Second episode in our Sonic Season and the first taken from the Audiograft 2014 festival in Oxford.
Marianthi Papalexandri performs “Solo for motors and resonant body (2012)” live at AudioGraft 2014 at the OVADA artist studio/exhibition space with an invented instrument of tubes and resonating wires.
The Sonic Arts Research Unit, based within Oxford Brookes University is home to experimental music composers and sonic artists who develop and share the academic framework of their practice . This includes hosting notable artists as Research Fellows and producing the annual international AudioGraft festival.
Paul Whitty, Research Lead and main figure at SARU talks about the history of the Audiograft festival and motivations of it’s artist-organisers.
The Gene Pool Radio Show is presented on Soundart Radio 102.5FM. The podcast can be delivered directly into your Mac/PC, tablet or mobile via our iTunes Channel
Listen: Gene Pool#70 Sonic Season: Marianthi Papalexandri
The second half of 2013 was a whirlwind of new projects for me, with the work of SHPLive.TV taking off. I produced a ton of performance productions for live streaming, including The Place Prize Final, the “Embedded” improvised music season of 3 concerts, transmedia dance project Dare You Watch and a load of other events.
In November 2013, I worked on an ambitious project as part of the Britten Centenary, celebrating the birth of the famous British composer, Benjamin Britten. Aldeburgh Music, a fantastic hub of musical talent and development in the UK, contacted me about a project to live stream as many performances as possible which were taking place on a single day, under the banner Friday Afternoons.
The title itself comes from a set of 12 Britten compositions, written for choir in 1935 and the performers in this project were due to range from schools in the Scottish highlands to large symphony orchestras.
My mission was to enable, produce and coordinate live streams of the performances from as many of the participants as possible. Many of the organisations had no digital expertise inhouse, so accessible solutions were the order of the day.
Some of the venues were able to work with simple production equipment and delivered their performances via the Ustream streaming service, while I organised streaming production teams to visit a few key venues. My own SHPLive.TV team delivered the production for the event at Aldeburgh’s Snape Maltings venue.
In a publicity coupe for the Aldeburgh team, national news organisation, The Guardian featured the whole series of 10 live streams on their website and gave tremendous profile to our work.