new research developments
Watch this digital concert on the LOOS channel!
Gabriela Areal performs "Solo de Armonio"
Gabriela Areal is a composer and cellist born and based in Buenos Aires, Argentina.
Originally coming from visual and movement arts, her music practice wonders about the space between and within presences. Her work relates to the tradition of written experimental music, improvisation, performance art, process music, microtonal systems, acoustic phenomena, auditory perception and movement techniques.
During the pandemic times she has devoted her time to compose and record music for LCollective; to the making of “ENDE”: a music-graphic practice piece commissioned by Centro de Arte Sonoro (Ministry of Culture of Argentina); to the develop “blandiri”: a piece for voice, cello, sine tones and fire for the Argentinian resonance of the Listening Biennial (DE) BIENAL : DE : ESCUCHAR; to produce the 2020/2021 season of her concert series SAGITAL where she commissioned and recorder works by 8 local musicians active in the Experimental and the Early Music scene.
Kristin Norderval - “Future Past”
a PhD in Artistic Research at the Oslo National Academy of Arts, Academy of Opera, and I am here in Den Haag for this academic year taking the 1-year course in Sonology. My research focus is on the challenges of developing an interactive audio processing interface suitable for opera singers, one that would require improvisatory responses from the singers.
As both a composer and singer, Kristin Norderval is inspired by hybridity, interactivity and the idea that everything we do is site-specific. She blends acoustic and electronic sound, is fascinated with de-tuned instruments, machines, and ambient sound. In her solo works for voice and electronics she processes her voice in real time often combining it with prerecorded sounds to create complex sonic layers and unusual soundscapes. Custom controllers allow her to manipulate the processed sound with physical gestures.
Joan Jordi Oliver performs "From the Noise"
Interactive environment for saxophone and live electronics. A semi-modular, flexible system created in Max captures the saxophone sounds, filters them to extreme ends and plays them back into the room.
The performer can mix the results in real time, designing a constantly morphing soundscape, adding new sounds to it or saturating it. The digital filters allow them to explore the hidden partials of the original sound, inaudible in the acoustic situation but hearable through the zoom-in process of the electronic system, creating pure harmony from the noise. This relationship in the interaction between performer and machine exposes the fragility of the listening and performative experience and gives a dramatic dimension to the performance.
VBVK (Van Bergen Van Kreij) perform IOM-AIM Research
