Uploaded February 2016 | Updated September 2026, 1 week ago
electricspring.co.uk
sleazeart.com
Presented as part of the Electric Spring, Max/MSP Power Users Symposium 2015
Kaspar Toeplitz talks about his work with noise processing as part of the Max Power Users Symposium at the 2015 Electric Spring festival of electronic music, held at the University of Huddersfield.
Through the years my interest in music moved from working with sound to working on noise – when, at the same time (but it took years) my position in the (musical) world evolved from being a "contemporary" composer, writing symphonies, operas, string quartets or pieces for (mostly acoustic) ensembles to becoming a "noise" musician, a "noisician", or at least a musician deeply involved into (working with) noise and the electronics. Maybe as a paradox this quest for noise made me collaborate with contemporary dance projects, up to the point of sometimes using dancers as the only musicians for some compositions (Capture and Désastre) before turning them into instruments (Inoculate? and Data_Noise). Quite often, my compositional work became (mostly) electronic music which takes as its starting point the use of noise, similar to the (white) canvas of a painter or rather to the block of stone of a sculptor.
electricspring.co.uk
sleazeart.com
Presented as part of the Electric Spring, Max/MSP Power Users Symposium 2015
Kaspar Toeplitz talks about his work with noise processing as part of the Max Power Users Symposium at the 2015 Electric Spring festival of electronic music, held at the University of Huddersfield.
Through the years my interest in music moved from working with sound to working on noise – when, at the same time (but it took years) my position in the (musical) world evolved from being a "contemporary" composer, writing symphonies, operas, string quartets or pieces for (mostly acoustic) ensembles to becoming a "noise" musician, a "noisician", or at least a musician deeply involved into (working with) noise and the electronics. Maybe as a paradox this quest for noise made me collaborate with contemporary dance projects, up to the point of sometimes using dancers as the only musicians for some compositions (Capture and Désastre) before turning them into instruments (Inoculate? and Data_Noise). Quite often, my compositional work became (mostly) electronic music which takes as its starting point the use of noise, similar to the (white) canvas of a painter or rather to the block of stone of a sculptor.
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https://lizalimcomposer.wordpress.com/
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Jessica Aszodi presents her lecture Practice-based research in experimental performing practice, in which she discusses what she does, how she does it, and why she works the way she does with regards to contemporary vocal performance. In doing so she discusses Jennifer Walshes Glori, as well as her own work and devisements both solo and via collaboration.
https://www.jessicaaszodi.com/
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