Uploaded June 2020 | Updated September 2026, 2 weeks ago
Noisebringers perform 'The abusers of power united will never be defeated' at Electric Spring 2020.
akouphene.org/bricecatherin/noisebringersEN.php
electricspring.co.uk
cerenem.org
Brice Catherin: akouphene.org/bricecatherin/indexphpEN.php
Maria Sappho: mariasappho.com
Henry McPherson: henrymcpherson.org.uk
Weston Olencki: westonolencki.com
Colin Frank: colinfranksounding.com
What do men, animals, oating orbs, objects, Wikipedia, and 66 speakers have in common? A collaborative work by ve artists proposes no de nite answers. Without a need for linear form, the work exempli es how varied sources can be externally collaged to have unintended ‘meaning’. Much like in our current political climate, narrative is skewed and distorted by the media, the public, and those who have a platform to share artistic blurbs. “The Abusers of power united will never be defeat- ed” is not only a reference to Rzewski, but also a nod to the existential inevitability
of nitude. This adventurous and unorthodox piece is told in partial shadow, full surround sound, and must be experienced live for full sensorial impact.
Audio recorded by Alex Harker
Video recorded, edited and mixed by Sam Gillies
Noisebringers perform 'The abusers of power united will never be defeated' at Electric Spring 2020.
akouphene.org/bricecatherin/noisebringersEN.php
electricspring.co.uk
cerenem.org
Brice Catherin: akouphene.org/bricecatherin/indexphpEN.php
Maria Sappho: mariasappho.com
Henry McPherson: henrymcpherson.org.uk
Weston Olencki: westonolencki.com
Colin Frank: colinfranksounding.com
What do men, animals, oating orbs, objects, Wikipedia, and 66 speakers have in common? A collaborative work by ve artists proposes no de nite answers. Without a need for linear form, the work exempli es how varied sources can be externally collaged to have unintended ‘meaning’. Much like in our current political climate, narrative is skewed and distorted by the media, the public, and those who have a platform to share artistic blurbs. “The Abusers of power united will never be defeat- ed” is not only a reference to Rzewski, but also a nod to the existential inevitability
of nitude. This adventurous and unorthodox piece is told in partial shadow, full surround sound, and must be experienced live for full sensorial impact.
Audio recorded by Alex Harker
Video recorded, edited and mixed by Sam Gillies
![Sam Pluta: Information as beauty in musical software design [25.11.2016]](https://i.ytimg.com/vi/tweKuk6HZVg/mqdefault.jpg "Sam Pluta: Information as beauty in musical software design [25.11.2016]
Dr Sam Pluta discusses the design of his live electronics performance environment in SuperCollider, in his lecture Information as beauty in musical software design at CeReNeMs Creative Coding Lab
http://www.sampluta.com/
https://research.hud.ac.uk/institutes-centres/cerenem/projects/creativecodinglab/
http://www.cerenem.org/")
![Miller Puckette: Roles for scores for electronic music [31.03.2017]](https://i.ytimg.com/vi/uxXhqKfdB7o/mqdefault.jpg "Miller Puckette: Roles for scores for electronic music [31.03.2017]
Visiting Researcher Miller Puckette discusses contemporary approaches to scores for electronic music at to show the musical structure of a piece in a way that a composer can use to organize musical ideas, and also as a data structure that can be transformed by the computer into musical sound, possibly incorporating live, real-time inputs from musicians.
http://msp.ucsd.edu/
https://research.hud.ac.uk/institutes-centres/cerenem/projects/creativecodinglab/
http://www.cerenem.org/
Electronic music over the past century has developed at a rate that far outpaces our ability to develop suitable notation systems for it. At least since the early 1950s, composers have tried to find ways of organizing electronic sounds using marks on paper, and since the 1970s researchers have been trying to design a flexible way to represent electronic scores graphically using a computer. (The Pure Data software system that I currently develop started out as one such attempt). In this talk, Ill try to show why the problem has proved so difficult. One central reason is that any such score system must simultaneously serve two purposes: to show the musical structure of a piece in a way that a composer can use to organize musical ideas, and also as a data structure that can be transformed by the computer into musical sound, possibly incorporating live, real-time inputs from musicians. These considerations often come into tension with each other, and with limitations imposed by the physical interface that a computer presents to a user, and by the inability of an image to accurately represent a sound. Ill assess the current situation and make some suggestions for future work in this area.")
![Jamie Currie: Kill yourself/musical life [13.02.2018]](https://i.ytimg.com/vi/wxI1g_5PuK0/mqdefault.jpg "Jamie Currie: Kill yourself/musical life [13.02.2018]
Jamie Currie (University of Buffalo) presents his lecture Kill yourself/musical life: performance as research and professional death at the CeReNeM colloquium. In it, he discusses his experience in creating and realising his musical/theatrical work Examples of Excess (2006), originally premiered by the Open Music Ensemble.
https://arts-sciences.buffalo.edu/music/faculty/faculty-directory/james-currie.html
http://www.hallwalls.org/music/5818.html
http://www.cerenem.org/")
