Head to Vivid Projects this Saturday (28/11/15) for our final event of 2015, SONICpicnic, featuring two sessions of stereo and multichannel live electronic music, food from The Real Junk Food Project Birmingham, and a 6 channel sound installation by Chandra Chapman. Now we’d like to give you some more information about Manfredi Clemente, who will open the event’s second session.
Manfredi Clemente, born in Palermo (Italy) and now based in Birmingham (UK), is a composer specialising in musique concrète, field recording and electroacoustic improvisation. He is currently pursuing a PhD in electroacoustic composition, investigating space not only as a parameter of composition but as the main dimension of perception and evocative listening processes. Central to his practice is the interpretation of fixed media pieces through diffusion over acousmonia, alongside the collaborative development of STRATI, a piece of software designed to at once allow free distribution of sound in space and facilitate the reduction of the gestural presence of the performer. Manfredi is an active member of BEAST, and has performed and received performances in Italy, United Kingdom, France, Czech Republic, Slovakia, Japan, and Greece.
At our event Manfredi will perform a live improvisation using a no-input mixing board accompanied by field recordings. The no-input technique feeds the hardware outputs of the mixer back to the inputs, resulting in its transformation into a feedback based analog synthesizer. Control over its internal processes is very far from being total: the device is in fact a semi-chaotic system where a slight change of a single parameter can completely subvert the totality of the audible result. The output of this paradoxical instrument is a challenge to audibility with sounds that range from the deepest bass to the most pleasantly harsh highs.
Manfredi will also perform on 10 December at the next instalment of BEAST’s BEASTdome pantry sessions.
With our Series 2015 finale SONICpicnic coming up this Saturday at VIVID Projects, it’s time to introduce another of our artists, James Wyness, who joins the bill for session #01 alongside Girilal Baars and Ben Peers.
James Wyness is a computer musician based in southern Scotland. Having worked for many years with concrete material, the sounds of hand made microtonal instruments and environmental recordings, he is currently making new work with algorithmic processes and digital synthesis. For his SOUNDkitchen live performance James will immerse us in the sounds of digitally manipulated hand made microtonal bowed zithers and prepared bowed psalteries mixed across eight channels.
You can listen to some of James’ work below:
Tickets for the event are still available here, or can otherwise be bought on the door.
Not long to go until our final event of 2015, SONICpicnic at VIVID Projects on Saturday 28th November. The event starts at 4pm and runs into the evening, with food provided by The Real Junk Food Project Birmingham on a pay-as-you-feel basis. Advance tickets are still available here. For now, we’d like to introduce you to another of our artists – Iris Garrelfs.
Iris is a sound artist working on the cusp of music, art and sociology, whose practice includes fixed media, installation and improvised performance. She is the commissioning editor of the online journal Reflections on Process in Sound and the co-curator and director of Sprawl, a London based experimental music organisation. Iris has a PhD in Sound Art from University of the Arts London where she also active as a researcher and lecturer, and her artworks and performances have featured worldwide.
In performance Iris often uses her voice as raw material for conjuring multilayered listening experiences via MaxMSP. Improvised voice is transmuted into machine noises, intricate rhythms, choral works, pulverised “into granules of electroacoustic babble and glitch, generating animated dialogues between innate human expressiveness and the overt artifice of digital processing” as the Wire Magazine put it. In the words of ATTN:Magazine, her “gymnastic flexibility is remarkable. Her falsetto has this incredible pinball elasticity, zipping suddenly upward in playful excitement or sudden shock, reaching pitches that seem to shrink her into miniature.” She also often uses spontaneous scores and elements of space to mould complex aural collages, which have been compared to artists such as Yoko Ono, Henri Chopin, Joan La Barbara, Meredith Monk and Arvo Part.