The Audio Foundation presents a festival of immersive music, surround sound and deep listening. Through quadraphonic, octaphonic and dodecaphonic sound systems, portable speakers, massive analogue synthesiser arrays, multiple radios and more - the festival promises unique technological listening experiences from a lineup of extraordinary international and local performers and composers.
Day 3
Saturday 31 July, 2-4pm
Musical Electronics Library Performance
John Kim
Phil Dadson - Radiophonic work with Sam Longmore / Torben Tilly / Rachel Shearer / Flo Wilson
4pm - Partitions & Resonances
Johnny Chang performs Michael Pisaro (USA)
Artist Bios
PHIL DADSON
Phil Dadson is an artist with an interdisciplinary practice working essentially in sound, music, performance and moving image. In 1970 he founded Scratch Orchestra (NZ) and later, in 1974, the music/performance group From Scratch, which subsequently performed to wide acclaim in New Zealand and overseas. His own practice includes building and performing with experimental musical instruments, sound sculptures, digital media, music compositions, graphic scores and drawings. Moving image and foregrounding sound has been a feature of his practice since the early 70s, referencing body, land, nature, triadics and the human condition.
RACHEL SHEARER
Rachel Shearer investigates sound as a medium through sound installation, experimental music, live performance and sound design/composition for moving image. She has received public commissions for sound art and has actively participated in a culture of composing and performing experimental music, releasing recordings on Xpressway (in group Angelhead), Drag City, Flying Nun (in group QMP), Corpus Hermeticum, Ecstatic Peace, Family Vineyard (as Lovely Midget & Rachel Shearer) along the way.
TORBEN TILLY
Torben Tilly traverses the fields of sound, moving image, performance and installation. Recent work weaves together ideas of synchronicity, time travel and time consciousness, exploring methods in which media and material processes may represent, embody or manipulate the passing of time.
SAMUEL LONGMORE
Sam Longmore is an artist, arts-worker, and electronic musician based in Tāmaki Makaurau. His work is informed by minimalist aesthetics, theories of architecture and geography, and aural experiences of the world around us, and has been performed and exhibited at galleries and project spaces throughout Aotearoa and abroad.
FLO WILSON
Flo Wilson is an emerging composer, performer and artist based in Tāmaki Makaurau/ Auckland, Aotearoa/ New Zealand. Her creative interests include computer music, embodied performance, spatial sound design and immersive installations. In particular she is curious about the relationships between people and technology; how technology can extend, reduce and manipulate our modes of being.
JOHNNY CHANG
Berlin/NZ-based composer-performer Johnny Chang engages in extended explorations surrounding the relationships of sound/silence and the in-between areas of improvisation, composition, performance and listening.
Current collaborations/projects include: Antoine Beuger, Alessandro Bossetti, Lucio Capece, Olivier Di Placido, Jürg Frey, Chris Heenan, Christian Kesten, Annette Krebs, Luke Munn, Koen Nutters, Michael Pisaro, Derek Shirley.
MICHAEL PISARO
Michael Pisaro (born 1961 in Buffalo, New York) is a guitarist and composer. He is member of the Wandelweiser collective. While, like other members of Wandelweiser, Pisaro is known for pieces of long duration with periods of silence, in the past fifteen years his work has branched out in many directions, including work with field recording, electronics, improvisation and large ensembles of very different kinds of instrumental constitution. Called “patient, unpredictable, exceedingly beautiful” by the New York Times, Pisaro’s music has been featured on many recordings in the last decade. Ben Ratliff of the Times writes: “The American composer Michael Pisaro likes his music to develop as a slow-motion force, with adjustments of tone and pitch and instrumentation so long-brewing that you lose your awareness of the player’s hand and the composer’s will.”
