image Simone Tarsitani
2021–04–21. Talk. Approaching Gerald Murnane’s poetry: the confessional turn, the implied author and the textual many. Composing the Historical 2, online.
2019–10–19. Performance and talk. Lichen Beacons (soli instrumental version). Part of the Birch Festival). St. Mary’s Secret Garden, 50 Pearson St, London E2 8EL.
2019–05–19. Talk. Revisiting the Zinovieff - Birtwistle collaborations: ‘Chronometer’ and ‘Four Interludes For a Tragedy’ . Part of the Peter Zinovieff Day Symposium, University of Surrey, PATS Studio One.
2019–05–19. Performance. Harrison Birtwistle’s Four Interludes for a Tragedy with reconstructed Peter Zinovieff tape part. Carl Rosman, basset clarinet, Tom Hall, computer. Part of the Peter Zinovieff Day Symposium, University of Surrey, PATS Studio One.
2018–08–08. Talk. Notes around silence: music for slow listening. Part of Silence London Festival. Hoxton Arches, ARCH 402, Cremer St. E2 8HD.
2018–01–13. Performance. Lichen Beacons (concert version) (2015/18), for voice and electronics. Performed by Drew Milne and Tom Hall. Part of Atmospheres, The third annual Practice Research Symposium at the University of Surrey. Ivy Arts Centre, University of Surrey, Guildford. Time TBC.
2017-09-10. Performance. Private Papers (2017), for choir, instruments and electronics. Commissioned by the Astra Chamber Music Society. Performed by the Astra Choir conducted by John McCaughey, with guest instrumentalists and sound diffusion by the composer. Concert 3f of festival NOW AND THEN, A mini-multi-celebration of voices & electronics from past & present. Church of All Nations, cnr. Palmerston & Drummond Streets, Carlton, Melbourne, Australia, 17:00.
2017–07–01. Paper. Performing Indeterminacy: John Cage’s 1954 realisation of Morton Feldman’s Intersection for Magnetic Tape. Part of Performing Indeterminacy: an International Conference. 30 June - 2 July 2017, School of Music, University of Leeds.
2016–11–21. Paper. Slowness now: a reflective critical approach to composing with hybrid music technologies. Part of SOUND WORK / Composition as Critical Technical Practice Orpheus Research Seminar 2016. 21–23 November 2016, Orpheus Insituut, Ghent, Belgium.
2016–06–01 & 02. Installation, with Drew Milne and Barry Byford. Lichen Beacons, part of ICLI 2016 (International Conference on Live Interfaces). University of Sussex, Brighton.
2016–05–28. Paper and demonstration, with Kevin Flanagan (saxophone). A Case Study in Live Notation for Interactive Music Performance. Part of TENOR2016 (Second International Conference on Technologies for Music Notation and Representation). Anglia Ruskin University, Cambridge.
2016–05–13. Digital Demonstration, with Drew Milne and Barry Byford. Lichen Beacons. Part of CoDE Conference 2016, Anglia Ruskin University, Cambridge.
2016–04–23. Performance. Wicken Panorama (2016), for improvising ensemble with mobile electronics. With Eddie Prévost, percussion, Cheryl Frances-Hoad, ’cello, William Crosby, guitar and Anglia Ruskin University Creative Music Technology students. Part of concert Hoadley, Hall & Brown featuring artist-in-residence Fredrik Olofsson. Music Recital Hall, Helmore Building, Anglia Ruskin University, East Road, Cambridge, CB1 1P, 19:30.
2016–04–16. Paper. A case study in electronic music collaboration: unpicking divisions of labour in the work of Peter Zinovieff with Harrison Birtwistle. Part of International conference Alternative Histories of Electronic Music. 14–16 April, Science Museum, London.
2016–03–05. Lichen Beacons: a sound art installation using Raspberry Pi and Bluetooth beacons Presentation on the Lichen Beacons project, with Drew Milne and Barry Byford. Part of the Raspberry Pi’s 4th Birthday Party celebrations. Computer Laboratory, University of Cambridge, 11am.
2016–02–24. Lichen Beacons installation at the Judith E. Wilson Drama Studio (English Faculty, Cambridge), West Road, Cambridge. Part of In Finite Variety festival. 8pm.
2016–02–05. Invited presentation on the Lichen Beacons project, with Drew Milne and Barry Byford. Part of environments, Royal Holloway Poetics Research Centre. Further information.