Program for Machine Dreams Symposium
Friday 7 June, 10:00 am - Kunstnernes Hus
10:15 Aura Satz
Daphne Oram, Hedy Lamarr, George Antheil
A presentation on women in technology and notions of drawn sound, notation and encryption through Satz’s artworks. Daphne Oram was an electronic music pioneer and inventor. As well as being a Hollywood actor, Hedy Lamarr was a mathematician who co-invented ‘frequency hopping’ (a method for transmitting radio signals) with avant garde composer George Antheil.
11:00 David Toop
Incense Clocks, Automata, Buried Dreams
An evolution of machine/human interactions and dreams of interspecies communication in the collaborations of David Toop and Max Eastley, dating from 1975 and including recordings such as New and Rediscovered Musical Instruments (released on Brian Eno's Obscure label in 1975), Buried Dreams (1994) and Doll Creature (2003).
12:00 Frode Weium
Material Culture and Electronic Sound
The music machine curator from the Norwegian institution Teknisk Museum presents a talk focusing on his new book (jointly edited with Tim Boon from London’s Science Museum) of essays exploring the relationship of technological innovations and modern music
Lunch (Kunstnernes hus café open)
13:30 Jonny Trunk
The BBC Radiophonic Workshop
A personal appreciation and historical survey of influential The BBC Radiophonic Workshop, a special department set up in the late 1950s that acted as a secret laboratory of avant garde sound and whose most famous output includes the theme tune for Dr Who and sounds for the late 70s radioseries The Hitchhiker’s Guide To The Galaxy.
14:45 Peter Zinovieff
Good Morning Ludwig
A conversation with Beethoven about electronic variations he might like seen on his Coriolanus Overture. A discussion of as to how such variations were achieved using present day computer techniques and bespoke computer programmes by electronic music pioneer Zinovieff.
15:30 - Ends
Aura Satz is a London based visual artist. In her installations, films and performances, she explores a complex blend of human and machine. Her work is a mix of delight in archaic technologies and an engagement with the uncertainty they engender in terms of bodily perception and human agency. The 19th century surmised that a vast world of secrets, which seemed hidden under regular ways of seeing the world, could be unlocked by playing the right airwaves, understanding letters in colour, visual patterns as music, or languages as universal –mere matters of shifts in perception that Satz works to restage (Melissa Gronlund, in Frieze). She has performed, exhibited and screened her work nationally and internationally. Her projects can be seen online www.iamanagram.com
David Toop (b. 1949) is a composer/musician, author and curator based in London who has worked in many fields of sound art and music, including improvisation, sound installations, field recordings, pop music production, music for television, theatre and dance. He has recorded Yanomami shamanism in Amazonas, appeared on Top of the Pops, exhibited sound installations in Tokyo, Beijing and London’s National Gallery, and performed with artists ranging from John Zorn, Evan Parker, Bob Cobbing and many others. He has published five books, including Ocean of Sound, Haunted Weather, and Sinister Resonance: The Mediumship of the Listener, released eight solo albums, and as a critic has written for many publications, including The Wire, The Face, Leonardo Music Journal and Bookforum. His opera – Star-shaped Biscuit – was performed as an Aldeburgh Faster Than Sound project in September 2012. He is Professor of Audio Culture and Improvisation at University of the Arts London.
Frode Weium is a curator at the Norwegian Museum of Science and Technology in Oslo and PhD candidate at the Department of History and Classical Studies, Norwegian University of Science and Technology (NTNU) in Trondheim. His permanent exhibitions include Music Machines, which opened in 2009 and presents a unique collection of musical instruments from the past few centuries. Weium has written several articles on music technology, focusing on the history of early electronic musical instruments and investigating broader questions about the relationship between technology and culture. The book Material Culture and Electronic Sound (jointly edited with Tim Boon) was published earlier this year. His PhD project concerns the introduction and reception of electronic musical instruments in Norway before 1940.
Jonny Trunk is a British writer, DJ, musician and entrepreneur. His label Trunk Records specialises in reissuing obscure film scores and TV themes, Library Music, old advertising jingles, art, sexploitation and sonic kitsch.
In the late 1960s electronic music pioneer Dr Peter Zinovieff co-founded Electronic Music Studios (EMS), London. EMS created the world’s first affordable portable synthesizer, the EMS VCS3, used in popular music by such artists as Pink Floyd as well as the BBC Radiophonic Workshop. In its short history, EMS produced many other innovative products, however Dr Zinovieff should be equally celebrated as an electronic music facilitator and collaborator. Alongside EMS’ synthesizers Zinovieff established in the mid 1960s an innovative computer controlled studio, out of which arose electronic music collaborations between Zinovieff and contemporary classical composers Sir Harrison Birtwistle and Hans Werner Henze, among others. Peter Zinovieff’s remarkable early career is the subject of the award-winning documentary on EMS, What the Future Sounded Like (2006), directed by Matthew Bate.
nyMusikk’s annual festival of adventurous music, Only Connect, will this year focus on machines: futuristic, obsolete or fictional, machines as utopian instruments of ideas, or as dystopian mechanism. With screenings, a symposium and live performances, the festival will explore the Machine Dreams.
Tickets are sold at billettservice.no, Narvesen, 7-eleven and at the venue. Only cash at the door!