The Machinery Installation
Making its premier at the Ironbridge Gorge World Heritage Festival 2018, The Machinery Installation is a collaborative art work by Caroline Radcliffe (clog dancer), Sarah Angliss (composer & digital artist) and Jon Harrison (filmmaker, installation design & production).
The three screen, immersive, sound and visual installation expresses the dehumanisation and alienation of the industrial worker - relentlessly subjected to an exhausting cycle of repetition.
The ‘heel-and-toe’ clog steps are layered with looped sounds taken from a working, 19th century cotton mill and a 21st century call centre, emphasising the connections between the two industries.
Documentary film by University of Birmingham, October 2018.
The Art & Science of Noticing
The Art & Science of Noticing is an enquiry led approach to museums and galleries learning, devised by Bradford Museums & Galleries Learning Team.
Commissioned by Bradford Museums & Galleries 2017
Making the Case for the Arts - A Deeper Understanding
A CapeUK film making the case for using the arts and creativity in education to boost children's learning. This film shows how staff and pupils at St Marie's Primary School have used the arts across the curriculum.
contact me@jonharrison.com
Commissioned by CapeUK (IVE) 2015 (1 of 3)
Making the Case for the Arts - Creative Confidence
A CapeUK film making the case for using the arts and creativity in education to boost children's learning. This film shows how staff and pupils at High Storrs School have used the arts across the curriculum. Made in collaboration with A level Film Studies students at High Storrs School.
Commissioned by CapeUK (IVE) 2015 (1 of 3)
Making the Case for the Arts - Opportunity and Experience
A CapeUK film making the case for using the arts and creativity in education to boost children's learning. This film shows how staff and pupils at Barugh Green Primary School have used the arts across the curriculum.
Commissioned by CapeUK (IVE) 2015 (1 of 3)
The Machinery by Caroline Radcliffe & Sarah Angliss
" To anyone interested in the relationship between music and automation, The Machinery is a fascinating work. 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, Radcliffe and Angliss take it back to its industrial context, as they juxtapose it with found sounds and video fragments."
Recorded 12 November 2016 at Algomech 2016, Sheffield
On Shared Ground
A short film made in collaboration with communities in Sheffield, Cardiff and Aberdeen. The film features three different hill forts, Bennachie, Caerau, and Wincobank that have varied histories of human visitation and habitation.
A film by Paul Evans and Jon Harrison 2014
Love Over Goldfish
A goldfish finds himself in dire straits in this upside-down road movie.
Stopmotion puppet animation with live action starring Dawn Shadforth as Jayne, cinematography by Gary Wraith, sound composition by Ron Wright (with the voice of Róisín Murphy), edited by Jane Hicks at Reelworks and digitally composited using Harry at Rushes. Models and stopmotion by Jon Harrison with armatures by Spitting Image. Animated at Cairo Studios with live action sequences filmed around Sheffield. Broadcast 21 times on Channel 4 and Film 4. Written and Directed by Janet Jennings and Jon Harrison.
Travelling Light Productions 1996.
CAER HEDZ
In July 2015 pupils from Glyn Derw High School and Michaelston Community College spent a day on a live archaeological dig. Working with CAER Heritage Project lead artist Paul Evans and filmmaker Jon Harrison, they made their own 'celtic heads' from clay then brought them to life in a pop-up animation studio.
This Caer Heritage Project production for the Arts and Humanities Research Council Connected Communities Festival 2015 won the Outstanding Contribution to the Local Community trophy at the 2017 Times Higher Education Awards.
A film by Jon Harrison and Paul Evans 2015
Fennesz Live at Lovebytes 2006
Christian Fennesz is known for his impeccable work in creating beautiful compositions for guitar and computer; shimmering, swirling electronic sounds of enormous range and complex musicality.
Lovebytes 2006 10pm Friday 24 March 2006 Showroom Cinema, Sheffield
Yaxu - Crowdfund for Spicule
Crowdfunding video for an album called “Spicule” - an album where you support making the music, and also a way to make music.
Spicule was created using software made by Alex McLean (with some friends) called Tidal Cycles (that's what he's playing around with in the video). If you joined the pledgefund you could join live streaming sessions and watch how to build rythms with the software and see how Alex created the rhythms and patterns with code for Spicule.
May 2016 Stanage Edge, Derbyshire.
Live Performance by Carsten Nicolai (Alva Noto)
Using electronic sound and visual art as a kind of hybrid-tool, Carsten Nicolai creates his own microscopic view of creative processes. His world looks more like a laboratory - constantly morphing in space and time, influenced by the impulses of this media world, sound the message as code - becomes the primary theme via his visualised sound performance.
Lovebytes 2003 International Festival of Digital Art
9.45 pm Saturday 22 March 2003 Showroom Cinema, Sheffield
Love Shark - Kaffe Mathews
Love Shark is a four channel solo by Kaffe Matthews in which she duets with 6 oscillators driven by 6 hammerhead sharks whose journeys were recorded north of Wolf Island, Galapagos April 2009. Matthews dived with, recorded underwater and filmed hammerheads whilst on a month's residency on the Galapagos islands 2009. She later worked with shark scientists who gave her this shark hunting journey data. Her 3D sound installation, You might come out of the water every time singing has shown in Liverpool, Edinburgh, Lisbon and the St Pieters Caves, Maastricht.
Software instrument collaboration and programming Adam Parkinson.
Part of Hack the City - Marine & Waterways Edition.
16 January 2016 Access Space, Sheffield
Sonic Pattern – Mattias Jones
Mattias Jones spots and draws patterns, including tessellations, space filling curves and tiling patterns, by hand or via handmade robots. He often works in collaboration with psychologists, mathematicians and musicians, across multiple media.
10.30am – 5pm, Wednesday 17th June 2015 Electric Works, Sheffield
Hack the City – Kaffe Matthews
A talk about, amongst other things, Love Shark – a new four channel solo performance by Kaffe Matthews in which she duets with 6 oscillators driven by 6 hammerhead sharks whose journeys were recorded north of Wolf Island, Galapagos April 2009. Matthews dived with, recorded underwater and filmed hammerheads whilst on a month's residency on the Galapagos islands 2009. She later worked with shark scientists who gave her this shark hunting journey data. Her 3D sound installation, You might come out of the water every time singing has shown in Liverpool, Edinburgh, Lisbon and the St Pieters Caves, Maastricht.
Software instrument collaboration and programming Adam Parkinson.
16th January 2016, ICOSS, University of Sheffield
Full Bleed – Paul Wolinski
Paul Wolinski’s time is mostly taken up with being one quarter of the noisy instrumental band 65daysofstatic. Here he is with a rare solo show, actually a debut of a performance built around his recent solo album Full Bleed. Wolinski is taking this album as a jumping-off point for a PhD research project, exploring new forms for composition to aim at, beyond the traditional disciplines of live performance and albums. Part of the evening programme of the Sonic Pattern symposium.
7.30pm-11pm, Wednesday 17th June 2015 Access Space, Sheffield
Our Cinema
Animated films made by children aged 8-12 yrs using stop motion and pixellation techniques at the Showroom Cinema, Sheffield.
National Youth Film Festival 2013
Tom Wood - Painter's Progress: The Journey from There to Here.
A talk by Tom Wood - painter and portraitist, former professor of Fine Art at Bretton Hall College, outlines his own recent work with reference to selected items from the National Arts Education Archive at the Yorkshire Sculpture Park.
Recorded 16 September 2016 at the NAEA (National Arts Education Archive)
Eileen Adams: Agent of Change
NAEA Gallery (26 Sep–15 Dec 2015)
This exhibition showed how revolutionary initiatives have prompted change in art, design and environmental education, taking art out of the gallery into school grounds and onto the street.
Recorded 27 October 2015 at Yorkshire Sculpture Park
Herbert Read & Alec Clegg: A Revolution Realised
NAEA Gallery (31 Jan–29 Mar 2015)
Two of the most influential educators of the 20th century - Herbert Read, English anarchist, poet, literary critic and co-founder of the Institute of Contemporary Arts and Sir Alec Clegg, Chief Education officer for the West Riding of Yorkshire (1945–1974).
Recorded 25 March 2015 at Yorkshire Sculpture Park
Eileen Adams Drawing Conclusions: The Educator’s Response
Eileen Adams speaks about her work as the Director for Power Drawing and using additional references from the Learning Through Drawing Collection, considers the potency of drawing as language and as a key element in the education of children.
Recorded 27 May 2017 at NAEA (National Arts Education Archive)
Developments at Bretton Hall - Mark Finch, Rushbond
Mark Finch – a Director of Rushbond plc – reports on the progress of the conversion of Bretton Hall into a luxury hotel in Yorkshire Sculpture Park. He outlines the proposed structure of buildings for the new project and the demolition of most of the 1960s buildings.
Recorded 13 May 2017 at Yorkshire Sculpture Park
Bretton Marbles - David Hill
Introduced by Professor John L. Taylor (Principal of Bretton Hall College from 1983 to 2001). Dr David Hill (professor of fine art at Bretton Hall during the 1980s and 1990s) tells how his research revealed that 'The Bretton Marbles', two objects which were displayed in prominent positions at Bretton Hall from the 1960s onwards and used as plant pots and ash trays, were in fact valuable antiquities.
Recorded 13 May 2017 at Yorkshire Sculpture Park
Philip Rawson: Philosopher-Sculptor-Educator
Piers Rawson speaks about his father's multi-faceted art collection, which includes work in 2D and 3D, figuration, landscape, the oriental and erotic, calligraphic forms, aesthetics, philosophy, letters and publications, and his personal library of 3,000 books, magazines and pamphlets, now housed at the NAEA in the Yorkshire Sculpture Park.
Recorded 23 May 2015 at the NAEA Gallery
Art Educated 1
The National Arts Education Archive was established in 1985 to provide a documentary trace of the development of arts education in the UK and worldwide, by collecting children’s and students' work and the papers, letters and work of key educators and artists in the visual arts, music and language. YSP has managed the Archive since 2009. This material, comprising more than 100 catalogued collections, is based in the purpose-built Lawrence Batley Centre on the former Bretton Hall College campus and is available to researchers, lecturers and the general public by appointment on Mondays and Tuesdays each week.
Recorded 2 April 2016 at NAEA (National Arts Education Archive)
Art Educated 2
The National Arts Education Archive was established in 1985 to provide a documentary trace of the development of arts education in the UK and worldwide, by collecting children’s and students' work and the papers, letters and work of key educators and artists in the visual arts, music and language. YSP has managed the Archive since 2009. This material, comprising more than 100 catalogued collections, is based in the purpose-built Lawrence Batley Centre on the former Bretton Hall College campus and is available to researchers, lecturers and the general public by appointment on Mondays and Tuesdays each week.
Recorded 14 May 2016 at NAEA (National Arts Education Archive)
Unearthing Utopia
Reflections on two community archaeology projects, CAER Model Village Project led by artist Paul Evans and Middlefield’s Utopia organised by Professor Carenza Lewis and Dr Ian Waites at the University of Lincoln.
A film by Paul Evans, Jon Harrison and Viv Thomas 2017
Dead Plants and Living Objects - Rie Nakajima and Pierre Berthet
A collaborative sound installation / concert by sound artists Rie Nakajima and Pierre Berthet who have been creating various ways to vibrate things so that their acoustic shadows dance around the space.
Recorded 12 November 2016 at Algomech 2016, Sheffield
Augmented Cello - Alice Eldridge and Chris Kiefer
Performance documentation recorded at Algomech Festival of Algorithmic and Mechanical Movement 2016.
Recorded 12 November 2016 at Algomech 2016, Sheffield
Toni Buckby and Sean Cotterill
Performance documentation recorded at Algomech Festival of Algorithmic and Mechanical Movement 2016.
Recorded 12 November 2016 at Algomech 2016, Sheffield
Becky Stewart - The emergence of e-textiles
Becky discusses rise of e-textiles and how it could change the way we interact with the world around us, including during live performance. This talk was awarded the annual Daphne Oram Lecture.
http://algomech.com/2016/artists/beck...
Recorded 12 November 2016 at Algomech 2016, Sheffield
Tim Shaw and John Bowers - Walk Write Repeat: Soundscape Machinery
Shaw and Bowers follow instructions to create citywide walks, gathering sensor-data, physical materials, images and sound recordings as they go. They work with their gathered materials and resonate them through modular synthesisers, self-made circuitry, archaic algorithmic systems and other music and image machines.
Recorded 12 November 2016 at Algomech 2016, Sheffield
Tom Mudd - Contingent Events
A large red button is placed in the audience. Audience members are invited to push whenever they like. Pushing the button instantly and completely changes the nature of the performance system, selecting from a wide range of pre-made performance systems.
Recorded 12 November 2016 at Algomech 2016, Sheffield
Joana Chicau - A Webpage in Two Acts
A live coding performance/demonstration: an assemblage of audio-visual and graphic experiments combining principles of choreography (post modern choreographic language) with the formal structures of coding (web code/languages, such as JavaScript). The performance structure is divided in two Acts and two Pauses, and comprehends physical movement.
Recorded 12 November 2016 at Algomech 2016, Sheffield
Clapping a Sine Wave - Simon Blackmore
A new piece using a computer interface limited to a binary input, where sound = 1 and silence = 0. During a 12 minute performance, Simon attempts to clap out the binary information to produce a digital sine wave.
Recorded 12 November 2016 at Algomech 2016, Sheffield
Ryan Kirkbride - Ctrl and Return
A performance of live coding; generating music through the use of a programming language. It starts with a blank screen and code is written to describe sonic events which are heard while the program is constructed, deconstructed, and reconstructed throughout.
Recorded 12 November 2016 at Algomech 2016, Sheffield
AlgoMech symposium keynote: Godfried-Willem Raes - Robots get better, people don't
Godfried-Willem deserves the title of "music maker" in the broadest and deepest sense, composing music, making music happen by hosting hundreds of concerts per year, and making dozens of robots that make music. His robot making has become particularly well known in the UK, in part through his collaboration with the prolific producer of Cornish Acid, Aphex Twin.
Recorded 13 November 2016 at Algomech 2016, Sheffield
AlgoMech symposium - Rosamaria Cisneros - Machine Choreography
Rosamaria talks about a digital performance dance piece that was created implementing participatory research methods and a post digital perspective. The work was born out of a residency with Random String where I was exploring the intersections of screendance, shadow puppetry, Flamenco, the Romani/Gypsy community, the number 28 and intangible cultural heritage.
Recorded 13 November 2016 at Algomech 2016, Sheffield
AlgoMech symposium: Joana Chicau - Ways of moving
Joana presents ‘Ways of moving: Tango’ under the themes ‘Creative computing and (live) coding’ / ‘Machine choreography’ after a recent visit to Buenos Aires to developed a new ‘choreographic code’ based on the dance genre: Tango.
Recorded 13 November 2016 at Algomech 2016, Sheffield
AlgoMech symposium - Giuseppe Torre - A play on code, a reflection on creative machines
"Whether we believe or not that science can one day provide us with computers that can mimic human behaviour, we, as people engaging in art practises, should be, probably more than anyone else, very careful in the dealing of such topic especially when ideas such as artificial intelligence (AI) and creativity or consciousness are presented in the same context."
Recorded 13 November 2016 at Algomech 2016, Sheffield
AlgoMech Symposium - Alejandro Albornoz - Jose Vicente Asuar: Chilean pioneer
In the early 70's a small group of people started the computer music activity in Chile. Among these group of professionals and students, there is a remarkable figure: José Vicente Asuar, composer and engineer, pioneer of electroacoustic music in Latin America.
Recorded 13 November 2016 at Algomech 2016, Sheffield
AlgoMech symposium - Susanne Palzer - A brief exploration of Open Platform
Part of an arts-research day symposium, with talks on the theme of Algorithmic and Mechanical Movement, chaired by Thor Magnusson and Chris Kiefer from University of Sussex's Experimental Music Technology Lab, and taking place in the Sheffield Institute of Arts.
Recorded 13 November 2016 at Algomech 2016, Sheffield
AlgoMech symposium: Jesus Jara Lopez - Liberace's Wannabe
Medialab-Prado is a citizen laboratory of production, research and broadcasting of cultural projects that explores the forms of experimentation and collaborative learning that has emerged from digital networks. Nowadays Medialab-Prado hosts a number of research projects that focus on music technology, digital fabrication or creative coding among others. One of those projects is called Autofabricantes.
Recorded 13 November 2016 at Algomech 2016, Sheffield
AlgoMech symposium - Ellen Harlizius Klück - PENELOPE
Weaving in pre-industrial times is usually seen as a domestic female preoccupation claiming no intellectual activity. Although it has been a ubiquitous craft in ancient times, it has hardly ever been considered as contributor to intellectual concepts or to the history of technology. The team of the PENELOPE project thinks that it is time to reconsider weaving as an important part of intellectual history and especially the history of digital technology.
Recorded 13 November 2016 at Algomech 2016, Sheffield
AlgoMech symposium - Alejandra Pérez Núñez - Yeast
Yeast is an audiovisual bio noise performance of yeast reactions and algorithmic systems Yeast reactions are considered biological responses to systems, in example geophysical systems. The objective of the piece is to render an aesthetic response, an economy of the hallucinatory, permanent doubt, diffraction, strangeness through the noise ecology assembled from the reactions in yeast cultures on stage.
Recorded 13 November 2016 at Algomech 2016, Sheffield
AlgoMech symposium - Elise and David Plans - Ominator
“Ominator” is an iOS app which draws on several themes related to human-machine interaction and generative design. The audio and music for the app was created using Pure Data to enhance a person’s humming into an embracing music track, responding to the pitch of the user’s voice, as a meditative exercise. Open Frameworks was used to create a procedurally-generated visualisation of the human user’s voice.
Recorded 13 November 2016 at Algomech 2016, Sheffield
AlgoMech 2016: Sampler Cultureclash - Lace Tells
A performance by: Louise West - Bobbin Lace / David Littler - Voice, Music Box and electronics / Jason Singh - Voice, BeatBox, Music Box and electronics / Nathaniel Mann - Voice, Tuned Axes, 'Hurdy Gurdy', percussion / Alex McLean - Live code.
Recorded 12 November 2016 at Algomech 2016, Sheffield
AlgoMech symposium: Panel on Unravelling Maker Culture
Chaired by Amy Twitter Holroyd, with Jesús Jara López, Ryan Patrick Morley, Tom Tobia and Tamar Millen.
Recorded 13 November 2016 at Algomech 2016, Sheffield
AlgoMech symposium: Panel on Speculative Hardware and Fictive Materialities
Derek Hales (chair) Jamie Brassett Andrew Hugill, Maya Oppenheimer Spencer Roberts.
Recorded 13 November 2016 at Algomech 2016, Sheffield
Untitled Algorithm Dance 2 by Kate Sicchio
Untitled Algorithmic Dance 2 is a performance in an ongoing series created by choreographer Kate Sicchio. Each piece looks to explore computer programming paradigms through choreography, embodied actions and the language of dance.
http://algomech.com/2016/artists/kate...
Recorded 19 November 2016 at Algomech 2016, Sheffield
Phone recording of impromptu Sonic Pattern residency performance
Sonic Pattern and the Textility of Code, Sheffield, 17th June 2015, curated by Karen Gaskill (Crafts Council) and Alex McLean (University of Leeds), and funded by the Crafts Council, the Culture and Communities Network+ (via Inhabiting the Hack project) and the AHRC Weaving Codes, Coding Weaves project.
June 2015 Electric Works, Sheffield
Behind the scenes at Wincobank's annual Lantern Procession and Pageant.
Each November, on Wincobank Hill in Sheffield, South Yorkshire UK, over 250 people walk by torchlight through ancient woodland and climb up to the hill fort in the dark to watch a re-enactment of the crucial moment in history when Queen Cartimandua of the Brigantes handed over the rebel King Caratacus to the Romans, in chains. On the way they see trees lit up by candle lamps, hear the haunting music of the lone piper Helena Reynolds on the hillside, see the University of Sheffield's fiery Iron Age forge and sway to Celtic melodies.
2014 Wincobank chapel, Sheffield
Sound and Space: Organ and Electronics recital
Dr Lauren Redhead and Dr Alistair Zaldua Sound and Space: Organ and Electronics recital. A workshop performance introducing the organ as an interface, and exploring its use in music for organ and live electronics. Lauren Redhead and Alistair Zaldua perform a selection of pieces from their repertoire that demonstrate the relationship of organ and live electronics in recent pieces.
ICLI 2016: International Conference on Live Interfaces Meeting House, University of Sussex, UK. June 30th, 2016.
Half-closed Loop | Thranophone & Trumpet duet
Till Bovermann: Half-closed Loop - an improvisation environment for covered string and performer.
Ingi Garðar Erlendsson & Eiríkur Orri Ólafsson: Thranophone & Trumpet duet Ingi Garðar plays the Thranophone.
ICLI 2016: International Conference on Live Interfaces Meeting House, University of Sussex, UK. July 1st, 2016.
Stuart Nolan: Mindreading Interface Design
A great deal of human communication is subconscious yet existing interfaces are designed for conscious communication. The emerging combination of Thought Identification Technologies, Robotics, and Cold Data Reading will change this, opening up new ways of working, learning, performing, and mucking about.
ICLI 2016: International Conference on Live Interfaces Attenborough Centre for the Creative Arts (ACCA), University of Sussex, UK. June 30th, 2016.
Kristina Andersen: Making Things Strange
"The mainstream technological object is losing its established physical form, and the feasibility of new functionality increasingly relies on our willingness to believe in and accept yet another paradigm or interface. As a result the technology object has become a magical unknown. In a world that already feels overwhelmingly unfamiliar, making things stranger somehow allows me to inhabit that strangeness, as if it was mine."
ICLI 2016: International Conference on Live Interfaces Fulton B, University of Sussex, UK. July 1st, 2016.
Roman Paska: Fear of Puppetry
A discussion of the trajectory of the puppet in art and society from the anti-puppet prejudice of the European Humanist tradition to the emergence of puppetry art as the defining performance mode of the 21st century. Roman Paska is a writer, director, filmmaker and puppeteer.
ICLI 2016: International Conference on Live Interfaces Attenborough Centre for the Creative Arts (ACCA), University of Sussex, UK. July 2nd, 2016.
ICLI 2016 – Paper session 1
Daniel Reyes and Ajay Kapur: Designing Mechatronic Systems Inspired by Sinusoidal Mathematics. Kate Sicchio, Camille Baker, Tara Baoth Mooney and Rebecca Stewart: Hacking the Body 2.0: Flutter/Stutter. Simon Biggs: Dark Matter: Co-Reading as a Generative Ontology. Enrike Hurtado: Interfacing the txalaparta: digitalising a traditional instrument with the help of its players. ICLI 2016: International Conference on Live Interfaces Attenborough Centre for the Creative Arts (ACCA), University of Sussex, UK. July 1st, 2016.
ICLI 2016 – Paper Session 2 - Short Papers
Claudio Lucchiari, Raffaella Folgieri & Francesco Soave: Creative Thinking: A Brain Computer Inter-face of Art. Mike Blow: Pod: A Multi-Sensory Sound Interface. Jan C. Schacher & Daniel Bisig: Face to Face - Performers and Algorithms in Mutual Dependency. Alexandre Clément, Filipe Ribeiro, Rui Rodrigues & Rui Penha: Bridging the gap between performers and the audience using networked smartphones: the a.bel system. Ximena Alarcén: Tuning the interface for relational listening. Carina Westling: Postdigital efficiency in interaction design.
ICLI 2016: International Conference on Live Interfaces Fulton B, University of Sussex, UK. July 1st, 2016.
ICLI – Paper Session 3
Jakub Fiala, Matthew Yee-King & Mick Grierson: Collaborative coding interfaces on the Web. William Hsu: Designing Interactive Audiovisual Systems for Improvising Ensembles. Gerard Roma: Colliding: a SuperCollider environment for synthesis-oriented live coding. Anna Xambó , Jason Freeman, Brian Magerko & Pratik Shah: Challenges and New Directions for Collaborative Live Coding in the Classroom.
ICLI 2016: International Conference on Live Interfaces Attenborough Centre for the Creative Arts (ACCA), University of Sussex, UK. July 2nd, 2016.
Gregory Beller: Babil-on V2
"A performance of augmented musical theatre, which describes the imaginary destiny of the Speech."
ICLI 2016: International Conference on Live Interfaces Attenborough Centre for the Creative Arts (ACCA), University of Sussex, UK. July 1st, 2016.
Bill Hsu & John Butcher: Linguistic Margins/Visual Atolls 16
A suite of structured audiovisual improvisations for two to four performers, utilizing live electronic and acoustic sound, and interactive animations.
ICLI 2016: International Conference on Live Interfaces Attenborough Centre for the Creative Arts (ACCA), University of Sussex, UK. July 1st, 2016.
ICLI 2016 – Panel Session with Alex McLean, Adriana Sa, Stuart Nolan, Kristina Andersen and Roman Paska.
Chair: Thor Magnusson
ICLI 2016: International Conference on Live Interfaces Attenborough Centre for the Creative Arts (ACCA), University of Sussex, UK. July 2nd, 2016.
Christos Michalakos: Pathfinder
A performance-game for solo drummer, exploring the synergies between multiple contemporary creative practices, navigating between music composition, improvisation, projection/light art and game art.
ICLI 2016: International Conference on Live Interfaces Attenborough Centre for the Creative Arts (ACCA), University of Sussex, UK. July 1st, 2016.
Courtney Brown: Interactive Tango Milonga: Fragments
An interactive dance performance using the Interactive Tango Milonga system, which enables dancers to drive musical outcomes via their movements within the Argentine tango music and dance tradition.
ICLI 2016: International Conference on Live Interfaces Attenborough Centre for the Creative Arts (ACCA), University of Sussex, UK. July 2nd, 2016.
Ricardo Climent: s.laag (2016) - for game-audio with 3D body-scanned performer, composer and instrument
An interactive musical work composed by Ricardo Climent for Dutch Bass Clarinettist Marij Van Gorkom, as part of the dutch-uk.network project. It includes 3D models by both Climent and Manusamo & Bzika based on 3D Body scanners provided by Simeon Gill at the School of Materials Design & Fashion, University of Manchester.
ICLI 2016: International Conference on Live Interfaces Attenborough Centre for the Creative Arts (ACCA), University of Sussex, UK. July 2nd, 2016.
Shelly Knotts: Union
An algorithmic system for mediating collaboration in telematic improvisation. OFFAL (Orchestra For Females And Laptops), a geographically dispersed collective of female sound artists and musicians, perform using the Union system, an algorithmic mechanism which aims to mediate interaction between performers and find 'musical consensus' in the incoming audio streams.
ICLI 2016: International Conference on Live Interfaces Attenborough Centre for the Creative Arts (ACCA), University of Sussex, UK. July 2nd, 2016.
Ben Neill: Horizonal
A series of audio-visual pieces by composer Ben Neill for his self-designed electro-acoustic instrument, the mutantrumpet, with live interactive audio and video. The pieces utilize digital reproductions of paintings by artist Andy Moses as their visual material.
ICLI 2016: International Conference on Live Interfaces St Mary's Church, Kemptown, Brighton, UK. July 1st, 2016.
Dan Gibson: The Modified Cello
A performance with the modified cello. A combination of sensors, audio analysis and DSP software are used to provide expressive, accessible and intuitive control over the dynamics and subtleties of digital sounds and processes.
ICLI 2016: International Conference on Live Interfaces St Mary's Church, Kemptown, Brighton, UK. July 1st, 2016.
Gerard Roma, Anna Xambó and Jason Freeman: Do the Buzzer Shake
This performance explores a setting where the music is entirely created by the audience using their mobile phones, and there are no predefined hierarchies beyond the proposed interface.
ICLI 2016: International Conference on Live Interfaces St Mary's Church, Kemptown, Brighton, UK. July 1st, 2016.
Pete Furniss: Clarinet + electronics
" As contemporary creative performers, our responsibility is to learn where and how we are able to exercise influence over an increasingly mediated environment, to what extent we wish to do so, and how to articulate this clearly with our technical collaborators—thereby negotiating our way to a wider musical practice that asserts its own values while embracing ongoing change and innovation."
ICLI 2016: International Conference on Live Interfaces St Mary's Church, Kemptown, Brighton, UK. July 1st, 2016.
Simon Blackmore, Antony Hall and Steve Symons: Rock Music
The Owl Project have developed a range of interfaces and techniques for transforming the ancient process of making a hand axe into a live musical performance. In Rock Music Owl Project delve 5000 years back in time to one of the oldest known creative processes, making sharp tools from rock such as flint.
ICLI 2016: International Conference on Live Interfaces St Mary's Church, Kemptown, Brighton, UK. July 1st, 2016.
Resonator Workshop Performance
ICLI 2016: International Conference on Live Interfaces Attenborough Centre for the Creative Arts (ACCA), University of Sussex, UK. June 30th, 2016.
Camille Baker, Kate Sicchio, Rebecca Stewart and Tara Baoth Gooney: Flutter/Stutter
An improvisational dance piece, part of the Hacking the Body 2.0 project, that uses networked soft circuit sensors to trigger sound and haptic actuators in the form of a small motor that tickles the performers. Dancers embody the flutter of the motor and respond with their own movement that reflects this feeling.
ICLI 2016: International Conference on Live Interfaces St Mary's Church, Kemptown, Brighton, UK. July 1st, 2016.
Ivo Teixeira, Rodrigo Carvalho, Tiago Rocha and Francisca Rocha Gonçalves: Drip Pigment
This performance reflects on how new emerging interaction techniques influence preconceived notions of painting. A Leap Motion device is used as interface, capturing the gestures made by the performer. A custom application developed in Max reads and parses the motion data and sends control messages to the Arduino, making the machine’s motors move.
ICLI 2016: International Conference on Live Interfaces St Mary's Church, Kemptown, Brighton, UK. July 1st, 2016.
Magnetic Resonator Piano Workshop Performance 10.
ICLI 2016: International Conference on Live Interfaces Attenborough Centre for the Creative Arts (ACCA), University of Sussex, UK. June 30th, 2016.
Magnetic Resonator Piano Workshop Performance 9
ICLI 2016: International Conference on Live Interfaces Attenborough Centre for the Creative Arts (ACCA), University of Sussex, UK. June 30th, 2016.
Magnetic Resonator Piano Workshop Performance 8
ICLI 2016: International Conference on Live Interfaces Attenborough Centre for the Creative Arts (ACCA), University of Sussex, UK. June 30th, 2016.
Magnetic Resonator Piano Workshop Performance 7
ICLI 2016: International Conference on Live Interfaces Attenborough Centre for the Creative Arts (ACCA), University of Sussex, UK. June 30th, 2016.
Magnetic Resonator Piano Workshop Performance 6
ICLI 2016: International Conference on Live Interfaces Attenborough Centre for the Creative Arts (ACCA), University of Sussex, UK. June 30th, 2016.
Magnetic Resonator Piano Workshop Performance 5
ICLI 2016: International Conference on Live Interfaces Attenborough Centre for the Creative Arts (ACCA), University of Sussex, UK. June 30th, 2016.
Magnetic Resonator Piano Workshop Performance 4
ICLI 2016: International Conference on Live Interfaces Attenborough Centre for the Creative Arts (ACCA), University of Sussex, UK. June 30th, 2016.
Magnetic Resonator Piano Workshop Performance 3
ICLI 2016: International Conference on Live Interfaces Attenborough Centre for the Creative Arts (ACCA), University of Sussex, UK. June 30th, 2016.
Magnetic Resonator Piano Workshop Performance 2
ICLI 2016: International Conference on Live Interfaces Attenborough Centre for the Creative Arts (ACCA), University of Sussex, UK. June 30th, 2016.
Type a personality – Anne Veinberg
Type a Personality is a score for pianist with interwoven typing as well as live coded synthesis engine electronics part. The control sequence for the electronics part is a direct result of Anne’s scripted typing; the inevitable errors in typing certain keys under time pressure, and the inter-key time intervals, directly set the state and memory values of the audio engine. The exact text to type out is different for each performance.
ICLC International Conference on Live Coding 2015
13 July 2015 CCCH School of Music, University of Leeds
Gopher - Marcel Wierckx and Anne Veinberg
Gopher is the second of a series of compositions for Disklavier performed as a duet between pianist and live coder. In this composition the system is used to generate notes on the piano which are performed as harmonics by the pianist. Pitch and rhythm are treated as separate entities, enabling the live coder to generate complex shifting patterns using relatively simple commands. Gopher is inspired by the fairground game in which the player hammers the heads of plastic gophers as they pop up out of holes in a random sequence. The pianist plays harmonics on the strings of the piano in much the same way, and in that sense the piece can be seen as a game between the pianist and live coder.
ICLC International Conference on Live Coding 2015
13 July 2015 CCCH School of Music, University of Leeds
Encoding the Marimbist - Thor Magnusson and Greta Eacott
In this performance the marimbist Greta Eacott performs real-time generated musical notation in the form of code. The coding language called CMU (Code Music Notation) is a notational language for human interpreters and thus different from traditional CUI's (Code User Interfaces) written for machine interpreters. CMU is an object oriented programming language with a C-family syntax and dot notation, also supporting functional approaches, such as first class functions and recursion.
ICLC International Conference on Live Coding 2015
13 July 2015 CCCH School of Music, University of Leeds
Improvisation for Pianist (Disklavier) and Live Coder - Juan A. Romero & Anne Veinberg
The improvisation consists of mutual feedback using the Disklavier as an acoustic and mechanical interface between the pianist and the live coder. Phrases and notes will be recorded and algortihmically transformed and played back throught the same device interfering and interacting with the player. Some sound synthesis will be also live coded to expand and adapt the sound of the piano and the playing style of the perfomer.
ICLC International Conference on Live Coding 2015
13 July 2015 CCCH School of Music, University of Leeds
Steven Tanimoto. Livesolving: Enabling Collaborative Problem Solvers to Perform at Full Capacity
https://zenodo.org/record/19345#.W8EWd6NRe2w
ICLC International Conference on Live Coding 2015
14 July 2015 LT1 School of Music, University of Leeds
Julian Rohrhuber – Keynote Speech
ICLC International Conference on Live Coding 2015
13 July 2015 CCCH School of Music, University of Leeds
Sally-Jane Norman – Keynote Speech
ICLC International Conference on Live Coding 2015
15 July 2015 LT1 School of Music, University of Leeds
Paper session A (Chair: David Ogborn)
Alan Blackwell. Patterns of User Experience in Performance Programming (20min)
Charlie Roberts, Karl Yerkes, Matthew Wright and JoAnn Kuchera-Morin. Sharing Time and Code in a Browser-Based Live Coding Environment (15min)
Marije Baalman. Embodiment of code (15min)
ICLC International Conference on Live Coding 2015
13 July 2015 LT1 School of Music, University of Leeds
Anticipation – Alex Keegan & Alex McLean
Keegan is one third of Sheffield agrobeat band Blood Sport, and McLean is one third of London/Falmouth/Sheffield live coding band Slub. They’re combining their respective research interests in music psychology and algorithmic music to explore the limits of entrainment in audio/visual beat perception.
Part of the evening programme of the Sonic Pattern symposium. http://sonicpattern.com/sheffield2015...
Recorded 17 June 2015 at Access Space, Sheffield
Paper session B (Chair: Nick Collins)
Adam Parkinson and Renick Bell. Deadmau5, Derek Bailey, and the Laptop Instrument -- Improvisation, Composition, and Liveness in Live Coding (15min)
Emma Cocker. Live Coding/Weaving — Penelopean Mêtis and the Weaver-Coder’s Kairos (15min)
Giovanni Mori. Analysing Live Coding with Ethnographical Approach. A new perspective. (15min)
ICLC International Conference on Live Coding 2015
13 July 2015 LT1 School of Music, University of Leeds
Papers session C (Chair: Alan Blackwell)
Tim Sayer. Cognition and Improvisation: Some Implications for Live Coding (15min)
Nick Collins. Live Coding and Machine Listening (20min)
Giovanni Mori. Pietro Grossi's live coding. An early case of computer music performance (20min)
ICLC International Conference on Live Coding 2015
14 July 2015 LT1 School of Music, University of Leeds
Paper session D (Chair: Felienne Hermans)
Shawn Lawson. Performative Code: Strategies for Live Coding Graphics (15min)
James Mooney. Materiality, Economy, Community: Hugh Davies’s Electronic Musical Instruments and their Relation to Present-Day Live Coding Practice (15min)
Geoff Cox. What Does Live Coding Know? (15min)
Chris Kiefer. Approximate Programming (15min)
ICLC International Conference on Live Coding 2015
14 July 2015 LT1 School of Music, University of Leeds
Paper session E (Chair: Roger Dean)
Steven Tanimoto. Livesolving: Enabling Collaborative Problem Solvers to Perform at Full Capacity (20min)
Alan Blackwell and Samuel Aaron. Craft Practices of Live Coding Language Design (20min)
Felienne Hermans and Tijs Van Der Storm. Copy-Paste Tracking: Fixing Spreadsheets Without Breaking Them (15min)
ICLC International Conference on Live Coding 2015
14 July 2015 LT1 School of Music, University of Leeds
Paper session F (Chair: Nicolai Suslov)
Sang Won Lee and Georg Essl. Live Writing: Asynchronous Playback of Live Coding and Writing (20min)
Jun Kato, Tomoyasu Nakano and Masataka Goto. TextAlive Online: Live Programming of Kinetic Typography Videos with Online Music (15min)
David Ogborn, Eldad Tsabary, Ian Jarvis, Alexandra Cardenas and Alex McLean. Extramuros: making music in a browser-based, language-neutral collaborative live coding environment (20min)
ICLC International Conference on Live Coding 2015
14 July 2015 LT1 School of Music, University of Leeds
Paper session G (Chair: Kate Sicchio)
Nikolai Suslov and Tatiana Soshenina. From Live Coding to Virtual Being (15min)
Carolina Di Prospero. Social Imagination (15min)
Charles Hutchins. Live Patch / Live Code (15min)
ICLC International Conference on Live Coding 2015
14 July 2015 LT1 School of Music, University of Leeds
Paper session H (Chair: Marije Baalman)
Antonio Goulart and Miguel Antar. Live Coding the computer as part of a free improvisation orchestra of acoustic instruments (20min)
Antonio D. Carvalho Jr, Sang Won Lee and Georg Essl. SuperCopair: Collaborative Live Coding on Supercollider through the cloud (20min)
ICLC International Conference on Live Coding 2015
14 July 2015 LT1 School of Music, University of Leeds
Off<>zz Live - Felipe Ignacio Noriega and Anne Veinberg
"A laptop and piano/toy piano duo featuring Felipe Ignacio Noriega and Anne Veinberg respectively. All our performances are improvised and our style is guided by our search for bridging the gap between instrumental and live coding music making. Felipe codes from scratch in supercollider and this in part guides the speed of musical development in our improvisations but is altered due to the presence of an acoustic instrument, namely the piano. We move between blended piano/computer soundscapes, to vibrant grooves, contrary expressions which eventually morph together and musical explosions."
ICLC International Conference on Live Coding 2015
14 July 2015 LT1 School of Music, University of Leeds
Flock - Shelly Knotts, Holger Ballweg, Jonas Hummel Concert E, Wednesday
Flock (2015) for Live Coders explores flocking mechanisms in network structures as a means of managing collaboration in a live coding performance. Loosely modelling the behaviour of bureaucrats in their interactions with self-regulating political systems, the three performers engage in a live coding election battleground, hoping to win votes from an artificial population.
ICLC International Conference on Live Coding 2015
13 July 2015 Left Bank, Leeds
Feedforward -an electric guitar and live code performance - Alexandra Cárdenas
Feedforward is a system, a cyber instrument composed by performer, electric guitar and laptop. The guitar sounds trigger previously written code and will make the laptop live code itself. The performer reacts to the choices of the computer. The initial settings of the system are a composition that is open to improvisation for both the performer and the laptop.
ICLC International Conference on Live Coding 2015
13 July 2015 Left Bank, Leeds
Auto – Canute
Matthew Yee-King plays a set of digital v-drums which trigger percussion sounds and longer, synthesized sounds. Alex McLean livecodes in the Tidal language, generating polyrhythmic patterns, melodic synthesizer lines and some sampled vocal patterns. They cover a range of rave inspired styles including industrial techno, drill and bass, dubstep and so forth, with occasional bursts of noise and free improv. The performance will be fully improvised, and will experiment with introducing autocoding into collaboration between percussionist and coder.
ICLC International Conference on Live Coding 2015
13 July 2015 Left Bank, Leeds
Live Coded Controllerism – Luuma
A performative design of a new modular instrument. Starting with a blank code page, and a diverse set of controllers. Over the course of the piece, I will livecode the sound and controller mappings for an Algorave style improvisation, bringing in new controllers from the collection as the piece develops. As the set progresses, an instrument will take form, and the performance will move from coding to controllerism. The piece harnesses the flexibility of livecoding to allow the design of an instrument to evolve with the music. The piece will highlight the interplay between instrument, mapping, sound and algorithm design.
ICLC International Conference on Live Coding 2015
13 July 2015 Left Bank, Leeds
chain reaction - Fredrik Olofsson
In chain reaction Fredrik Olofsson writes small programs for Arduino boards and makes them send useless serial data directly to the speakers. Depending on the type of data being sent, at what baud-rate and how the improvised little C programs flow, he gets different rhythms, melodies and a variety of noises.
ICLC International Conference on Live Coding 2015
13 July 2015 Left Bank, Leeds
Sonic Miner - Sam Aaron and Alan Blackwell
This performance is an initial exploration of the potential for Minecraft to be used in an algorave context. Sam Aaron, developer of Sonic Pi, maintains a practice-led research discipline in which the educational tools that he uses in classroom teaching are the same tools that he uses in public performance.
ICLC International Conference on Live Coding 2015
13 July 2015 Left Bank, Leeds
living sound - Dragica Kahlina
The performance is a combination between live coding and instrumental music. The sound journey is improvised, layered and has a strong focus on the timbral aspect of music. Live coding works within a prepared, but dynamic framework that gives the performer the freedom to change all aspects of the music spontaneously. The instrument used is an Eigenharp Alpha an electronic controller with 132 buttons that act as 3-axes joysticks, a breath controller and 2 pressure stripes.
ICLC International Conference on Live Coding 2015
14 July 2015 Stage One, University of Leeds
BEER - Birmingham Ensemble for Electroacoustic Research
Two live-coded works, Swarm 1, by Norah Lorway, and SwitchBlade, by Scott Wilson + BEER. The former piece involves improvising through a loosely pre-determined structure using supplied templates and materials, which are then modified and extended by the ensemble. In the latter each musician live codes 3 layers of different types, which are chosen and combined using a central control algorithm, itself live-coded.
ICLC International Conference on Live Coding 2015
13 July 2015 CCCH, University of Leeds
Wezen - Gewording - Marije Baalman
Wezen - translation:be, character, creature, essence, gist, nature, being, intelligence, also orphans (2012-4; work in progress)
Wezen is a solo music-theatre work where I try to explore the relationship between theatrical gesture and musical instrument, between the body and the sonic world.
Gewording (Becoming) is the first performance version where the link between physical and sonic gesture is explored during a live performance, combining movement of the body and live coding.
ICLC International Conference on Live Coding 2015
14 July 2015 Stage One, University of Leeds
To code a dadaist poem - Sean Cotterill
This performance is an evolution of a concept Sean Cotterill explored for Rodrigo Velasco's event 'on-the-fly codepoetry' held in January 2015 (http://cargocollective.com/onfcopoe/otfCp00). For the performance Cotterill uses live coding techniques to create cut-up poetry and sound on the fly, reminiscent of the process described by Tristan Tzara in his work 'To make a dadaist poem'.
ICLC International Conference on Live Coding 2015
14 July 2015 Stage One, University of Leeds
End of buffer - Repl Electric
This performance by Joseph Wilk as Repl Electric, is a mix of improvisation and composed music and visuals. The primary programming language used is Clojure a LISP based language running on the JVM. The visuals are written with the OpenGL Shading Language and the music with Overtone a client to the SuperCollider sound engine and finally a library I created myself called MUD optimizing immediacy of expression. All of this is bound together using the Emacs editor, taking a common tool used widely for programming and emphasizing its power and feedback in coding live.
ICLC International Conference on Live Coding 2015
14 July 2015 Stage One, University of Leeds
HTB2.0 - Kate Sicchio
This dance piece is an exploration of live coded electronics and improvisational movement. A dancer wears a custom garment of haptic actuators. These actuators are programmed real-time via OSC to 'buzz' on the right and left sides of the dancer to indicate which side of the body the dancer will move. The score is being live coded by choreographer while the dancer is responding to the haptic feedback. This piece explores live coding of bodies and movement as output rather than a sonic or visual output as found in many live coding performances.
ICLC International Conference on Live Coding 2015
14 July 2015 Stage One, University of Leeds
Slamming Street 01100110 - Afrodita Nikolova, Sam Aaron and Alan Blackwell
"An experimental performance collaboration involving poetry and live coding. Our goal is to explore the borderlands between computation and human experience; between media and algorithms; and between structures and interpretations as a creative intercultural encounter. Using Linton Kwesi Johnson's dub poem 'Street 66' as a shared starting point, Sam Aaron, Afrodita Nikolova and Alan Blackwell have worked together to understand their experiences as improvisers and boundary-crossers."
ICLC International Conference on Live Coding 2015
15 July 2015 CCCH, University of Leeds
Mind Your Own Business - Birmingham Laptop Ensemble
Mind Your Own Business (2013, MYOB) is a piece which entangles different elements and roles in an electronic sound performance amongst a group. Noone can play any sound without anyone else‘s activity. Each performer only has partial control over the resulting music: rhythm, pitch, timbre and manipulative effects are the different roles. Adding to the confusion the ensemble then rotates the designated roles throughout the duration of the piece. Everything is livecoded which poses yet another challenge in view of differing keyboard layouts. The music is improvised based on a starting set of three synthesized sounds but everything can be changed at anytime.
ICLC International Conference on Live Coding 2015
15 July 2015 CCCH, University of Leeds
vida breve - tristeTren
vida breve' is an audiovisual feedback dialog between the Ollinca's guitar processed by SuperCollider and drawings processed by Processing then live coded in Tidal, also Ollinca use her voice to establish an algorithmic - analog dialogue, the approach is to generate a live coded guitar feedback loop, playing and improvising analog sounds in real time to turn and cut these processes and loudly redirected by writing algorithms in real time.
ICLC International Conference on Live Coding 2015
15 July 2015 CCCH, University of Leeds
Improvisation - very long cat (Shawn Mativetsky and David Ogborn)
very long cat are a new network music ensemble combining tabla (Shawn Mativetsky) and live coding (David Ogborn), rehearsing and performing via the Internet and employing an eclectic range of techniques and technologies. For the inaugural International Conference on Live Coding we will improvise a combination of two formats or “genres” that are complementary features of the ensemble’s work: live coding signal graphs that transform the live sound of the tabla sound (live coding “live electronics”), and live coding patterns and grooves that provide a rhythmic frame for tabla improvisation.
ICLC International Conference on Live Coding 2015
15 July 2015 CCCH, University of Leeds
Cult of graa> - Niklas Reppel
'Cult of graa>' is an umbrella term for instant composing performances, coded live and from scratch with the aid of the 'graa>' mini-language.
The 'graa>' language is a self-developed, Python-based domain specific language for the rapid creation and manipulation of directed graphs, Markov chains and other stochastic processes. Thus, it incorporates non-deterministic elements in its very foundations, and the challenge for the performer lies in juggling with a bunch of musical objects, each of which behaves unpredictable to a certain amount, without drifting into complete randomness.
ICLC International Conference on Live Coding 2015
15 July 2015 CCCH, University of Leeds
Shelly Knotts (sound) + OBI WAN CODENOBI (visual)
Algorave performance.
ICLC International Conference on Live Coding 2015
15 July 2015 Wharf Chambers, Leeds
Andrew Sorenson
Alogorave performance.
ICLC International Conference on Live Coding 2015
15 July 2015 Wharf Chambers, Leeds
Ash Sugar
Algorave performance.
ICLC International Conference on Live Coding 2015
15 July 2015 Wharf Chambers, Leeds
Calum Gunn + Obi Wan Codenobi
Algorave performance.
ICLC International Conference on Live Coding 2015
15 July 2015 Wharf Chambers, Leeds
Digital Space Presentation (Lovebytes Media Archive)
Terre Thaemlitz, Kim Cascone and Julian Baker talk about working with digital sound, music and digital culture at Lovebytes Festival, Sheffield, 8th April 2000. The first of two panel sessions featuring artists involved in the Lovebytes Digital Space Project, chaired by Tony Myatt from the University of York's Electronics and Music course.
Lovebytes 2000
2.30pm 8th April 2000 Showroom Cinema 3, Sheffield
Renick
Algorave performance.
ICLC International Conference on Live Coding 2015
15 July 2015 Wharf Chambers, Leeds
Shared Buffer
Algorave performance.
ICLC International Conference on Live Coding 2015
15 July 2015 Wharf Chambers, Leeds
Tim Shaw and John Bowers
Drawing on Soviet experiments in image/sound translation and esoteric theories of correspondence, Shaw and Bowers have created a number of devices with which they will physically investigate local geological materials from the surrounding Sheffield area. The varying textures, colours and structures of the rocks will be directly translated to sound through the audification of variably illuminated microscopic images and spectral reflections. Live feeds from microscopes and various sound generation techniques will allow this cross-sensory performance to provide an expanded sense of the carboniferous. Part of the evening programme of the Sonic Pattern symposium.
7.30pm-11pm, Wednesday 17th June 2015 Access Space, Sheffield
Phantasmata–xname
xname is Eleonora Oreggia, a multimedia artist born in Milan and currently based in London. Her live performances are developed through the use of artificial lights and home-made micro-oscillators which generate sound waves. The light, transformed in electric current, passes through the circuit and exits in the shape of a sonic frequency, while the sound, modulated by manipulating the light sources, becomes tactile and synesthetic. The result is an hypnotic spectacle dominated by stroboscopy and industrial and noise-techno frequencies. Part of the evening programme of the Sonic Pattern symposium.
7.30pm-11pm, Wednesday 17th June 2015 Access Space, Sheffield
Sonic Pattern – Discussion 1
Group discussion with Amy Twigger-Holroyd, Sharon Mossbeck and David Littler following presentations by Matt Jones, Gemma Latham and Francesca Sargent at the day symposium of Sonic Pattern and the Textility of Code, Sheffield, 17th June 2015, curated by Karen Gaskill (Crafts Council) and Alex McLean (University of Leeds), and funded by the Crafts Council, the Culture and Communities Network+ (via Inhabiting the Hack project) and the AHRC Weaving Codes, Coding Weaves project.
10.30am – 5pm, Wednesday 17th June 2015 Electric Works, Sheffield
Sonic Pattern – Discussion 2
Group discussion with Alex McLean following presentations by Matt Jones, Gemma Latham and Francesca Sargent at the day symposium of Sonic Pattern and the Textility of Code, Sheffield, 17th June 2015, curated by Karen Gaskill (Crafts Council) and Alex McLean (University of Leeds), and funded by the Crafts Council, the Culture and Communities Network+ (via Inhabiting the Hack project) and the AHRC Weaving Codes, Coding Weaves project.
10.30am – 5pm, Wednesday 17th June 2015 Electric Works, Sheffield
Sonic Pattern – Amy Twigger Holroyd
Amy Twigger Holroyd is a designer, maker, researcher and writer. Through her craft fashion knitwear label, Keep & Share, she has explored the emerging field of fashion and sustainability since 2004. Amy will talk about the centrality of mathematics and number patterns to her knitting practice, from the design of fabrics and garments to an obsession with ratios which emerged while exploring the challenge of changing gauge as part of her PhD research.
10.30am – 5pm, Wednesday 17th June 2015 Electric Works, Sheffield
Sonic Pattern – Sharron Mossbeck
Sharon Mossbeck is a conceptual artist whose work focuses on themes of death and religion, often presented in a vibrant, hedonistic manner. Mossbeck works in a variety of media, including painting, sculpture using found objects and textiles. She is currently artist in resident at Bank St Arts in Sheffield, where she is working on a large scale sculptural piece using cross stitch methods and inspired by DNA patterns and Byzantine church domes.
10.30am – 5pm, Wednesday 17th June 2015 Electric Works, Sheffield
Sonic Pattern – Gemma Latham
Gemma Latham is a participatory artist who expands and magnifies textile processes in the creation of installations and interventions, inviting the public to join in the making. Interested in capturing moments of flow, Gemma has been exploring code as a form of co-production in the interpretation of participants’ experiences during making.
10.30am – 5pm, Wednesday 17th June 2015 Electric Works, Sheffield
Sonic Pattern – Francesca Sargent
Francesca Sargent is a researcher and technologist as part of FoAM Kernow in Falmouth, which collaborates on the Weaving Codes project with the University of Leeds and the Copenhagen Centre for Textile Research, including creating the Pattern Matrix for tangible weavecoding.
10.30am – 5pm, Wednesday 17th June 2015 Electric Works, Sheffield
Bubbles Installation at Lovebytes
Here's a clip from the Lovebytes.tv deep-freeze... 'Bubbles' is a multi-user installation made by Wolfgang Muench and Furukawa Kiyoshi for Lovebytes Festival 2002. Viewers can interact with a real-time simulation of floating bubbles. When you enter the light beam of the video projector your body throws a shadow onto the projection screen, the bubbles bounce off your shadow float around, collide, burst and make music.
Lovebytes 2002 Persistence Works, Sheffield
Peter Greenaway: Cinema of the Future
A masterclass conducted by Peter Greenaway at Lovebytes 2005, Sheffield UK. One of the most influential film-makers of the 1980's, Greenaway has always been excited by the possibilities of new technology in creating art and moving image in particular. Here he discusses the Tulse Luper Suitcases Project and outlines his vision of a digital future for film.
Lovebytes 2005. Saturday 16 April 12.30pm Showroom Cinema, Sheffield
Algorithm - Lovebytes 2007
Moving between computer music and elemental techno ALGORITHM featured a rich line up of live performances from: Alexander Rishaug & Marius Watz, Pixel, Aoki Takamasa and Senking.
Lovebytes 2007 Site Gallery, Sheffield.
Haswell & Hecker at Lovebytes 2007
Russell Haswell & Florian Hecker present the ninth, multi channel electroacoustic diffusion session of material generated on Iannis Xenakis' graphic-input 'UPIC Music Composing System'.
Lovebytes 2007 Workstation Studio, Sheffield
Scrapstore (Educational workshop film)
Children reflect on the Scrapstore scheme and it's impact on their learning and play. This is one of over 30 films made by year six pupils during the 'Malin Bridge Mash-up' a 3 month workshop residency with Malin Bridge Primary School. The project was led by Lovebytes, a Sheffield based digital arts organisation and Dr Becky Parry, a researcher from the University of Leeds. Funded by First Light the project was developed with the Institute of Education with the aim of researching children’s film production practices at home and at school.
June 2013 Malin Bridge Primary School, Sheffield
Sheffield's Woodland Heritage - an illustrated talk by Prof. Mel Jones
This talk and slide show by Sheffield woodland expert Mel Jones explores the historical, archaeological and ecological importance of ancient woodland.
This event took place at Upper Wincobank Chapel, Sheffield, 3rd January 2013 and was hosted by The Friends of Wincobank Hill.
Den Making in Greno Woods
Greno Woods is a site of ancient woodland recorded as far back as the Middle Ages. It's own by Sheffield Wildlife Trust. Greno Woods is a large and beautiful reserve covering 178 hectares, next to the residential areas of Grenoside, Ecclesfield and Chapeltown. There is evidence that Greno Woods existed as early as 1600AD and has played a critical role in the local economy ever since. Here students from the University of Sheffield's School of Architecture help with the sustainable conservation and management of Greno Woods so it can continue to play an important role in the well-being of local wildlife and local residents.
2014 for Sheffield Wildlife Trust
The Model Village - Caer Heritage Project
Made for the Connected Communities Utopia Festival at Somerset House. On 9th June 2016 CAER Heritage Project lead artist Paul Evans and film maker Jon Harrison led the first of two Model Village creative workshops at The Glamorgan Archives with students from Michaelston Community School. Selected animation sequences from this workshop were combined with an interview with Dr Stephanie Ward made at the Glamorgan Archive and film sequences from the Ely estate.
This Caer Heritage Project production for the Arts and Humanities Research Council Connected Communities Festival 2016 won the Outstanding Contribution to the Local Community trophy at the 2017 Times Higher Education Awards.
A film by Jon Harrison, Viv Thomas and Paul Evans 2016
Professor Jenny Clack: Beautiful Minds Series 2, BBC4
For palaeontologist Professor Jenny Clack, who solved one of the greatest mysteries in the history of life on Earth, success was far from inevitable. She recounts how she had to overcome a series of setbacks before she found and described the fossil Acanthostega, a 365 million-year-old creature that offered dramatic new evidence of how fish made the transition onto land.
Animation by Jon Harrison
Broadcast Mon 16 Apr 2012