DAWN (Digital Arts Week Now)

Monday 29th August – Friday 2nd September

The students of the Masters in Interactive Media and Masters in Music Technology present their work as part of a week of interactive art exhibitions, demonstrations and a multi-channel concert. The event will officially launch on Tuesday 30th August with a reception in the CSIS atrium at 6p.m. Refreshments will be provided at the reception. This is followed by a concert in the ICO performance space at 8p.m. All events are open to the public


Digital Media & Arts Research Centre (DMARC)

Official Launch: Reception and Performances

Date:  Thursday 12th May 2011

Location: University of Limerick, ICO Building @ 5 pm

University of Limerick, Computer Science building @ 7pm

Featuring: Trevor Wishart, Encounters in the Republic of Heaven (for eight loudspeakers)
Family Filter (live audiovisual performance)
Amoebazoid (live electronic music performance)

The Department of Computer Science and Information Systems at the University of Limerick are delighted to invite you to the official launch of the Digital Media & Arts Research Centre (DMARC), on the 12th of May. The centre’s opening will be marked by a reception and performance featuring the Irish premiere of Trevor Wishart’s new work, “Encounters in the Republic of Heaven”, for eight loudspeakers. The launch will also feature a performance by Family Filter (a new audiovisual project from Dublin artists Pixelcorps and Sunken Foal) and Berlin Based electronic artist  Amoebazoid.

Admission to all concerts is free. The performance of Trevor Wishart’s work will take place at 5 pm at the Irish Chamber Orchestra building which is located on the Clare side of the campus close to No 15 on the campus map  The reception and live electronic/audiovisual performances will commence at 7pm in the Computer Science building (number 7 on the campus map).



Fusing computer science, electronic music and the digital arts, DMARC is situated in the Dept. of Computer Science and Information Systems at the University of Limerick. The centre aims to expand and strengthen the encounter between digital technology and creativity through research, teaching and first class facilities.

Originally established in 1998 as the Centre for Computational Musicology and Computer Music, it supported research and teaching in the fields of computer music, composition, musicology and acoustics. Since 2006 it has extended its activities to include a wide range of digitally enabled arts practice and media technology research. In 2011 the centre was renamed DMARC – The Digital Media and Arts Research Centre.


Trevor Wishart
is a programmer, composer and performer. He is the author of the worldwide-known books ‘On Sonic Art’ and ‘Audible Design’, where he shares his extensive research on extended human voice and computer music techniques for sound morphing. He is currently ‘Arts Council Composer Fellow’ in the Department of Music at Durham University, England. Wishart began his active career as a composer of orchestral and electro-acoustic music. After a period of writing for the human voice (the “Vox” cycle), Wishart came back to electro-acoustic composition in the 1990s with “Tongues of Fire” and the Voiceprints cycle.

Amoebazoid (Keith O’Brien) is a composer/performer of improvised electronic music, originally from Cork, but currently based in Berlin. He performs a solo as Amoebazoid and also with Double Adaptor and OstEar as well as various other electro-acoustic groups in Germany and Ireland. His 2007 album ‘Zucking’ was released on cycling74’s record label. In 2008 he collaborated with Irish electroacoustic composer Roger Doyle for the Snakes & Ladders Festival at the World Financial Centre New York.
“Zuckung… buzzes and crackles with a range and style and approach figured in the MSP patches that provide the flexible and strangely articulated skeleton for the blasts of steroidally enhanced guitar, burbling synthesizers, and drumboxes that want to be line printers when they grow up… buckle up, and hold on.”      cycling74

Pixelcorps (Tim Redfern) is a Dublin based Artist who works primarily with technology, creating artefacts and experiences which connect people, devices and networks in novel ways. His work has been shown at many art & technology events internationally such as Art Futura (Barcelona), Lofi (UK), Garage Festival (Germany) and in venues such as Baltic (Gateshead, UK), and the ICA London. His video work has previously featured in Darklight and on the cover DVD of Creative Review (UK).

Sunken Foal: After completing his MA in Music Technology at the University of Limerick, Sunken Foal (Dunk Murphy) released his debut album “Fallen Arches” on Planet-Mu records alongside the “Fermented Condiments” E.P. in late 2008. Since then, he has played a string of successful gigs developing a unique ‘finger-triggered’ improvisational live performance setup. His music tangles stringed instruments with analogue synthesis and walks a fine line between murky pessimism and ethereal harmony. Occasional vocals are met with digital percussion that twist and turn at every juncture. His interest in generative music has lead to techniques that imply continually fluctuating timbres and compositions while never wandering too far from the dance floor.

Wednesday March 30th, 2011

John Crooks

3.00pm Computer Science Auditorium (CSG-01)

John Crooks is a musician and composer living in Los Angeles. As a bassist he has been a studio musician for legendary composer/producer David Foster, orchestra player at Carnegie Hall, and regularly performs with prominent jazz musicians. His cooperative ensemble New Power Trio toured the US for several and recorded three well received albums, and his jazz quartet Crooks Band recorded two albums of original music and gave regular concerts at the Knitting Factory in NYC.

Crooks’ recent work has focused on new improvisational frameworks, especially approaches to incorporating the computer into improvisational situations. He is currently lecturing at the University of California Irvine.

This seminar will discuss the culture, history, and methodology of jazz improvisation in the context of computer music and interactive systems. Concepts of rhythm and harmony as periodic formal elements in music composition and computer music programming will be introduced and discussed. The use of MaxMSP/Jitter as a creative and pedagogical tool will be demonstrated. These ideas will be related to Crooks’ recent and current work in computer music programming.

Wednesday March 2nd, 2011

The Pipe Film/Documentary

2.00pm, Computer Science Building Auditorium (CSG01)

Screening(83 mins) followed by a Q & A with Director Risteard Ó Domhnaill.

In the most dramatic clash of cultures in modern Ireland, the rights of farmers over their fields, and of fishermen to their fishing grounds, has come in direct conflict with one of the worlds most powerful oil companies. When the citizens look to their state to protect their rights, they find that the state has put Shell’s right to lay a pipeline over their own.The Pipe is a story of a community tragically divided, and how they deal with a pipe that could bring economic prosperity or destruction of a way of life shared for generations.

Recently received an IFTA for The George Morrison Feature Documentary Award

The Pipe – Risteard Ó’Domhnaill & Rachel Lysaght (Scannáin Inbhear in association with Underground Films & Riverside Post)

Wednesday February 23rd, 2011

Sylvain Delbart: Arduino Workshop

3.00pm, Music Technology Lab, CSG-13

After studying general engineering in France, Sylvain Delbart gratuated with a First Class Hons. MSC Degree in Music Technology from University of Limerick in 2006. He worked for 4 years as an audiovisual and computer networks design engineer and home automation programmer in the luxury industry, and is now an independant Max/MSP, arduino, etc.. programmer, helping artists to realize various interactive installations.

This practical workshop will present the Arduino, one of the most common electronic boards and programming languages used in interactive arts to get data from sensors, communicate with a computer and control various actuators. We will use it to create simple programs, and then explain how it can be linked to Max/MSP to create more complex interactive projects. Hopefully this would give the students the basic electronics and programming tools needed to start creating mixed media interactive performances and installations.

Wednesday February 16th, 2011

Jesse Jones

3.00p.m. Computer Science Auditorium (CSG-01)

Jesse Jones’s practice focuses on the embedded political and social history within everyday life. She is interested in the moments when this hidden history comes to the surface, such as the demonstration or strike, and in moments of convergence. Seeing popular culture as an expression of this collective narrative of history, her work often adopts elements such as the B movie or pop music as a site of shared memory. Jones also uses the process of re staging a sense of history within contemporary contexts. By reinterpreting these artifacts, Jones scrambles their initial cultural reference and meaning. Can a drive in cinema become a site for films that had been blacklisted in the 50’s? Can a social housing project become the site for a symphonic suite? Or a pedestrian bridge the stage for an opera? Or a desert for the staging of a Brecht play?

Jesse Jones has recently completed an international fellowship residency program at Location One, New York, sponsored by The Arts Council, she is currently in preparation for a new commission by Collective gallery in the UK and a solo exhibition in Red Cat gallery Calarts in LA

Recent exhibitions

include, Location one projects NYC, Museo d’Arte Contemporanea della Sicilia, “Mahogany” Gertrude Centre for Contemporary Art, Melbourne, The 11th International Istanbul Biennial.

Wednesday January 26th, 2011

Leigh Landy: On the Paradigmatic Behaviour of Sound-based Music

3.00pm, Computer Science Building Auditorium (CSG01)

Making music with sounds has led to all sorts of experimentation. One of the most interesting aspects has been that much of this music ‘ignores’ the border between art and popular music. It is also one of few forms of innovative music that is worthy of a fairly significant public. This talk summarises some of the main points introduced in the presenter’s books: “Understanding the Art of Sound Organisation” and “La musique des sons/The Music of Sounds” both 2007. It’s key questions is: does sound-based music represent a coherent body of knowledge. The goal is to convince those attending that the answer is ‘yes’. The talk includes a number of sound and one audio-visual example.

Leigh Landy Holds a Research Chair at De Montfort University where he directs the Music, Technology and Innovation Research Centre. His scholarship is divided between creative and musicological work. His compositions include several for video, dance and theatre. He has worked extensively with the late playwright, Heiner Muller, the new media artist, Michel Jeffrennou and the composer-performer, Jos Zwaanenburg and was composer in residence for the Dutch National Theatre during its first years of existence. Currently he is artistic director of Ideé Fixe – Experimental Sound and Movement Theatre. His publications focus on the studies of electroacoustic music, including the notion of musical dramaturgy, contemporary music in cross-arts context, access and the contemporary time-based arts, and devising practices in the performing arts. He is editor of “Organised Sound: an international journal of music technology” (CUP) and the author of five books including “What’s the Matter with Today’s Experimental Music?” and “Experimental Music Notebooks”. “Understanding the Art of Sound Organisation” (MIT Press) and “La musique des sons/ The Music of Sounds” (Sorbonne MINT/OMF) both appeared in 2007. He directs the ElectroAcoustic Resource Site (EARS) project and is a founding member of the Electroacoustic Music Studies Network (EMS).

Wednesday November 24th, 2010

Paul Stapleton

3.00pm, Computer Science Building Auditorium (CSG01)

Identity, dialogue and resistances in improvised musics

The seminar will begin with extracts from my recent critical writings on the relationship between identity formation and the performance of improvised music. Building on (and branching off from) this discursive practice, I will then offer audio-visual clips from the Derek Bailey narrated 1992 documentary On The Edge as material for discussion. Following this discussion, the seminar will shift gears into a practical workshop session on structured and directed group improvisation.

Dr Paul Stapleton is a sound artist, improviser and writer originally from Southern California, currently based at the Sonic Arts Research Centre (SARC), Queen’s University Belfast. Paul designs and performs with a variety of custom made metallic sound sculptures, electronics and found objects in locations ranging from improv clubs in Cork to abandon beaches on Vancouver Island. Prior to joining SARC in 2007, Paul worked as a research fellow at the University of Central Lancashire where he taught, researched and curated events on sonic art, mediatized performance, live art and practice as research. Paul is also a founding member and co-director of the interdisciplinary performance group theybreakinpieces.

Wednesday November 3rd, 2010

Danny McCArthy: Sounds Like Listening

3:00 Computer Science Building Auditorium (CSG01)

This seminar will cover Mc Carty’s work both as a sound and visual artist and discuss where the two meet. He will discuss the practicalities of both creating and presenting work in both indoor and outdoor settings and give examples of both from his extensive catalogue of works. He will also talk about his work with The Quiet Club, a sound art improvisation group he formed with Mick O’ Shea which have become one of the country’s leading improvisation groups often working with guest artists ranging from Iarla O’ Lionard to David Toop. He will discuss “Listening” as a practice which he believes is essential to his own work and life.

Studied at the National College of Art and Design. He has pioneered both performance art and sound art in Ireland and he continues to be a leading exponent exhibiting and performing both in Ireland and abroad including SPAN2 in London and at Hearing Places in Melbourne, Australia. His work is in the collections of the Arts Council of Ireland, Crawford Municipal Gallery, and Limerick City Gallery and nuymerous other private and public collections in Ireland and abroad.

For a more extensive list of Danny’s work, see his website

Wednesday October 27th, 2010

Fergus Kelly

3:00 Computer Science Building Auditorium (CSG01)

Fergus Kelly is a visual and sound artist/improvisor involved in painting, field recording, electronics and invented instruments. He has worked with David Lacey, Paul Vogel, Dennis McNulty, Jurgen Simpson, Judith Ring, Slavek Kwi, Danny McCarthy, Max Eastly, and Mark Wastell. He has been in numerous shows around Ireland, and has shown in Canada, America, Germany, Holland, Finland, and England. He has done soundtracks for film and theatre and received many Arts Council awards. In 2005/06 he established a CDR label and website,, as an outlet for his solo and collaborative work, producing, amongst others, the CDs UNMOOR (2005), MATERIAL EVIDENCE (2006), BEVEL (with David Lacey)(2006), A HOST OF PARTICULARS (2007), STRANGE WEATHER(2007), AND LEACHING PIT (2008).

Wednesday October 13th, 2010

Peter McIlwain

3:00 Computer Science Building Auditorium (CSG01)

Peter McIlwain has a high profile within Australasia as a composer and researcher in computer music having been President of the Australasian Computer Music Association for a number of years. His music features compositions for multi-channel environments such as the 32-channel Virtual Room installation in the Melbourne Museum and the use of a number of generative systems such as the Nodal software program. Peter is Lecture in Composition at Monash University, Australia, where he is also a member of the highly regarded Centre for Electronic Media Art (CEMA). He is one of the key designers of the Nodal software which will be the subject of the seminar.

Nodal is a generative software system that utilises a network or graph based approach to the notation and generation of music. The interface is designed to be highly intuitive and interactive at the graphical level increasing the accessibility to many generative techniques that are common in computer music. As the software may be edited while the program is running, improvisation with generative systems is possible. This is further enhanced by a triggering facility that enables generative networks to be “played” by MIDI triggers. As musical elements may be configured in a non-linear fashion, composing with the software makes Nodal a very flexible tool for composition in that a variety of contextualised version of a musical idea may be developed rapidly and in real-time. The seminar will include demonstration of the software, a discussion of the design, and the compositional techniques that the design affords.

Nodal can be found at

Wednesday September 29th, 2010

Robin Parmar

3:00 Computer Science Building Auditorium (CSG01)

Born in England and raised in Canada, Robin Parmar now lives in Ireland. Since 1987 he has explored radiophonics, phonography, electroacoustic composition, site-specific installations and performance. Recent credits include the a live sound environment for a choreography for thirteen dancers (Ireland); the paper “Forgetting Interactivity” (England); a sonic performance at a philosophy conference (Germany); the 8.1 soundscape composition “The Garden Of Adumbrations” (Ireland, Sweden) and a chapter in the book “Framemakers: Choreography As An Aesthetics Of Change.” Robin has an HBSc in Theoretical Physics and an MA in Music Technology.

Robin will discuss the process of creating a site-specific sound installation from initial conception through final product, using as example “The Lights In Room 7”, commissioned by curator Elizabeth Hatz (Sweden) for this year’s OPEN/INVITED e v+ a 2010 MATTERS exhibition. Practical, technical and theoretical concerns can be addressed, depending on the specific interests of those present.

Wednesday September 15th, 2010

Tom Erbe

3.00pm, Computer Science Building Auditorium (CSG01)

+morphfilter, +binaural and more.
New audio tools for Max and PD from Tom Erbe (SoundHack).

Tom Erbe is the Studio Director and Lecturer in Computer Music in the Department of Music at the University of California in San Diego. He is also well-known for his Soundhack software and this Wednesday he will be presenting a collection of free Max and PD externals as well as the audio plugins that they are based on. These externals explore diverse audio processes, including: spectral filtering, spectral dynamics processing, binaural spatialization, granular synthesis, multi-head modulated delay, pitch shifting, bit crushing, and distortion. 

In this talk I will be demonstrating many tricks and techniques for using these externals, such as: noise reduction, barber pole pitch shifting, resonance removal, and shimmer reverb. If you plan to attend the talk, please download the externals from

and the plugins from

They run under OS X, Windows, and Linux.

Wednesday March 24th, 2010

Robert Normandeau

3.00pm, Computer Science Building Auditorium (CSG01)

After a BMus in Composition (Electroacoustics) from the Université Laval (Québec City, 1984) Robert Normandeau moved to Montréal and completed an MMus in Composition (1988) and the first PhDMus in Electroacoustic Composition (1992), under Marcelle Deschênes and Francis Dhomont. He is a founding member of the Canadian Electroacoustic Community (CEC, 1987). From 1986 to ’93, he was an active member of the Association pour la création et la recherche électroacoustiques du Québec (ACREQ), where he produced the Clair de terre concert series at the Montréal Planetarium. In 1991, he co-founded Réseaux, an organization for the production of media arts events, notably the acousmatic concert series Rien à voir.

After a certain interest in instrumental and mixed works, his current endeavours are focused on acousmatic music. More specifically, his compositions employ esthetical criteria whereby he creates a ‘cinema for the ear’ in which ‘meaning’ as well as ‘sound’ become the elements that elaborate his works. Along with concert music he now writes incidental music, especially for the theatre.

He is Professor in electroacoustic music composition at Université de Montréal since 1999. He received two Prix Opus from the Conseil québécois de la musique in 1999: “Composer of the Year” and “Record of the Year-Contemporary Music” for Figures (IMED 9944) The Académie québécoise du théâtre (AQT) has given him a Masque Award in 2002: “Best Music for Theatre” for the play Malina.

Robert Normandeau is an award winner of numerous international competitions, including Ars Electronica, Linz (Austria, 1993, Golden Nica in ’96), Bourges (France, 1986, ’88, ’93), Fribourg (Switzerland, 2002), Luigi Russolo, Varese (Italy, 1989, ’90), Métamorphoses, Bruxelles (Belgium, 2002,’04), Musica Nova, Prague (Czech Republic, 1994, ’95, ’98), Noroit-Léonce Petitot, Arras (France, 1991, ’94), Phonurgia-Nova, Arles (France, 1988, ’87), and Stockholm (Sweden, 1992).

Wednesday October 7th, 2009

Marc Battier

3.00pm, Computer Science Building Auditorium (CSG01)

Marc Battier is an electroacoustic music composer who has been involved in computer music composition since 1970. Battier’s graphical scores have been exhibited in art galeries in Paris. His electroacoustic music has been played in most countries of Europe, Japan, China, and North America. His music often deals with the voice (‘Transparence’ compact disc with sound poet Henri Chopin, 1995), with poetry and with painting (‘AudioScan’ CD from works by surrealist painter Matta, 2009).

Has worked at Groupe de recherches musicales (France) as assistant to Francois Bayle, then at IRCAM (France), the music research center of the Pompidou Centre in Paris, where he worked with Pierre Boulez, Steve Reich, Karlheinz Stockhausen, Pierre Henry, Joji Yuasa and other prominent composers.

He is professor and chair of musicology and electroacoustic music at the university of Paris Sorbonne, and director of the research group MINT.

Founder of EMSAN (, a research network for the study of electroacoustic music from East and South-East Asia. Cofounder of Electroacoustic Music Studies Network (EMS, Co-director of the French branch of Leonardo Abstracts (LABS), a database of scholarly dissertations on art, science and technology. He is one of the directors of Electronic Music Foundation (New York).

Wednesday September 30th, 2009

Paul Hegarty

3.00pm, Computer Science Building Auditorium (CSG01)

Paul Hegarty is the author of Noise/Music: Ahistory (Continuum, 2007), and has been writing on noise and experimental music since 2001. He has also written books on philosophers Georges Bataille and Jean Baudrillard, as well as edited collections on ‘the formless’ and American writer Dennis Cooper. By day he teaches philosophy and cultural studie in the Department of French, University College Cork. He is in charge of the dotodotdot record label that specialises in 7-inch singles by avant garde noisemakers, and jointly runs the Black Sun ‘monthly wierdo music night’ in the Granary Theatre, Cork. He plays in ‘Safe’, whose last album uses sounds of Dennis Cooper reading one of his stories, and whose fifth release is out before the end of the year. Recently he has formed ‘La Société des Amis du Crime’, with Vicky Langan (Wolflinge, Female Orphan Asylum), after guesting with her on Wolflinge gigs earlier this year.

Thursday September 24th, 2009


8.00pm, St Munchins Church, Church St., Limerick

Splice Girls (UK)

The Splice Girls are Manuella Blackburn and Diana Simpson, both of whom are Phd students in Electroacoustic Composition at the University of Manchester, UK. Their laptop improvisations utilise tools built in Max/MSP to create messed up loops and shimmering soundscapes. They regularly perform at experimental music nights across Manchester. In 2007 they performed on the Sonic Ferry at the Sonic Arts Expo in Plymouth, and had their USA debut at the Atlantic Canter for the Arts in Florida.

La Société des Amis du Crime

La Société….etc are Paul Hegarty and Vicky Langan, who started performing together earlier this year when he guested on her solo project Wolflinge. Vicky Langan also performs in Female Orphan Asylum, and curates the ‘Black Sun’ monthly ‘wierdo music night’ in Cork’s Granary theatre, which they jointly organise. Paul Hegarty also performs in safe, and is author of Noise/Music: A History. This is the first concert of this band.

Diana Simpson (UK)

Born in Glasgow, Diana studied at the Royal Scottish Academy of Music and Drama with Alistair MacDonald, where she was awarded a BA, PGDipMus, and MMus with distinction. She is currently a PhD student at the University of Manchester (UK), supervised by David Berezan, and funded by the Arts and Humanities Research Council and a Dewer Arts Award.

Manuella Blackburn (UK)

Manuella Blackburn was born in London in 1984 and is now living in Manchester. She gained a Distinction for a Master’s degree in electroacoustic music at the University of Manchester in 2006, and was awarded the Peter J Leonard Composition Prize. In September 2006 she began a PhD at the University of Manchester, and is now studying with Dr Ricardo Climent.

+ special guests

Wednesday September 23rd, 2009

Simon Emmerson

3.00pm, Computer Science Building Auditorium (CSG01)

Simon Emmerson is an electroacoustic music composer working mostly with live electronics. He was born in Wolverhampton, UK, on the 15 September 1950.

Since November 2004 Simon Emmerson has been Professor in Music Technology and Innovation at De Montfort University, Leicester, following twenty eight years as Director of the Electroacoustic Music studios at City University, London. As acomposer he works mostly with live electronics; recent commissions include such works for Jane Chapman (harpsichord), the Smith Quartet, Philip Sheppard (electric cello), Philip Mead (piano) with the Royal Northern College of Music Brass Quintet, Katrin Zenz (flute). He has also completed purely electroascoustic commissions from the IMEB (Belgium) and the GRM (Paris). CDs of his works have been issued by Continuum (1993) and Sargasso (2007 and 2008). He contributed to and edited The Language of Electroacoustic Music in 1986 (Macmillan, still in print) and Music, Electronic Media and Culture (Ashgate, 2000). His book Living Electronic Music was published by Ashgate in 2007. He has contributed to publications such as Computer Music Journal, Contemporary Music Review, and Journal of New Music Research. He was founder Secretary of EMAS (The Electroacoustic Music Association of Great Britain) in 1979, and served on the Board of Sonic Arts Network from its inception until 2004. He is a trustee of its successor organisation “Sound and Music”.

‘Living Electronic Music’

Sounds of which we simply cannot see or know the cause – so-called acousmatic sounds – surround us through radio and recordings and in musc of the music made with technology. But the ear searches for signs and information, perhaps for something ‘living’ , especially when there is nothing to see as the source or cause. This is a new challenge for musicians – how have they come to terms with it? Simon Emmerson presents an introduction to this discussion and illustrates it with some examples from his own work over the last 33 years.

Wednesday September 16th, 2009

Rob Swire (Pendulum)

3.00pm, Computer Science Building Auditorium (CSG01)

Robert Swire-Thompson, sometimes referred to by the stage name Anscenic, is best known as lead singer and producer of Australian drum and bass band Pendulum. Originally from Perth, Western Australia, he relocated to the United Kingdom in 2003 with fellow Pendulum co-founders Gareth McGrillen and Paul “El Hornet” Harding. Swire has since fulfilled a broad spectrum of roles as a member of Pendulum, ranging from song writing to singing while performing live with an unusual guitar-like MIDI controller – Starr Labs’ Ztar Z6-SP.

Thursday September 10th, 2009


8.00pm St Munchins Church, Church St., Limerick.

Garth Paine (Australia)

See below for bio.

Jaime Oliver (US)

Jaime Oliver was born in Lima, Perú in 1979 where he studied music theory and composition with several teachers as well as in the National Conservatory of Music, then receiving a grant to study briefly at LIEM-CDMC in Madrid.

At the present time he works towards a Phd degree in Computer Music at the University of California, San Diego, (UCSD), through Fulbright and UCSD Scholarships, where he also obtained his Masters degree. He is also a researcher in the Center for Research in Computing and the Arts, CRCA. He has studied with Miller Puckette, Philippe Manoury, F. Richard Moore, Gerald Balzano and Shlomo Dubnov, amongst others.

His current production consists of pieces for computers and instruments, as well as sound performance and installation. His main research interest is the use gesture to control electronic sound, exploring therefore the ideas of ecological and embodied perception, human-computer interaction, etc.

Guiseppe Torre, Robert Sazdov and Dorota Konczewska

Giuseppe Torre is a composer, multimedia artist and software engineer. He is currently a faculty member at the Centre for Computational Musicology and Computer Music (CCMCM) in the Dept. of Computer Science and Information Systems at the University of Limerick and working towards the completion of his doctoral studies at the Interaction Design Centre of the same University. He holds a Laurea (Masters) in Art, Music and Theater (D.A.M.S.) from the University of Palermo in Italy as well as a Masters of Science in Music Technology from the University of Limerick and a Diploma V in classical guitar and music theory from the Conservatoire of Music of Palermo in Italy. As a composer/performer he has performed at several international festivals such as Csound-EAR, Sonorities, and Il Suono dei Soli. Since 2005 he has been involved in the Celeritas Project (Tyndall National Institute of Cork and IDC, Limerick) developing a new wearable wireless sensor unit for live solo/group multimedia performances. “Pointing-at”, a new real-time controller for controlling sound in a 3D setup of speakers, is one of the most recent achievement of this research project, which is now counting numerous publications in specialized journals, international conferences and art festivals.

Robert Sazdov is a composer, music producer, researcher and educator. His recent awards include a 2nd Prize at the 5th ‘Pierre Schaeffer’ International Computer Music Competition 2005, an Honorary Mention in the Musica Nova International Electro-acoustic Competition 2005, finalist at the Palmares de 33e Concours Internationaux de Musique et d’Art Sonore Electroacoustiques de Bourges 2006, an ‘Award of Excellence in High Resolution Recording’ from the Audio Engineering Society 2007, and selection for the Cycle de Concerts de Musique par Ordinateur de l’Université Paris VIII 2007.

Dorota Konczewska is a Polish composer, singer and multimedia artist living in Ireland. Konczewska was born to a family of musicians; her father was a conductor; her mother was a classical singer. From an early age she was an active jazz singer and became interested in singing using extended techniques, and electronic manipulations. She holds a degree in Visual Communication and Computer Design and MA in Music Technology from University of Limerick (Centre for Computational Musicology and Computer Music). Dorota is an active composer, performer of voice and live electronics scene. She is also an established photographer. Other recent work engages video art, mixed media installations and cross-audiovisual genre projects. She has been collaborating with numerous international performers, sound artists, dancers, and film directors. Her work have been commissioned by art institutions, broadcasted, and also presented on international art festivals. She has also been delivering workshops for dept. of Music Therapy in Limerick University and Daghdha Dance Company. In addition she is also on the board of directors of the Polish and Irish Association of Business and Culture.

+ special guests

Wednesday September 9th, 2009

Garth Paine

3.00pm, Computer Science Building Auditorium (CSG01)

Garth Paine is regarded as an innovator in the field of interactivity in new media arts. His immersive interactive environments have been exhibited in Australia, Europe, Japan, USA, Hong Kong and New Zealand. He is a founding member of the Electronic Music Foundation and has been active in the NIME conference since its inception. He has guest edited the Organised Sound Journal for two special editions on interactive systems in music and sound installation. He is a senior lecturer in Digital Musics ath the University of Western Sydney, and is often commissioned to develop interactive systems for dance and theatre performances. Recently he has performed at the Agora Festival, Centre Pompidou (2006) and the New York Electronic Arts Festival (2007) and Ireland (2009). In 2009 he will perform in Ireland, New York, Montreal, Quebec, Arizona, and Syndey, Perth and has interactive installations in Sydney and New York.


Laptop performance of computer music has become wide spread in the electronic music community. It brings with it many issues pertaining to the communication of musical intent. Critics argue that performances of this nature fail to engage audiences as many performers use the mouse and keyboard to control their musical works, leaving no visual cues to guide the audience as to the correlation between performance gestures and musical outcomes. Interfaces need to communicate something of their task. The author will argue that cognitive affordances associated with the performance interface become paramount if the musical outcomes are to be percieved as clearly tied to realtime performance gestures, ie that the audience is witnessing the creation of music in that moment as distinct to the manipulation of pre-recorded or pre-sequenced events.

This talk will discuss the outcomes of the ThuMP project, and the ongoing TIEM project, specifically new models and proposed design guidelines for interactive music systems.

Subject to time, Garth will also show a short video of the applications of these ideas in music therapy, which utilise video tracking for interaction for heavily disabled clients. And illustrate some applications of the WiiMotes.

Wednesday April 1st, 2009

John Lillis

3.00pm Computer Science Building Auditorium (CSG01)

During this talk John will take a concise look at how the role of sampling has restructured our ideas on music production, engagement and enjoyment. The seminar will explore how sampling has come to define the sound of post-modernism in our society, focusing on both the technical, psychological and sociological effects that sampling creates both in the music itself and also those who make it. By analyzing sampling using a historical discourse – from grammophonmusik through to musique concrete and on to turntablism – the seminar attempts to illustrate how the medium has become the message and the sophisticated language that has evolved within sampling. From the early predictions of Varese to the multi-media live installations of Eboman, all aspects of sample-based music and culture are examined and critiqued in terms of their musical complexity and relevance to the society in which they were born.

The seminar will also feature a live interactive sampling demonstration using a turntable, laptop, loopstation, microphones and Serato Scratch.

Wednesday March 25th, 2009

Ger McDonnell

3.00pm Computer Science Building Auditorium (CSG01)

Ger McDonnell is a music producer/mixer/engineer who was born in Dublin, where at the age of eight, he began to studey orchestral percussion at the College of Music. Having studied there for eight years, poised for a career in teaching, he decided to follow his long-harboured desire to be involved in the world of “making records”.

Having served his time working as an assistant/trainee recording engineer in various studios around Dublin, and after a chance meeting with a music producer called Mike Hedges, who had already carved a successful career producing artists such as The Cure, Siouxsie And The Banshees, Manic Street Preachers and Travis, Ger went on to work extensively with Mike on various high-profile projects, utilising many of the best recording studios in the UK, Ireland and France, thus gaining some invaluable experience.

Still working with Mike, but also happily producing and mixing down his own projects, Ger is based mainly between the UK and Ireland. Recent credits include work for U2, Manic Street Preachers and Dido among many others, having gained a reputation particularily for his mixing skills.

Wednesday March 11th, 2009

Fergus Kelly

3.00pm Computer Science Building Auditorium (CSG01)

The Unique Sound World Of The Invented Instrument

Fergus Kelly is a visual and sound artist/improvisor involved in painting, field recording, electronics and invented instruments. He has worked with David Lacey, Paul Vogel, Dennis McNulty, Jurgen Simpson, Judith Ring, Slavek Kwi, Danny McCarthy, Max Eastly, and Mark Wastell. He has been in numerous shows around Ireland, and has shown in Canada, America, Germany, Holland, Finland, and England. He has done soundtracks for film and theatre and received many Arts Council awards. In 2005/06 he established a CDR label and website,, as an outlet for his solo and collaborative work, producing, amongst others, the CDs UNMOOR (2005), MATERIAL EVIDENCE (2006), BEVEL (with David Lacey)(2006), A HOST OF PARTICULARS (2007), STRANGE WEATHER(2007), AND LEACHING PIT (2008).

Wednesday March 4th, 2009

Roger Doyle

3.00pm Computer Science Building Auditorium (CSG01)

Roger Doyle was born in Dublin and studied composition on scholarships at the Royal Irish Academy of Music, the Institute of Sonology at the University of Utrecht and the Finnish Radio Experimental Music Studio.

He has worked extensively in theatre, film and dance, in particular with the music-theatre company Operating Theatre, which he co-founded with actress Olwen Fouéré. Babel, his magnus opus, was begun in 1990 and had its first public showing in an entire wing of the Irish Museum of Modern Art in 1992 as a dance piece. Subsequent sections were composed during residencies at the University of Washington in Seattle, the Baniff Centre of the Arts in Canada, the EMS studios in Stockholm and at the Royal Conservatory of Music in The Hague. A five-CD box set, Babel, was released to celebrate the work’s completion and the composers 50th birthday in 1999. Other works include a piano score for the Gate Theatre production of Salomé, directed by Steven Berkhoff, which played in Dublin, London’s West End and on three world tours. The music, performed by the composer, was released on the CD Under the Green Time, a collaboration with the Netherlands Wind Ensemble. A new large-scale electronic work Pasades has just been completed and released on three CDs. He was recently commissioned by RTÉ for a new work, Adolf Gebler, clarinetist, for symphony orchestra and pre-recorded acted scenes.

Awards include the Program Music Prize (1997) and the Magisterium Prize (2007) at the Bourges International Electro-Acoustic Music Competition, France, and the Marten Toonder Aware (2000) in recognition of his innovative work as a composer. Roger Doyle is a member of Aosdána, Ireland’s state-sponsored academy of creative artists.

Wednesday February 4th, 2009

Sean Reed: Non Developmental Musical Structures and the use of Lisp Algorithms to Generate Them

3.00pm Computer Science Building Auditorium (CSG01)

Sean Reed is an American composer living in Dublin. Over the past two years he has been focusing on the use of motive repetition with non-developing musical forms generated by algorithms in Lisp based programming enironments. This seminar will present the background and intention of his techniques in the context of examples of his work for traditional orchestral instruments as well as computer generated playback.

Sean Reed studied at the Eastman School of Music and under Manfred Stahnke at the Hamburg College of Music and Theatre. He is active as a composer for classical ensembles, interactive and tape music, and collaborative work with dance, theatre, visual art, video and space sound installations. International performances of his works include soloists of the ensemble modern, the zeitoper series of the Hanover State Opera, the CYNETart, ISEA and ICMC festivals, the ZKM, and the transmedial in Berlin. Sean is currently pursuing a PhD in Music Composition under Donncha Dennehy at Trinity College in Dublin, where he also teaches courses in composition, orchestration and MIDI.

Wednesday January 28th, 2009

Gareth Sholdice: Composers Seminar

3.00pm Computer Science Building Auditorium (CSG01)

Irish composer Garrett Sholdice will discuss and play some of his recent work involving Just intonation (a tuning system that, unlike 12-tone equal temperament, results in intervals that are derived from the harmonic series). Specifically, he will discuss his particular treatments of just intonation harmonies in different pieces, as well as his approaches to structure and time in composition – approaches which are rooted in ‘harmonic’ thinking. In addition he will discuss some influential work, including the music of Gerard Grisey, LaMonte Young, Morton Feldman and the music and theoretical writings of James Tenney, Marc Sabat and Harry Partch.

Garrett Sholdice (b.1983) is an Irish composer currently based in York, England.

In the past six years, Garrett has had his music performed by, amongst others, the National Chamber Choir of Ireland, the Concorde Ensemble, Madrid-based piano trio Trio Arbós, violinist Elizabeth Cooney, American pianist Matthew McCright, the RIAM Percussion Ensemble, the Crash Ensemble, the Elias String Quartet, the ConTempo String Quartet, the Dublin Guitar Quartet, Trio Scordatura, the University of York’s Chimera Ensemble, English clarinetist Jonathan Sage, British ensemble Noszferatu and the New York Miniaturist Ensemble. His music has been performed in Dublin, York, New York, Amsterdam, Ghent, at Klankenbos, an open-air sound installation space in Belgium, at the Galway Arts Festival, the Sligo New Music Festival, the Printing House Festival of New Music, the York Late Music Festival and at the Spitalfields Festival in London.

He has been awarded the National Chamber Choir’s annual Gerard Victory Commission (2002) and the National Concert Hall’s Composer’s Choice Commission (2005). Garrett has also been commissioned by Irish chamber choir New Dublin Voices (with funds provided by the Irish Arts Council) and the York Late Music Festival.

As an undergraduate in Trinity College, Dublin, Garrett studied composition with Donnacha Dennehy. A Professional Development and Training Award from the Irish Arts Council and a Rosalyn Lyons Masters Scholarship supported his MA in composition at the University of York during the academic year 2006/2007. He is currently pursuing a PhD in composition at the University of York with William Brooks. His doctoral research is currently partially supported by a Travel and Training Award from the Irish Arts Council and a Departmental Award from the music department at the University of York.

Garrett often performs on electric bass guitar and piano, usually as an improviser. In the past four years, he has performed as a soloist in Dublin and York and as a member of a number of ensembles, including Dublin group Forms (formerly Ensemble Imp), Gamelan Sekar Pethak, the York Free Improvisation Group and the DUMS Contemporary Music Ensemble.

Garrett is a co-director of Ergodos ( He is also an SPNM short-listed composer ( and a member of the Irish Composers Collective (formerly the Young Composers Collective –



Wednesday November 26th, 2008

Fergus Kelly

3:00 Computer Science Building Auditorium (CSG01)

The Unique Soundworld Of The Invented


Fergus Kelly is an Irish visual and sound artist/improviser. He has participated in many Irish and international sound related events and exhibitions. Currently he plays live with an invented instrument called the Cabinet of Curiosities. In 2005, he started the “Room Temperature” CD-R label and website with initial releases including his solo CD “Unmoor”.

Wednesday November 12th, 2008

Cormac Daly

3.00pm Computer Science Auditorium (CSG01)

Cormac Daly is a graduate of B.Sc. Computer Systems and M.Sc. Music Technology from the University of Limerick. As part of his M.Sc. dissertation, Cormac wrote a VST plug-in entitled ‘Thaw’ which explores the creation of drone aesthetics using the phase vocoder technique. Thaw and the accompanying thesis may be downloaded from here. Cormac currently works at Abaltat in Co. Galway where he develops music composition software for the video editing industry.

This seminar focuses on the use of well-known Object Oriented Programming Languages (such as C++ and Java) in the context of applications for digital audio effects and manipulation.

Rather than addressing programming issues (such as language syntax, software design and complex algorithms), an overview of the implementation of popular audio processing tools, such as VST plug-ins, is examined using simple algorithms as examples.

Therefore the seminar gives an overview of how programming can be used to create software that will appeal to and will be used by digital musicians and audio engineers. The seminar may be of interest to students with a rudimentary knowledge of programming who have an interest in computer music and who may be interested in developing such software or simply gaining a deeper understanding of the underlying architecture of well known and widely used VST Plug-ins.

Thursday November 6th, 2008

Soundings Presents: Johnathan Sage in Concert

8.00pm Daghdha Space, St. John’s Church, John’s Square, Limerick

The diverse and exciting programme features specially-commissioned works for clarinet and electronics by English composer Alex Harker and prize-winning Irish composer Jonathan Nangle; music for basset clarinet (an 18th-century extended clarinet) by Scottish composer William Sweeney and Irish composer Garrett Sholdice; miniatures by Irish composer Amanda Feery and American clarinetist-composers Evan Ziporyn (of NYC’s Bang-On-A-Can All Stars) and William O. Smith; as well as pillars of contemporary solo clarinet repertoire such as Elliot Carter’s Gra and movements from the late Karlheinz Stockhausen’s Amour.

At the age of 23, Sage already has an impressive track record as a contemporary-music-specialising clarinetist, having performed widely as a soloist and ensemble-member and premiered several solo clarinet pieces specially composed for him. His very considerable technical skill, mastery of many extended techniques and openness to sonic experimentation make him an ideal interpreter of new music. Sage already has a strong relationship with the contemporary music of Ireland, having premiered specially-composed pieces by Irish composers Amanda Feery and Garrett Sholdice and performed in a Chimera Ensemble performance of Donnacha Dennehy’s Junk Box Fraud, the first such performance of the work by an ensemble other than Dennehy’s own Crash Ensemble.

Tickets: €10

Tickets available on the door

Wednesday November 5th, 2008

Duncan Murphy

3.00pm Computer Science Auditorium (CSG01)

I use many different approaches and tools in my work and I’d like to demonstrate how these elements can both compliment and juxtapose each other. I”m going to deconstruct a piece of music entitled “Triplehorn” from my recent album and talk through all of its elements and layers from inception to post production. I want to show how software environments such as Max/Msp are invaluable as a means to organise sound in the manner in which you intend without comprimise. This piece of music also contains live instrumentation, nord modular synthesis, processing and editing and should be a good example of how these elements can co-exist. Some of the tools (algorithmic composition etc.) I use could be seen as being at home in more experimental work however this piece does not stray too far from “the norm”.

Duncan Murphy is one half of highly acclaimed electronic group Ambulance & is signed to influential electronic music label Planet-Mu (stable mates include Luke Vibert aka Wagon Christ & µ-Ziq).

Saturday October 25th, 2008

Diffusion Award Concert + Spatial Music Collective Programme

6.30pm-9.00pm The Auditorium, Digital Exchange, The Digital Hub, Crane St, Dublin 8

Soundings presents Diffusion 2008

This concert of electroacoustic works features the prizewinning compositions of the 2008 Diffusion Prize. Also featured will be the Lyric FM commissioned premiere of the 2006 Diffusion Prize winner Lucas Fagin amd Real Time Tape Music 3 by composer Kerry Hagan. The concert is presented in surround sound at The Auditorium in The Digital Hub. Soundings is curated by Jürgen Simpson and Robin Parmar in association with the CCMCM and supported by the Dept. of Computer Science, University of Limerick. The Diffusion 2008 prize is supported by RTÉ Lyric FM, CCMCM and DEAF.

The Spatial Music Collective

The Spatial Music Collective supports music performances with a dynamic and novel spatial component, incorporating both electronic and acoustic sounds. Founded in 2006 by a group of like-minded Dublin-based composers, it has since presented a number of new works by Irish and international composers. In concerts, the music is arranged for playback over multiple speakers placed at locations around the performance space, with any participating live players distributed throughout the audience. Following a successful series of electroacoustic concerts in 2007, this year has brought new developments, with Arts Council-supported performances (in collaboration with the New Dublin Voices) in the Chapel in Dublin’s Trinity College, and a performance by the Bridgewood Ensemble at SS Michael & John’s. The collaboration with the New Dublin Voices included the prize-winning Sea Swell by Enda Bates (Special Prize winner at the 37th Florilège Vocal de Tours), while the Bridgewood Ensemble concert was described by Michael Dungan in The Irish Times as “fresh and sincere and, in a way, utilitarian, taking the string quartet as just one more creative vehicle among many”. Their final concert of the 2008 series, featuring new works for the Dublin Guitar Quartet, is planned for November.

Free Admission: to guarantee entry contact email hidden; JavaScript is required to hold your place

Thursday September 25th, 2008

Soundings presents ‘Diffusion 2008’

8 PM Daghda Performance Space, St. Johns Square, Limerick

SOUNDINGS presents ‘Diffusion 2008’ featuring composers Trevor Wishart, Kerry Hagan and the prize-winning compositions of the 2008 Diffusion Prize. Also featured will be the Lyric FM commissioned premiere of Diffusion Prize 2006 composer Lucas Fagin. The concert will be presented in surround sound at the Daghda Space. There will be a preconcert talk with composer Trevor Wishart. There wil be a preconcert talk at 7pm Talk with composer Trevor Wishart.

Wednesday September 24th, 2008


Tweak is a new interactive art and live electronic music festival taking place in Limerick City between the 22nd and 27th of September 2008. Its aim is to promote understanding of the use of technology within our culture and to explore contemporary issues (social, economic, psychological, aesthetic and functional).

The festival will consist of a 5-day exhibition, (interactive artworks, robots and installations) comprising of artworks from international and local artists, 5 days of workshops and 2 evenings of live electronic performance (Including a performance by digital composer Trevor Wishart). Tweak examines the growing impact of digital technologies in the creation of art and aesthetic experience. Providing a space for Digital Artists to redefine the nature of technology within our lives, the festival intends to create public awareness of the complex nature of technology and explore the relationship technology has to our lives.

For more information see

Tuesday September 2nd, 2008

Dr. Miller Puckette: “What Waveshaping Can Do For Your Guitar”

16h00 Computer Science Building Auditorium (CSG01)

From one point of view at least, electric guitars are more like controllers than real musical instruments, since it’s the amplifier that really makes the sound. Taking this idea as a starting point, it’s possible to design processing algorithms that, although they act directly on the guitar’s own signal(s), produce a variety of musically interesting sounds. These can be like or unlike that of a guitar, while still making good use of the guitar player’s own craft. This talk is intended primarily to incite others to make their own experiments in expanding instrumental possibilities with a computer.

Monday September 1st, 2008

DAWN 2008 – Digital Arts Week Now

This 8th edition of DAWN will feature as usual exciting examples of interactive technologies and musical creations, mixing technical innovation with creative flair. This years Interactive Media final projects include a “Robotic Ballet”, “ID” – an interactive art installation, “Music2” an interactive game for teaching maths through music. The Music Technology students will present work such as a real-time application for live clarinet performance, “Til Human Voices Wake Us” – a composition inspired by brain-wave patterns, and “Abstract Amen”, a search for new rhythm aesthetics in groove based music. This years exhibition will also feature joint Interactive Media and Music Technology projects such as the non-linear film “Missing”.

The official opening will take place on Wednesday 1st September 2008 at 18h00 in the Atrium of The Computer Science Building. Refreshments will be available, and you will be able to visit the interactive exhibition as well as touring the new state-of-the-art media production facilities.

A concert will be performed by the Music Technology students which will take place immediately after the opening, in the Performing Arts Centre located in the Foundation Building at 19h00.

The exhibition is open to the public from Monday, September 1st until Thursday 4th of September (10h00 – 16h00) and is located in CSG-025 CSG-026 and CSIS Atrium.

Monday September 1st, 2008

Dr. Miller Puckette: “The Computer as a Musical Instrument”

16h00 Computer Science Building Auditorium (CSG01)

The Centre for Computational Musicology and Computer Music in the Department of Computer Science is greatly honoured to have Dr. Miller Puckette from the University of California in San Diego, visiting and giving two talks, Monday 1st of September and Tuesday 2nd of September.

The computer ought to be the ideal musical instrument (since it can do anything you tell it to) but there still seems to be something left to do in order to realize the computer’s full potential to play music. This talk is concerned with a confluence of issues of access (open source versus proprietary software), real-time human/computer interaction, and graphical representations of data structures, and the particular ways they are addressed in the design of the Pure Data computer music environment.

Miller Puckette obtained a B.S. in Mathematics from MIT (1980) and a Ph.D. in Mathematics from Harvard (1986). He was a member of MIT’s Media Lab from its inception until 1987, and then a researcher at IRCAM. There he wrote the Max program for MacIntosh computers which was first distributed commercially by Opcade Systems in 1990 and is now available from Cycling74. In 1989 Puckette joined IRCAM’s “musical workstation” team and put together an enhanced version of Max called Max/FTS, for the ISPW system. This system became a widely used platform in computer music research and production facilities. The IRCAM real-time development team has since reimplemented and extended this software under the name jMax, which is distributed free with source code.

Puckette joined the Music Department of the University of California, San Diego in 1994, and is now Associate Director of the Centre for Research in Computing and the Arts (CRCA). He is currently working on a new real time software system for live musical and multimedia perforfmances, called Pure Data (“Pd”), in collaboration with many other artists/researchers/programmers worldwide. Pd is free and runs on Linux, Macintosh, and Windows systems. In 1997 Puckette joined the Global Visual Music project. Since 2004 he has performed with the Convolution Brothers.

Wednesday May 7th, 2008

Roy Carrol

2.30 Computer Science Building Auditorium (CSG01)

Roy will talk about performing and composing music with samplers/sampling software, from initial sample recording to performance and composition techniques, giving away some of his best gags/tricks/gambits in the process.

Roy is an Irish born composer/performer currently living in Berlin. He is active in the free improv/jazz, electro-acoustic improv, noise improv, breakcore etc. scenes in Berlin, while also composing concert music, music for dance and sound installations. Roy performes and records with Ostear, Double Adaptor, Sausage Forest, Trouble Penetrator and Sainkho Namtchylak. He has performed around Europe and also in the US and Russia.

Roy has an M-Phil from TCD and is the recipient of numerous grants and awards.

Wednesday April 23rd, 2008

The Songs That Saved Your Life: A Seminar on Morrissey and The Smiths

2.30 – 5.00 Room FG042 (Foundation Building) Admission Free

The Department of Sociology and the Irish World Music Academy present this seminar on the music of Morrissey and The Smiths. Speakers include:

Dr. Eoin Deveraux (Dept. of Sociology, UL)

Dr. Nabeel Zuberi (Dept. of Film, Television and Media Studies. Aukland, New Zealand)

Wednesday April 9th, 2008

Enda Greenan

2:30 Computer Science Building Auditorium (CSG01)

Enda Grennan is a composer and sound artist working in Limerick. He also works as Technical Manager of Daghdha Dance Company. Having completed a Hons. BA in Sculpture & Combined Media at Limerick School of Art & Design, he graduated with a First Class Hons. MA Degree in Music Technology from University of Limerick in 2006

He will give a talk on his MA Thesis “Partial Immersion – Renegotiating the Constraints of Minimalist Drone Music” followed by a discussion of his subsequent development as a composer of electronic music.

He will also give a seminar on the use of Ableton Live software as a performance tool for live electronics.

Wednesday April 2nd, 2008

Brian Bridges and Enda Bates

2:30 Computer Science Building Auditorium (CSG01)

Brian Bridges and Enda Bates talk about their work for the New Approaches to Guitar performance pieces.

See below for details.

Wednesday April 2nd, 2008

Soundings presents: New approaches to Guitar

8 p.m. Daghda Church, St. Johns Square, Limerick.

The Soundings concert on Wednesday April 2nd will feature two novel approaches to experimental music for the electric guitar: Angels at the Shotgun Wedding by Brian Bridges, written for 23 electric guitars in microtonal tunings and Works for Hexaphonic Guitar by Enda Bates.

Angels at the Shotgun Wedding by Brian Bridges (Maynooth Electric Guitar Array, conductor Marc Balbirinie), is a large scale piece for 23-member electric guitar ensemble. The piece uses a combination of electronic drones, microtonal tunings, and amplification to create novel harmonies and textural effects. The aim is to create a piece which balances the inherent force of the ensemble with the subtlety of the materials. Creating something both delicate and visceral with blunt instruments.

Brian Bridges is an experimental composer from Dublin. He has studied with Glenn Branca and Tony Conrad in the USA, and completed a Masters in Music Technology at Trinity College Dublin in 2003. Brian is currently working towards a PhD in Music Technology with Victor Lazzarin at NUI Maynooth.

see for more info.

Works for Hexaphonic Guitar by Enda Bates

This augmented instrument is essentially an electric guitar fitted with a hexaphonic pickup so that each string can be individually amplified, processed and spatialised to a loudspeaker array placed around the audience. In this way the muscian can perform spatial music in real time using standard instrumental techniques to control various spatialisation and processing algorithms.

Enda Bates is a musician and composer based in Dublin. He is currently pursuing a PhD in computer music at Trinity College Dublin with Donnacha Dennehey and Dermot Furlong.

see for more info

Wednesday March 26th, 2008

Dr. Simon Kieth Gilbertson

2.30pm Computer Science Building Auditorium (CSG01)

Dr. Simon Gilbertson is Junior Lecturer on the MA in Music Therapy program at the Irish World Academy of Music and Dance. As a music therapy clinician he has worked in England and Germany in a range of clinical settings including work with children on the autistic spectrum, children and adults with cancer, neurological illness and disease. He has extensive experience working with people affected by traumatic brain injury and completed his doctoral research on music improvisation with people with traumatic brain injuries related to road traffic incidents in 2004 under the supervision of Professor David Aldridge. He has worked as a research assistant on a major literature review project led by Professor Aldridge at the Chair of Qualitative Research in Medicine, University of Witten/Herdeck, Germany.

Dr. Gilbertson has presented his work internationally and has been published in journals including the Australian Journal of Music Therapy, BMC Medical Research Methodology, Canadian Journal of Music Therapy, Musiktherapeutische Umschau (Journal of the German Association of Music Therapy), Journal of Music Therapy and The Nordic Journal of Music Therapy. He is co-author of the open-source Music Theray World Journal Index, which is the only existing comprehensive index of 12 major music therapy journals and also facilitated the publication of the first open access full-text database of the Australian and Canadian Journals of Music Therapy. He has written two book chapters on music therapy with people who have experienced traumatic brain injury and has written his first book on music therapy and traumatic brain injuries together with David Aldridge for Jessica Kingsley Publishers.

Simon has recently been awarded a research grant within the University of Limerick Faculty Seed Programme 2007-08 to carry out an investigation into the current state of music therapy research capacity on the island of ireland.

Monday March 10th, 2008

Wade Mathews 10th – 13th March

American improvisor, composer, and author, Wade Mathews, has been living in Madrid Spain since 1989. Besides his solo concerts he performs frequently in duo with the Norwegian percussionist, Ingar Zach and Toulouse based dancer Valerie Metivier and with the New York based American flutist Jane Rigler, with whom he recently performed in New York’s Museum of Modern Art. Besides these fixed groups, Mathews has worked with improviserssuch as Burkhard Beins, Alex Dormer, Annette Krebs, Peter Kowald and Andrea Neumann (Germany), JOhn Butcher, John Edwards, Phil Durrant and Rhodri Davies (United Kingdom), Le Quean Ninh, David Chiesa, Jean Pallandre and Michael Doneda (France), Jack Wright, Gino Robair (U.S.A.), Alfredo Costa Monteiro and Ferran Fages (Spain), etc. Wade Mathews has performed in festivals and concert series in New York, Paris, London, Brussels, Barcelona, Madrid, San Francisco, Los Angeles, Berlin, Beirut, Buenos Aires, Mpntevideo, Toulouse, etc.

He has recorded for the B.B.C. in their London studios, for ORTF/France Culture in Paris, R.T.V.E and R.N.E. in Madrid, as well as two CDs with his trio ZYKLUS and one of his duo FASES. He has also made recordings with Butch Morris and in quartet with Steve Nobel (both released on “Musica en Metronom”), is featured on CDs by Swiss trumpeter Markus Breuss, and has recorded with the Orquesta sinfonica de Madrid, among others. Recent releases include a solo woodwind CD, Aspirations and Inspirations, a quartet, Dining Room Music, and a duo Morke-Lys, (all on the creative sources label) and a solo electronics CS, Absent Friends, on the Sillon label.

Mathews earned his Doc tor of Musical Arts from Columbia University in New York, where he studied composition and electronic music with Mario Davidovsky before writing his dissertation on improvisation guided by electronic sounds. Previous studies include woodwinds with Joe Allard at the New England Conservatory and Analysis with Bruce Mather at the Paris Conservatory as well as composition with John Ronsheim at Antioch College. In 2004 he recieved a commission from the French Government (Commande d’Etat) to create a work exploring the possible relations between acoustic instruments and various techniques of phonography. The work, titled Lieux, was premiered at the festival Rencontres de Musique et Quotidien Sonor in southern France in May, 2004.

Critics have written: “he combines some of the greatest capacities of his instrument; a beautiful sound, avant garde ideas, and an expressive ability that hits home”. (El Pais, 3/9/89) According to El Independiente Mathews is “a man of abundant ideas… …a constant and enveloping sonic adventure…”

Wednesday March 5th, 2008

Danijela Kulezic-Wilson

2:30 Computer Science Building Auditorium (CSG01)

Music in Film: Conventions, Cliches and New Approaches

Music is indisputably one of the most powerful, irreplaceable aspects of film and yet, decades of alternately neglectful and over-exploitative treatment by Hollywood have managed to turn film music into one of the most obvious symbols of mainstream cinema conservatism. Unfortunately, Hollywood scoring conventions and cliches, some of which have been present in cinema since the invention of sound, have not only established the norms of film music employment but also the basis for the theoretical examination of the relationships between music and the moving image. Alternatives to mainstream scoring might not yet have recieved enough scholarly attention and theoretical coverage, but the increasing presence of the auteur soundtrack in American independent cinema, more frequent long-term collaborations between directors and composers and a growing appreciation of music as an inspiration for creating film in so-called art-house cinema, are indicative not only of changes in the approach to the employment of music in films but also in the process of filmmaking itself.

While examining the objectives, ideological backgrounds and aesthetic concerns related to the employment of music in both mainstream and art-house cinema, this seminar will also offer an insight into the basic relationships between music and the moving image.

Saturday March 1st, 2008

Two Places

17th of January – 1st of March 2008

Two Places is a sound art exhibition with seven exhibits. Each exhibit has a presence both at the University of Limerick in Ireland and at the Ormeau Baths Gallery in Belfast in Northern Ireland.

In addition to the exhibition seminars discussing sound art will be held at both the University of Limerick and at Queens University in Belfast.

Two Places began as apparently quite literal and gradually became more and more metaphorical and multidimensional. It uses sound and visuals in two places and the space between them. There are seven projects by the same participants in each place. The projects happen simultaneously at each site. Two Places uses the possibilities for each site of playing back on the other.

This particular creative approach redefines a given space. Sound and moving images combine with objects; visitors interact with the work and make it happen. Two Places is an event, not a static form. Its presence occupies the space and time of two places and between two places.

These two specific sites, Ormeau Baths Gallery, Belfast, and the University of Limerick, are themselves structured by human beings and define this project. They contrast with each other in the types of space contained by the presence of architecture. Ormeau Baths Gallery is a single building with galleries inside it; University of Limerick occupies a large site with many buildings defining and being defined by, extensive outdoors areas.


Urban Drones: by Kieran Ferris

SHRDLU: by Barbara Freeman and Paul Wilson

Ghost Signals: by Anthony Kelly and David Stalling


Parallel Light: by Grainne Mulvey

Between Two Plates: by Pedro Rebola and Michael Alcorn

Hanging Gardens: by Jurgen Simpson and Eoin Brazil

For more information see

Thursday February 21st, 2008

Kevin Volans

2:00 Music Room B. Foundation Building.

Kevin Volans was born in Pietermaritzburg, South Africa. From 1973 to 1981 he lived in Cologne where he studied with Karlheinz Stockhausen and Mauricio Kagel, later becoming Stockhausen’s teaching assistant. He is now an Irish citizen and lives in Dublin.

In Germany during the mid-1970s, his work became known as part of the ‘New Simplicity’. Later, following several field recording trips to Africa, he embarked on a series of pieces based on African compositional techniques which quickly established him as a distinctive voice on the European new music circuit. Since the mid-1980s his work has been extensively performed at venues including the Lincoln Center, New York; the Pompidou Centre, Paris; the Vienna State Opera; the Concertgebouw, Amsterdam; and the Royal Albert Hall, London for the BBC Henry Wood Promenade Concerts. Seventeen CDs featuring his music have been released to date.

Kevin Volans’ music is published by Chester Music and Black Sheep Edition. He is represented by Van Walsum Management, London.

Friday February 8th, 2008

Ralph Das

14:00 Music Technology Lab

Ralph Das is a founding member of the Natural User Interface Group or ~NUIGroup. NUIgroup is an interactive media group researching and creating open source machine sensing techniques to benefit artistic and educational applications. They offer a collaborative environment for developers that are interested in learning and sharing new HCI (Human Computer Interaction) methods and concepts. Topics include: voice/handwriting/gesture recognition, touch, computing, computer vision and information visualization.

Ralph also owns a consultancy company, IntactLab which focuses on new interaction methods for television and multi-touch.

Wednesday February 6th, 2008

Giles Packham and Karl Burke

2:30 Computer Science Building Auditorium (CSG01)

Giles Packham and Karl Burke run Waveform Studios, a recording facility and music and sound production company specializing in film, television, documentaries and advertising for national and international customers. Their clients include Volkswagen, 3, O2, Eircom, Lucozade, RTE and Failte Ireland.

They also perform and release records under the name The Array, an electronic music outfit with their debut On Unknown Soil released in 2002. They created a radical and much-praised re-working of U2s Sunday Bloody Sunday featured on the Asian Tsunami Releif Fund CD, Even Better Than The Real Thing Vol. 3, sung by Lisa Bresnan. More recently they re-worked several tracks for Simon Fisher Turner for his latest release Lana Lara Lata (Mute) and plan to release an album developed from the collaboration entitled 1001 Other Spaces later in the year.

See for more info.

Wednesday November 21st, 2007

Seminar/Performance: John Bowers and Sten-Olof Hellström

Venue: Kilmurry Hall

Time: 14.00 – 17.00


PTBYBO 3 will present Hellström and Bowers’ latest efforts at circuit bending and live coding (where, respectively, hardware and software are hacked before your eyes and ears) to explore live sound/image relations in an improvised performance. The occasion will feature the Irish debuts of Ohm-My-God (an environment in which random electronic circuits are constructed) andMy Little Dream Machine (a mminiturization of Brion Gysin and Ian Sommerville’s hallucinogenic Dreammachine, the behaviour of which is variously sonified and visually transformed and projected). Generally, lights will flash and circuits will blip with an uncommonintensity as Hellström and Bowers work feverishly to transport all our bodies, minds and souls from the begining of the end. A Performance To Blow Your Brains Out, surely.

John Bowers

John Bowers is currently a Professional Research Fellow in the Department of Design at Goldsmiths College, University of London, UK, and a Visiting Research Fellow at the School of Music, University of East Anglia, UK. As an improvising musician, John is part of Tonesucker, an improvising noise metal electric guitar duo (CD Slaughterhouse available on Onoma Research), the Gentlemen of Circuitry, a quartet who play antique and homemade electronic instruments, and the electro-acoustic improvisors The Zapruda Trio (CD LIve at Smallfish available on vision-of-sound), amongst other collaborations. Solo work includes The Dial: Have you been to Hilversum? (broadcast by Resonance FM, London), Do It Yourself Silence and Silence Silenced (contributed to the CD A Call for Silence, Sonic Arts Network), and Atonement for Violin Quartet (Norwich Gallery, UK), a four day long performance-installation-webcast revisiting the instrument destruction preoccupations of Fluxus artists. John is co-founder of the Onoma Research music label. A monograph specifying John’s characteristic approach to music, social science research and technical affairs, Improvising Machines is available from

Sten-Olof Hellström

Sten-Olof has been active as a professional composer since 1984 and gained a Masters of Music in composition at University of East Anglia, England 1990. He has been employed as a researcher and composer at the Centre for User Orientated IT Design (CID), Royal Institute of Technology (KTH) since 1997. As a researcher Sten-Olof has mainly worked in the area of Human Computer Interaction where he has been part of several major EU-funded long-term research projects such as eRENA and Shape. He is also very active in the field of sonification (representing data with sound). One example of current work is the construction and development of a computer interface for the visually impaired. Sten-Olof’s main occupation and profession is as a composer working with electro-acoustic music. His music has been performed and broadcast around the world and he is also activeas a performer playing live electro-acoustic music on his own and with others such as Ann Rosen, John Bowers, and Simon Vincent. Sten-Olof is also part of the performance group Zapruda Trio based in England.

Saturday November 3rd, 2007

The Necks Live at Daghda Church

The Necks are one of the great cult bands of Australia. With next to no publicity, their thirteen albums have sold in their thousands.

Chris Abrahams (piano), Tony Buck (drums), and Lloyd Swanton (bass) conjure a chemistry together that defies description in orthodox terms.

These three musicians are among the most respected and in-demand in Australia, working in every field from pop to avant-garde. Over 200 albums feature their presence individually or together, but the music of The Necks stands apart from everything else they have done.

Featuring lengthy pieces which slowly unravel in the most intoxicating fashion, frequently underpinned by an insistent deep groove, the thirteen albums by The Necks stand up to re-listening time and time again.

The deceptive simplicity of their music throws forth new charms on each hearing. Not entirely avant-garde, nor minimalist, nor ambient, nor jazz, the music of The Necks is possibly unique in the world today.

“…Entirely new and entirely now…They produce a post-jazz, post-rock, post-everything sonic experience that has few parallels or rivals. They may teach us to listen in a new way, but they communicate a fierce energy and warmth at the same time. Their music is a thrilling, emotional journey into the unknown. Like seeing a world in a grain of sand, The Necks permit us to hear a whole new world of music in a sliver of sound”


“An application of minimalist music onto jazz with remarkable results”


Wednesday October 24th, 2007

Lecture/Discussion – Rebecca Walter and Hugh O’Neill

Venue: CSG01

Time: 2.30 – 4.30

Choreographer Rebecca Walter and Composer Hugh O’Neill have been collaborating on new dance/music performances since 2003. They work through a unique collaborative process where key elements of the choreography and sound influence each other as a piece is being made.

For their talk at U.L., Rebecca and Hugh will show excerpts of their past work and discuss the methods they employed in creating these works. They will also discuss the practical side of their processes (e.g. the differences between dancer and musician rehearsal needs, the issues that arise when using live musicians with dancers, etc.)

The talk will also include time for questions as well as discussions about any dance/music projects that the students are pursuing or are interested in pursuing in the future.

Rebecca Walter is a freelance choreographer / dancer / producer and the Artistic Director of Catapult Dance. Her work for Catapult has been presented throughout Ireland. Recent projects include: Walk don’t run (site-specific film/dance project at a busy Dublin city-centre intersection, Project Arts Centre commission September 2007), playing along (as part of Input/Output, produced by Roy Carroll, Project Arts Centre August 2007) and a new version of Schreibstück (idea/concept Thomas Lehmen, Tanzquartier Wien March 2006, produced by Tanzquartier Wien, Dansens Hus Oslo and Rebecca Walter in association with Project Arts Centre as part of IDEE, a Culture 2000 programme funded by the EU).

As a dancer, Rebecca has performed with Corp Feasa, ManDance, New Balance Dance Co., Daghdha Dance Co., Loose Canon Theatre, and Catapult Dance, among others. Rebecca has also taught extensively throughout Ireland including engagements at M.A. in Dance Course, University of Limerick, Dance Ireland, Institute of Choreography and Dance, Cork, Dublin Ballet School, College of Dance and Irish National Youth Dance Company.

Hugh O’Neill is a Dublin-born composer based in Berlin. He studied with Donnacha Dennehy and Roger Doyle in Trinity College, Dublin (TCD). The main focus of his studies was electronic, algorithmic and found sound composition. Hugh is currently a Phd candidate at TCD where he also earned an M. Phil in Music and Media Technology.

In sourcing music material, real world events, human activity and speech have always been strong sources of inspiration for Hugh. More recently, and as an extension of the principles of Musique Concrete (or found sound composition) his focus has been the exploration of musical instruments and their sonic capabilities beyond the standard uses of the instruments. His exploration of gesture in the performance of music coupled with an extended sound world of the instruments has have provided him an opportunity to explore new timbral combinations within traditional instrumental combinations.

Friday October 12th, 2007


8pm Daghda Church, St Johns Square, Limerick

10 euros (5 concession)

Iannis Xenakis – La Légende d’Eer

La légende d’Eer is a powerful multi-channel electro-acoustic composition which Xenakis created in 1977-78 for the opening of the Centre Georges Pompidou in Paris, where it was performed for three months and seen by thousands of people. This extraordinary sonic universe of thumb pianos, Jew’s harps, Japanese drums, and bricks banged and rubbed against each other is as impressive as it is expressive, but what makes the 45-plus-minute span of music so effective is the composer’s unerring precision in combining concrete elements with his own computer-assisted electronic music in a superbly proportioned and aesthetically satisfying formal design.

Slavek Kwi & Jürgen Simpson- Improvisation for live electronics and hydrophones

Slavek Kwi is a sound-artist, composer and researcher whose main interest lies in the phenomena of perception as the fundamental determinant of relations with Reality. He has been fascinated by sound-environments for the last 25 years, focusing on electroacoustic sound-paintings. Jürgen Simpson’s output includes electroacoustic works, music for film, dance, two operas, and three albums with The Jimmy Cake. He has a specific dedication to live electronic music performance and has played electroacoustic works by Stockhausen, Cage and Nono as well as his own work.

Billythebrand & BoyK

Billythebrand makes free music for free by whatever means present themselves as necessary. Improvised electronic and acoustic musics. BoyK plays, hits, strums, bows improvised bicycles. Percussive melodic music to cycle to.

Wednesday October 10th, 2007

Fergus Kelly

The Unique Soundworld Of The Invented Instrument

2:30 Computer Science Building Auditorium (CSG01)

Fergus Kelly is an Irish visual and sound artist/improviser. He has participated in many Irish and international sound related events and exhibitions. Currently he plays live with an invented instrument called the Cabinet of Curiosities. In 2005, he started the “Room Temperature” CD-R label and website with initial releases including his solo CD “Unmoor”.

Wednesday September 26th, 2007

David O Brien and Patricia Baker

RadioOn: A Public-Art Project

3:00 Computer Science Building Auditorium (CSG01)


is a public art project devised, programmed, produced and curated by Patricia Baker and Dobz O’Brien. It is a Radio station (licensed by BCI) which ran from Wednesday 12th to Sunday 16th September 2007. Radio ON was broadcast each day from 10:00a.m. – 3:00p.m. and had a broadcast range taking in Cork City and its environs. Radio ON live-broadcasting from Cork has now ceased, but all the Radio ON programming will continue to be listened to via the website: The people behind this project will be discussing various aspects of their work in CSG01 of the CSIS building.

David (Dobz) O’Brien studied at NCAD, Dublin, Glasgow School of Art, Glasgow and Crawford College of Art & Design,Cork. Set up the interventionist art group Art / not art in 1999. Has exhibited nationally and internationally, and has curated a number of large events most notably ‘Cork Caucus’ in 2005. And most recently devised and produced Radio ON, an interventionist radio station which broadcast throughout the city of Cork for 5 days.

Patricia Baker is an artist and experienced arts manager; she works predominately in a collaborative manner, with an emphasis in creating spaces that allow for inter-disciplinary connections. Patricia has worked with large scale public art programs and with mechanisms that prompt dialogue both within television and for the last few years as a programmer and director for festivals. Most noteable asFestival Director for St Patrick’s Festival Dublin, Artistic Director for Elijah Walks Rejoyce, project manager for Opening Ceremony of Special Olympics and most recently as the Festival Director Eigse Carlow Arts Festival, 2006.

Thursday March 29th, 2007

An Evening of Improvisation and Sound Art

8pm Daghda Dance Space, St. John’s Church, Limerick

Soundings is pleased to present an evening of improvisation and sound art at Daghdha Space, Limerick on Thursday March 29 at 8pm. Appearing will be John Tilbury, pianist and a member of AMM since 1965; Wade Matthews, clarinet and software; Paul Vogel, electronics; Dave Lacey, percussion; and Lee Paterson, amplified everyday objects. This is the second season of Soundings events. The restored Daghdha Space (John’s Square, Limerick, Ireland) provides a beautiful environment for a performance series designed to open the senses to new forms of music, sound art and media interaction.

David Lacey utilizes acoustic percussion along with low-grade electronics and field recordings in regular collaborations with Paul Vogel and Fergus Kelly. He has worked with many other artists, including Rhodri Davies, Mark Wastell and Keith Rowe. Lacey has composed music for theatre and contemporary dance groups. Based in Dublin, he is known for his work in Irish electronic outfit Decal.

American improviser Wade Matthews was born in France and has been living in Spain since 1989. He has developed his own improvisatory language on bass clarinet and alto flute, informed by software synthesis and his studies at the Columbia-Princeton Electronic Music Centre in New York.

Lee Patterson is an idiosyncratic sound artist and improvising musician who works with everyday objects and amplified devices. He has performed in a number of European events in the last five years, including the Donau festival, Austria, 2006, where he worked alongside David Toop and Rhodri Davies in “Sound Body”. last summer he produced the radio programme Audio Sketchbook for Resonance FM, drawing upon his archive of field recordings. Patterson is based in Manchester.

John Tilbury has been a member of the free improvisation group AMM since 1965. He has performed in many countries around the world, and is widely respected as one of the foremost interpreters of Morton Feldman. Tilbury records for Sony Classical. His biography of Cornelius Cardew will be published this year.

Paul Vogel has been playing freely improvised music since 1979. As part of the Bristol Musicians’ Co-Operative, he collaborated in performance with musicians including Phil Durrant, Lucy Lucy, Bret Hornby, Bob Helson, Ian and Will Menter, Barry Leigh and Mark Langford. He resumed performing in 1997 with a move to electronics and now plays internationally.

Admission is only 10 euros at the door (concession 5 euros).University of Limerick students are free with student ID. Space is limited: first come, first served.Soundings is curated by Robin Parmar and Jürgen Simpson. We are proud to be partnered with Daghdha Dance Company and the University of Limerick. For this event we thank the British Council Ireland, the The Arts Council and the i-and-e festival for assistance.

Wednesday December 13th, 2006

Jennifer Walshe

3pm CSG01 (CSIS Auditorium)

Composer and improviser Jennifer Walshe was born in Dublin. Her works have been performed throughout Europe, the U.S. and Canada by ensembles including Alter Ego, Apartment House, ensemble recherche, the Neue Vocalsolisten Stuttgart, Crash Ensemble and the Stuttgarter Kammerorchester at festivals ranging from the Huddersfield Contemporary Music Festival, Wien Modern, Ultraschall, Donaueschinger Musiktagen, Stockholm New Music to Music at the Anthology New York and BELEF Belgrade. Jennifer will give a broad overview of her work, ranging from pieces for solo voice to XXX_LIVE_NUDE_GIRLS!!! her opera for Barbie dolls.

Wednesday December 6th, 2006

David Cleary

Playing Drums with Childrens Scissors

3pm CSIS Building Auditorium

David cleary is a musician and visual artist from dublin. he began making simple music on a simple PC in 1996. Since then he has released recordings on the plateau, bassbin, frontend synthetics, road relish and psychonavigation imprints amongst others. In 2001 he established ‘THE FEAR’ record label with co founders and electronic musicians droid and slug,on which he would release his debut album ‘music is not hygiene’. In 2003, and second album ‘shut up and make’ in 2004. He has been sound & music director for the virtual theatre group “THE SOUL GUN WARRIORS” since their inception in 1995, with whom he preforms and releases audio works. He has written two soundtracks for film, most recently for tony kennys darklight festival award winning “columbarium” (2006). Davids talk will be a presentation of his audio work and an introduction to its unique and extremely spartan process of production taking the form of a walk through a selection of his compositions, discussing their genesis, preforming a practical on-screen deconstruction of certain compositions, and discussing their purpose within his range of work and his theory of “personal music”.

links: “”, “”, “, “”

Wednesday November 22nd, 2006

Danijela Kulezic-Wilson

Sound as the weapon of choice for film mavericks

3:00 Computer Science Auditorium (CSG01)

While the mainstream film industry still treats sound as one among many technical devices which are necessary to create film, but best kept “invisible” behind the constructed reality of a narrative, the true mavericks of film-making have always paid special attention to sound as one of the most expressive elements of film’s audio-visual structure. From Sergei Eisenstein to Darren Aronofsky, sound has been employed in film with imagination and musical instincts to convey personal visions, revolutionising film’s technical and aesthetic vocabulary along the way.

This seminar is designed to offer an introduction to image/sound relationships in film through an overview of the most significant sound practices and examples of some of the most innovative approaches to sound in film.

Thursday November 16th, 2006

Diffusion 2006

8:00 Daghda Dance Spac, St. Johns Square, Limerick

This concert presents the prize winning pieces of the Diffusion 2006 electroacoustic composition competition. The prize is presented in collaboration between the Centre for Computational Musicology and Computer Music, and RTÉ Lyric FM. The first prize consists of a €3000 commission for broadcast on Lyric FM and will be performed in 2008 at a special concert. The winners are as follows:

1st Prize – Lucas Fagin “Filamentos” (Argentinean, located France)

2nd Prize – Daniel Blinkhorn “squeak (‘n bubble)” (Australian)

3rd Prize – Bryan Jacobs “Within Scenes of Hurt” (Canadian)

Wednesday November 8th, 2006

Fergus Kelly

The Unique Soundworld Of The Invented Instrument

2:30 Computer Science Building Auditorium (CSG01)

Fergus Kelly is an Irish visual and sound artist/improviser. He has participated in many Irish and international sound related events and exhibitions. Currently he plays live with an invented instrument called the Cabinet of Curiosities. In 2005, he started the “Room Temperature” CD-R label and website with initial releases including his solo CD “Unmoor”.

Wednesday November 1st, 2006

Deirdre Bolger

Exploring the structural role of timbre in Japanese shakuhachi melody: a computational and ethnomusicological approach

3:00 Computer Science Building Auditorium (CSG01)

This paper presents the important issues that arise in the investigation of timbre as a structuring force in melodic music. In particular, it considers the contribution of computational methods, in the form of digital signal processing and artificial intelligence, and approaches of ethnomusicology to this investigation and presents methods and current results using extracts of shakuhachi melody of the Honkyoku or religious tradition. Questions asked are: in what way should timbre be considered in approaching its analysis as a structuring force in melody; to what extent can changes in timbre support melodic structure and how can these changes be extracted; what measures have to be taken to ensure that the results of a computationally-based extraction of timbre changes actually relates to the musical reality for the musical tradition being studied and, related to the previous question, how can the areas of computational modelling of music perception and analysis of musical sound be effectively integrated with ethnomusicology to ensure that the results of an analysis have emic relevance?

Deirdre completed her doctoral research in cognitive and computational musicology in the University of Limerick in 2004 under the supervision of Dr. Niall Griffith. Her thesis entitled, “Computational Models of Musical Timbre and the Analysis of its Structure in Melody”, investigates the contribution of timbre to the musical structuring of non-Western music in particular, and presents a method of analysing timbre in its multidimensional form in a melodic context. In September 2005, Deirdre began post- doctorate research work in the CNRS (Centre Nationale de la Recherche Scientifique) laboratory, Langues-Musiques-Société, in Paris under the direction of Dr. Fabrice Marandola, now of McGill University in Montreal and Prof. Simha Arom. The aim of her work at the CNR-LMS was to focus more on the ethnomusicological aspect of the work, considering how computational and ethnomusicological methods of music analysis and representation can be effectively combined.

Tuesday October 31st, 2006

K.K. Null

5:00 Talk at Daghda Church St. John’s Square Limerick

8:00 Concert by KK Null with support by Robin Parmar at Daghda Church St.John’s Square

One of the top names in Japanese noise music and in a larger context, one of the great cult artists in experimental music since the early 80’s.

In 1985 he established his own label NUX ORGANIZATION to produce & release his own works and subsequently the bands such as MELT-BANANA and SPACE STREAKINGS. He also produced the series of “Dead Tech” (compilation albums by Japanese bands) which heralded Japanese alternative music boom internationally from the early 90’s to date. In the early 90’s he gained world-wide recognition as the mastermind, guitarist and singer of the progressive hardcore trio ZENI GEVA with their extremely heavy sound, releasing five albums produced by STEVE ALBINI. Also ZENI GEVA recorded twice for JOHN PEEL SESSION on BBC, and toured throughout Europe, USA, Australia, New Zealand and Japan. KK.NULL has worked on his solo career and collaborated with other musical innovators such as Z’EV, CHRIS WATSON,DANIEL MENCHE, KEIJI HAINO, SEIICHI YAMAMOTO, JON ROSE, BILL HORIST, PHILIP SAMARTZIS, ALEXEI BORISOV, ZBIGNIEW KARKOWSKI, JAMES PLOTKIN, JIM O’ROURKE, FRED FRITH, JOHN ZORN, and has been invited to perform at international festivals such as “Sonar”, “Beyond Innocence”, “Exiles”, “All Tomorrow’s Parties UK” and more. In recent years he has concentrated his efforts on his solo & collaborative recordings, exploring the outer territories of electronica, creating intense clashing wave of noise, structured electro-acoustic ambience, broken down rhythmics, scattered pitch sculptures, droning isolationist material which could be described “cosmic noise maximal/minimalism”. At present KK.NULL has more than 100titles of recordings released.

Wednesday October 25th, 2006

Film: High Tech Soul-The Creation of Techno Music

3:00 CSIS Auditorium (CSG 01)

A documentary by Gary Bredow which tackles the deep roots of techno music alongside the cultural history of Detroit, its birthplace. Featuring in depth interviews with many of the world’s best exponents of the artform, High Tech Soul focuses on the creators of the genre and looks at the relationships and personal struggles behind the music.

Wednesday October 18th, 2006

Film: moog-a documentary film by Hans Fjellestad (2005)

3:00 Film showing in Computer Science Building Auditorium (CSG01)

This feature documentary film – by filmmaker/musician Hans Fjellestad and the producer team behind Frontier Life (2002) – explores Moog’s collaborations with musicians over the years, and his ideas about creativity, design, interactivity and spirituality. Artists such as Stereolab, Meat Beat Manifesto, Tortoise, Money Mark, Luke Vibert & Jean-Jacques Perrey, 33, Moog Cookbook, Plastiq Phantom, Psilonaut, Bernie Worrell & Bootsy Collins, Roger O’Donnell, The Album Leaf, Pete Devriese, Bostich, Charlie Clouser, Baiyon, Suzanne Ciani, Gershon Kingsley, Doug McKechnie, Electric Skychurch and others created original music produced on Moog instruments for the soundtrack. Additional discoveries like vintage films borrowed from dusty private collections round out this stylized, wonderfully strange story of a true American maverick and a true original.

Wednesday October 11th, 2006

Film: Theremin-An electronic odyssey (1994)

3:00 Film showing in Computer Science Building Auditorium (CSG01)

A documentary about the colourful life of the inventor of one of the first electronic synthesisers and his subsequent life after he was abducted by the KGB as well as a history of his instrument.

Wednesday May 10th, 2006

Dennis McNulty

A performer and composer of electronic music, McNulty has released three albums and 30 other releases on such labels as Warp and Planet Mu. Previously one half of electronic group Decal, one of Irelands most famous and successful electronica groups, he now works on solo projects around the world recently representing Ireland at the 26th Sao Paulo Biennale. He has performed with many illustrious names including Keith Rowe and John Butcher.

Wednesday May 3rd, 2006

Fergus Kelly

Fergus Kelly is an Irish visual and sound artist/improviser. He has participated in many Irish and international sound related events and exhibitions. Currently he plays live with an invented instrument called the Cabinet of Curiosities. In 2005, he started the “Room Temperature” CD-R label and website with initial releases including his solo CD “Unmoor”.

Wednesday April 19th, 2006

Duncan Murphy & Tim Redfern

Duncan Murphy is one half of highly acclaimed electronic group Ambulance & is signed to influential electronic music label Planet-Mu (stable mates include Luke Vibert aka Wagon Christ & µ-Ziq) Tim Redfern is a video artist based in Dublin specialising in realtime computer graphics. Performing with live electronic music acts Decal, Americhord and Ambulance under the name ‘Pixelcorps’, he has developed a uniquely minimalist approach to music visuals involving custom programmed, midi controlled image processing software.

Wednesday April 12th, 2006

Roger Doyle

Seminar with major Irish composer of electroacoustic music. Includes world premiere of new electronic work Passades.

Thursday March 30th, 2006

Keith Rowe

Seminar and performance with one of the godfathers of improvisation and founding member of AMM. Collaborators include Christian Fennesz, Kaffe Matthews, Sachiko M, Evan Parker and Toshimaru Nakamura