Oscillations & Modulations is a two–day festival of synthesisers and electronic music, taking place 20th–21st March 2018 in various locations throughout the city of Derry.
The festival aims to celebrate, explore and expand on an expanding ecosystem of electronic music culture, by showcasing and joining the dots between the music makers and teachers, synthesiser designers and performers, music studios and music spaces, that help to shape and inspire the musical landscape of the city and beyond.
A brief overview of what to expect
Modular synthesiser building workshops
Hands-on workshops on modular synthesiser systems
Talks / Q&As with industry professionals on new and vintage synthesisers and more
Free open days at a number of local music studios, including Movin’ Music Academy and Celtronic Studios (more to follow).
Various music events across a number of the city’s most exciting spaces
Showcases from local and not so local electronic artists
Showcases from instrument builders, hackers and exploring all things DIY
More details will be updated here soon; many thanks for your interest!
This event is a collaboration between Ulster University, Magee campus, Movin’ Music Academy, Celtronic Studios, Cultúrlann uí Chanáin, the Inner City Trust, Culture Glitch records, Abbazappa Record Shopand the Yellow Yard.
We are grateful to the Provosts’ Outreach Event Fund/Higher Education Innovation Fund for their support of this event.
SKLONIŠTE / SPATIAL MUSIC COLLECTIVE CONCERT (CULTÚRLANN, 1/2/18 AT 12.30 PM)
Date: 1st Feb 2018
Location: Cultúrlann Uí Chanáin, Great James Street
Price: £5 (free to Ulster University students and staff)
Part 1: Sklonište
(Accordion, Dermot Dunne, original music/concept Ailís Ní Ríain)
Sarajevo, 1996. The city is under siege. Sniper fire kills civilians every day. The citizens of Sarajevo run to avoid being shot. They run for one thing: Sklonište (shelter).
Combining the experiences and motivations of international aid-workers and the surrealism of war; Sklonište – for live musician and video, is alternative reflection on the longest siege in modern warfare – 13,952 were killed. Expect the surreal, the tragic and the humour of a people determined to survive.
Part 2: The Spatial Music Collective, featuring Prof. Leigh Landy
This concert will feature a range of works for a circular (surround sound) array of loudspeakers by the Spatial Music Collective, a group of like–minded composers (including two Ulster University staff members) based in Ireland, the UK and US, who have been presenting concerts in this format since 2006. It will feature new electronic and sample–based music by various members of the collective, including a new and specially–commissioned work, On the Éire, by composer Leigh Landy (Professor at De Montfort University), and a second Derry outing of Octopus by Prof. Eric Lyon (Virginia Tech), which received its premiere at Magee campus in 2017.
Inclusive Creativity: Digital Practices (Hearts of STEM 2017) was a public conference which I organised alongside Dr Brendan McCloskey and Prof. Frank Lyons at Ulster University, Magee campus (May 31st 2017).The event was supported by Walled City Music Festival, Garfield Weston (for the Hearts of STEM 2017 programme) and Calouste Gulbenkian (for the Inclusive Creativity project).
ISSTA is happening in Dundalk this year, thanks to the great efforts of Dr Niall Coghlan and the Department of Creative Arts, Media and Music. We have a great lineup this year, with gigs, installations, workshops and keynotes from Peter Kirn (Create Digital Music), Prof. Teresa Dillon (University of the West of England and Watershed) and sonic artist Dr Luca Forucci.
We’ll also have a free late night gig at Dundalk’s Spirit Store featuring Sunken Foal.
We always strive to keep registration costs as low as possible, and this year’s ISSTA can be attended for as little as €25 (unwaged or undergraduate student), €50 (postgraduate student) or €70 (professional), which also includes ISSTA memership for one year. (It is also possible to buy a one-day ticket (€40) or a non-member two-day ticket (€80).)
Registration includes free tea/coffee and lunch as well as the refreshments for the opening reception.
To get the best rates, joint ISSTA first, then proceed to members’ registration.
This year’s theme of ‘Sound-Makers: technologies, practices and cultures’ brings together practitioners and researchers in the field to share their experiences, creativity and skills over 2 days in Dundalk Institute of Technology. Custom–made and repurposed controllers and intentionally hackable instruments now support the creation and control of new music and AV work outside the mouse and keyboard paradigm. These technologies are increasingly being championed by grassroots movements which are driven by the designers, makers and creators who build and use them. Maker groups, festivals and social spaces––frequently more diverse and inclusive than those of academia and industrial R&D––have emerged to engage new creators and audiences through music, visual and sound art performances.
ISSTA-17 promises to offer audiences and participants an exposure to the exciting new creative experiences afforded by these new approaches!
09.30 Welcome (P1080, PJ Carroll’s building)
Head of School, Dr. Gerard (Bob) McKiernan, School of Informatics and Creative Arts Dr Linda O Keeffe, President of ISSTA
10.00 Papers I (P1080)
11.30 Coffee Break
12.00 Keynote 1: Peter Kirn (P1080)
13.00 Buffet Lunch (Winter Garden, PJ Carroll’s Building)
13:30 Workshop I: DIY Oscillator (P1077)
14.00 Artworks Tour (various rooms in PJ Carroll’s – meet at entrance) 14.00 Papers 2: (P1080)
16:00 Keynote 2: Dr. Luca Forcucci (Recital Room)
17.00 Concert I (Mac Anna Theatre)
18.30 ISSTA reception (Winter Garden, PJ Carroll’s Building)
21.00 ISSTA ‘Late Night’ (Spirit Store): Sunken Foal & Joni LIVE + ISSTA DJ’s
Outline Schedule: Day 2, Fri 8th
09.30 Papers 3 (P1080) 09.30 Papers 3a (P1081)
11.30 Coffee (Winter Garden)
11.45 Keynote 2: Prof. Teresa Dillon (P1080)
13.00 Buffet Lunch (Winter Garden, PJ Carroll’s Building)
13:30 Workshop 2: Springs & Coils (P1077)
14.00 Artworks Tour (various rooms in PJ Carroll’s – meet at entrance) 14.00 Concert 2 (Mac Anna Theatre)
16:00 Closing Ceremony & ISSTA AGM (Mac Anna Theatre)
In particular, we’d like to highlight the workshops:
Instrument maker and designer, Andy Wilson will guide participants through building their own Sine Wave Oscillator. No previous soldering or electronics experience is required and everything you need to build the oscillator will be provided. Participation in this workshop requires a fee of €30 but you get to leave with your very own oscillator! NOTE: you do not need to be registered for the conference to take part in this workshop.
David Strang will then explore the potential of Springs and Coils as sound generating devices, taking participants through spring reverb, magnetic pickup coils and mini FM broadcasting (http://www.davidstrang.co.uk/ ).
Participation in this workshop requires registration for the conference and advance booking.
Please contact Niall Coghlan to book a place on the workshops: niall.coghla [at] dkit.ie
Just a quick preview of some stuff that’s coming up in our NIME 2017 paper (with Ricky Graham and Christopher Manzione of Stevens Institute of Technology and William Brent of American University).
Exploring Pitch and Timbre through 3D Spaces: Embodied Models in Virtual Reality as a Basis for Performance Systems Design
Our paper builds on an ongoing collaboration between theorists and practitioners within the computer music community, with a specific focus on three-dimensional environments as an incubator for performance systems design. In particular, we are concerned with how to provide accessible means of controlling spatialization and timbral shaping in an integrated manner through the collection of performance data from various modalities from an electric guitar with a multichannel audio output. This paper will focus specifically on the combination of pitch data treated within tonal models and the detection of physical performance gestures using timbral feature extraction algorithms. We discuss how these tracked gestures may be connected to concepts and dynamic relationships from embodied cognition, expanding on performative models for pitch and timbre spaces. Finally, we explore how these ideas support connections between sonic, formal and performative dimensions. This includes instrumental technique detection scenes and mapping strategies aimed at bridging music performance gestures across physical and conceptual planes.
The paper uses Unity to explore embodied ideas within musical gestures (including the use of Brent’s timbreID feature detection library). I contributed some ideas on embodied structures which can be used in mapping.
Figure 3. An embodied timbre–space; concepts from Smalley (1997) and Johnson (2008), after Bridges and Graham (2015)
Embodied Dynamics – Potential Mapping Strategies
Dynamic 1: Temporal Synchronicity of Attack Envelopes
X ranges from motion launching (rapid dynamic change, more synchronous entry) to gradual contour energy (asynchronous entry of partials).
Dynamic 2: Spectral Energy Distribution: Height vs. Rootedness
Y via the spectral centroid gives us two scales and dynamics: contour energy (verticality schema: pitch height) and associated motion rootedness; regions of stability.
Dynamic 3: Spatial Clarity within Individual Sound Sources
Z via presence or absence of attack transients articulates motion rootedness or tension (audible transient products of inertia) to ungrounded events (diffuse or sustained tones). This is related to a diffuse–to–point source spatial coverage schema.
Table 3. Mapping Strategies based on Embodied Dynamics
Short, repetitive movements; cycles if complete repetition
Detached individual sound events, cycle–loops.
Clear path or projection outward (versus inertia)
Less expansive gesture and small gesture again
Weak projection (inertial) and chaotic path.
Table 4. Using Bodily Gestures to Drive Parametric Change
Ricky and Christopher have made some great demo videos of how performance gestures can be creatively mapped within a 3D/VR space.
I’m only sorry I won’t be able to be at the conference in Copenhagen in person!
Inclusive Creativity: Digital Practices (Hearts of STEM 2017) is a public engagement symposium which is being organised by Dr Brendan McCloskey, Dr Brian Bridges and Prof. Frank Lyons at Ulster University, Magee campus on May 31st 2017. The event is being held in association with the Walled City Music Festival and is being supported by Garfield Weston.
The event is FREE to anyone interested in inclusion within the arts, education and community sectors.
This is just a quick post about our mini-festival at Ulster University, Magee campus, featuring talks, workshops and concerts by leading figures: talks and concerts by Prof. Leigh Landy and SounDKarD with an 8-channel presentation of new works by the Spatial Music Collective, with a number of premieres, including one by US-based Eric Lyon (Prof. at Virginia Tech).
Here’s a video documentary about our ISSTA 2016 International Festival and Conference on Sound (made by Pillarpix Media).
The event took place September 7th-9th at Ulster University, Magee campus and partner venues throughout the city of Derry~Londonderry, including the Void Gallery, the Nerve Centre, Garden of Reflection gallery, Echo Echo Dance Theatre, the Craft Village, Visit Derry, Bennigans and Sandinos.
This is a post which is mostly about having a handy place to share a summary programme/outline schedule for the ISSTA International Festival and Conference on Sound in the Arts, Science and Technology, which we’ll be hosting in Derry (at Ulster University and a load of other venues) from 7th-9th September.
Our talks about sound frequently came back to the helicopters. I remember you telling me that you grew up next to a busy heliport. You even went so far as to get up on the roof of your house to watch them take off and land; not the safest thing to do!
I can only imagine what the sound must have been like; so this is an attempt at an impressionistic soundscape of a ‘flock’ of helicopters.
We’d also chat about the various types of presence of helicopters in today’s soundscape in Derry. At least I have some idea what this sounds like!
We’d talk about the particularly diffuse, yet immersive sound quality as a helicopter would draw farther away; a sense of omnipresence replacing a singular location, almost synaesthetically blending with the clouds.
And all the better to blend with memories, I suppose, but you’d have a better way to put that and understand that than I would, Paul!