Rae, a PhD student in Composition, travels to Abu Dhabi

Tacit Group held workshops and performances on 11 and 12 November in The Arts Centre at New York University Abu Dhabi. I have been a Tacit Group member from 2011 and this time, I participated as a main computer operator and a sound technician. Tacit was invited by NYU Abu Dhabi and we were treated extremely hospitably by the NYU.

Picture2Abu Dhabi is the capital of UAE but it has a quite short history. It started to be developed just decades ago and since that time, fabulous buildings and enormous educational facilities have been built to invest in the UAE’s future. NYU Abu Dhabi is one of them. The university is considered one of the world’s most competitive universities for admission accepts only about 0.9 percent of total applicants. Harvard accepts 7 percent.


NYU Abu Dhabi students can take advantage of lots of benefits; first, the school is equipped with excellent modern facilities to promote students’ well-being, and the quality of life. All students can win a full scholarship, accommodation as well as an round-trip air ticket which enables students to visit their hometown twice a year. As a electroacoustic music major, when I looked around the facilities of studio and classrooms, I envied their privilege that they can freely use the most cutting-edge equipment and devices.

To return, we ran workshops and performances three times. At the workshops, we presented our philosophies, methods of composition and approaches to sound. Especially, Game Over and Six Pacmen, Tacit’s repertoires that used rules of classic games such as Tetris and Pacman, were well received by the students. in C and Drumming by Terry Riley and Steave Reich, Tacit has recreated in its own style, were the highlights of the performance.


Tacit Group consists of 6 players and a main computer operator. The players control values through their laptops and then the values were sent to a server, the main computer through network calls OSC (Open Sound Control). Finally, the server makes sounds and visual output using data from the players. For example, the original piece of Drumming is for percussion and voice, but Tacit Group has changed it into electronic sounds and visualised the scores in a geometrical way. Players perform their own parts by controlling values such as amplitude, tone and speed like a percussionist. As a computer can control the values in full detail, the audience could listen to music different from that performed by humans. When it comes to Game Over, it involves the classic game Tetris. The computer generates melody according to the shape of laid blocks as six players compete against one another. As we perform, the game board becomes the music score in real time.

The tour schedule was very intensive but I experienced a special right as an artist which enables me to become part of the audience who had different nationalities and backgrounds. If I were not an artist, I could never experience it ever.



Rediscoveries 4 by SERG – Simon Hellewell

Peacock Visual Arts in Aberdeen was filled to capacity on Thursday evening as SERG continued its Rediscoveries series with Rediscoveries IV, an event so strongly grounded in audiovisual work that I would hesitate to simply brand it a “concert”. The evening had a theme of student work, featuring not only work from current postgraduate students at the University of Aberdeen, but also pieces by Pete Stollery and Suk-Jun Kim from their own student days.

The show got off to a great start with Yann Chapotel’s An Attempt at Exhausting a Place in Paris which, to me, ticked many boxes. The entire work viewed one location in Paris from one camera angle over the course of many days, observing the subtle changes over time and the people passing by. The use of a virtual cube on the screen, overlaying sections of the shot with the same section on different days was extremely effective, revealing many people and vehicles moving in the same physical space, separated only by time. The work used this to create a sense of connection, linking these passers by to each other through their presence in a space. Sonically, the work was soundscape based, and wedded the sound to the image extremely well, building towards a chaotic climax before winding down.

Following this, I was reminded that Pete Stollery’s Altered Images is always worth hearing in concert. I have listened to it through headphones a number of times before, which simply don’t do the work justice compared to hearing the piece diffused through speakers.

Torino, a collaborative work by composer Stuart Docherty from the Sonic Arts MMus with choreographer Jennifer Drotz Ruhn, and photographer Brian Vass, is an engaging short film, using many interesting shots to view a dancer on a beach interacting with the sea. The film is intentionally ambiguous in emotion, providing a blank slate for the viewer to interpret. The sound mirrors this well through its sparse sound worlds

Suk-Jun Kim’s Midong was accompanied by live visuals from Maja Zeco, a PhD student based at Gray’s School of Art and the University of Aberdeen. The sound and visual were both interesting and worked together quite effectively. My one uncertainty with this was in the program note. Midong is a piece concerned with small, almost imperceptible movements and I was unsure whether this was truly captured. In spite of this the visuals, which were produced live, were captivating and brought a fresh look at the music.

The Space was a technically sound piece by Bea Dawkins making imaginative use of a very limited sound source. The use of a narrator as the sole sound source was very reminiscent of past works using voice, putting an emphasis on the creation of sonic environments. I was uncertain of the overall structure, however the Bea’s manipulation of sound was very assured and I look forward to hearing her style develop.

The concert closed with another highlight in the form of Sound Drawing, a live audiovisual work by Aberdeen University’s new PhD student, Kwangrae Kim. Again using fairly minimal sound sources, the rhythmic sound was translated into visuals, with each beat represented by a splat of black ink which would then fade, over the course of a motif building up into intricate visual patterns which would then be drawn over by the next pattern in a shifting monochromatic world. I look forward to seeing more of Kwangrae’s work as he moves on with his PhD.

In summation then, it was a greatly enjoyable evening for both sight and sound, and a great look at some current work coming out of Aberdeen. Especially exciting, I think, is the leaning towards inter-disciplinary work and collaboration, both between individuals and between institutions in the form of Aberdeen University and Gray’s School of Art. With this in mind and the fact that there were more people than seats at a show of experimental music and images, it seems clear to me that the future is bright for such projects in Aberdeen. Bring on the Sound festival!

(Written by Simon Hellewell)


Shift-Return, our new live coding group, at the Suttie Art Centre, ARI.

On Sunday 25th October, four students of Aberdeen University’s MMus: Sonic Arts, together with one Phd student of Composition, Simon Hellewell, undertook a Live Coding performance at Aberdeen Royal Infirmary’s Suttie Art Space. The event was well attended by the interested and well-wishers, many of whom were from an Arts background.
The performance was preceded by a piece by the eminent Acousmatic Composer, Kim Cascone, who earlier that day had presented a workshop on Silence to the group. Thereafter there was a further rendering of two pieces by local artist Howard Hodgkinson, and finally, the group of Live coders who chose to call themselves “Shift-Return” for this activity.

They distributed themselves and their laptops, spaced roughly equidistantly around the room, each beside the speaker which was issuing their sounds in mono. Most had a second monitor facing towards the audience who, in turn, were seated at random in the centre of the room. During the introduction, however, the audience were invited to get up move around, in order to watch the coders work, or take a closer look at the monitors. A further large projection of one of the artist’s screens formed a decorative backdrop on the wall.

Following the brief introduction during which the audience were informed that every sound in the work originated from breaking glass which one of the members of the group Mark Dunsmore, had recorded earlier. Shift-Return used a real-time coding software called Tidal, introduced to them by their Sonic Arts tutor, Dr. Suk-Jun Kim.

The performance lasted twenty minutes and constituted five sections which flowed slowly into one another: Intro; Sharp Drone; Build-up from Bass; Hush-Cacophany; Drone Outro, with each performer’s synchronised phone-timer serving as score/conductor.

The work was enthusiastically received, with much pleasant feedback and exchanging of information on how others could get started Live Coding for themselves. Altogether this item – an adjunct to the SonADA ‘Slow Cooker’ series, was a successful and enjoyable evening which left Shift-Return happy to perform a return gig at some future date.

Shift-Return are, Bea Dawkins; Mark Dunsmore; Stuart Docherty; John Montgomery; Simon Hellewell; and tutor Dr. Suk-Jun Kim.

(written by John Montgomery)


Behind the Skin: a year of music and movement

Exercise #1: To move from one end of a room to the other, shedding our skin as we go.  I lower myself to a crouching position, feeling the cool wooden floor beneath my fingertips.  My breathing is anxious.   I feel myself pulled flat and begin to crawl slowly forward, each limb taut as cheese wire.  I pause frequently and place my pulsing forehead on the floor.  My entire body feels compressed, sore.  I stretch one arm out in front of me and one leg behind me.  This offers some relief.  The other arm is stretched out in front of me now and I’m dragging myself forward by my fingertips.  The sensation is what I imagine pulling myself through quicksand might be like.  I become vaguely aware of tears and snot pouring down my face.  I’m perhaps a quarter of the way across the room when I turn, painfully, onto my back.  I spread out each limb and gaze upwards.  My breathing is steady and calm.  Days later I’ll remember when, as an undergraduate music student, I studied the score for Arvo Pärt’s De Profundis.

de profundis

My earliest experience of working with dancers and dance choreographers was in 2009 when I was offered the chance to compose original music for a project by Claire Penҫak, titled Lisbon Diaries.  The project was extremely ambitious in its scope in that it contained over forty different sections.  Working alongside another composer (Louise Rossiter), we produced a considerable body of music in a relatively short space of time.  I was immediately attracted to Claire’s methodology – a highly improvisational practice in which, at the most creatively intuitive moments, it became unclear who was responding to whom – dancer or musician.  In hindsight, I realise what a fortuitous introduction this was for me and what a rare and wonderful occurrence this kind of instinctual relationship between dancers and musicians is.

Some months later, I had the brass neck to create my own work for a solo male dancer.  Reproductions, which was to feature in my final PhD portfolio, was inspired by Rene Magritte’s painting, La reproduction interdite, which depicts a man regarding his rear-facing profile in a mirror.  After putting out a call for a male dancer, I met with Jack Webb whose twitchy, seemingly anguished contortions were exactly what I was looking for.  The aesthetic for the work was one of glitch – from Jack’s convulsive movements, the corrupted audio data files that provided Reproduction’s musical basis, to the heavily-pixelated video projection (compiled from experimental sessions recorded from Skype communications with Jack).  Reproductions was featured as part of Dance Live festival in 2010.

Following the performance of Reproductions, I was contacted by dancer and choreographer, Thania Acarón, who was looking for someone to create video accompaniment for her project, IN-FILLED-HER.  Thania and I quickly developed an instinctual working relationship and it was clear from the start that we were ‘on the same page’ creatively.  We continued to collaborate on the development of IN-FILLED-HER and would work together again on several other projects.


Exercise #2: To focus on a part of our bodies that we rarely think of.  I cheat a bit for this one.  I focus on the small of my back which has given me trouble for over a year now.  I remember an exercise a physiotherapist gave me that involved standing against a wall and tightening my stomach muscles and flattening my back against the surface.  I explore that exercise again, but this time keep pressing backwards with the conviction that the wall will bend and breathe with my pressure.  I shift the pressure upwards, in a kind of rolling gesture, to my upper back, shoulders and neck.  When I feel like the stone wall has become malleable enough, I twist to the right and press my temple and jaw into it then repeat the same motion on the left side.


Uterine Symphony and 2-1-2

Uterine Symphony was a collaborative project that arose from a series of experimental movement, sound and visual art workshops, titled Fast+Dirty, and led by Ian Spink and Bill Thompson.  During the course of those workshops, held in November of 2013, dancers Rob Heaslip and Aaron Jeffrey, musician Simon Gall and I explored concepts of vibration (aural, visual, physical) and sensory deprivation.  We felt that by the end of those workshops we had created the germ of something exciting and worthy of developing much further.

In May, we reunited for a week-long residency in Aberdeen and revisited some of our original experiments.  I was particularly interested in the idea of aural and visual displacement – an example: video of Rob singing an Irish folk song and being accompanied by Simon on piano is projected onto a wall.  The audio of this footage is muted and accompanied instead by a completely different soundtrack, entirely unrelated to the projected visuals.  Meanwhile, Aaron would stand flush with the wall and move in response to the movement of the video and soundtrack.

We were also keen to explore various methods of audience participation.  During an informal showing of the work that we had developed throughout the residency we distributed headphones to the audience and invited them to download a previously-composed piece of music and walk freely around the performance space, listening to it.  Throughout this, Rob responded in a series of contorted movements to music being played through loudspeakers within the space.  Again, we were working with the notion of displacement, but with this particular section, there was also a sense of experiencing privacy – perhaps even isolation – despite being within a group of people.


In many ways, the residency served as a continuation of our initial Fast+Dirty experiments rather than the full realisation of a work.  There is still much to be explored.  As a collaborative project, Uterine Symphony was, and is, particularly appealing to me as it does not give any particular preference or focus to dance, music or visual art, or to the practitioners within our group specialising in those areas.  It is very much about a free expression and exchange of ideas with a view to producing something challenging and compelling.

Following this residency, I was contacted by Rob and asked to compose new music for a work that he was currently developing, titled 2-1-2.  In comparison to Uterine Symphony, the process for this project was considerably more intense.  With only three days to write 20 minutes of music for a dance work that was completely new to me, the sense of urgency was oddly appealing – I think this is also due, in part, to the form and tempo of the physical movement that Rob was choreographing.

2-1-2 is a dance trio (performed by Joanne Pirrie, Fiona Jeffries and Laura Murphy) and was performed at Merchant Square in Glasgow on the last day of the Commonwealth Games.  One of the most surreal experiences of 2014 for me was performing an extremely abstract work not only on the same bill, but immediately after a crowd-pleasing dance-a-long with “Clyde” the Commonwealth Games’ mascot.

Exercise #3: To become acutely aware and interact with the space around us.  In a crouching position, my outstretched hand begins to trace the shape of a silver fire extinguisher mounted to a wall a few metres away from me.  At the same time, and without looking, I try to recall the window and window frame directly behind me and trace those dimensions on the floor with the forefinger of my right hand.  I do this successfully for a time but the motion of my right hand begins to lose momentum.  I rise to my feet and slowly gravitate towards the fire extinguisher, continuing to outline its shape in mid-air.  As I move, I become aware of a cream-painted old-style radiator in my right peripheral vision.  My right hand becomes a loose fist and I synchronise the divisions of my fingers with the ridges of the radiator.  Eventually, I am stood in the centre between these two objects and balance both steadily and comfortably.


Ellie and The Visit

I had been interested in the concept of “dance film” since I first edited the footage gathered from the performance of Reproductions.  That experience had revealed to me the power that an editor has: to be able to show, with great precision, exactly what he/she wants the audience to see, including the desired angle and duration of focus.

In 2014, I was given the opportunity to compose music for two dance films created by Elementz Community Dance Company and filmmaker, Paul Foy.  The first was Ellie.  I had come on board after the choreography had been completed and all the material had been filmed.  The short film focused on the titular Ellie – who I didn’t meet until after the screening.  The unedited footage that I was initially sent presented a solo female dancer in a space, empty other than the coloured lights which were projected with great precision, indicating some, as yet, unclear significance.

With each new draft that Paul sent, I began to form my own interpretation of the film and regarded the coloured lights as seasons which held certain memories for Ellie.  Certain moments suggested warmth and comfort, others seemed to be conveying a yearning, homesickness perhaps?  The final score was very much a response to the surface visual elements of the film: minimal, abstract, ambient.  I was also careful in my attempts not to give the film too much of an emotive soundtrack in hopes that it would remain as open to interpretation as it had been for me.

The Visit was a very different project.  I was enlisted before any filming had taken place.  I joined Mhairi Allan and Alison Peddie from Elementz and Paul Foy on a tour of Toulquhon Castle near Ellon which would serve as the location and a kind of secondary character in the film.  In contrast to Ellie, The Visit was very much a narrative-based work: a young female tourist visits the castle, wandering through its corridors, seemingly unaware of the “ghosts” that reside within the space.

The final draft of the film opens with the tourist’s arrival at the castle.  Her journey through its walls is intercut with dance sections performed by the “ghosts”.  I decided to give the music a slightly baroque feel, with instrumentation of harpsichord and strings and, sometimes, a very stately rhythm.

Exercise #4: To move as if holding a sheet of tissue paper between both palms. At first, I focus on the closeness between my hands, trying to avoid making contact.  I walk, unsteadily, forwards, right hand above the left then gently twisting until the left is above the right.  I very carefully allow my left hand to fall to my side and walk, as if on a tightrope.  At some point I forget about the sheet of tissue paper and realise that I’m imagining an unborn child is curled in my outstretched right palm.


Temporary Blindness

At a gig I did in late 2013, I was introduced to a dancer/choreographer who had enjoyed my performance and was keen to discuss the possibility of collaborating on a project she was developing.  Gabriela Sanchez is a Chilean dancer and choreographer currently based in Edinburgh.  After many Skype communications, exchanges of ideas (often very abstract in nature), we secured a week-long residency in Aberdeen during November through Citymoves Dance Agency.

Our collaboration was an extremely interesting process in that we barely spoke during the residency – due, I believe, only in a small part to Gabriela’s limited English. Much of what we produced was based on instinct and reaction to each other’s output.  The majority of the final performance involved Gabriela’s interaction with eight different jackets: trying each one on and responding as if they were new skins – some made her itchy, some made her act in a clown-like way, some she battled with like they were feral animals, one or two seemed to offer her comfort, while others were simply rejected.

Towards the end of the piece that had been developed, she tied one sleeve of a jacket to another until they formed one big chain (a bit like those paper accordion-type things you make when you’re a kid).  These linked jackets were thrown around, whipped violently against the ground and swirled Sufi-style until they enveloped her like a snake and she collapsed in a heap.

In addition to the general absence of verbal communication, the only light we allowed ourselves was a desk lamp.  Imagine five days of grey Aberdeen light and looking forward to 3.30pm when, each day, the natural light would die away and your focus could be drawn entirely to the violent shapes being intermittently illuminated!  I often got the impression that Gabriela was responding to the grey oppressiveness of this unfamiliar city – (at one point I was playing layer upon layer of low industrial-sounding drones while she plodded heavily across the space wearing all eight jackets).

Musically, there was a certain degree of improvisation – no two performances were ever identical – this was particularly the case during Gabriela’s initial explorations and interactions with the jackets.  For certain sections, the requirement to musically adapt was relatively straightforward, particularly where the music was more drone-based.  The more energetic sections, however, which were accompanied with electronic, beat-driven music, required a much greater deal of precision in terms of responding to physical cues and changes in tempo.

Exercise #5: A variation of the first exercise: to walk from one end of the room to the other, shedding what needs to be shed behind us and imagining a cord stretching out from our chests pulling us forwards.  There are eight of us, moving at our own pace, but, more or less, in line with each other.  Around halfway across the room, I become aware of someone to my right sniffing, to my left a man is wiping his eyes.  I realise that tears are pouring down my face and that these tears are clear water and not the polluted tears of the first exercise.  The person to my right is sobbing and has stopped walking.  For a moment I’m filled with an urge to take her hand and encourage her to continue (that I chose not to bothers me for a day or two afterwards until I eventually realise that this was, of course, the correct decision).  We all, but one, reach the other end of the room and are invited to turn, face the distance we’ve covered, contemplate what we’ve shed, and bow to it.  What follows is whatever movement comes out of us. 


The Witching Hour and Orphaned Limbs Collective

My biggest undertaking of 2014 was The Witching Hour – a work I had formed the original concept for in the summer of 2013.  After receiving funding from the Made in Aberdeen Prize, I contacted my friend, Thania Acarón, a dancer and choreographer with whom I had collaborated several times in the past, and invited her to help me make the The Witching Hour a fully-formed piece.

The work is inspired by the folklore and dark history surrounding Aokigahara – a dense forest located at the base of Japan’s Mount Fuji.  Aokigahara – also known as Jukai (“The Sea of Trees”) is the world’s most ‘popular’ destination for suicides – second to San Francisco’s Golden Gate Bridge.  The forest has a long association with yūrei – tormented spirits, said to have died in violent circumstances (e.g. murder or suicide) and who appear during ushimitsudoki (the Japanese ‘Witching Hour’ (2-3am)).  Aokigahara forest is regularly patrolled by wardens whose purpose is to prevent suicides and to report those that they find. Very often, what the wardens find on their patrols are ribbons tied to branches, apparently breadcrumb-like trails for the undecided, as well as remnants of the people who made Aokigahara their final destination: photographs, letters, clothing, etc.

The Witching Hour first began to take shape in May of 2014 over the course of two residencies (one at Woodend Barn, Banchory, and the other at Rosemount Community Centre in Aberdeen, in conjunction with Citymoves Dance Agency.  Thania and I worked together intensively over this period on establishing an hour-long work with local amateur dancer, Richard White.  The original narrative I had in mind was relatively simple: a man arrives at a clearing in the Aokagahara woods at 2am.  He reflects on his life as he prepares for suicide.  At various points he is visited by a yūrei – both tormented and tormenting – who interrupts his train of thought.  The man and yūrei form a relationship-of-sorts, but the precise nature of that relationship is always unclear.  The man regards the yūrei with both horror and reverence.  The yūrei regards the man as both pitiful and as prey.  Finally, the yūrei absorbs the man in a killing embrace.  Whether the yūrei is a true presence or a manifestation of the man’s suicidal resolve should remain unclear.

The Witching Hour had its debut performance at Woodend Barn, Banchory on the 26th June 2014.  As well as choreographer, Thania took on the role of yūrei, while Richard portrayed the man.  I was also extremely fortunate to have the input of poet John Mackie who kindly composed the poem The Ribbon and the Limb specifically for the work.  A recording of his reading was incorporated into the soundtrack and served as a kind of overture to the proceedings.


Following this performance, we were commissioned by Robert Gordon University in association with Dance Live Festival to develop The Witching Hour as a site-specific piece to be performed in their new Riverside East Building.  Reimagining and setting a large-scale work in a space occupied by hundreds of students and staff was extremely challenging.  However, the notion of having the work’s process being public rather than what would usually occur (i.e. a private residency in a dance studio with only the artists present) was quite appealing.  Thania, Richard and I spent two weeks at the Riverside East Building and eventually established the piece as an interactive performance in which the audience would be guided by “wardens” through three different areas of the building.


(Photo by Colin Thom)

Two sell-out performances were held on the 16th October.  Once the dust had settled slightly, Thania and I decided that The Witching Hour was a work that deserved to be toured and that the site-specific and promenade-style elements were essential.  Leading up to the festive period, we spent many hours filling out funding applications in the hope that we will be able to tour The Witching Hour nationally throughout 2015.

We also decided that, with two established works and a number of smaller collaborative projects under our belts, it was time to form our own company: the Orphaned Limbs Collective.  The decision was an exciting one and, personally, a fitting end to a year which had involved so many exciting music and movement collaborations.

Exercise #6: We sit in a circle, in the dark, imagining energy rising up from the earth, travelling up through our spines and into our mouths.  I breathe out.


Performative and compositional ecologies – by Clive Grace

As a composer/field recordist, Winter is a low time for gathering sound in the heart of the borders where I currently live. Aside from the practicalities of gathering sounds in the cold midwinter, the minimal light and inclement weather make it a less productive time for me than staying in a warm house with a few “winter projects”. My traditional sources of inspiration have all gone away, those that remain are silent, hibernating or rarely expending any energy unless they need to. Animals venture out in December only if they need to. Owls are silent, the usually rasping corvids are quiet, even the sheep and horses in the paddocks opposite my studio are mute: the biophony of my locale cycles down, and in the all-too-brief powder that passes for snowfall in this changing climate, the snow muffles the soundscape so sound does not travel as well as it could or in a way I am familiar with.

Continue reading

Fast and Slow – Music Research Seminar Talk

MRSS talk given by Dr Suk-Jun Kim

MRSS talk given by Dr Suk-Jun Kim

(By Suk-Jun Kim)

Last Thursday, I gave a presentation at the Music Research Seminar Series (MRSS) 2014-15. At the presentation, which was titled, Fast and Slow: Changes in One Composer’s Artistic Questions, I discussed the gradual, and sometimes, drastic changes in my artistic questions with my early, mainly electroacoustic compositions to more recent works, which involve sound installation and live coding performance, as some examples. Continue reading

Lifting up the stones to see/hear what’s underneath


Last night saw the first sonADA (Sonic Arts Days in Aberdeen) with performances by Luca Nasciuti , Imogene Newland, Fiona Soe Paing and sonADA co-creator (along with Suk-Jun Kim) Francesco Sani.

Nasciuti’s solo set, his first performance in Aberdeen since arriving last month to commence his doctoral studies, consisting of undulating layers of sound with much more gestural material than I would have expected in a live set (for me, this is a good thing…), followed by the frenetic, breathless, consctructive-destructive-reconstructive performance for two dancers from Newland, Soe Paing’s yearning audiovisualvocal upbeat to her presentation next week at CineWorld, Union Square and Sani’s haunting multi-layered violin tones accompanying desolate images were all superb…and there’s more this evening from Suk-Jun Kim, Dæmons, Ross Whyte and Colin Austin.

Something else happened last night, I think. Recently, here’s been a huge amount of interest in creativity and culture in the North East of Scotland. This week’s RGU/City Council Conference Towards a Creative Future, for instance, started the discussion on many issues, from spaces for artists to helping to define the cultural narrative of the region. During the bidding process for Aberdeen’s City of Culture bid you would often hear denials that there was anything interesting going on in the city – the 50+ people present at last night’s event are clear evidence that there is. What we do need to do, however, is to make sure that more people know about it. That reluctance for NEasterners to shout from the rooftops about what they do needs to change and we need to help lift up the stones all over the city to see and hear what is going on underneath, because it’s as experimental, interesting and good as anywhere else in the UK.




Luca Nasciuti
Marie Brenneis

SERG Workshop Series

SERG Aberdeen is launching its workshop series where members will meet, discuss and share ideas and methods about their practices.

Monday 29th September 2014 sees the first colloquium – an introduction of the group and its new members.

An informal discussion will follow on a variety of themes and issues related to sonic arts and performance.

The meeting will also be an opportunity to update the group on coming events, collaborations and future projects.

Rediscoveries 1

REDISCOVERIES 1 – Electroacoustic Concert Series by SERG

Rediscoveries is a new series of performances of electroacoustic music and sound art events, presented by SERG (Sound Emporium Research Group) from the Department of Music. A new iteration of the Discoveries series which dates back to the early 1990s, the series will allow audiences to (re)discover works from all over the world. This first concert features work by SERG members Pete Stollery and Suk-Jun Kim, alongside pieces by their teachers which had a significant impact on their own work. Continue reading