky world of subatomic dimensions. All sounds recorded at various locations in North America and Europe.

Yann Novak
www.yannnovak.com/

Relocation.Vacant (14ch) www.yannnovak.com/works/installation/relocation-vacant/

As its point of departure, Relocation.Vacant uses the sound of the empty loft Novak lived and worked in for over four years. Presented in an empty gallery with nothing to obscure or hide the equipment used to produce the piece, Relocation.Vacant exaggerates the cavernous feelings of the slow dismantling and eventual erasure of the dweller’s personality from a space.  
Relocation.Vacant (14ch) represents an extract from the original installation and expanded to 14 channels.

Stephen Mathieu
www.bitsteam.de/wp/

Seventh Dream www.lineimprint.com/editions/cd/line_047/

Stephan Mathieu is a self-taught composer and performer of his own music, working in the fields of electroacoustics and abstract digitala. His sound is largely based on early instruments, environmental sound and obsolete media, which are recorded and transformed by means of experimental microphony, re-editing techniques and software processes involving spectral analysis and convolution; it has been compared to the landscape paintings of Caspar David Friedrich, the work of Painters Mark Rothko, Barnett Newman and Ellsworth Kelly. During the last decade Stephan’s music has been released on 35 vinyl records and CDs, both solo and in collaboration with Akira Rabelais, Taylor Deupree, Robert Hampson, Sylvain Chauveau, David Sylvian and others on electronic music labels worldwide.

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Opus17aSlimeVariation#5

EVOL will perform Opus17aSlimeVariation#5 live on 27th March 2015. The work will continue as an installation until 17th May 2015.

Post rave algorithmic computer music duo EVOL have made a new work for Call & Response’s 13 speaker immersive sound system. Opus17aSlimeVariation#5 is a very free adaptation of Hanne Darboven's 'Opus 17a' (part of her Wunschkonzert, 1984). It is part of a series of seventeen adaptations called Opus17aSlimeVariations that began in 2014 and have been presented both live and as an installation, but using different sound materials each time.

EVOL’s approach to the original score focuses mainly on time manipulation. By playing around with note durations and repetitions, the grid of four note patterns that make up Darboven’s piece becomes a very different sonic experience. Much in the same way that they tackled Ligeti's iconic 'Continuum' in a series of pieces (they call them "approximations" rather than "covers"), their version is both a tribute to the original as well as an experiment on distorted temporality.

Opus17aSlimeVariations was originally developed in collaboration with British artist and programmer Guy Birkin.

"The works of Hanne Darboven work like a mountain: the top can’t be seen from the bottom, the base disappears from the summit, the whole escapes the climber as the pilot misses the point, it stands as metaphor for something that exists metonymically, exists as a surplus of the Real with an excess of the Symbolic, and is both of the moment and continuously monumental." 
(Vanessa Place)

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In conjunction with Last Fridays at Enclave, Call & Response will present a new programme of multichannel sound works in 13.1 channels. This month's programme consists of works by Caterina BarbieriAmma AteriaManuella Blackburn andNatasha Barrett.

 

Caterina Barbieri
Caterina Barbieri (Bologna, Italy) is a composer and performer of electroacoustic music. Mostly interested in modular synthesis, three-dimensional spatialisation and psychoacoustic aural sculpture, her music arises from a meditative approach to primary waveforms, microtonality and the polyrhythm of harmonics, on the boundary between drone, minimalism and techno in multichannel systems.

 

Amma Ateria
AMMA ATERIA is an audiovisual artist + electroacoustic composer/improviser based in San Francisco, CA. Born in Hong Kong, she gravitates to rhythms of construction sites, roaming traffic, inaudible conversations, and close-ranged airplanes. Natural and synthetic worlds are the polar opposites in her sonic practice. Her practice in sound consists of cross-modal synesthetic influences from the contemporary moment, as well as synopsis and identity assignments from geometric perspectives. With focus in the acoustic abilities of transparent materials such as glass and water, she takes concern with the density and optical condition of plexiglass and its relationship to the correlation and causation of light value as trigger. Jeanie- Aprille studied at Mills College with focus in music composition, electronic music, hardware instruments, and audio engineering. Her interests are slow-wave, new colour, irregular heartbeats, and sonic circuitry.

Manuella Blackburn
Manuella Blackburn is an electroacoustic music composer who specializes in acousmatic music creation. However, she also has composed for instruments and electronics, laptop ensemble improvisations, and music for dance.
She studied music at The University of Manchester (England, UK), followed by a Masters in Electroacoustic Composition with David Berezan. She became a member of Manchester Theatre in Sound (MANTIS) in 2006 and completed a PhD at The University of Manchester with Ricardo Climent in 2010.

Natasha Barrett
Natasha Barrett (UK / Norway) is a freelance composer, performer (since 1998) and recently appointed as research fellow at the University of Oslo, Department of Musicology (2014). Her output spans instrumental and electroacoustic composition through to sound-art, sound-architectural installations and interactive projects. In addition to collaborating with performers, she often involves experimental designers and scientists in her work, which features an understanding of auditory perception and sound's spatio-musical potential in 3D. She holds masters and doctoral degrees in composition from the UK (1994/1998). Both degrees were funded by the Humanities Section of the British Academy.

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Call & Response has a new home!

Enclave, Unit 9
50 Resolution Way
London
SE8 4NT

This is our very own permanent three dimensional 13 speaker installation dedicated to sound art, technical workshops and live performances. Over the next 12 months we will be showing new multichannel works by John Wynne, Theo Burt, Mark Fell, Tom Slater, Jeremy Keenan, Matt Lewis, Nabil Ahmed, Ryo Ikeshiro and Jacob Kierkegaard.

In conjunction with the opening of our new space, Call & Response will present a rolling programme of multichannel sound works for Deptford X and Art Licks Weekend. In 13 channel audio, C&R will audition pieces by: Robert Van Heumen, Michael J Schumacher, Ralph Steinbruchel, Jacob Kirkegaard, Freida Abtan, Tom Slater, Jeremy Keenan, Nabil Ahmed and Matt Lewis.

We will be opening on 26th September as part of the Deptford X launch night It would be great to see you there!

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5th Dispatch @ Cafe Oto

Call & Response curate a 3-day listening room for multichannel compositions in the Oto Project Space. For this programme, C&R has invited sound artists working with process based and generative compositional techniques that evolve through the use of computation. At the frontiers of computer music, process informs the sound work as much as the human composer. The space will utilise the C&R 12.1 system to create a 3D immersive listening environment.

Supported by:

Compositions by: 
Theo Burt (UK)
Sound from Tiling Session 'Defecate 1', 2013

Jayson Haebich (AU) (UK)
Emergence, 2012

Robert Van Heumen (NL)
MDFreeze, 2013

Jeremy Keenan (US)
Crystal Glass Mirror Stone, 2013

Matt Lewis (UK)
Whose Sound is it Anyway? 2013

Thor Magnusson (IS)
Tuning the Threnoscope, 2013

Michael J Schumacher (US)
Filters and Filtered, 2011-present

Tom Slater (UK)
Period Doubling, 2013

Kaffe Matthews (UK)
Bend, 2005

Freida Abtan (UK)
the act of repetition, 2007

 

 
 
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4th Dispatch

Call & Response curated a two day listening space for multichannel compositions around the water tank at the main courtyard of the Museumsquartier in Vienna. For this programme, C&R invited sound artists working with process based and generative compositional techniques that evolve through the use of computation. At the frontiers of computer music, process informs the sound work as much as the human composer.

4th Dispatch: Process and Function is hosted by the Viennese sound art project TONSPUR and MQW as part of their Tonspur_Live_Open_Air series. 

Compositions by: 

Theo Burt (UK)
Sound from Tiling Session 'Defecate 1', 2013

Mark Fell (UK)
Spatial Mind Lock, 2013

Robert Van Heumen (NL)
MDFreeze, 2013

Jeremy Keenan (US)
Crystal Glass Mirror Stone, 2013

Matt Lewis (UK)
Whose Sound is it Anyway? 2013

Thor Magnusson (IS)
Tuning the Threnoscope, 2013

Michael J Schumacher (US)
Filters and Filtered, 2011-present

 

Supported by:

 
 
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Call & Response in collaboration with TONSPUR presents:


The Stream - The Listening Space

A week long immersive listening experience culminating in a night of live performance on a 13 speaker 3D sound system. 

Call & Response will install a 13 speaker, 3D sound system at Canada Water Culture Space creating an immersive public listening space. With works from the Viennese TONSPUR collection, the listening space will feature a programme of sound works by UK and international sound artists scheduled by Georg Weckwerth, independent curator and artistic director of TONSPUR. The listening space is free and can be visited any time during opening hours.

The listening space will include the following sound works out of the TONSPUR_collection: 

TONSPUR 4: "Melting" (2004) by Christof Cargnelli (AT) – in memoriam the artist who passed in April this year daily 1pm - 2pm

TONSPUR 21: "Klusterblock" (2007) by Robin Rimbaud aka Scanner (UK) – coproduction with ORF art radio daily 5pm - 6pm

TONSPUR 36: "Do You Hear What I Hear?" (2010) by Dawn Scarfe (UK) daily 3pm - 4pm

TONSPUR 42: "Life in the Twentieth Century: 225 Million Homicidis. An Oratory" by Peter Weibel (AT) – a coproduction with ZKM Karslruhe daily 2pm - 3pm

TONSPUR 46: "23 ways to remember silence, but only 1 way to break it" by David Moss (US) – coproduction with ORF art radio daily 7pm - 8pm

TONSPUR 49: "Some Berlin Favourite Sounds" (2012) by Peter Cusack (UK) – created for TONSPUR in Berlin (supported by DAAD Berlin) – world premiere of the extended version especially made for TONSPUR_goes London daily 4pm - 5pm

TONSPUR 51: "Freedom From Happiness" (2012) by Sam Ashley (US) – the original Viennese version for piano, and the "sea version" for ship horn created for the exhibition "Listen to Your City--Listening To Art" at the Copenhagen Art Festival 2012 daily 6pm - 7pm

TONSPUR 58: "Valkyries, riding" (2013) by Georg Nussbaumer (AT) powered by Valkyrie Riders Austria daily 12pm - 1pm

TONSPUR 59: "Kraków to Venice in 12 hours" (2013) by Magda Stawarska-Beavan (PL/UK – 10 minutes sample of the upcoming work (MQ Vienna, TONSPUR_passage, 22 July to 9 Nov, daily 10am to 8pm) daily final at 8pm

 

Visit the TONSPUR website and download free the TONSPUR_ringtone "Snipe" created by leading UK composer, musician and sound artist Robin Rimbaud aka Scanner in 2007

Supported by:

 
 
 
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Call & Response in collaboration with Zoe Laughlin and The Institute of Making

Hearing Shapes is an immersive sound environment in which audience members can engage with the sonic properties of materials. 

From October 18th to 20th 2012 London based sonic arts collective Call & Response are transforming the Bethnal Green Library in to a space for concentrated sound exploration. Saturday will feature a lecture and sonic demonstration from the Creative Director of the Institute of Making at University College London, Zoe Laughlin. During this talk, Zoe will reveal how vibrations are transmitted through the microstructures of materials to create the sound of our world. 

The lecture room at Bethnal Green Library will be filled with the sound of kinetic sculptures constructed by artist Tom Slater from concrete, steel and copper, along side 8-speaker surround sound compositions by Jeremy Keenan & Matt Lewis. Visitors will also have the opportunity to experience the hidden sounds of everyday materials by literally transmitting the vibrations of their favourite music from their mobile devices through sheets of plastic, glass, and ceramics. 

Exhibition opens 10am – 6pm, 18th - 20th October 2012
Materials lecture by Zoe Laughlin 3.30pm – 4.30pm, Saturday 20th October 2012
All events are free !

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172 Warning Bells is a generative, responsive audio-work that seeks to question the relationship between a power and sound production. Audio material is drawn from Emergency Alert Signal tones, the same tones to be heard in the event of an emergency through the 172 sirens in and around the Indian Point Plant, a nuclear plant just outside New York City, the plant supplies around one third of the city’s power. Many of the sounds heard as part of the piece have been processed and transformed using Supercollider with power consumption of the installation itself informing which sounds are heard. The piece was originally conceived and presented as part of Code of Contingency, New York, 2012.

319scholes.org

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The Sonification of Deptford Power Station, Call & Response (2011) 

C&R presents a generative, 4-channel audio installation at Agency Gallery in South London, using the SELCHP electricity plant as a data source. Forming part of sonic workshop series Code of Contingency, our workshop on June 14th will focus on strategies for exploring audio media ecologies, data sonification an basic environmental sound recording. 

The SELCHP is a major incineration plant located in South Bermondsey near the Agency Gallery. Data from the power output of the plant and power consumption of the gallery will be used to inform the resultant audio of the work at any given time. As such the work is a sonic representation of the energy consumed by the works in the show throughout its duration. 

As part of our participation at Agency, we will give an artist talk and workshop on June 14th exploring environmental thinking, composition and media ecology. We will focus on local sound issues and data sonification with special emphasis on multi-channel diffusion. Using the work as a discursive object, participants will think about strategies for creating an audio installation using field recordings, exploring aleatoric, process and generative compositional techniques. 

The workshop will begin with a visit to the show at Agency Gallery. It is open to everyone including those interested in acoustic ecology, generative composition, environmental art and sound art. 

Participants should bring their own laptops. If participants own recording devices, these should be brought as well. Please see the Code of Contingency website for further information on booking a place at our workshop. Other artists participating at Agency include Lucky Dragons, Tom Richards and Tomutonttu.

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For our inaugural programme Call & Response presented a series of immersive, multi-channel works by international artists at James Taylor Gallery, London.

The programme included Jacob Kirkegaard's Icelandic volcanic recording project, Eldfjall, as well as Eric La Casa's 8-channel piece, Zone Sensible, a frenetic microcosm composed solely of beehive sounds recorded in Saint-Denis, Paris. Other works include a multi-channel piece by Kaffe Matthews and Robert Van Heumen's Fury, a work exploring the "emergence of suppressed rage" in the Dust Bowl period of the USA. Steinbrüchel's Opaque and Jo Thomas' sound world Angel also feature. Works by Dawn Scarfe, John Levack Drever & Lawrence Upton, Tom Slater and Jeremy Keenan complete the bill. All the works are presented using an immersive 8.1 sound system. 

The works were on rotation from 4th-7th Nov, 12-6pm (Free Entry) at the James Taylor Gallery.

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