Uploaded February 2019 | Updated September 2026, 1 week ago

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Tim Howle discusses the use of looped video material as a non-fully realized process at Ambient@40, a two-day conference 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

In the creation of the piece looped material is used as a non-fully realized process. The resultant interactions offer up possibilities that can be selected for further development. Perhaps adding impetus and shape suggests having to deal with the implications. Indeed, the strategy here is about creating opportunities for composition; to provide material that can be extended rather than in an end in itself. Ambience spaces become safe spaces where carefully selected sounds result in meaningful permutations that are ripe for plundering. Using loops of unequal length, containing well-chosen material, subtle variations arise within a range of controlled possibilities. However, acumen still plays an important part in determining the sounds used. The process becomes an opportunity to luxuriate in sound; to let the Imagination flourish. Years ago, I recorded sounds on several loops of tape and ran them through a desk and used the mute buttons to play the loops; to turn them on and off. Unpredictable phrases and fragments of melody and gesture were produced. It was fun. The approach is free within prescribed limits.

This piece of audio-visual art utilizes the two media in an equitable way. The musical principles extending to incorporate parallel ideas found in video art. The connections created by looping sound is matched by a similar approach in the videos. Connections are sought that are typified by the ‘audio-visual contract’ suggested by Chion (1994).

The exploitation of the inherent musicality of the images mirrors the use of sound. The limited indeterminate relationship of the layers of AV material allows for phasing with regard to each other, resulting in harmonious and gestural relationships regardless of juxtaposition. The material ranges from quite complex recordings to the very simple thus providing the prospect of further sophistication through layering. The formal elements are inspired by Eno/Ambience and by Cornelius Cardew’s Autumn ’60 for orchestra; where limited indeterminate relationships are used in both modalities.

///BIOGRAPHY

Tim Howle is Professor of Music at the University of Kent. He has also worked at the Universities of Hull and Oxford Brookes. He read music at Keele University, studying under Roger Marsh and Mike Vaughan completing a doctorate in composition in 1999. His work centres on electronic music including fixed media pieces, and also for performer and live electronics and pieces involving visual media. He work has been performed throughout the US, Asia and the EU.