By Eduardo Reck Miranda | Performed by the composer with the assistance of Edward Braund | For prepared piano and biocomputer
BioComputer Music is an experimental one-piano duet for a pianist and a biocomputer.
The biocomputer listens to the pianist and generates musical responses in real-time. It plays the piano through electromagnets that sets the strings into vibration, producing a distinctive timbre.
The biocomputer is an innovative computing device based on slime mould built in collaboration with Edward Braund at Plymouth University’s ICCMR. Slime moulds are truly curious organisms: they are not plants, animals or fungi. But they share certain behaviours with members of all of these kingdoms. ICCMR researchers are developing methods to harness the behaviour of these organisms in order to perform computational tasks.
01 March 2015 | 16:00
Music Recital Room, The House, Plymouth University
By Alexis Kirke | Performed by Katherine Williams | For saxophone and electronics
Fast Travel stems from a research project being developed at ICCMR in collaboration with University of St Andrews in Scotland and University of Queensland in Australia, which is funded by The Leverhulme Trust. The objective of the project is to model the development of song repertoires by humpback whales, using computer music models informed by Charles Darwin’s theory of evolution.
Artificially intelligent models of whales will swim in an invisible virtual sea encompassing the audience and a saxophonist. As the whales swim, they move between speakers, and the schools will sing to each other electronically, based on what they hear in this sea. The live saxophone will play over the ghostly artificial whale song and will also be audible to the whales, influencing their singing.
01 March 2015 | 17:00
Crosspoint, Roland Levinsky Building, Plymouth University.
By Mike McInerney & Shaun Lewin | Performed by the composers | For piano and live data
Piano:Forest is a collection of movements for piano and live data in which data derived from forested landscapes are used to generate flows of audio-visual material that contains elements both of manipulated field recording and structural abstractions of these datasets.
The live piano material engages with these data flows by applying their patterns to performance parameters such as tessitura, pitches, density, duration, loudness and chord formation. The synthesis of these elements and their playback into the auditorium constitutes the primary production of the piece, creating a metaphorical ecosystem. As with all stable ecosystems, Piano:Forest recycles its primary production, some material being retained as structural ‘biomass’, some returning to the ground as a highly consolidated material and some becoming highly disaggregated sound particles that will be gradually leached out of the system.
01 March 2015 | 18:00
Theatre 1, Roland Levinsky Building, Plymouth University.