Click through HERE for the programme.
Berlin-based, Nairobi-born sound artist Joseph Kamaru, who records and performs as KMRU, explores the overlaps and contrasts of natural and artificial sound through field recordings and machine learning. In As Nature, KMRU investigates the invisible and usually unheard network of electromagnetic signals that surrounds and interacts with our world. Birdsong and insect chatter emerge from buzzing, wobbling feedback shimmer, and human voices flicker half-heard through waves of ambient noise as if from insecure transmissions. Dramatising the unseen, KMRU gives our technology-heavy world a ghostly new dimension.
Visuals are from Markus Heckman: patterns of light shift and glow behind prismatic screens that reveal as much as they conceal, illustrations of how electromagnetic fields interact and interfere with one another.
Kindly supported by the Goethe Institut, Glasgow.
Berlin-based composer Tatsuru Arai sees parallels between the development of music and natural science over the last century, and looks ahead to the next stages of both. As science leads us into a deeper understanding of ever more complex natural systems, so too the story of music over the last hundred years has been one of deepening complexities. Once avant-garde innovations such as twelve-tone and serial composition are now familiar, even clichéd, and Tatsuru’s work posits a new kind of complexity: the accelerating, far denser detail of what he calls hyperserial music. Re-Solarization’s hyperserial soundtrack, by turns judderingly challenging and swooningly sublime, seems to operate at a level beyond anything we’ve heard before; in accompanying visuals, algorithmically dense digital flowers bloom and blossom, twist and disintegrate in the dark.
See yourself as you never have before – and be both a member of the audience and an element of a unique experimental performance. SCHNITT – aka Italian audiovisual artists Marco Monfardini and Amelie Duchow – worked with technical engineer and performer Gianluca Sibaldi to develop a process to scan their audience members, using the resultant imagery to produce visuals that they then manipulate and transform live – part Rorschach test, part commentary on surveillance culture. Waves of light scan and rescan viewers, and from each individual the scanner constructs a unique sonic and visual pattern that determines how SCANAUDIENCE plays out. As the audience sees itself reflected, and understands that they can change their audiovisual signature through their own movements, the performance builds a collaborative feedback between artist and performer.
Kindly supported by the Italian Cultural Institute, Edinburgh.