Audiograft – initial impressions and photos

Audiograft featured an intense and varied programme including everything from Fluxus scores through to installations, and everyone will have taken different ideas and impressions away from it.

There are some very thoughtful reviews of the “Concept as Score” concert at the Holywell here and here, and in coming weeks there will be more audio, images and thoughts here.

Some  highlights included:

watching and listening to Patrick Farmer and Sarah Hughes polishing their instruments as per George Brecht’s 1962 score SOLO FOR VIOLIN, VIOLA OR CONTRABAS: “Polishing;”

listening through the walls in one of Shirley Pegna’s installations;

hearing the beautiful sound of a feather-filled pillow being drummed by Patrick Farmer at the Holywell “Concept as Score” concert;

listening to standing waves passing through materials of varying densities in Efthymios Chatzigiannis‘s thoughtful installation;

installing my own work in a new context and having the opportunity to test out new ways of working with objects and voices;

seeing the double deconstruction of an old tape player; firstly in the scans and installation created by Stephen Cornford, and secondly in the concert at Modern Art Oxford in which Paul Whitty and Stephen Cornford performed a piece using contact microphones, geophones, effects pedals, and the dismantling of said tape player as a sonic source;

listening to the warm, electronic pulses and subtle doppler effects of spinning sounds in Ray Lee‘s automated Murmur installation;

and hearing the esteemed Catherine Laws discuss the limitations and possibilities for contemporary piano scores and performances with undergraduates who will be composing a piece for her to play.

One Comment

  1. Mikayla June 15, 2016

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