Telematic sonic performance using Internet, bi‐directional streaming, mobile streaming
Saturday 15 October 2016
A real-time bidirectional streaming of ‘nomadic voices’ between London and Cambridge, for the audience to perceive a deterritorialized sense of place and respond creatively using Twitter. The visualisation of this textual response will be projected simultaneously on a wall. The text will serve as the translated experience from the Cambridge audience, of distant voices and sounds, suggesting the expansion of spaces for living and being, through a mixture of languages and multiple identities.
FLO (Female Laptop Orchestra) is a music research project founded in 2014 by Nela Brown with the aim of bringing together female musicians, artists, engineers, composers, hackers and scientists to explore co-located and distributed collaborative music making within different contexts. The first two FLO performances (Klang 2015 and PQ2015) were centred around an algorithmic system for mediating collaboration in telematic improvisation called Union (developed by Shelly Knotts) and included three co-located and six remote performers. In Transglasphõné, FLO’s current performance, has involved Ximena Alarcón, Nela Brown, Magdalena Chudy, and Maria Papadomanolaki streaming audio from different indoor and outdoor locations around London over to the audience in São Paulo (CMMR 2016). For audience of ALL2016, FLO performers will stream and improvise between London and Cambridge.
Nela Brown (founder and creative director of FLO), is an award winning Croatian musician, sound designer, researcher and educator based in London. After graduating with a BA (Hons) in Sonic Arts, she got involved with designing sound for contemporary theatre, dance, interactive installations and documentaries as well as exhibiting her electroacoustic work, before joining Queen Mary University of London to do a PhD in Computer Science. In the past ten years, her sound work has travelled across Canada, Italy, Brazil, Spain, Czech Republic, England, Scotland and US and she is a regular speaker at music and technology events like MTF, Campus Party, Sonar and World Stage Design. At QMUL she is also a leader of G.Hack, an art & technology lab for female researchers.
Magdalena Chudy is a Polish musician, music technologist and computer scientist. She studied cello at St. Petersburg Conservatory (Russia) and computer science at Warsaw School of Information Technology (Poland). Her current PhD research at Queen Mary University of London focuses on player-dependent aspects of musical timbre. She is particularly interested in exploring the relationship between instrumental gesture, tone quality and perception in classical cello performance. In addition to her research and performance activities, Magdalena has been involved in QMUL’s Women in Science and Technology focus groups such as WISE@QMUL and G.Hack.
Maria Papadomanolaki is a Greek artist who works within the fields of sound design for dance and film, networked performances, exploratory work- shops, installation and transmission art. She has a background in literary and sound studies. She has presented her work and research at galleries, conferences and festivals in Europe, UK and the US. Maria is conducting PhD research on sonic perceptual ecologies at CRiSAP, UAL, London. She is the co-founder of SoundCamp and is the producer of Sensing Cities, an ongoing series of interviews broadcast on Resonance FM.
Ximena Alarcón is a Colombian sound artist and Research Fellow at CRiSAP. Her practice-based research focuses on the creation of telematic sonic performances and networked environments to expand our sense of place, using field recordings and spoken word in urban and migratory contexts. She has a PhD in Music, Technology and Innovation, from De Montfort University, and was awarded with a Leverhulme Early Career Fellowship 2007-2009. Her art projects include: the online environment Sounding Underground (London-Mexico-Paris); and Networked Migrations – a series of telematic performances exploring, through Deep Listening, migration and dislocation, in UK, Colombia, Mexico, Troy, France, Linz and Bangalore. Her last performance Suelo Fértil [Fertile Soil], commissioned by UNESCO, became a telematic sound art collective for migrant women.