A concert of the diverse artforms of clog dancing, music boxes, embroidery and live coding, each giving a different perspective on the human side of mechanisms and algorithms. The concert will take place 12th November 2016. We are also programming a second concert on the following day (13th Nov), which will be free of charge to Crafting Sound ticket holders. Crafting Sound is hosted by Millennium Gallery as part of AlgoMech festival (http://algomech.com).
7:30pm - 9:30pm,
12th November 2016, £6 advance (£8 OTD)
“Lace Tells” by Sampler-Cultureclash
Lace Tells brings together work songs, machines, the rhythms of making, field recordings, music boxes, counting, lace patterns and codes, protests, and the sounds and processes of making Lace. Through this performance Nathaniel Mann, David Littler, Alex McLean and guests will explore these lace patterns, the pattern and repetition of the counting, the words of the songs.. All while performing using things as they are being made. Lace Tells were songs sung to accompany and direct the making of Hand Bobbin Lace.
“The Machinery” by Caroline Radcliffe and Sarah Angliss
This performance revisits “The Machinery”, a dance from the nineteenth century which imitates the sounds and movements of the factory floor. Devised by women working in the Lancashire mills, the steps of this nineteenth-century ‘heel and toe’ clog dance directly mimic the repetitive sounds and movements of cotton mill machines. The Machinery survived through the twentieth century thanks to Pat Tracey and other dancers with family associations with the mill. Here, Caroline Radcliffe and Sarah Angliss connect The Machinery both with its industrial and contemporary context, as they juxtapose the dance with found sounds and video fragments from a working cotton mill, and a telephone call centre.
Self-resonating feedback cello by Alice Eldridge and Chris Kiefer
As a duo, Alice Eldridge and Chris Kiefer explore ways of bringing together expressive gesture of musical instruments with the abstract dynamism of software. Inspired by the Halldorophone by Halldór Ulfarsson, they modify cellos with guitar pickups and speakers built into the body of the instruments, causing the strings to self-vibrate. This creates rich, dynamic sound, which they work with both through playing the cellos as a physical instrument, and by playing and modifying the algorithms that work as a kind of ‘operating system’ for the cello.
Plus a new commissioned performance by textile artist Toni Buckby and sound artist Sean Cotterill which will be developed through an AlgoMech residency in the run-up to the festival.