Borns with the need to create a place where to combine DIGITAL ARTS with ANALOGUE DEVICES and it is interested in showing processes of technological evolution.
Within computation the term DIGITAL, and its contrary, ANALOGUE, are frequently used to denote the difference between a numerical-digital and a physical model and help to separate out theoretical abstract computation from any particular concrete computational, and thus material, iteration.
So, SEF has as a reference the use of CODE as an original TECHNOLOGY for making MUSIC. It enjoys the DIY and HANDMADE spirit which ARTISTS, MUSICIANS, CODERS, MAKERS & HACKERS share. The activity fosters a community of tool DEVELOPERS and creative PRACTITIONERS interested in supporting creative practice through DIGITAL and ANALOGUE tools.
The festival also opens to OS / OH practices in a counter-laboratory and participatory process.
SEF will present an EXHIBITION, WORKSHOPS, TALKS, CONCERTS, a PUBLICATION and a RECORD.
With the collaboration of Iklectik Art LAB, SEF will set for many days as an experiment that shows an exhibition, workshops and concerts. With this hybrid format, SEF wants to increase the audience experience and make them participant.
The Festival collaborates together with Chalton Gallery to present new media art exhibition, with interactive works, AV installations and the most advanced technologies in music with PD, and the use of open software.
SEF also counts with the participation of POPklik, a London based collective in charge of the creative visual communication of the festival.
Claude Heiland-Allen, musician and software developer, is supporting the development of the festival and gives support as well as technical and aesthetic advice.
SEF is curated by Laura Netz, curator, artist, and director of EAM elektronische-art-and-music, a curatorial agency and record label, altogether with a network of collaborators and artists who support and facilitate the event.
Concerts & Talks
Iklectik Art Lab
Thursday 30 May 2019 – Sound Art / Media Art talks
20:00 – 20:40 Lucia Farinati
20:40 – 21:20 Nina Power
21:20 – 22:00 Laura Netz
22:00 – 22:30 Giles Greenway
Friday 31 May 2019 – London Live AV Performances
20:00 – 20:30 raxil4
20:30 – 21:10 Bernhard Living
21:10 – 21:50 Isn’tses
21:50 – 22:30 Morphogenesis with John Wall and Mark Durgan
Saturday 01 June 2019 – International Live AV Performance
20:00 – 20:40 Chris Speed
20:40 – 21:20 Blanca Regina
21:20 – 22:00 Alessandra Eramo
22:00 – 22:30 Slow Slow Loris
Sunday 02 June 2019 – 4.1 Sound system Live Music
19:00 – 19:40 Rebecca Glover & Fritha Jenkins
19:40 – 20:20 Vera Bremerton
20:20 – 21:00 Bioni Samp
21:00 – 21:40 Tony James Morton
21:40 – 22:00 Johannes de Silentio
Artists Info below:
In her “Solo for Voice and Electronics” Alessandra Eramo creates a collage of hypnotic soundscapes and voices to move beyond sound into more visceral layers of poetic expression. Beat-boxing, tongueclicking, screeching, hissing – in an immersive performance, Eramo explores trance-like states in singing – Her extended voice forms abstract sounds, crude noise, fragmented words, and unknown languages, interweaving a dynamic use of analog electronic instruments and pre-recorded sonic material. In reference to sound poetry, the performance is both an acoustic and physical experience, like a spiritual exercise shared with the audience. Alessandra Eramo performs her new composition “Tracing South” released in April 2019 on LP on Corvo Records. A sonic enchantment where polyphonic singing, repetition, dissonance and overtones are pushing the listener out of the comfort zone. Reflecting on the Mediterranean Sea as a human and spiritual dimension, but now also as a vast and silent migrant cemetery, Eramo’s work oscillates between the caress of tender melodies and the brutal energy of noise eruptions. Kindly supported by Musikfonds. Promotion of Contemporary Music. German Ministry of Culture and Media. Alessandra Eramo (*1982 Taranto, Italy) is a Berlin-based sound artist and vocalist. She works with performance and other media such as installation, video, text, drawing and intervention in the public space, exploring latent acoustic territories of the human voice and Noise as socio-political matter. She has exhibited and performed widely at festivals and institutions including: Liminaria/Manifesta12 Palermo, 6th Thessaloniki Biennale of Contemporary Art, Tempo Reale Festival Florence, Heroines of Sound Festival Berlin, Tsonami Festival de Arte Sonoro Chile, PACT Zollverein Essen, Roulette New York, Audiorama Stockholm, Italian Pavilion in the World/54th Venice Biennale. Alongside her solo work, she has collaborated with many acclaimed composers, choreographers, artists and poets a.o.: Maria Iorio & Raphaël Cuomo, Zorka Wollny, Brandon LaBelle, Noha Ramadan, Ines Lechleitner, Doug Van Nort, SJ Fowler, Gabriel Dharmoo, Irena Tomažin, Tomomi Adachi, Seiji Morimoto, and Marta Zapparoli. Alessandra Eramo is kindly supported by Musikfonds e.V., Die Beauftragte der Bundesregierung für Kultur und Medien www.ezramo.com
Bernhard Living (b. 1948) is an experimental music composer, curator and former multi-instrumentalist (playing alto saxophone, bass clarinet and flute). He was born in Ely, Cambridgeshire, England – and lives and works in London and Southampton, England. He studied composition with the South African-born composer professor Stanley Glasser at Goldsmiths College, University of London, and philosophy under professors Jonathan Reé and Peter Dews at Middlesex University, London. Bernhard Living’s digitally-based compositions have taken minimalistic compositional techniques to what he considers to be their logical conclusion, with his music being characterised by sparse textures, long periods of silence, maximal repetition and minimal variation. The compositions are often devoid of musical elements such as melody, harmony and rhythm, and as an alternative they explore the use of sound colour and sonic textures. http://www.bernhard-living.net/index.html
As an electronic music producer and seasonal beekeeper. I was inspired to learn more about bee frequencies and make a creative work that incorporated these bee frequencies in the hope of raising awareness about bees and their increasingly fragile ecology system. My music experiments are with with stereo / binaural sounds, producing recordings and performing live with extreme stereo processing, using mainly home made equipment and field recordings. www.bionisamp.org
Blanca is an artist, teacher and curator based in London. Her research and practice is heterogeneous and encompass expanded cinema, free improvisation, graphic and moving image, photography and performance art. She has performed with various artists, including Terry Day, Leafcutter John, Beresford and Matthias Kispert and curated a number of events and installations in London and internationally. http://www.whiteemotion.com/
Chris Speed is a London based audio-visual artist and daily graphics programmer. His creative practice explores deconstruction as a tool for expression through circuit bent devices, degaussed videotape and code. Computer music is the other main passion in his life, being an experienced VJ for many international labels and collectives. He is currently studying a master’s degree in Computational Arts at Goldsmiths, University of London. Chris proposal is for an iterative 10-15 minute AV piece performed at The Glove that Fits in Hackney, Sister Midnight Records in Deptford and for an upcoming show at the Amersham Arms on March 19th. This performance entitled Soniscope is a technological experiment to encode visuals into music which can be viewed on analogue or
digital oscilloscopes. Chris uses a Microsoft Kinect to 3D scan objects such as skulls and mannequin heads then sonified the process into sound using an openFrameworks based application called OsciStudio. This is used in combination with a Kaoss Pad and guitar pedals to make Noise/ Techno /Drum & Bass. https://vimeo.com/198734112
Talk: “Never Mind The Molluscs: The Abuse of Fourier Synthesis in Aggro-Rhythmic Composition.” Some visually aesthetic generative systems are most naturally interpreted as sounds by treating their outputs as spectra. The examples that will be explored include bifurcation diagrams, one and two-dimensional cellular automata and simulations of the growth of sea-snail patterns, as introduced in Hans Meinhardt’s book “The Algorithmic Beauty of Sea Shells”. Rather than using tools developed specifically for algorithmic composition, the creation of both audio and video will be accomplished using common numerical libraries available for the Python language. Giles Greenway is a former materials physicist teacher of physics, now a data scientist/engineer. He has presented generative music at the 2016 and 2018 EMF and SHA 2017 hacker camps. Other research interests have included analysing the frequency with which smartphone apps gather and transmit users’ data, and teaching non-technical users to reverse-engineer them, the analysis of social networks and the portrayal of trans/non-binary people in the media. https://soundcloud.com/giles-richard-greenway/merry-christmas-mr-lorentz EMF 2018: https://media.ccc.de/v/emf2018-446-never-mind-the-molluscs
Collaboration between visual/electronic artist and musician Lisa McKendrick (Listen Lisse) and animator and electronic artist Tim Drage (Cementimental). The duo perform with live video projections and illuminated props, and also with their self-built synths, noise boxes, circuit bent toys and vocals. https://isntses.weebly.com/
Johannes de Silentio 4.1 Sound system Live Music, Sunday 02 June, from 19:00h. Iklectik Art Lab.
A very immersive drone ambient noise performance, as a deep listening exercise. It’s created from manipulating tapes, pitch, effects and analog synthesis, playing mainly with sinusoidal waves and LFO oscillators. Shak Benavides, personality of the Barcelona underground since the 90s, as past spiritual co-founder of Wah Wah Records, her dj sessions for more than two decades, and owner of an online radio station called TeslaFM.net, focused in experimental and sound art. Johannes de Silentio is a pseudonym under she works, (also known as Lucius Works Here since 2004). Her works always breathe a halo of intimate electronics, and in her latest album, with minimal arrangements, silences and subtle noises, it is deducible that she was attracted to build under the premise of ambient drone noise, where she develops her tendency in a more limited way. The work is entitled “If not, winter” inspired by the book by Anne Carson where she collects the only fragments of poems by the Greek musician and poet Sappho (630BC). https://luciusworkshere.bandcamp.com/track/if-not-winter
Author of various books including the recently published The Force of Listening, together with Claudia Firth. Lucia Farinati is the curator of Sound Threshold and has been invited in festivals such as Helicotrema Festival, Tuned City and Glasgow International 2018. The Force of Listening
The group was formed by a group of people interested in exploring the possibilities of live electronic music and collective improvisation. The groups aim is to unify and integrate many diverse sound elements. Other electronic instruments include a 4 speed portable reel to reel tape recorder. http://www.stalk.net/paradigm/morphogenesis.htm
Nina Power is Senior Lecturer in Philosophy at the University of Roehampton, London and author of many articles on philosophy, politics and culture. Picture credit Guy Smallman. https://ninapower.net/
Dark brooding dronescapes combined with analog and digital sound sources, including field recordings, detuned radios, analogue televisions, computers, turntables, CD & mp3 players, tape recorders, 8-bit gameboys, handmade electronic devices, broken vintage equipment and handmade sculptural instruments. https://raxil4.bandcamp.com/
Rebecca Glover & Fritha Jenkins 4.1 Sound system Live Music, Sunday 02 June, from 19:00h. Iklectik Art Lab.
Awkward flows to alternative stories. An improvisation for Iklectic by Rebecca Glover and Fritha Jenkins. 4 channels with sound, objects and microphones. Rebecca Glover and Fritha Jenkins collaborative work spans performance, sculpture, sound and education. They have performed together at Pump House Gallery, Chisenhale Dance Space, APT, Florence Trust, Diaspore Project Space, ASC gallery, and have presented their collaborative radio piece at Project Radio, Leeds. Their most recent collaborative project Sounding Objects was commissioned by Pump House Gallery. Rebecca has recently presented work at York Art Gallery, with Contrechamps (Geneva), with Kammer Klang and Abstruct at Cafe Oto, KIOSK and De Bijloke Muziekcentruum (Ghent). Fritha has presented work at Supernormal Festival, Artsadmin, Modern Art Oxford and Guest Projects. (UK) https://rebeccaglover.co.uk/ https://www.frithajenkins.com/
Slow Slow Loris use voice and electronics to search for the intersections where melody meets noise, emotional meets avant-garde, feminine meets industrial, non-rhythm meets accuracy, and raw meets craft. They released their first album, From Monster till Mourning on Staaltape, their second one, Of Heroes in Helium on Cloister Recordings, and are looking forward to the upcoming release of their third album, Outside the Royal Room. They have toured in western and eastern Europe, Russia and the USA. “The animal slow loris is an endangered species. It is believed to be the gatekeepers for the heavens and is used in traditional medicine to ward off evil, but a slow loris is continually seeing ghosts, that is why it hides its face in its hands.” http://www.slowslowloris.com/
Grainyl is a new body of improvised electronic music by sound artist Tony James Morton. Each piece is entirely constructed, in real-time, with samples taken directly from vinyl records. Inspired by techniques that were instrumental in the development of hip-hop music, the work combines prerecorded samples from existing compositions to create an altogether new piece of music. However, Grainyl pushes the boundaries of sampled based music into new territory, exploring modern digital techniques and methods. The work is centred around a custom built sampling instrument entirely created with Max/MSP. This instrument uses granular synthesis to create new textures from the recorded source, allowing for new sonic exploration. Performed live, the project manifests itself as a conceptual “DJ set.” Records are chosen, exactly how a DJ would, but instead of being played in traditional form the resulting audio becomes a reinterpretation of the original recordings. Tony James Morton is a musician, composer and sound artist whose work focuses on real-time systems aesthetics. These systems created have rules and structures, but within the confines of these boundaries there is enough room for improvisation, chance and probability. This allows for a different interpretation each time, creating unique experiences of sound. His work has been displayed and performed at; OXO Tower Bargehouse (London, UK), IKLECTIK (London, UK), BEAST FEaST 2016/2017 (Birmingham, UK) and Studio 47 (Amsterdam, Netherlands). https://www.youtube.com/watch?v=OMVJiesRXE4
Theogyny. One woman. Sixteen voices. Her identity dissolves into multiple rivulets as she progresses towards mystical ecstasy through sex and death. Her voice multiplies and extends, both angelic and demonic. As she is undone she is one with the Divine. She comes back to life so she can die again. Theogyny is a multi-channel, a cappella polyphonic piece delivered entirely by my pre-recorded voice; it expresses the multi-faceted condition of identity during a mystical and sexual experience. Each vocal line features looped abstract noises and melodies. All vocal lines feature abstract noises, sung melodies and loops. The composition follows a metaphorical cyclical “narrative”: the channels start off quietly then form a crescendo until they reach an apex of volume and pitch; then they fall back to the state of quiet, ready to begin again. Italian-born, classically trained, in her musical practice Vera Bremerton blends the harmony and polyphony of classical music with the harsh beats and sounds of industrial and techno. She has researched experimental vocalism, using different timbres, effects and a 4-octaves range. She has extensively performed in UK and Europe. https://verabremerton.bandcamp.com/