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
Scottish/Burmese Aberdeenshire based electronic producer and vocalist, and an associate member of SERG, Fiona Soe Paing will be headlining with a solo audio-visual performance at Woodend Barn Arts Centre, Banchory, on Thurs 27th Feb, as part of The Witching Hour series of events, curated by Ross Whyte.
Featuring visuals by New Zealand based collaborator Zennor Alexander, the show combines off-world electronica, surreal 3D animation and live vocals, in an unsettling and hypnotic “live cinema” style show, which wastes no time in submerging audiences in its mutant world. The show showcases material from the recent “Tower of Babel ” EP, released on Black Lantern Music label, which received a Four Stars review in The Skinny magazine, and which was created with production funding by Creative Scotland. Continue reading
The Aberdeen Bestiary: Sound-Image-Narrative is an artistic research project led by Dr Suk-Jun Kim and Prof Pete Stollery from SERG, and was one of the inaugural beneficiaries of a bursary from the Aberdeen Humanities Fund at the University of Aberdeen. The project is supported by the Special Collections Centre at the University of Aberdeen. Continue reading
(I delivered this paper at the 2013 Festival L’Espace du Son in Brussels, Belgium this November.)
Today I would like to talk about a compositional issue that has grown to become a major concern for me over the last several years. And it became more pertinent and urgent to examine this issue when I started teaching composition in a higher education. It has to do with the environment I am in when I compose, but it is not merely an environment or a tool as it governs the whole process of how and even why I compose. Continue reading