EXHIBITIONS

& EVENTS
PROGRAMME
www.audiograft.co.uk
02 03
25/0202/03
10:0018:00 Daily
The Glass Tank, Oxford Brookes
University, OX3 0BP
27/02 18:00 Free
Launch Night
Richard Hamilton Building,
Headington Hill Campus, Oxford
Brookes University, OX3 0BT
28/02 19:30 5/4
Holywell Music Room, Holywell
Street, Oxford, OX1 3BN
EXHIBITIONS EVENTS
26/0203/03
Open during gallery hours
Opening Event:
26/02 17:0019:00
Project Space, Modern Art Oxford,
OX1 1BP
06 Helmut Lemke Klangeln
07 ROLF JULIUS
28/0202/03
10:0018:00 Daily
Opening Event:
27 February 18:0021:00
Richard Hamilton Building,
Headington Hill Campus, Oxford
Brookes University, OX3 0BT
08 PIERRE BERTHET
09 MAX EASTLEY
10 Ben Gwilliam
11 Kathy Hinde
12 Felicity Ford
14 Stephen Cornford
15 Kostis Kilymis
16 Charlotte Heernan
17 Alex Allmont
& Aya Kasai
18 Emma Souter
31 Austin Sherlaw-Johnson
19 Iain Harvie
22 Paul Whitty
08 PIERRE BERTHET
27 JOHN TILBURY
24 RAY LEE
30 Tim Parkinson
17:30 Free
Drama Studio, Headington
Hill Campus, Oxford Brookes
University, OX3 0BT
Efthymios Chatzigiannis
Samuel Roberts
01/03 19:30 5/4
Modern Art Oxford, OX1 1BP
34 DANIEL TERUGGI
37 Susanna Borsch
02/03 19:00 5/4
Modern Art Oxford, OX1 1BP
38 PHILL NIBLOCK 40 Valerio Tricoli
13:0017:00 Free
Modern Art Oxford, OX1 1BP
42 HEARth: an afternoon of participatory listening and learning
For full HEARth schedule please check www.audiograft.co.uk
31 Austin Sherlaw-Johnson
32 The Set Ensemble Dominic Lash, Sarah Hughes, David Stent,
Bruno Guastalla, Paul Whitty
25 Stelix
26 Henrique Portovedo
Ref4mation
Tim Howle, Paul Dibley, Iain Harvie, Brett Gordon
39 Thomas Ankersmit
41 Ornis Kathy Hinde & Sabine Vogel
Stephen Eyre
02 03
EXHIBITIONS
06 07
Helmut Lemke, 25/0202/03 The Glass Tank Rolf Julius, 26/0203/03 Project Space
08 09
Pierre Berthet, 28/0202/03 Richard Hamilton Building Max Eastley, 28/0202/03 Richard Hamilton Building
10 11
Ben Gwilliam, 28/0202/03 Richard Hamilton Building
Piano Migrations by Kathy Hinde
In Piano Migrations nature appears to control machines as they come
together to create a delicate and ever-changing musical score.
The inside of an old upright piano, rescued from destruction, is
transformed into a kinetic sound sculpture. A video of birds landing on
telegraph lines is projected directly onto the piano strings: the movements
of the birds trigger small machines to twitch and utter, causing the piano
strings to resonate.
I have a passion for creating work that connects with the natural world
and try to reveal the often overlooked poetic qualities and rhythms of
the everyday. In order to develop and inform my practice, I have recently
been working alongside biological and environmental scientists, to bring
a stronger research element to my creative methods. My relationship with
nature, and knowledge of nature continues to be a really important aspect
of my creative work, and a rich source of inspiration.
Kathy Hinde
www.kathyhinde.co.uk
all photos by Kathy Hinde
Kathy Hinde, 28/0202/03 Richard Hamilton Building
12 13
Felicity Ford, 27/02 Richard Hamilton Building
Sonic Wallpapers
Dr Felicity Ford
Sonic Wallpapers explores the
wallpaper samples held in the
collection of the Museum of
Domestic Design & Architecture
- part of Middlesex University.
Based on interviews and eld-
recordings, the project expands
how we normally contemplate
wallpaper, drawing our ears into a
context which has historically been
discussed in purely visual terms.
Wallpaper is self evidently
designed visually, but we experi-
ence the rooms where it hangs
with all of our senses, and our
memories are stimulated as much
by sounds and smells as by sights. A
cheery 1960s design might remind
someone of a coee pot gurgling
away on their grannys stove, while
a stately 1920s design might evoke
the memory of high heels clacking
down tiled, Art Deco corridors.
Associations like these linking
places, memories and sounds are
the basis for Sonic Wallpapers; they
are what allow us to move between
the aural and the visual.
The project was developed using
interviews and eld-recordings.
Interviewees oered their opinions
on a selection of wallpapers in the
MoDA collection, and then record-
ings based on their responses were
collected over a number of months.
These interviews and sounds
were collated into short Sonic
Wallpapers, composed to compli-
ment the actual wallpapers held in
MoDAs collection, and to help us to
view them in a new way.
I am interested in what sounds
mean, rather than in purely how
they sound, and so the connec-
tions between sound and memory
in Sonic Wallpaper are particularly
relevant to my practice. During
my PhD studies I became intrigued
by sounds ability to describe the
material world.
Consider the dierence between
the acoustics of a bathroom and
a church, or the sounds of round
pebbles on the beach vs. a zipper
zipping, and you can see that their
descriptive qualities make sound-
recordings an ideal medium for
celebrating the physical world. I
am interested in processes which
help us to explore the reality we
live in and especially in strate-
gies for focussing our attention on
the ordinary sounds which we hear
all the time and perhaps take for
granted.
Some of the sounds which are
socially important to us are so
familiar that we dont necessarily
hear them consciously; the rst
sound you heard this morning; the
tone of your partners voice; the
birds that sing in your street; and
the sounds created by the people
you love moving about in your
home, for instance.
During my PhD I made several
radio shows exploring such sounds,
and created objects knitted
headphones; pillows with speakers
embedded in them; artist publica-
tions etc. intended to celebrate
everyday sounds. Working on Sonic
Wallpapers with MoDA has allowed
me to continue along similar lines,
exploring an ordinary, domestic
material using the descriptive and
evocative medium of sound.
MoDAs wallpaper collection is
well suited to Sonic Wallpapers,
because many of the designs in
the collection were available on
the mass-market to the British
public, and carry an ordinariness
not present in collections of rarer or
more exclusive wallpaper designs.
Also, the time-period of British
home-dcor covered by the MoDA
collection made it possible to select
wallpapers from periods within
living memory for this project,
allowing interviewees to remember
homes from childhood.
There is a dreamlike or fantasy
dimension to many of the responses
to MoDAs wallpapers which range
from that would be great in a
room with an indoor swimming
pool to I would love to have a
room just for making jam, and to
put that paper in there.
However wallpaper has always
been connected to the fantastical,
and in Britain, wallpaper fashions
have often been both nostalgic
and exotic. In Little Palaces, Mark
Turner writes about the popularity
of the old and the antique and
exotic wallpapers in Londons
1920s suburban semi-detached
houses, and in interviews, people
struggled to date wallpapers which
could as easily be printed today
as in the 1950s or even the 1980s,
because of the cyclical nature of
trends.
Somehow with wallpaper as
with fashion - the past is continu-
ally recycled into the present. Sonic
Wallpapers celebrate the inherent
nostalgia, domestic fantasy and
home-creativity connected with
wallpaper. Through sound, the
project links the questions we ask
in the DIY store with the spaces we
imagine in
our minds when we are icking
through sample books.
Sonic Wallpapers put the sounds
of clocks, sh-tanks and other
textures from everyday life beside
questions weve all asked about our
homes, like where would we put
this wallpaper? and could I live
with that?
BADDA 4770 Museum of Domestic Design &
Architecture used with their kind permission
sounds recorded: looms, clocks and wallpaper-printing
machinery
BADDA 4380 Museum of Domestic Design &
Architecture used with their kind permission
sounds recorded: super-8 projector, sparklers, popcorn
popping
BADDA 4782 Museum of Domestic Design &
Architecture used with their kind permission
sounds recorded: sounds of forests and walking outdoors
All content from Sonic Wallpapers, a project between the Museum
of Domestic Design & Architecture and Dr Felicity Ford, 2011 - 2012
BADDA 4772 MoDA and used
with their kind permission
Sounds recorded: splashing in the
bath, blowing through a straw,
aquarium sounds in the Aquatic
Design Centre and in the Horniman
Museum aquarium.
This looks like childrens bedroom
kind of wallpaper, and I dont have
children, so I dont really feel drawn
to putting it up anywhere in my
house.
I like the contrast between the very
muted pastel blue background and
then these quite violently bright
colours in front of that.
Bathroom. Its in the bathroom,
denitely. I know its dicult to
put wallpaper in a bathroom, but it
would look great.
Obviously quite old, though, and
not a design I would have expected
from an older time.
Do you think theyre mackerel? I
think theyre mackerel or sardines.
I think it would be really funny to
have it in your living room, because
it would be like having a huge
aquarium.
soundcloud.com/modamuseum
sonicwallpapers.blogspot.co.uk/
moda.mdx.ac.uk/home
This article rst appeared in MoDAs
publication, Sonic Wallpapers and
is republished for Audiograft 2013
with MoDAs kind permission
14 15
Stephen Cornford, 28/0202/03 Richard Hamilton Building
invention of memory (2013)
two-channel audio installation in
the shared spaces of the Richard
Hamilton Building. Repurposed
sound,mirrorlesslistening
Kostis Kilymis, 28/0202/03 Richard Hamilton Building
16 17
Charlotte Heernan, 28/0202/03 Richard Hamilton Building
Sounding every 100 paces
White Horse Hill, Oxfordshire
January 2013
Purposeful Sounding
The Drama Studio, Oxford Brookes University
September 2012
Alex Allmont & Aya Kasai, 28/0202/03 Richard Hamilton Building
18 19
Emma Souter, 28/0202/03 Richard Hamilton Building
Browsing History
Audio Visual Arrangements by Emma Souter
An exhibit demonstrating visual and aural
compositions created by looking at and transposing
patterns produced while browsing the internet.
As a society we spend much of our time searching
and browsing the internet, and like creatures of
habit we stick to certain paths for our information,
communication, entertainment, socialisation,
validation, remuneration and consumer needs.
Surprisingly, this work is composed by an artist with
no formal musical training using seemingly random
patterns, yet the notes produced have a natural
musicality to it, giving rise to the question if any
patterns formed can be truly random upon closer
examination.

WHATS A COMPUTER?

Iain Harvie, 28/0202/03 Richard Hamilton Building
20 21
Anne Ryan & Jean Wykes, 28/0202/03 Richard Hamilton Building
LJAWR are a feral vocal improvising duo briey
brought together to explore the corridor of Oxford
Brookes Audiograft 2013. Jean Wykes is a student of
Contemporary Fine Art at Oxford Brookes, enjoying
performance, installation, lm making and oil
painting. Anne L Ryan is a voice and sound practitioner
who uses voice as an instrument in performance,
music theatre and workshops. Both are members of
Oxford Improvisers.
www.annelryan.co.uk
Photo: 2013 Anke von Loewensprung
Permission to use granted
Mike Blow & Aya Kasai, 28/0202/03 Richard Hamilton Building
22
EVENTS
Listening to the River Exe from rst marsh at Fortescue Farm
Paul Whitty, 28/0202/03 Richard Hamilton Building
24 25
Ray Lee, 27/02 Richard Hamilton Building

After Alison Knowles
a Fluxus cover

For two performers, or four hands

Materials: Alison Knowles's #2 Proposition (1962)
salad ingredients
amplied chopping boards
knives and graters
contact microphones
bowls

Instructions: Organise salad ingredients according to the
sounds produced by their preparation .
Cut and grate vegetables.
Use prepared chopping boards as a surface for
this action.
Amplify and order the sounds coming from this
process.
Listen for relationships.
Embellish food preparation process with sounds
of food preparation process.
Proceed in this way until an edible salad is
made.
The performance ends when the piece is made.

Stelix, 27/02 Richard Hamilton Building






After Alison Knowles, a Fluxus cover by
Stavroula Kounadea and Felicity Ford is
licensed under a Creative Commons
Attribution-ShareAlike 3.0 Unported License.
Reference: http://www.aknowles.com/salad.html

26 27
Henrique Portovedo, 27/02 Richard Hamilton Building
Cascando: a radio piece for music and voice
Beckett wrote three Radio plays with music: Rough for Radio No. 1, Words
and Music, both written in 1961, and Cascando, written in 1962.
In a sense it can be said that adding music to Beckett is a superuous
exercise because of the intense musicalness of all Becketts texts; indeed,
I have given a paper on the theme of Beckett as Music. What is important
in Becketts use of music in these plays is the idea of the role of music as
an autonomous member of the cast of a play. Music is not there simply in
some kind of supporting role even if, in the case of my music for Cascando,
it does relate, interdependently, to the other two characters, Opener and
Voice. So whilst having, as it were, a mind of its own, the character Music
is nevertheless sensitive and responsive to the needs and demands of the
characters with whom it cohabits.
I also play both parts, Opener and Voice, since I regard them as contra-
dictory facets of the same personality, and I try to express both their
single identity and the signicant dierences that exist between them.
Opener is both enabler and controller, creating space for Voice to tell
his fraught and anguished story, but also cutting him o, often in mid
sentence. Sometimes Opener encourages Voice full strength, and
come on. Opener also controls the entries of Music, sometimes permitting
only brief appearances, with or without Voice. But less than halfway into
the play Opener himself appears to be struggling with unspecied forces
(they) and towards the end there is a strange, unfathomable but beauti-
ful sequence where Openers contribution becomes more specic with
references to outings, and to the path leading to the village, to the inn.
Voice, however, throughout the piece, is obsessional a writer tormented
by a story (with a character Woburn) which he is unable to nish. Voice
observes and describes Woburn, a character broken free from his author,
and a throw-back to some of the creations, like Molloy, in Becketts earlier
novels. Typically, Woburns adventures evoke images of nature, in particu-
lar of the sea. I have occasionally referred to this with Music, with quasi-
naturalistic eects, although the piano is the sole sound source. Most of
the time Music is reective and does not get embroiled in the agitation
and staccato rhythms of much of the text, nor the anguish or resignation.
Rather, Music acts as a stabilizing factor, unifying the disparate qualities
of the text. It has, I hope, a presence, but is not intrusive.
Technical rider:
Voice part on CD; 2 speakers either side of the piano. Two channels, so that
the openers voice comes out of one speaker, and the voice part out of
the other. The piano accompanies live, probably not miked.
John Tilbury, 28/02 Holywell Music Room
28 29
Theres something in there
text: Ken Edwards
music: John Tilbury
Theres something in there
At leastthere may be. Who can say more than that?
It comes in there, or is there, sometimes. Its
suggestive of
No-one can say what it is.
What?
What is out here is found. It was found in the
woods. In the dark woods, in the midst of it all. Like
the poet, in the midst of a journey, it steals away.
Its out here. Its made of steel.
Steel in the woods. It curves, all the way in.
A steel cave, and whats in it.
Theres denitely something in there.
Lets say a probability.
A throat. There are rivets all down its throat. But
thats not it. What it is, is in there, as opposed to
out here. By out here is meant all that isnt in there.
But where would there be?
Its a throat, and a gnarl in the throat. Something
gnarled.
Like in the woods, a gnarling, throat rivets. Or a
tongue.
That would be something.
There are rivets all the way down the tongue of the
thing, if it is a thing, and not just a space.
You see, it could be innitely deep. The spaces
could be silences. They could phosphoresce, that is,
liquefy.
Where does that thought happen?
There are some things here you dont even want
to think of. You cant, you cant say the words
properly. They used to say it was because you had a
short tongue. A poet would understand, sometimes
the space seems innitely deep, and at other times
its like a patch of dark velvet axed to the outside.
I comes in there, I subsequently speech-compensate
for this, as though the lake of my hearts, as the
poet says, almost destroyed
What?
The poet would understand.
I mean that its in there, not the rivets, the rivets go
all the way down to it, or you go down. Say its part
of your brain. Or your mouth.
Inside your mouth.
Where the harmonic series dances.
Or my mouth, if you like. In my mouth. Or on my
tongue.
I know that!
This heart within me I can feel, and I judge that it
exists. This world I can touch, and I likewise judge
that it exists.
It is said a poet said that.
He said it in the woods.
No-one knows any more.
It could be that someone was lost.
Lost in the woods. Or lost in thought. Its the same
thing.
By that is meant, that one kind of space is replaced
by another kind. You go from the outside to the
inside, it cant be explained any further than that.
Youll have to look it up. You go from out here to in
there, meaning
There may not be any in there.
What was that?
I cant say. Its private. Never mind. I am privileged
to do so. You what? I do have access to it. Or it
depends.
I can hear a voice.
It moves from in there to out here, and then back
again. If you get the drift. It is reminiscent of foxes
in the garden, just before dawn. The little foxes
with big ears. You need a keen ear. Like the little
dog, you know, the little dog peering down that
great trumpet, in the old wind-up days, but who
can say if a sound emanates, and if it emanates
what it signies, and if it signies, what does that
signify? For instance, is it signicant? To the dog,
John Tilbury, 28/02 Holywell Music Room
that is. A little dog, white with brown spots. Lets
call him Spot. I am I because my little dog knows
me. A poet said that. Is the dog even looking for
signicance, or authority, say? The question is, who
is to be the master? But it could be comforting.
It could be the only comfort he has, this evidence
of private space, emanating into public space,
replacing replacing replacing
Well, theres a certain pleasing symmetry about
that, dog on one end of the trumpet, god on the
other. Symmetry can substitute for certainty.
Stop/Silence
Where was I?
I could say that I believe there is something in there.
Although I have no grounds for such a belief.
The dog Spot got up and walked away. He walked
away from his master and god.
Its a sort of placeholder.
Look. See Spot go.
Go, Spot.
I have lost my tongue.
Its in there. Somewhere.
Ken Edwards is a writer and editor based in Hastings.
His books include Intensive Care, Good Science,
3600 Weekends and eight+six (poetry) and the novel
Futures.
The text of Theres something in there... was
commissioned by John Tilbury, with the request that
it relate in some way to the piano. Meditations on
the interior space of a grand piano led to reections
on inner and outer spaces generally, both physical
and psychological - and in the end the piece was
also inuenced by a welded steel sculpture, Beyond
and Within, by Joanna Mowbray, encountered in
the Yorkshire Sculpture Park. There are incidental
references to Camus, Gertrude Stein, Dante and
Beckett. Ken Edwards.
Ken Edwards poem captures the materiality of
the piano that is, the wood and steel from which
it is forged, their provenance and the processes they
undergo. Even in its natural state such material
possesses and suggests certain sound qualities. In
the Steinway factory in Hamburg, where some of
the sounds in the piece originated, one can observe
and hear the gradual instrumentalisation of the
material (human agency at work), a procedure which
is mirrored in the piece itself the piano represented
both as a sound object to be exploited and as an
(historical) instrument to be played.
In the latter part of the poem the history of
the piano is nally alluded to, charmingly evoked
through the time-honoured image of His Masters
Voice. Analogously, eeting references to the
classical repertoire may be heard. The ending
suggests that perhaps the (acoustic) piano cannot
survive. Certainly in its 19
th
century incarnation it
is threatened by obsolescence, overtaken by an
aggressive and predatory new technology. Samuel
Beckett prophesied its demise in Watt:
The piano is doomed, in my opinion, said the
younger.
The piano-tuner also, said the elder.
The pianist also, said the younger.
30 31
Phill Niblocks Pan Fried was written in
2001. It was written for Reinhold Friedl.
Pan Fried is a too obvious pun on
Reinholds name, and the English verses
the German pronunciation of the letter
combination ie. The piano was played
with a single nylon string tied to a single
piano string. The string was stroked with
rosined ngers, with the open pedal held
down. Several octaves of C sharp and F
were recorded, using a stereo Neumann
microphone and a Bosendorfer piano.
Tim Parkinson, 28/02 Holywell Music Room Austin Sherlaw-Johnson, 28/02 Holywell Music Room
32 33
Programme:
James Tenney, Swell Piece for Alison Knowles (1967)
Bruno Guastalla (cello), Sarah Hughes (zither), Dominic
Lash (double bass), Tim Parkinson (piano), David Stent
(guitar), Paul Whitty (harmonium)
Michael Pisaro, Rve [Harmony Series 8b] (2005)
Sarah Hughes (piano), David Stent (guitar)
James Tenney, Swell Piece no.2 (1971)
Bruno Guastalla (cello), Sarah Hughes (zither), Dominic
Lash (double bass), Tim Parkinson (piano), David Stent
(guitar), Paul Whitty (harmonium)
Richard Glover, Imperfect Harmony (2013)
Dominic Lash (double bass)
James Tenney, Swell Piece no.3 (1971)
Bruno Guastalla (cello), Sarah Hughes (zither), Dominic
Lash (double bass), Tim Parkinson (piano), David Stent
(guitar), Paul Whitty (harmonium)
Composers:
James Tenney (1934-2006) was a composer, teacher,
pianist and conductor. He was a founding member,
conductor, and pianist of the Tone Roads Chamber
Ensemble (New York, 1963- 70), and founder and
musical director of Tone Roads West in Los Angeles
(1973- 5). He was also involved in the ensembles of
Harry Partch (Gate 5 Ensemble, 1959-60), Steve Reich
(New York, 1967-70), and Philip Glass (New York,
1969-70), and has performed and/or conducted music
by Charles Ives, John Cage, Morton Feldman, Erik Satie,
Arnold Schoenberg, and others.
Michael Pisaro is a composer and guitarist, a member
of the Wandelweiser Composers Ensemble and founder
and director of the Experimental Music Workshop.
Several CDs of his work have been released by such
labels as Edition Wandelweiser Records, Compost
and Height, confront, Another Timbre, Cathnor, Nine
Winds and others. He has performed many of his own
works and those of close associates Antoine Beuger,
Kunsu Shim, Jrg Frey and Manfred Werder, and works
from the experimental tradition, especially John Cage,
Christian Wol, James Tenney and George Brecht.
Richard Glover grew up in Licheld and studied at
the University of Hertfordshire for his undergradu-
ate degree in Electronic Music before moving to
Hudderseld, where he gained a distinction for his MA
in Music Composition. He completed his PhD with Bryn
Harrison at Hudderseld, investigating perception and
cognition within music of sustained tone textures. He
is currently working as a Research Fellow in the music
department and teaching
The Set Ensemble, 28/02 Holywell Music Room
All of the compositions in tonights programme explore
harmony and the nature of the sustained tone. James
Tenneys Swell Pieces are part of his Postal Pieces, a
series of compositions all printed on post cards. The
three Swell Pieces all explore the possibility of a swell
from minimum to maximum volume and back, with
the added challenge to the performers that timbre
should change as little as possible; the three pieces
have dierent harmonic requirements (free choice of
pitches; the whole ensemble playing the same tone;
a perfect fth). Michael Pisaros Harmony Series is a
long series of pieces that omit any reference to specic
pitches. This in intended, paradoxically, to focus the
musicians and listeners on harmony both in terms of
pitch and of the human relations within the ensemble.
Rve is based on a poem by Samuel Beckett. Richard
Glovers Imperfect Harmony, written for Dominic Lash,
is receiving its world premiere in this concert. The
composer writes: Much of the music I am involved in
making at the moment is drawn from an interest in
gradual change, in an eort to draw focus towards the
changing colours of the sounds themselves. Working
with Dominic on this piece has helped me explore
further how the mechanics of the instrument, and the
physicality of the performer, can help support that
focus, rather than becoming the focus.
Set Ensemble musicians
Bruno Guastalla has been a violin and cello maker/
restorer for the past thirty years, and also a musician.
Questions around perception, language and shape-
making seem to come up a lot. He has collaborated
amongst others with Philipp Wachsmann, Dominic
Lash, and dancer Macarena Ortuzar. He is a member
of the collective Oxford Improvisers.
www.brunoguastalla.net
Sarah Hughes is an artist and musician currently
based in West Sussex. She plays zither and piano in
improvising groups and as a founding member of the
Set Ensemble. She performs with long-term collabora-
tors Patrick Farmer, Daniel Jones and Stephen Cornford
and also performs in various open-form improvisation
and composition ensembles, playing throughout the
UK and Europe. She is the co-founder of Compost
and Height.
sarahhughes.org www.compostandheight.com
Dominic Lash is a freely improvising double bassist,
although his activities also range much more widely.
Based in Oxford, he has performed with musicians
such as Tony Conrad (in duo and quartet forma-
tions), Joe Morris (trio and quartet), Evan Parker (duo,
quartet and large ensemble) and the late Steve Reid.
His current projects include The Dominic Lash Quartet,
The Set Ensemble (an experimental music group
focused on the work of the Wandelweiser collective),
The Convergence Quartet, a trio with John Butcher and
John Russell and duos with Patrick Farmer and with
Nate Wooley.
www.dominiclash.co.uk
Tim Parkinson (b.1973) is an independent composer,
based in London, UK since 1997. Music has been written
for various groups and ensembles including Apartment
House, Reservoir, London Sinfonietta, [rout], Chroma;
and for various instrumentalists including Stephen
Altoft, Angharad Davies, Rhodri Davies, Julia Eckhardt,
Anton Lukoszevieze, Tanja Masanti, Andrew Sparling,
Craig Shepard, Philip Thomas, Stefan Thut. Music
has been performed in UK, Europe, USA, Armenia,
New Zealand, Japan. He is also active as pianist and
performer.
David Stent is an artist and musician working with
text, image and collaborative practices. Recent works
include The Mleskinders: A Prototype Publication
at Banner Repeaters Diagrammatic Form exhibi-
tion and Writing as Occupation at Meantime Project
Space, Cheltenham. Other recent publications include
A Fingertip on Black Bulb published by Compost and
Height and The Depiction of Dissemination, an essay
published to accompany the New Perspectives on
Joseph Wright conference at The University of Derby.
www.davidrjstent.blogspot.com
Paul Whitty is a Composer and Sound Artist whose
work has found its way into spaces and contexts
as diverse as the Mecca State Bingo Hall in Kilburn,
London; Addenbrookes Hospital in Cambridge; the
oce of Beaconseld art gallery in Vauxhall and the
freezer compartment of a fridge in Romford, Essex.
Recently Paul has been engaged in a series of interven-
tions in pre- existing contexts re-reading, re-organ-
ising, recategorising, re- distributing and re-sounding
the materials that are found there. These contexts can
be scores, actual physical sites or instruments.
www.setensemble.blogspot.com
34 35
Daniel Teruggi, 01/03 Modern Art Oxford
Daniel Teruggi
Born in Argentina in 1952, he has
developed his professional career
in France, where he lives since 1977.
Composer and researcher, he works
since 1981 in the Ina (National
Audiovisual Institute) in Paris, in
the GRM (Musical Research Group,
founded by Pierre Schaeer en
1958). He has been the Director
of the GRM since 1997 as well as
director or the Research depart-
ment in Ina since 2001. SHe has
composed nearly 80 works, mainly
for the concert and always using
electroacoustic devices with or
without acoustic instruments.
He is the author of numerous
research articles related to sound
and musical perception as well as
musical analysis. His music has
been performed in more than 30
countries and published in dierent
CD collections.
In recent years he has been
actively working on the preserva-
tion of audiovisual collections and
particularly the case of electro-
acoustic music, where content and
container are strongly linked and
where the traditional models of
conservation are not eective. He
has been the coordinator of the
FP6 European project PrestoSpace.
Actually coordinating the FP7
European project PrestoPRIME
and participant in the Europeana
project. He is founding member of
the Electroacoustic Musical Studies
network, in charge of an annual
conference on electroacoustic
music analysis.
PhD in Art and Technology, Daniel
Teruggi, has developed an impor-
tant educational activity at the
Sorbonne University or as visiting
professor in Hertfordshire (GB),
guest professor at the TU Berlin and
Universidad 3 de Febrero (Arg).
Transmutations, 2009, 20
Acousmatic music for 8 sound sources
Music, in its historical groove, has taught us that to
think of musical sounds and of other sounds. The
Twentieth century has opened our ears to these other
possible sounds and potentially to all the sounds of
the world. I have often thought that any sound could
be good for making music. This is a generic thought,
in which the components of music have little inu-
ence regarding the power of the possible sound
modications and the metamorphosis that their
organisation and contextualisation in time and space
may produce regarding their initial meaning.
I am now less convinced of this approach the
richness of the initial sounds used in a musical
composition, transcends the whole work and deter-
mine its character. A very simple sound, in its spectral
organisation and morphology, would have lots of
trouble to climb high musical heights! However; this
was the initial challenge of Transmutations; to use
any sound to make (what I consider) a good music.
This is how I choose, almost by chance (almost
means that I would never work with a sound I would
reject), among isolated sounds extracted from music,
or directly recorded.
An incomplete inventory would show:
A sound recording specically done for the work
A defective sound recording
An accidental sound recording
One measure extracted from a well known opera
A musical Mexican myth extracted from a CD I got
from a gas-station
A chord extracted from a ballet
The alchemic concept of transmutation has
been since a long time, recuperated by physics and
biology to explain the transformation or radioac-
tive elements, or the evolution of species. The word
remains however associated with the transformation
of lead into gold and, from a mythological point of
view, to the change in forms. This term is perfectly
adapted to the purpose of changing any possible
sound into a musical sound; and this particular
aspect of transformation and association of elements
within a structure is an essential concept in this work.
There is also another transmutation: the trans-
mutation of sound in space, caused by movements,
which change the perception of sounds. We witness
then a transmutation through the movement of the
sources, which, through this unusual context, reveal
other possible ways of listening.
Turbulences, 2012
In physics, turbulence means the state of a uid,
liquid or gas, in which the velocity at any point has
a vortex character: vortices whose size, location
and orientation are constantly changing. Turbulent
ows are characterized by a very unorganized and
unpredictable behaviour with the existence of many
dierent spatial and temporal states. Such ows
occur when the source of kinetic energy that moves
the uid is relatively intense regarding the viscous
forces opposed by the uid in order to move.
This denition corresponds fairly accurately to my
work on the sounds. They all underwent a source
of kinetic energy beyond their spectrum, timbre
or rhythmic structure. The kinetic energy makes
the sounds move within the circular space around
the listener with little predictable behavior and a
certain relationship between the nature of sound and
speed of the movement. Regarding sounds moving
in the air, turbulence is an invisible but perceptible
movement that aects sound and gives it a whirling
behavior which in turn acts on the nature of sound
and ts into the relationship among sounds.

This work was originally called Inharmonic turbu-
lences, but I preferred to simplify the title to
Turbulences; the inharmonious aspect is rather a
personal landmark in relation to my recent acous-
matic and instrumental works, where I exploit the
possibilities of harmonic sounds in a spectral perspec-
tive. Here some temporary harmonicities may arise,
but they are the result of reactions produced by the
turbulences.
36 37
Bernard Parmegiani: Rveries, 2007, 14
A pioneer in electroacoustics, Bernard Parmegiani
recently celebrated his 80
th
birthday. He began his
career as a sound engineer before joining the GRM
(Groupe de Recherches Musicales) in 1959. Composer
of numerous electronic works (70 concert pieces), he
has also composed for lm, television, advertisements
and sound design (including the famous Paris Airports
jingle). Revered by many artists from the electronic
music scene. He is undoubtedly one of the electro-
acoustic composers closest to the current generation
of electronic musicians.
Rveries
Premiered in Brussels at the Marni Theathe on October
20th 2007, by Musiques et Recherches (Lespace du
Son Festival) on the occasion of Parmegianis 80th
birthday celebrations.
One can recommends Rveries to the listener who
rst tackles Parmegianis monumental body of work
without knowing where to start. This trajectory across
soundscapes is also a daydream of the composer bases
on his previous work.
A condensed example of his style and sonority can be
experienced here.
Within fourteen minutes, it is possible to recognise his
emblematic sounds: birds, crackling re, humming
crowds from the inner and outer worlds; The clashing
impacts of reversed angle points, and, above all, the
terrible and hallucinating train from LOEil coute (The
Listening Eye): In a single operation, it drags and leads
this sonic stream through a series of metamorphoses,
before rounding it up with the dramatic announcement
of the start of a play that will leave us, fully awake,
facing reality.
Franois Bayle
Franois Bayle was born in Tamatave, Madagascar, in
1932 and spent the rst fourteen years of his life there
and in the Comoros. He then moved to Paris, where he
taught himself music. In 1958-60, Franois Bayle joined
the Groupe de Recherches Musicales (GRM) and Pierre
Schaeer Olivier Messiaen and Karlheinz Stockhausen
(1959-62). In 1966, he was appointed director of the
GRM, which became part of the Institut National de
laudiovisuel (INA) in 1975. He was the head of the
Ina-GRM until 1997.
Franois Bayle initiated the creation of the
Acousmonium (1974), he established the Ina-GRMs
record collections, organised concerts and broadcasts
and supported the development of musical instru-
ments using advanced technology (SYSTER GRM Tools,
Midi Formers, Acousmographe). In 1992, he founded the
Acousmathque. This acoustic library now contains
over 2000 works written from 1948 onwards; it also
organises seminars and provides composers portraits
(Empreintes).
Awards: Grand Prix des Compositeurs SACEM (1978)
Grand Prix National du Disque -(1981)- Ars Electronica
Prize (Linz 1989) - Grand Prix de la ville de Paris (1996)
Tribute from the CIME (Sao Paolo 1997).
Daniel Teruggi, 01/03 Modern Art Oxford
Sohrab Uduman
chants, airs and
dances (2005)
for Ganassi-type treble recorder
& live-electronics
Composed in 2004 chants, airs and dances interleaves
three distinct types of music; the rst consisting
of Iong, timeIess vaIues, the second of Howing,
rhythmicaIIy Huctuating, IyricaI Iines, the third
of fast, anguIar, jagged gures. Uver time, a
process of elaboration and decoration of
the material causes the differences
amongst the ideas to dissoIve
and the Iines to fuse.
Paul Dibley
new work (2013)
for treble recorder
and live-electronics
w o r I d
premire
Jeff Stadelman
Koral 3 (2008)
for soprano recorder
In 2007, I sketched a very
Iarge musicaI structure to be
built up over many years out
of smaII, disparate parts. This
project, KoraI (pronounced
coraI), wiII in the end
include hundreds of
pieces, to be played
individually or in
groups.
Alistair
Ander s on:
When the Frosts
ar e Set t i ng i n;
2 Hornpipes (trad.).
Ra t t l i n Bi l l i e ,
RatI i ng Roari ng
W i l l y
Ned McCowan
Workshop (2004)
for treble recorder
& sound track
The piece was inspired by the one and a haIf year`s
renovation of a number of houses in the composer`s
street in Amsterdam. The The pIayer battIes her
instrument through a variety of a congIomeration of
industriaI environments, Ioading bays, piIe drivers,
engine pIants, service eIevators, industriaI sewing
machines, cIinks and cIunks, forges, warning
buzzers, pneumatic screwdrivers, eIectric fork-
lift trucks, sheet metal cutters, automatic
functioning machines, servo pumps
and Butch intercity trains.
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38 39
Phill Niblock, 02/03 Modern Art Oxford Thomas Ankersmit, 02/03 Modern Art Oxford
40 41
ORNIS are Sabine Vogelon utes with live electronics
and Kathy Hinde on live video, objects and ice.
For Audiograft, ORNIS present a work inspired by their
performance in an empty swimming pool. Reecting
their concerns with the worlds drinking water supplies,
this piece invites you to contemplate melting ice,
torrential storms and the absence of water.
Sabine Vogel (DE) takes the sounds from the inside her
ute, the microcosm of her ute world and transports
these sounds into a sound-able-hear-able world, bring-
ing what is inside into the outside. She then combines
this world of sound with eld recordings, the natural
macrocosm of existing sound, forming a composed
mixture between the macro and micro. For in an
empty swimming pool she uses underwater record-
ings of the canals in Amsterdam and big ocean waves
recorded in Australia.
Kathy Hinde (UK) projects images onto three screens of
ice that melt and change during the performance. The
projected images sometimes merge into the patterns
and textures of the real ice, and at other times create
paradoxical illusions of boiling water and torrential
rain. Kathy mixes footage she has lmed in many loca-
tions including melting frost in Sweden, waterfalls in
Brazil, icicles in the French Alps, cascading water from
Yorkshire canals, and waves on the Suolk coast.
Working with pre-composed sections and live improvi-
sation, ORNIS combine sound and image into a spatial,
immersive experience.
This piece is supported by STEIM, EMSand
ArtSpaceLifeSpace
Sabine Vogels composition work for this piece is
supported by the Ministry of Science, Research and
Culture of Brandenburg.
Ornis, 02/03 Modern Art Oxford Valerio Tricoli, 02/03 Modern Art Oxford
42
Ideology scrapbook for HEARth
For the full HEARth programme
please refer to HEARth guide book
STELIX AKA Stavroula Kounadea
& Felicity Ford
HEARth, 02/03 Modern Art Oxford
For more events and ticket bookings please visit www.audiograft.co.uk
27/02 18:00 PIERRE BERTHET Launch Night
RAY LEE Felicity Ford
Henrique Portovedo Ref4mation
Richard Hamilton Building, Headington Hill Campus, Oxford Brookes University, OX3 0BT
28/02 19:30 JOHN TILBURY
Tim Parkinson Austin Sherlaw-Johnson
The Set Ensemble
Holywell Music Room, Holywell Street, Oxford, OX1 3BN
01/03 19:30 DANIEL TERUGGI
Susanna Borsch
Modern Art Oxford, Oxford, OX1 1BP
02/03 19:00 PHILL NIBLOCK
Valerio Tricoli Thomas Ankersmit
Ornis
Basement, Modern Art Oxford, Oxford, OX1 1BP
The
Sonic Art
Research Unit