Thu 3 Feb 2011 | Thurs-Fri: from 10am // Sat: from 12 noon | Festival Pass: £20/£15 // Day Pass: £8/£6
THURSDAY 3RD 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 In a thought-provoking sound installation, Canadian artist Katie McCain uses outdated technologies to examine our yearning for the past and what it represents, (provoking) the concepts of nostalgia, luddism and existential crisis.
Xana Marwick: You Suffer, But Why?
Inspired by the 1.3 second long Napalm Death track You Suffer, But Why? – and Xana Marwick’s teenage reaction to it – the audience design, direct and perform their own 1.3 second play on the theme of Western suffering in this playful, personal and inescapably thought-provoking one-on-one experience.
Paul Henry: Love For The Dead Bag
Composer Paul Henry (Knocking Theatre) slips between the roles of performer, technician, audience member, confused bystander and barman as he attempts to bend the conventional frame of performance in this refreshing, original work. Using live electronics, lights and props, he forces the audience’s attention back to themselves to highlight the real main ingredient of any live performance: people.
Euan Fulton: Movement for Viola, Cello and Double Bass
Intrigued by abrupt juxtapositions of highly dissimilar sections of music, composer and PhD student Euan Fulton examines the discrepancy between the composer’s use of form and structure on a small and large scale, leading to the ultimate question: What lends such music its sense of coherence?
Jan Hendrickse and Rosalind Masson: Tape Piece
A large scale visual and sound installation piece created before the audience, uniting process and product. Using adhesive tape as a static cultural presence, artists Jan Hendrickse and Rosalind Masson explore the relationship between physical action, space and sound through movement and live processing and sampling.
Alex Rigg: Treadmill Poets
A live performance from Oceanallover’s Alex Rigg, in which Guy Veal and Jamie Hall mix live samples and music into spoken word which is read and replayed using hamster wheel technology. Rigg’s previous enigmatic live art piece Feather Mammy was performed at the Edinburgh Fringe festival in 2009 to critical acclaim.
Alison Clifford and Graeme Truslove: Substratum
With over 12 years experience exploring the creative possibilities of technology, Substratum is the first installment in a series of collaborations between internationally acclaimed artists Alison Clifford and Graeme Truslove. Combining audio (Truslove) and visuals (Clifford) to explore the space between abstract sound and image, computer algorithims, sampling and digital montage processes are used to create an entirely immersive experience.
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 a composer/superimposer and performer/clown. He is interested in sound and consumption and considers audience to be a problem.
Todd Braylor Pleasants: Styrocymatic
A Cymatics-inspired D.I.Y sculptural installation, in which reclaimed styrofoam packaging is transformed into audio speakers using water. As the audience experiences both the visual patterns on the water and the audible frequencies of the undulating speakers, conceptual artist Todd Braylor Pleasants attempts to bridge the gap between seeing and hearing.
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.
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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