The Hannah Maclure Centre is excited to host an experimental sonic workshop, that explores some of the themes raised in our current exhibition, ‘All watched over by machines of loving grace’. The exhibition allows us to contemplate space from the machine's point of view, encouraging audiences to think about the ability of computers and machines to see, understand and interpret the world around them.
Through this workshop we will consider these ideas through the medium of sound and electronic music. To begin we will consider some initial observations:
1) the birth of recorded sound radically reconfigured the cultural and fiscal space that music operates within;
2) machines have often replaced musicians;
3) when music is perceived as sounding ‘machine-like’ it is (often) criticized for its lack of ‘soul’.
This workshop will probe the relationship between human and machine in a search for lively interaction. The notion of imagined agency will be at the foreground, this idea values systems and situations that rely on interdependent and ambiguous elements. Although machines do not ‘know’ their operators, they can be both precise and unpredictable, which can lead to life-like characteristics. These considerations, informed by a broad discussion around how we perceive sound, will serve as a catalyst toward practical activity using Pure data software.
Participants are encouraged to bring their own laptop
John is a post-digital/electronic musician and senior lecturer/head of music technology currently based in Brisbane/Australia at Queensland Conservatorium Griffith University (QCGU). Prior to this he was a visiting assistant professor in the music department at Brown University (USA), and previously, a lecturer in music/creative music technologies at Kingston University (UK). John’s Ph.D. ‘New Relations for the Live Musician?’ was completed in 2009 under the supervision of Bennett Hogg and Sally Jane Norman at Newcastle University (UK). His thesis charts an idiosyncratic zone within the continuum of what it is to be a live musician at the dawn of the 21st century. John’s work is published via Contemporary Music Review, Ashgate, Cambridge University Press, Creative Sources Recordings, and Clinical Archives. As well as academic conferences and festivals such as NIME, ICMC, NYCEMF, BEAM, and SEAMUS, he has also presented live performance-based works at Borealis Festival for Contemporary Music in Bergen, Open Studio at STEIM in Amsterdam, and Club Transmediale in Berlin.
The exhibition ‘All watched over by machines of loving grace’ was launched as part of this year’s NEoN Digital Arts Festival and continues until 24 February 2017.