Uploaded February 2019 | Updated September 2026, 1 week ago
Ángela Hoyos Gómez and Juan Hernández explore the immersive experiences evoked by Eno that inspire their original work Tamba at Ambient@40, a two-day conference was to appraise ambient music in relation to Eno’s milestone release
"Music Beyond Airports", edited by Monty Adkins and Simon Cummings, available now in hardcopy and free PDF download via Huddersfield University Press: unipress.hud.ac.uk/plugins/books/19
ambientat40.wordpress.com
archives.electricspring.co.uk/Seasons/2017-2018/Electric-Spring-2018
This presentation took place as part of the Ambient@40 conference, conveyed by Monty Adkins, Simon Cummings, Rupert Till, and Kristina Wolfe.
In the forty years since the release of Brian Eno’s Music for Airports the concept and aesthetics of ambient music have proliferated, influencing artists as diverse as Taylor Deupree, Steven Wilson, David Lynch and The Orb, infusing drone, microsound, minimalism and experimental electronic music as well as aspects of contemporary instrumental music. The aim of this two-day conference was to appraise ambient music in relation to Eno’s milestone release.
The conference took place at the University of Huddersfield from Friday 23 to Saturday 24 February 2018, running alongside the Electric Spring Festival (www.electricspring.co.uk).
/// CREDITS
Video camera operator: Andie Brown, Pablo Galaz Salamanca, Sam Gillies
Video edited by Sam Gillies
Title music: Music for Airports (1/1), Brian Eno. Performed by Decibel New Music Ensemble. decibelnewmusic.com
///ABSTRACT
Discreet Music and Music for Airports by Brian Eno opened up, since they were published in the seventies, new ways to conceive sonic worlds listeners could “swim in, float in, get lost inside”, using the vast electronic palette. Different senses of the immersion experience evoked by Eno have inspired our composition Tamba. We explore with Tamba the possibility to generate electronic sound dilations of an immersion experience, using synthesized sounds programmed in Pure Data. Dilation is a way to stretch time so certain physical, emotional and mental dimensions of the process become perceivable. The moments when we lay on the surface, dip, and resurface after the immersion, are expanded in the composition, so they become ambients themselves. Through audible slow shifts in timbres and non-functional harmonies, our contact and interaction with these ambients shape images and project curious, intriguing or puzzling thoughts. The immersion could occur in a variety of environments. The water-air mixture happened to be our choice in this composition since current learning experiences we are engaged in, lead us there. At the surface where the liquid and the aerial meet, coming and going ripples can seduce, be terrifying or bizarre. We associate Eno’s words on how it is like to be in transit in an airport “- flying, floating and secretly, flirting with death” with an episode read about a very skilled Brazilian surfer, Maya Gabeira, who had a near-dead wipeout at a thrilling natural surfing spot in Portugal, while facing a massive wave caused by a storm. Her memory of the numbing episode and her undramatic, rather alluring come back to slide the board on the waves at the same spot after recovery, hold ideas to think of a different way to apprehend and creatively engage moving fluid borders. In the same sense, the experience of taking a dip is explored. Crossing air-liquid mixtures, getting surrounded by the waters of uncertainty, setting an ambient in the space of data flows, and resurfacing in the presence of new air sonic bubbles are subsequently addressed in this presentation as moments of the ambient composition Tamba.
//BIOGRAPHY
Juan Hernández and Ángela Hoyos-Gómez play together in a duo project called Ulrica Duo, experimenting and improvising with sound – to movement – to color synesthesia, and creating scenes in which the presence of the performers draws morphing characters. Ulrica Duo’s music is created with the computer, and performed with wearable devices, and other physical interfaces. The duo has been performing and presenting sound instalation works in galleries, exhibition spaces and theatres in Colombia, Sweden and Norway. In 2017, they performed at the event Activating Inclusive Sound Spaces organized at the University of Huddersfield, in England, UK.
Juan and Ángela work as teachers in the Schools of Music (Arts Faculty) and Aesthetics (Architecture and Design Faculty) at Javeriana University, in Bogotá. They are currently developing research projects at the university related to cross-modal perception in artworks involving media technologies, focusing on synesthesia and kinesthesia. Juan has a BA on Music with a minor on Sound Engineering, and Ángela has a BSc in Electronics Engineering. Between 2007 and 2009 they studied at the C:Art: Media program in Gothenburg, Sweden, and graduated with a Master of Fine Arts with specialization in Digital Media.
Ángela Hoyos Gómez and Juan Hernández explore the immersive experiences evoked by Eno that inspire their original work Tamba at Ambient@40, a two-day conference was to appraise ambient music in relation to Eno’s milestone release
"Music Beyond Airports", edited by Monty Adkins and Simon Cummings, available now in hardcopy and free PDF download via Huddersfield University Press: unipress.hud.ac.uk/plugins/books/19
ambientat40.wordpress.com
archives.electricspring.co.uk/Seasons/2017-2018/Electric-Spring-2018
This presentation took place as part of the Ambient@40 conference, conveyed by Monty Adkins, Simon Cummings, Rupert Till, and Kristina Wolfe.
In the forty years since the release of Brian Eno’s Music for Airports the concept and aesthetics of ambient music have proliferated, influencing artists as diverse as Taylor Deupree, Steven Wilson, David Lynch and The Orb, infusing drone, microsound, minimalism and experimental electronic music as well as aspects of contemporary instrumental music. The aim of this two-day conference was to appraise ambient music in relation to Eno’s milestone release.
The conference took place at the University of Huddersfield from Friday 23 to Saturday 24 February 2018, running alongside the Electric Spring Festival (www.electricspring.co.uk).
/// CREDITS
Video camera operator: Andie Brown, Pablo Galaz Salamanca, Sam Gillies
Video edited by Sam Gillies
Title music: Music for Airports (1/1), Brian Eno. Performed by Decibel New Music Ensemble. decibelnewmusic.com
///ABSTRACT
Discreet Music and Music for Airports by Brian Eno opened up, since they were published in the seventies, new ways to conceive sonic worlds listeners could “swim in, float in, get lost inside”, using the vast electronic palette. Different senses of the immersion experience evoked by Eno have inspired our composition Tamba. We explore with Tamba the possibility to generate electronic sound dilations of an immersion experience, using synthesized sounds programmed in Pure Data. Dilation is a way to stretch time so certain physical, emotional and mental dimensions of the process become perceivable. The moments when we lay on the surface, dip, and resurface after the immersion, are expanded in the composition, so they become ambients themselves. Through audible slow shifts in timbres and non-functional harmonies, our contact and interaction with these ambients shape images and project curious, intriguing or puzzling thoughts. The immersion could occur in a variety of environments. The water-air mixture happened to be our choice in this composition since current learning experiences we are engaged in, lead us there. At the surface where the liquid and the aerial meet, coming and going ripples can seduce, be terrifying or bizarre. We associate Eno’s words on how it is like to be in transit in an airport “- flying, floating and secretly, flirting with death” with an episode read about a very skilled Brazilian surfer, Maya Gabeira, who had a near-dead wipeout at a thrilling natural surfing spot in Portugal, while facing a massive wave caused by a storm. Her memory of the numbing episode and her undramatic, rather alluring come back to slide the board on the waves at the same spot after recovery, hold ideas to think of a different way to apprehend and creatively engage moving fluid borders. In the same sense, the experience of taking a dip is explored. Crossing air-liquid mixtures, getting surrounded by the waters of uncertainty, setting an ambient in the space of data flows, and resurfacing in the presence of new air sonic bubbles are subsequently addressed in this presentation as moments of the ambient composition Tamba.
//BIOGRAPHY
Juan Hernández and Ángela Hoyos-Gómez play together in a duo project called Ulrica Duo, experimenting and improvising with sound – to movement – to color synesthesia, and creating scenes in which the presence of the performers draws morphing characters. Ulrica Duo’s music is created with the computer, and performed with wearable devices, and other physical interfaces. The duo has been performing and presenting sound instalation works in galleries, exhibition spaces and theatres in Colombia, Sweden and Norway. In 2017, they performed at the event Activating Inclusive Sound Spaces organized at the University of Huddersfield, in England, UK.
Juan and Ángela work as teachers in the Schools of Music (Arts Faculty) and Aesthetics (Architecture and Design Faculty) at Javeriana University, in Bogotá. They are currently developing research projects at the university related to cross-modal perception in artworks involving media technologies, focusing on synesthesia and kinesthesia. Juan has a BA on Music with a minor on Sound Engineering, and Ángela has a BSc in Electronics Engineering. Between 2007 and 2009 they studied at the C:Art: Media program in Gothenburg, Sweden, and graduated with a Master of Fine Arts with specialization in Digital Media.
