Uploaded August 2019 | Updated September 2026, 1 week ago
Electric Indigo: Ferrum (2019) for live electronics
http://indigo-inc.at/
electricspring.co.uk
Electric Spring is an annual festival of sonic exploration of cutting-edge practice in electronic music. The five-day programme of concerts, installations and symposia brings together a collection of people from diverse musical backgrounds to share their knowledge and perform music. The festival is curated by the Music and Music Technology staff of the University of Huddersfield.
/// Credits
Performed by Susanne Kirchmayr/Electric Indigo at Electric Spring, 22 February 2019, Phipps Recital Hall, University of Huddersfield.
Audio recorded by Alex Harker
Video recorded by Sam Gillies
Edited by David Velez
/// Program Note
Ferrum is a large-scale exploration of inharmonic timbres, oscillating between brutal grinding textures and intricate percussive singularities, created by digitally transforming recordings of various metallic objects.
/// Bio
Electric Indigo, DJ, composer, musician, has performed in 38 countries across Europe, Asia, and the Americas. She represents an intelligent and distinguished interpretation of techno and electronic music. Her DJ-sets are characterized by a wide variety with a clarity of vision and a depth that comes from a deep understanding of the music and the art of DJing. As a composer and musician, she creates music for concert spaces, clubs, sound installations and occasionally for stage plays and short films. In her compositions and live performances, she emphasizes the spatial-temporal placement of subtly elaborated sounds and structures, often generated from speech recordings. Electric Indigo shuttles between Vienna and Berlin.
Electric Indigo's first solo album was released on imbalance computer music in March 2018.
Electric Indigo started her DJ career in Vienna 1989 and lived in Berlin for three years [1993-1996] to work at the legendary Hard Wax record store. In those years, she also began to produce music, first releases came out in 1993. 10 years later, she started her own label indigo:inc recordings which is sound asleep nowadays... In 1998, she founded female:pressure an international database and network for female artists in the fields of electronic music and digital arts which was awarded with an Honorary Mention at Prix Ars Electronica 2009. Institutions like the University of Music and Performing Arts Vienna, the University of Fine Arts Vienna, and the University of Applied Arts Vienna commonly invite Electric Indigo as a guest lecturer. She received the "outstanding artist award Musik 2012" in the category electronic music and computer music and the national grant for composition 2013 from the Austrian Federal Ministry for Education, Arts and Culture.
Important works include multichannel compositions like "Structuring Contours" - premiere at Klangspuren Festival 2011, "Chiffres" - premiere at e_may / Wien Modern 2012, "109.47 degrees" - premiere at Dunkle Zeiten Festival 2014, "MORPHEME" - premiere as audiovisual multichannel concert together with Thomas Wagensommerer at CTM Festival 2015, "Barry Duffman" - premiere as audiovisual multichannel concert together with TE-R at Wien Modern 2015, the commissioned 8 channel composition "Tolkowsky's Refraction" - premiere at Heroines Of Sound Festival 2017, "Hierarchy Glitch" a commissioned work for Klangforum Wien, together with Vessela Dantcheva - premiere at Eclat Festival, Stuttgart, 2019, and "ferrum" - premiere of the long version "ferrum H" at Electric Spring Festival, Huddersfield, 2019.
Electric Indigo: Ferrum (2019) for live electronics
http://indigo-inc.at/
electricspring.co.uk
Electric Spring is an annual festival of sonic exploration of cutting-edge practice in electronic music. The five-day programme of concerts, installations and symposia brings together a collection of people from diverse musical backgrounds to share their knowledge and perform music. The festival is curated by the Music and Music Technology staff of the University of Huddersfield.
/// Credits
Performed by Susanne Kirchmayr/Electric Indigo at Electric Spring, 22 February 2019, Phipps Recital Hall, University of Huddersfield.
Audio recorded by Alex Harker
Video recorded by Sam Gillies
Edited by David Velez
/// Program Note
Ferrum is a large-scale exploration of inharmonic timbres, oscillating between brutal grinding textures and intricate percussive singularities, created by digitally transforming recordings of various metallic objects.
/// Bio
Electric Indigo, DJ, composer, musician, has performed in 38 countries across Europe, Asia, and the Americas. She represents an intelligent and distinguished interpretation of techno and electronic music. Her DJ-sets are characterized by a wide variety with a clarity of vision and a depth that comes from a deep understanding of the music and the art of DJing. As a composer and musician, she creates music for concert spaces, clubs, sound installations and occasionally for stage plays and short films. In her compositions and live performances, she emphasizes the spatial-temporal placement of subtly elaborated sounds and structures, often generated from speech recordings. Electric Indigo shuttles between Vienna and Berlin.
Electric Indigo's first solo album was released on imbalance computer music in March 2018.
Electric Indigo started her DJ career in Vienna 1989 and lived in Berlin for three years [1993-1996] to work at the legendary Hard Wax record store. In those years, she also began to produce music, first releases came out in 1993. 10 years later, she started her own label indigo:inc recordings which is sound asleep nowadays... In 1998, she founded female:pressure an international database and network for female artists in the fields of electronic music and digital arts which was awarded with an Honorary Mention at Prix Ars Electronica 2009. Institutions like the University of Music and Performing Arts Vienna, the University of Fine Arts Vienna, and the University of Applied Arts Vienna commonly invite Electric Indigo as a guest lecturer. She received the "outstanding artist award Musik 2012" in the category electronic music and computer music and the national grant for composition 2013 from the Austrian Federal Ministry for Education, Arts and Culture.
Important works include multichannel compositions like "Structuring Contours" - premiere at Klangspuren Festival 2011, "Chiffres" - premiere at e_may / Wien Modern 2012, "109.47 degrees" - premiere at Dunkle Zeiten Festival 2014, "MORPHEME" - premiere as audiovisual multichannel concert together with Thomas Wagensommerer at CTM Festival 2015, "Barry Duffman" - premiere as audiovisual multichannel concert together with TE-R at Wien Modern 2015, the commissioned 8 channel composition "Tolkowsky's Refraction" - premiere at Heroines Of Sound Festival 2017, "Hierarchy Glitch" a commissioned work for Klangforum Wien, together with Vessela Dantcheva - premiere at Eclat Festival, Stuttgart, 2019, and "ferrum" - premiere of the long version "ferrum H" at Electric Spring Festival, Huddersfield, 2019.
![Francisco Colasanto: Algorithmic Composition with Modular Systems and the bach Library [23.11.2018]
Francisco Colasanto discussed his approach to algorithmic composition with modular synthesisers, utilising customised code in Max/MSP and the bach Library via Max4Live.
http://www.ceiarteuntref.edu.ar/entrevista_Colasanto
https://research.hud.ac.uk/institutes-centres/cerenem/projects/creativecodinglab/ Francisco Colasanto: Algorithmic Composition with Modular Systems and the bach Library [23.11.2018]](https://i.ytimg.com/vi/KTcxE_9g5oc/mqdefault.jpg)



![Chris Dewey: Considering alternative user interfaces for music production [11.12.2018]
Chris Dewey outlines his approach to developing new user interfaces for music production
https://pure.hud.ac.uk/en/persons/christopher-dewey
https://research.hud.ac.uk/institutes-centres/cerenem/projects/creativecodinglab/
Despite the widespread adoption of the digital audio workstation as the heart of the modern recording studio and the move from mainly analogue to mainly digital/software architectures the interfaces we use for music production still adhere to traditional implementation-centric design paradigms. This talk outlines our approach to developing new user interfaces for music production. Central to this work is the use of HTML5, JavaScript and the Web Audio API for prototyping and evaluating novel designs. Several interface concepts will be presented, demonstrated and discussed. There will be opportunity for the group to inform the development of a novel interface for single track equalisation towards the end of the session.
References:
Carrascal, J. P., & Jordà, S. (2011). Multitouch Interface for Audio Mixing. In NIME (pp. 100-103).
Gelineck, S., Overholt, D., Büchert, M., & Andersen, J. (2013, May). Towards an Interface for Music Mixing based on Smart Tangibles and Multitouch. In NIME (pp. 180-185).
Dewey, C., & Wakefield, J. P. (2017). Formal usability evaluation of audio track widget graphical representation for two-dimensional stage audio mixing interface. Journal of the Audio Engineering Society.
De Man, B., Jillings, N., & Stables, R. (2018) COMPARING STAGE METAPHOR INTERFACES AS A CONTROLLER FOR STEREO POSITION AND LEVEL. 4th Workshop for Intelligent Music Production
Bourne, H., & Reiss, J. D. (2013, October). Evaluating iBall—An Intuitive Interface and Assistive Audio Mixing Algorithm for Live Football Events. In Audio Engineering Society Convention 135. Audio Engineering Society.
Gibson, D. (1997). The art of mixing: A visual guide to recording. Engineering, and Production, 236. https://www.youtube.com/watch?v=es6VdpN6lb4
Gibson, D. A. (1998). U.S. Patent No. 5,812,688. Washington, DC: U.S. Patent and Trademark Office.
Gelineck, S., & Overholt, D. (2015, October). Haptic and visual feedback in 3D audio mixing interfaces. In Proceedings of the Audio Mostly 2015 on Interaction With Sound (p. 14). ACM. Chris Dewey: Considering alternative user interfaces for music production [11.12.2018]](https://i.ytimg.com/vi/LXvkSGRoKfQ/mqdefault.jpg)
![Liza Lim: How Forests Think (2016) [TRAILER]
Composer Liza Lim, Chinese Sheng player Wu Wei, and members of the ELISION Ensemble introduces her work How Forests Think during its rehearsal and performance at //hcmf2017. A recording of the work is available to purchase on Huddersfield Contemporary Records - HCR13CD The wreck of former boundaries.
https://www.nmcrec.co.uk/huddersfield-contemporary-records/wreck-former-boundaries
https://lizalimcomposer.wordpress.com/
http://www.elision.org.au/ Liza Lim: How Forests Think (2016) [TRAILER]](https://i.ytimg.com/vi/MTFoqBxrdxo/mqdefault.jpg)
![Richard Barrett: entoptic for percussion and electronics and other recent work [30.04.2019]
Richard Barrett joins the CeReNeM colloquium to discuss his new work entoptic for percussion and electronics as well as other recent pieces. entoptic was premiered by Peter Neville/ELISION Ensemble the night before at St Pauls Hall, University of Huddersfield.
https://richardbarrettmusic.com/
https://research.hud.ac.uk/institutes-centres/cerenem/ Richard Barrett: entoptic for percussion and electronics and other recent work [30.04.2019]](https://i.ytimg.com/vi/NIbF3_FRRBs/mqdefault.jpg)



![Richard Barrett: entoptic (2017-18)
https://richardbarrettmusic.com/
http://www.elision.org.au/
http://www.cerenem.org
Richard Barrett: Entoptic (2017-18)
for percussion and electronics [world premiere]
Performed 29 April 2019, St Pauls Hall, University of Huddersfield, UK
Peter Neville | percussion
ELISION Ensemble
Film by Angela Guyton
// Program Note
entoptic for solo percussion with live electronics is the present result of an extended collaboration with Peter Neville. While performing in a succession of improvisational pieces I have written for ELISION and other ensembles (codex I, III, IV, IX, XI, XIV, XVIII, XIX, XX), he has been gradually evolving a percussion setup which combines maximum timbral flexibility with portability, utilising a wide selection of small instruments and other objects. This solo was conceived around Peter’s setup by “systematising” it as a 4x4 grid of principal instruments placed on a table, with an additional 3x3 grid of smaller objects in the gaps between them. The setup is then amplified by microphones at its corners, which allow a “spatialisation” of the grid onto the size and shape of the performing space itself, and for instruments to be picked up and actuated next to a microphone for a “close-up” sound or moved between them for “panning”. Additionally, the microphones are used to pick up percussion sounds for the live electronic part, programmed by Patrick Delges of the Centre Henri Pousseur in Liège. In the first of the three phases of the piece, no electronic sounds appear. In the second, the computer selects certain partials from the (not all clearly pitched) percussion sounds and extends them in time, triggered by a sustain pedal played by the percussionist. In the third, this processing continues but the percussive sounds now also actuate prerecorded electronic sounds and textures which expand the timbral and articulative range of the “instrument” even further.
The title refers to visual phenomena which are generated within the nervous system rather than sensed by the eyes, for example the patterns known as “form constants” which recur in descriptions of altered states of consciousness throughout many shamanistic cultures as well as experiences with hallucinogenic substances. These patterns of dots, zigzags, spirals and so on could be said to form a “map” of the visual cortex of the brain – what is being seen is in a real sense the “workings of the mind”. This music uses such “form constants” as patterns of movement across the two-dimensional array of struck objects, and in the course of its three parts transforms these through electronic processing into new sound-forms, analogously to the way that the transition from waking consciousness into sleep or trance might first involve abstract patterns which the mind gradually “interprets” as the contents of dreams or (in shamanic practices) of the spirit world. In the early 1990s, Daryl Buckley remarked to me that in working with the “grain of the instrument”, as I’d been doing in the context of what I subsequently came to call “radically idiomatic instrumentalism”, I was also working with the “psyche of the musician”, a remark that has resonated more deeply with me as the years have gone by. entoptic forms part of a cycle of interlocking works under the collective title PSYCHE, which attempt, from various angles, to confront that interface between the inner and physical worlds (which may or may not ultimately be two sides of the same thing) that is at the heart of all musical activity. Here I’ve also been strongly influenced by David Lewis-Williams’s book The Mind in the Cave, an exploration of the origins of art and creativity in altered mental states with particular reference to Palaeolithic cave paintings. For me musical activity (composition – performance – listening) is as meaningful a way of trying to understand the world as any other: what it might be thought to lack in specificity relative to science and philosophy might in the end, in some contexts, be an advantage and a way of liberating thought from language and its dualisms.
entoptic was commissioned by ELISION and Peter Neville, and completed in October 2018. Richard Barrett: entoptic (2017-18)](https://i.ytimg.com/vi/O39MiJEfrzE/mqdefault.jpg)