Media Factory, University of Central Lancashire
Preston, United Kingdom

Miniatures: a sequence of four tiny masterpieces
Alan Dunn

Inside Outside
Magda Stawarska-Beavan

chrhrhc (circuitedit)
Werner Moebius

REVOL part 1
Anthony Kelly

Jon Aveyard

Leon Hardman

Rise On The Whistle
Patricia Walsh

Tell Me About
Karin Bergström and Mat Gregory

le son de la lumière - part 1
Daniel Blinkhorn

King of Iniquity
David Morneau

Distorted Mirrors
Chris Cresswell

Melissa Grey (with Harold Jones, flute, and Mioi Takeda, violin)

Lament and Sorrow: in memory of Liana Alexandra
Robert Voisey

Milica Paranosic (with Margaret Lancaster, flute)

La fête de la huitèmme decenni
Elainie Lillios

Nonlinear Division
Dan Abatemarco (Speak Onion)

Shape Study: Music for Metamorphoses
Mike McFerron

Dr. Alan Dunn was curator of ‘Bellgrove’ (Glasgow 1990-1), lead artist on ‘tenantspin’ in Liverpool (2001-7) and recently completed a PhD on the 10xCD opus ‘The sounds of ideas forming’ at Leeds Beckett University. See www.alandunn67.co.uk

Miniatures: a sequence of four tiny masterpieces, curated by Alan Dunn, featuring: Alan Dunn & Jeff Young ‘Molly Wookey’, reworking of an interview with an elderly lady on whom Dr. Arthur Spencer at Powick Psychiatric Hospital experimented with heavy doses of LSD. Backing track by Leeds Beckett University students Amy Leech (‘Maggots for breakfast’) and Mark Whitford (‘Canal Contact Microphone, midnight, with Chris Watson’). Jean-Philippe Renoult ‘Nosey Noises’, a medley of nostril noise and other mutterings by George Clinton. With thanks to Dinah Bird. Algernon Doll recording with Steve Albini in Chicago, December 2014. With thanks to Katie Strang. The Ramonas ‘We’re a happy family’, recorded at Transmission Recording Studio, Sussex, December 2014, featuring Marlon (AMI) on guitar, in homage to The Residents ‘We’re a happy family’ from the 1980 LP ‘Miniatures - 51 Tiny Masterpieces Edited By Morgan Fisher’. With thanks to Vicky.

Magda Stawarska-Beavan works predominantly with sound, moving image and print, often connecting traditional printmaking processes with new technologies such as digital audio. Magda has exhibited in galleries and public spaces nationally and internationally.

She was recently artist-in-residence at MuseumsQuartier 21, Vienna where she presented ‘Krakow to Venice in 12 hours’: an 8-channel installation in an outdoor public setting (21st July – 23rd November, 2013). This was part of the TONSPUR programme, celebrated for its collaborative work with sound artists and musicians. In 2011 she was commissioned to produce a sound installation (The Arcade) for Preston City Centre by In Certain Places. The piece was also presented as part of a large-scale sound installation (Klanghimmel) by Andres Bosshard, in collaboration with 15 European artists, at the Museums Quartier in Vienna (2011).

Other recent shows include: Kinokophonography Night at The New York Public Library for Performing Arts (2014); Call & Response – The Stream, Canada Water Culture Space, London; Guanlan International Print Biennial, Shenzhen, China (2013); Horyzont MTG PrintArt Kraków – Katowice, Poland 2012; 16th Space International Print Biennial, OCI Museum, Seoul, South Korea (2011); Wonder Rooms – Text Festival, Bury Art Gallery, Manchester (2011); Multiple Matters – International Print Triennial; Vienna and Print Without Borders Oldenburg Germany (2010)

Inside Outside: My practice is primarily concerned with the evocative and immersive qualities of sound. Sound orients us and subconsciously embeds itself in our memories of place.

“Inside Outside” is a sound composition based on field audio recordings collected over the course of several late evenings in a remote location in Poland. The piece accentuates the process of deep listening and the relationship between the recordist and her acoustic surroundings. Captured using binaural microphones which generate an auditory experience uniquely personal to the recordist, the audio content maps the acoustic traces of human presence against a wider sonic landscape. Mixing elements of macro and micro sound, the exterior night noise of cicadas, remote fireworks and the distant barking of a dog are played against the coexisting yet intimate interior sounds of a ticking clock, a contented cat and the heartbeat of the recordist.

"Inside Outside" explores how sound affects the way in which we construct our personal memories of a place; how it maps the acoustic topography and conveys narrative to a listener who has never experienced the location.

Werner Moebius works with sounds and files in th econtext of (sonic) art and audio culture in between conceptualisms, contemporary music, electroacoustic improvisation, electronica and pop. He uses the plasticity of sound to set up dialogues with other media and music methodologies. From abstract sound material he creates a unique mix of styles ranging from minimalistic soundscapes to weird instrumental art poptunes.

Generating sounds provides Werner Moebius the basis to develop complex compositions as well as transitive, synaesthetic and audio visual concepts in collaborations with artists of different media. His œuvre is containing works in the range of computer generated music, real time composition, mixedmediainstallation, audioarchitecture, intermediaart, soundenvironment, spatialconcept, soundperformance, acousticintervention, soundmap, fieldrecording, conceptpop, remixandsoundtrackforradio, film, video, multiimageshowsand TV. For his work Werner Moebius has received various awards and grantsincluding the Mexico City grant of the Austrian Federal Ministryfor Education, theArtsand Culture 2008, the Chicago grant of the Austrian Federal Chancellery 2005, Award of the Sussmann Foundation Vienna 2005 and the Music Award ofthe City of Vienna 2003. www.wernermoebius.net

chrhrhc (circuited) 2015: In the movie “Little Buddha” by Bernardo Bertolucci the tibetian monk Lama Norbu tries to explain death to a group of children. Shortly before dying he gives us the advice:

“…..the form is empty, the emptiness turns into form. - no eye, no ear, no nose, no tongue, no body, no mind, no colour, no sound, no smell, no flavour, no sense of touch, nothing does exist anymore.....“

The resulting possibility, that new things could arise out of situations without a connection to any existing thing was an inspiration for this work.

chrhrhc - a continuous sound form, which is more an acoustic state than a composition. A concise aesthetic statement in itself, timeless, not plainly definable.

Composing in this spiritmeans a topographic exploration of a reality which is far removed from the everyday. There is nothing that deflects from listening. Turning to the sound itself, generating acoustic material from unknown microstructures, working out depth and plasticity, granulating it with awareness and sensibility, until an oscillating state between sound implosion and clear focus take place. A state to convey a sensual presence, allowing the sound to catch the awareness of the recipient, to enwrap him and to open up space for a perceptive experience.

Anthony Kelly is a sound and visual artist from Dublin, Ireland. His practice includes painting, drawing, sculpture, sound installation, film/video, and improvised performance. Although diverse in construction, his work chiefly concentrates on the shifting and fragmentary nature of sensory experience. To explore this he uses the discarded or overlooked aspects of the world around us which he enlarges and amplifies to create his work. Recent projects and exhibitions include A Sound Map of Dún Laoghaire, The Soft Wave, The Drawing Project, IADT Dún Laoghaire; Blue Monday, MART, Dublin; Unforeseen, The Joinery & RHA, Dublin; and Cold Wave, Triskel Arts Centre, Cork. Anthony maintains an ongoing collaboration with David Stalling. He is a member of Projector Collective and Solus. www.anthonykelly.net

REVOL part 1 (2015): Sounds imagined from 1958, inside and outside Revol Recording Studio, Dún Laoghaire, Dublin, Ireland … discarded tape fragments, room sounds, electro magnetic waves, grip noises, faded vocals on a 78rpm acetate, wind through nearby trees and across the rooftop, distortions; audio glimpses from a very nearly forgotten past, reformed in composition…

Jon Aveyard is a composer, performer and audio artist based in Preston, UK. His work combines elements of acousmatic music, electro-acoustic improvisation, interdisciplinary performance, soundwalking and binaural recording. He also writes, leads a samba band, sings in a Natural Voice choir and is a Senior Lecturer in Music & Audio Art at the University of Central Lancashire.

Alien: We met them in a sheltered place, these visitors from far away. They were unsure what to do with our outstretched arms and had no replies to our greetings. Wordlessly, they unravelled from their packs tools of wood and metal, musical instruments as it turned out, and began to assemble them - tiny tubes with switches, a disc with a circular brush, a sea shell with a row of mouthpieces, and a patchwork quilt of shakers, I believe. Once fully rigged, the contraptions were hoisted onto their shoulders and they began to play. As they made their sounds, they rocked back and forth and their eyes begged us for appreciation. At the time, we took this gentle cacophony to be their music though later deduced that it was the gift of a parody of our own. Yet how insensitive to pitch they surely are for these simple melodies to seem like ours? Why cloud the texture with such relentless rattling? And what a confusing current must their experience of time be to replace the God-given steadiness of breath and pulse with mere ebb and flow, as if rhythm were for sounding longing rather than the swing of a limb?

Leon Hardman has a background in electroacoustic composition and is currently working in the fields of theatre design, performance and installation as both a technician and artist. His work draws inspiration from Dada and montage, with a strong focus on the abstraction of technologies. Working professionally and artistically across artistic boundaries his work engages through interactive technologies, live performance and site.

The piece, Balanx, is a study evoking a traditional ‘elektronische musik’ aesthetic but with contemporary computational techniques driving the development of both content and form. The sound material is entirely synthetic; generated and manipulated by various algorithmic processes. These sonic components were then subjected to computational reorganisation, producing unique permutations and determining the microstructure for each of the four sections within the work.

Patricia Walsh is a multi-media artist working with sound, video and photography to explore ideas of time, place and memory. She creates atmospheric and reflective audio works, that often feature music voice, and found or fabricated sounds, in an attempt to bridge the fluctuating shifts of time. Her pieces frequently suggest a sense of place, the possibility of other dimensions, unseen presences and immeasurable distances, and they maintain a resonance too with unruly or fractured recollections and discordant perceptions.

Recently her work has been presented at the Sonic Art Research Centre, Queen's University Belfast, Ireland, The Richmond Art Gallery, Richmond BC, Canada, and Hilltown New Music Festival, Castle Pollard, Co.Westmeath, Ireland. Past works include SHADOWPLAY which appears on Alan Dunn’s Soundtrack For A Mersey Tunnel CD and was also amongst selected works aired on Resonance FM Radio, London. The audio piece DUST was part of the Sonic Vigil V Festival, Cork, Ireland.

She has previously curated two Vox Novus 60x60 sound events that premiered in the UK, at the Electronic & Digital Art Unit (EDAU) and also at the Harris Museum & Art Gallery, Preston. An exhibition of photographs, 'Faith Hope and Charity Shops' is currently on show at the Adelphi Gallery, University of Central Lancashire. www.patriciawalsh.info

Rise On The Whistle (2015) relates to World War 1 and refers to how the order was given to the soldiers in the trenches to go over the top and into action.

Daniel Blinkhorn is an Australian composer and new media artist who currently resides in Sydney. His works are regularly performed, exhibited and presented internationally at festivals, concert halls, conferences, galleries and other loci, and his creative works have received over 25 international and national composition citations.

le son de la lumière - part 1: In 1982 composer Luc Ferrari scored the soundtrack to the animated film Chronopolis by Piotr Kamler. The moment I saw the film I was struck by its beauty and elegant synchronicity between sound and image. In particular, the composer’s response to the impossible shapes conjured by the animator, in which he seemed to capture the light reflected from the shapes. When I was provided with the opportunity to use some of Luc Ferrari’s original samples from his recorded archives, I set about creating a work that reflects my own impressions of his musical oeuvre. The resulting composition gravitates conceptually around the film Chronopolis.

David Morneau is a composer of an entirely undecided genre. Described by Molly Sheridan as a "shining beacon" of inspiration, his diverse work illuminates ideas about our culture, issues concerning creativity, and even the very nature of music itself. His eclectic output has been described variously as "elegantly rendered", "happily prissy", "impressive", "unusual, esoteric, and offbeat". His recent album, Broken Memory, "absolutely wrecks shop.… For that, David Morneau wins." Morneau is Artistic Director of Circuit Bridges and Composer-In-Residence at Immigrant Breast Nest. Find out more at http://5of4.com

In 2012 I curated a compilation album for Immigrant Breast Nest called B'ak'tun Waning. Each month that year, on the 21st, we released a new track by a different artist as a countdown to December 21, 2012—the much-hyped Mayan apocalypse. King of Iniquity is my contribution to the album, released on February 21, 2012, which was also Mardi Gras. It's a potent mixture of bass trombone drones, swirling synths, and splintered dub-step beats "bursting into a million ruined colors that that let you see forever."

Originally from Cazenovia, NY, Chris Cresswell (b. 1988) is a young composer who is gaining recognition for his work in a wide variety of music genres, from large and chamber ensembles, solo works, vocal works, electro-acoustic works and collaborations with video artists. Graduating Magna Cum Laude from Syracuse University in 2011 with a Bachelor’s of Music in Composition.

Distorted Mirrors – The second in my Audifiler series, an ongoing project of works built using heavily manipulated digital samples. These works were created using small fragments of preexisting material that are then heavily manipulated using a variety of digital music programs.

While trying to come up with an idea for the piece, I stumbled upon a saxophone quartet and sampled a short section of the piece. The sample was so catchy that it became the focal point for the entire piece. It reoccurs throughout the entire work against varying backdrops. Each time the sample reappears it changes based on the surrounding textures as if motif is moving through a series of fun house mirrors.

Composer Melissa Grey’s projects include concert works, electroacoustic performances, installations, food+music events and collaborations with artists and architectural designers. Grey is currently Artistic Director of Circuit Bridges, a monthly electroacoustic concert series held at Gallery MC in New York City. Previous curatorial work includes 60x60 New York Minutes Mix (2012), Transrevelation (2007) and Sonic Channels (2006). www.melissagrey.net

Appassionata (2010) is a film collage and musical composition. Artist Angela Grauerholz invited composer Melissa Grey to interpret a fragment of music that Ludwig Wittgenstein had scribbled down in his journal in 1931. Accompanying this music, he wrote: “That must be the end of a theme which I cannot place. It came into my head today as I was thinking about my philosophical work and saying to myself, I destroy, I destroy, I destroy.” Wittgenstein’s attempt to consider the implications of the limitations language places on human experience is reflected in this piece where the meaning remains open, and several sensibilities and forms of expression are merged into one. The film collage, by Grauerholz and Réjean Myette, was constructed as a response to Grey’s resulting composition, in a dialogue that reconsiders image-sound hierarchy.

“With few opportunities and much competition,...composers show creativity in just getting heard.” And in Chris Pasles’s article in the Los Angeles Times, Robert Voisey is highlighted as one of those composers. Composing electroacoustic and chamber music, his aesthetic oscillates from the Romantic to the Post Modern Mash-Up. His work has been performed in venues throughout the world including: Carnegie Hall, World Financial Center Winter Garden Atrium, and Stratford Circus in London. Voisey has been profiled and music broadcasted on HEC-TV public television in St Louis, Elektramusik in France, as well as radio stations all around the world including: Cityscape NPR St. Louis Public Radio; Arts & Answers & Art Waves on WKCR, Upbeat with Eva Radich on Radio New Zealand; and Kol Yisrael Israeli Radio.

Lament and Sorrow – In Memory of Liana Alexandra and dedicated to Serban Nichifor; two of my dear colleagues, composers, and friends.

Critically acclaimed composer Milica Paranosic has established herself as one of New York’s finest and most daring composers, performance artists, producers, and technologists. Her music was described as “Amazing...astonishing” (The New York Times), “Like liquor-filled pralines” (Germany’s Morgenpost), and “A painter, musical Jackson Pollack” (SEAMUS). Milica’s works range from one-woman multimedia shows and sound installations to operatic and symphonic works. Inspired by her travels and international collaborations, Milica imaginatively incorporates music of her Serbian homeland in addition to cross-continental muses such as Brazil, Ghana and China, always striving to create new sound worlds in which contrasting concepts vividly coexist in unique textures. Milica is current co-director of Composers Concordance, music director of Gallery MC, and founder and director of ParAcademy.

“New-music luminary” (The New York Times) and “leading exponent of the avant-garde flute” (Village Voice), Margaret Lancaster has built a large repertoire of new works composed for her that employ extended techniques, multi-media, and electronics fusing music, theater and movement. Performance highlights include Lincoln Center Festival, Spoleto Festival USA, Ibsen Festival, Santa Fe New Music, Edinburgh Festival, Tap City, New Music Miami, and Festival D’Automne. A member of Either/Or and Fisher Ensemble, she has been a guest of many groups including Argento, Counter)induction, and the New York Philharmonic. She has recorded on New World Records, OO Discs, Innova, Naxos and Tzadik, and was selected for Meet the Composer’s New Works for Soloist Champions project. Noted for her interdisciplinary performances, Lancaster, who also works as an actor, dancer, and amateur furniture designer, presents solo and chamber music concerts worldwide. Recent collaborations include playing Helene in the 7- year worldwide run of OBIE-winning Mabou Mines Dollhouse, BMP’s Kocho, and Fables on Global Warming with Karole Armitage’s ArmitageGone!Dance. www.margaretlancaster.com.

Mrak is a piece I wrote for Margaret Lancaster and myself several years ago as a part of a larger (still in progress) project, focusing on sonorities of Margaret’s stunning, lush and diverse flute soundscapes layered over beats and vocals.

'Mrak' is 'darkness' in Serbian, often used for 'cool' or 'awesome' in Belgrade slang.

Elainie Lillios’s music reflects her fascination with listening, sound, space, time, immersion, and anecdote. Awards include a 2013-14 Fulbright grant (Greece), First Prize–Electroacoustic Piano International Competition, Special Mention–Prix Destellos, Prize Winner–Medea Electronique Competition, and First Prize–Concours Internationale de Bourges. Recognition from Concurso Internacional de Musica Electroacustica de Sao Paulo, Concorso Internazionale Russolo, Pierre Schaeffer Competition, ICMA, and La Muse en Circuit. Elainie’s acousmatic is available on the CD Entre Espaces, produced by Empreintes DIGITALes, plus Centaur, MSR Classics, Irritable Hedgehog, StudioPANaroma, La Muse en Circuit, New Adventures in Sound Art, SEAMUS, and Leonardo Music Journal. www.elillios.com

La fête de la huitièmme decennie weaves a fantasy about celebrations and the aftermath. It celebrates Francois Bayle’s 80th birthday and premiered October 27 2012 in Brussels, Belgium on a concert honoring him.

As Speak Onion, Dan Abatemarco treads on, then completely explodes, the line between producer and noisician. He spews seething noise, giant deformed beats and absolutely wrong atmospheres in fits and starts until nothing sounds like what it sounds like anymore. Breakbeats and basslines enter innocently but end up processed beyond recognition and drowning in feedback. Synth sounds are stretched, manipulated, and left ruined as chilling shrieks. The resulting sonic abomination slips between the dimensions of experimentalism, harsh noise, and beat-bashed breakcore. Dancefloor? Maybe. Slaughterhouse floor? Yes, definitely.

Nonlinear Division is Dan’s contribution to Immigrant Breast Nest’s B’ak’tun Waning project from 2012.

Mike McFerron is professor of music and composer-in-residence at Lewis University, and he is founder and co-director of Electronic Music Midwest (http://www.emmfestival.org). His music can be heard on numerous commercial CDs as well as on his website at www.bigcomposer.com.

Shape Study: Music for Metamorphoses for fixed media was written at the end of 2008 for the Lewis University Theater Department production of Mary Zimmerman’s Metamorphoses. An adaptation of Ovid’s eponymous narrative poem, this production of Zimmerman’s play was directed by Dr. Kevin Trudeau. Although the composition is, on one hand, intended to serve as a prelude to the production of this play, it is also hoped that the work stands by itself as an independent electroacoustic composition. Structurally, this composition reduces the distances between traditional foreground, middleground, and background musical layers, thus clouding these dimensions. Yet at the same time, this work strives to present a clear and logical dramatic shape by assembling spectral, dynamic, and spatial elements.