10–13 September 2015, 1–9pm, OTO Project Space
The creation of any musical tool involves the inscription of musical ideas into the artefact itself. This is as true of an instrument like the piano as it is of software such as Ableton Live. The distinction between composition and instrument design is fuzzy. If artists form their ideas through an engagement with their musical tools, exploring the possibilities that they offer, then they always do so within a landscape of affordances determined by the design of the instrument itself.
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CONTROL is an interactive installation exploring the relationships between artists, music, and musical artefacts. It attempts to call attention to the role that the musical artefacts play in developing musical ideas. A single dial is connected to a single speaker, but the relationship between the two is not fixed; it flits between a range of possibilities composed by a diverse range of artists. Visitors are invited to use the dial to make sounds, and to thus explore the links between their actions, the limits of the dial, and the musical ideas embedded in the software by the artists.
To coincide with the start of CONTROL there'll be a launch event in the main space featuring Mark Fell, Ewa Justka and Alberto De Campo. As well as performing, all the artists will be in conversation with Christopher Haworth, and the CONTROL installation will be open to view.
Tom Mudd is a musician and programmer interested in relationships between software, composition and improvisation. His recent work revolves around physical models: digital synthesis processes based on numerical simulations of acoustic objects and instruments. His upcoming release on Fancyyyyy uses massed brass synthesis: digital models of physically improbable brass instruments being played by algorithms. Previous work released on the Entr’acte label explored similar territory with his own synthesis processes. He currently lectures in sound and algorithmic music at Edinburgh College of Art.