Fri 4 Feb 2011 | Thurs-Fri: from 10am // Sat: from 12 noon | Festival Pass: £20/£15 // Day Pass: £8/£6
FRIDAY 4TH FEBRUARY
Katie McCain: An Unpleasant Vagueness
Two skeleton cassette mechanisms, one recording, another playing; both, inevitably, victim of their own death drive. In a thought-provoking sound installation, Canadian artist Katie McCain uses outdated technologies to examine our yearning for the past and what it represents, (provoking) the concepts of nostalgia, luddism and existential crisis.
Sean Williams: Testing 1, 2
Composer, performer and co-founder of the Monosynth Orchestra Sean Williams looks at the dynamic possibilities of electronic music before computers started getting in the way. Inspired by the practices of John Cage, Pierre Schaeffer and other 1940s musicians, this solo piece transforms the sterile laboratory elements of early electronic equipment and the modern notion of DJing to create a vivid new world of sound.
Adam Campbell and Jodi Cave: Amplified String Quartet and Electronics
A new work for amplified string quartet and electronics, in which the music is informed simply by the physical properties of the performance space. Like much of the duo’s collaborative work, the score is stripped bare of technique and what might be called ‘musicality’, leaving a compelling dialogue between ensemble and architecture.
Lauren Sarah Hayes and Christos Michalakos: Můstek
The ongoing collaboration between Scottish/Greek composer/improvisers Lauren Sarah Hayes and Christos Michalakos. The Edinburgh-based creative duo use prepared piano, percussion and found objects plucked, strummed, hit and then sliced, layered and reassembled to create altogether new sonic forms, repurposing John Cage for the digital era.
Tom Marshallsay and Richard McMaster: Oct 160
A psychoacoustic experiment involving stethoscopes, speakers, and a group of hearts beating in unison. Reversing the accepted dialogue between the performance of music and the listener, Richard McMaster and Tom Marshallsay (Dam Mantle) use the biological body clocks of the audience to create an entirely different listening experience, in which your own reaction to variables outwith your body dictate how the piece will play.
Thomas Arthur: Music For Flute
Composer Thomas Arthur presents his new work Music For Flute, four minutes of music for unaccompanied flute.
Open School Workshop
Discussion with Lauren Sarah Hayes
Open School Showing
INSTALLATIONS (all day)
Iain Campbell: POSTFACE
The installed recording of a process of making analogues of itself overwhelmed by investigation of capture, repetition and stoppage. Iain Campbell is composer/superimposer and performer/clown. He is interested in sound and consumption and considers audience to be a problem.
Yann Seznec and Patrick Hickey: The Secret Sounds of Spores
A mushroom contained in a bell jar silently drops thousands of tiny spores, visible to the naked eye via a laser beam. Using digital technology, artist Yann Seznec and mycologist Patrick Hickey analyse the spores’ light patterns in real time to create a stunning new composition revealing the depth, beauty and inherent artistry of fungi.
Calum Scott: Cymatic Sculpture
The physical properties of sound are translated into a visible media before the eyes – and ears – of the audience through a kinetic sculpture made from ‘Father of Acoustics’ Ernst Chladni’s cymatic plates. Using sheet metal, salt, a bow and vibrations of varying frequencies, Glasgow-based sound artist Calum Scott uses sound as a catalyst for visual art to stunning effect.
Leila Peacock: Sing. Speak. Sigh. Scream
Filmed using state of the art medical technology at Gartnaval General, an artist’s voicebox is filmed as he recites a riddle. Inspired by Samuel Beckett’s dramatic works, the artist is put under considerable physical distress as we visually witness this intimate bodily organ – previously always to be heard, never to be seen – in action.
Gary Naylor: Scrubber Fox and DJ Stuff
ABOUT SOUND THOUGHT //
Sound Thought is the annual music composition, performance and research conference run by music postgraduates at the University of Glasgow. Each year, the festival presents a wide range of new composition work alongside paper presentations and workshops in an event which exists to explore contemporary music via practical and theoretical research, within and beyond the discipline of music.
See the full programme details for:
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Legendary international acts, cult festivals and the most exciting new bands collide at one of the city’s most eclectic live venues.
It’s perhaps natural that, as one of the nation’s most unusual live music venues, our programme spans rock, pop, indie, electronica, soul, jazz, country, metal, folk, and the many sub-genres inbetween. The unique atmosphere and space of the building means it’s often used for anything from intimate acoustic gigs to stage-diving, sweaty rammies and slick, spectacular international concerts.
Supporting the best examples of the known and the not-so-known, the Arches stage is host to everything from the latest stars of leftfield pop, such as Grimes and Chvrches, to alternative indie rock acts such as Peace and Yeasayer, prog and rock heroes such as The Fall, Swans and Dinosaur Jnr, and cutting edge electronic talent, from Rustie to James Blake.
We also regularly plays host to international legends – from Martha Reeves to Ben E. King to Jane Birkin – and provide the perfect multi-room setting for various festivals, from Celtic Connections to the Glasgow Jazz Festival. In 2012, the hallowed arches played hosted to the UK-wide Africa Express tour, featuring Damon Albarn, Baaba Maal and a trainload of world music stars, and in 2013, the building was transformed into a sonic Cineplex for our own co-curated cult event the Glasgow Music and Film Festival, featuring live film scores and AV sets from Jeff Mills, Dieter Moebius and Raime.
“A classical gig in the vaults of Scotland’s dance mecca might sound an odd prospect, but the Arches proved the perfect setting”
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