Lindsay Vickery – Þögla byltingin / Silent Revolution

Jaðarber verður með sýningarbás á Myrkum Músíkdögum 2015 og í samvinnu við hátíðina kynnir Berið komu ástralska tónskáldsins og klarinettuleikarans Lindsay Vickery hingað til lands. Lindsay hefur sérstakan áhuga á nýtingu hreyfinótna og myndbanda í flutningi tónverka og má hér heyra og líta augum ný verk eftir íslensk tónskáld sem starfað hafa með svipuðum aðferðum auk annarra verka eftir tónskáld frá Vestur-Ástralíu.
Kaldalónssalur í Hörpu, föstudaginn 30. janúar kl: 22.00.
/
Peripheriberry´s showcase at the Dark Music Days festival 2015. In close co-operation, featuring the Australian composer and clarinetist Lindsay Vickery, performing audiovisual music with animated notation and use of video in musical performance. In the concert, titled ‘Silent revolution’ he will team up with Icelandic composers-performers who often apply similar methods, in blend with music by other West-Australian composers.
Kaldalón Hall in Harpa Music Hall, Friday January 30th at 10pm.


EFNISSKRÁ / PROGRAM

Þögla Byltingin | Silent Revolution

Lindsay Vickery silent revolution (2013) (IP)
Sam Gillies Snowden (2014) (IP)

Lindsay Vickery Sacrificial Zones (2014) (IP)
Þorkell Atlason ominous (music) (2015) (WP)
Cat Hope Signals Directorate (2014) (IP)

Lindsay Vickery Semantics of Redaction (2014) (IP)
Páll Ivan frá Eiðum K.O. GO (2015) (WP)
Lindsay Vickery detritus (2015) (WP)

Lindsay Vickery – clarinet/bass clarinet/electronics
Páll Ivan frá Eiðum – double bass/electronics
Þorkell Atlason – electronics

————————
Lindsay Vickery

Ástralska tónskáldið, spunaleikarinn og flytjandinn Lindsay Vickery hefur starfað með og komið fram með listamönnum á borð við Jon Rose, Werner Dafeldecker, Amy Knoles, Marek Chołoniewski, Annie Gosfield, the California EAR Unit og MATA Ensemble. Hann hefur komið víða fram, þ.á.m. í Evrópu, N-Ameríku og Asíu og er stofnmeðlimur flytjandahópanna Decibel, Candied Limbs, SQUINT og HEDKIKR, sem sérhæfa sig í ólíkum tegundum tónlistar; samtímatónlist, spuna og jafnvel óhljóðatónlist. Tónlist Lindsays spannar vítt svið, frá einleiksverkum upp í óperu að stærð og nýtingu hefðbundinna hljóðfæra til raf-hljóðfæra, allt frá nýtingu spuna og gagnvirkrar hljóðvinnslu til fullskrifaðrar tónlistar. Lindsay sinnir stöðu forstöðumanns tónsmíða við Western Australia Academy of Performing Arts í Perth.
/
Australian composer and improviser Lindsay Vickery has collaborated a.o. with Jon Rose, Werner Dafeldecker, Amy Knoles, Marek Chołoniewski, Annie Gosfield, the California EAR Unit and MATA Ensemble. He has performed throughout Europe, N-America and Asia and is the founding member of new music, improv and noise groups Decibel, Candied Limbs, SQUINT and HEDKIKR. His music includes works for acoustic and electronic instruments in interactive-electronic, improvised or fully notated settings, ranging from solo pieces to opera. He is the head of composition at the Western Australian Academy of Performing Arts in Perth.

http://www.lindsayvickery.com/

Cat Hope

Cat Hope er búsett í Perth, Ástralíu og starfar sem listamaður sem vinnur verk sín á mörkum listgreina, en vinnur jafnframt með hljóð sem miðil í allri sinni listsköpun. Bakgrunnur Cats er í flautuleik, en hún hefur einnig starfað sem bassaleikari og unnið innan ólíkra tónlistarstefna og listgreina á borð við óhljóðakenndan spuna, rokk, tónsmíða, myndbandslistar og innsetninga. Cat starfar að post-doktors-rannsókn við WAAPA, Edith Cowan háskólann (ECU). Þar sem rannsóknarefni hennar eru m.a. lágtóna hljóð, kvikmyndatónlist og samband hefðbundinna og rafvæddra hljóðfæra. Cat ferðast víða um heim og starfar sem einleikari í hópum á borð við Abe Sada og Decibel sem og hljóðlistarhópnum Metaphonica.
/
Cat Hope is a multidisciplinary artist based in Perth, Australia, whose work is grounded in sound. Trained as a classical flautist, she later moved to bass playing, noise improvisation, rock, video art, composition and installation and is currently the CREATEC Post Doctoral Research Fellow at WAAPA, Edith Cowan University (ECU). She is a passionate performer and researcher with an active international touring schedule, as a soloist in her groups Abe Sada and Decibel, and the sound art collective Metaphonica. Her research interests include low frequency sound, film music, WA new music, archiving and the relationship between acoustic and electronic instruments.

http://www.cathope.com/

Sam Gillies

Í verkum Sams Gillies er honum hugleikið hvernig skruð (e. noise) getur virkað á ólíkum forsendum innan tónlistar og listar, í formi tónlistarlegrar virkni sem og samskiptalegrar. Tónlist Sams rambar á línu þess tónlistarlega fallega og hins ljóta og styðst hann við möguleika lifandi flutnings, nýmiðla og innsetningarformsins til að skapa sérstakan hljóðheim, þar sem er að finna allt frá gisinni og brothættri áferð yfir í að vera yfirstígandi þétt og ákveðin. Tónlist Sams hefur verið flutt víða um heim, þ.á.m. má nefna Test Tone tónleikaröðina í Superdeluxe, Tókíó og Alþjóðlegu tölvutónlistarráðstefnuna. Sam stundar um þessar mundir mastersnám í tónsmíðum við Goldsmiths, Lundúnarháskóla.
/
Sam Gillies is a composer and sound artist with an interest in the function of noise as both a musical and communicative code in music and art. His work treads the line between the musically beautiful and ugly, embracing live performance, multimedia and installation art forms to create alternating sound worlds of extreme fragility and overwhelming density. Sam’s music has been programmed at both national and international conferences and festivals, including the Test Tone Series at Superdeluxe, Tokyo and the International Computer Music Conference. Sam is currently studying a Masters in Composition at Goldsmiths, University of London.

http://www.samgillies.com/

—————
About the works:

Silent Revolution reflects on the recent work of journalists Chris Hedges, Jeremy Scahill, Alan Weisman and others. In particular, the opening of the score is a collage of images from Camden, New Jersey, one of the places Chris Hedges refers to as a sacrifical zone, “where those discarded as human refuse are dumped, along with the physical refuse of postindustrial America”. The second part of the score focuses on the displaced: encampments of Occupy, refugees of wars in Mali and Chad and the destroyed face of Lebanon. The final section shows images of a proposed WIPP (Waste Isolation Pilot Plant), described by Alan Weisman as a “scarecrow to posterity” for the storage of waste so toxic that “the U.S. Department of Energy is legally required to dissuade anyone from coming too close for the next 10,000 years”.

Snowden – Like many people I struggled to understand the real-world implications of the revelations made by Edward Snowden during his initial leaks of the metadata collecting activities of the NSA. After all, surveillance of this kind has probably been happening for a while and, if so, my life has been no worse off than before such suspicions were confirmed. I could satisfy myself that I wasn’t giving anyone anything that I considered to be particularly valuable. It wasn’t until several months later, following a change of government and the continued recurrence of media news stories that continued to hark back to the original leaks made by Snowden, that it started to dawn on me the truly awesome significance of the data mining activities of the NSA in 2014.
Monitoring the surrounding metadata of our online activities – the data about data – raises countless questions, and ultimately effect such activities could have on the individual are difficult to ascertain. The temptation is to fall into conspiracy theory, but at the very least we can assume that such data is of some value to someone, somewhere, and we have no say or knowledge as to who that person is. Perhaps we are all too used to, and preoccupied with, uncertainty in our immediate lives following the GFC that we can happily ignore the more vague, poorly defined uncertainty that surrounds the harvesting of metadata by security organisations.

Sacrificial Zones – In his “Days of Destruction, Days of Revolt” Chris Hedges details a number of places in the US which he describes as “sacrificial zones”, places that have essentially been abandoned by society and government. One of the places he visits is Camden New Jersey. It was once a hub of industry, but has become a no-go zone with large homeless camps, ruled by gangs, with a permanent underclass of unemployed. The graphical score for Sacrificial Zones is a collage created from images of Camden. It is a rhizomatic score in which the performer reads along intersecting pathways that are orientated both vertically and horizontally. In addition, the score is comprised of five layers each notated in a different manner: non-semantic, semantic, traditional, proportional and spectrogram. The notated score was evolved from improvisations based on “readings’ of the non-semantic notation.

Signals Directorate responds to the revelations that many countries (including Australia) were intrusively spying on their nearest allies and neighbours. It explores the ill-conceived idea of filtering signal from noise, through the medium of noise.

Semantics of Redaction – The Information Revolution brought about a massive expansion – the apparent openness of information. It appears increasing redaction is the new direction for global media: be it “the right to be forgotten” by Google or the blank pages of the shooting incident report for Ferguson resident Michael Brown. In the semantics of redaction the performer loads a recording of a topical news item into a scoreplayer which both renders and redacts it as scrolling notation. Musical “stems” and “noteheads” are generated to correspond with accents detected in the recorded speech and the noteheads are colour-coded to represent timbres. The notation is also sometimes obscured by large black “redactangles” and accompanying sonic bleeps. The work was written for and is dedicated to Vanessa Tomlinson.

World premiere works will be introduced by their respective composers.

Thank you to Gudmundur Steinn Gunnarsson, Jesper Pedersen, Jaðarber, S.L.Á.T.U.R., Einar Jóhannesson, Listaháskóli Íslands.