This paper discusses key issues which arose during the creation of Sensuous Geographies, a multi-... more This paper discusses key issues which arose during the creation of Sensuous Geographies, a multi-user interactive/responsive installation created in 2003/4. In particular it will refer to the way in which the design of the installation was intended to draw attention to bodily sensation, facilitate collaborative interactivity between participants and bring about an emergent choreography, and to the collaborative methodology used
The use of live electronic processing to extend, modify or transform an acoustic musical instrume... more The use of live electronic processing to extend, modify or transform an acoustic musical instrument has its roots in the recording and broadcast technologies that were developed in the first few decades of the twentieth century. In the second half of the century these tools were adopted by composers and musicians in many musical genres and have become commonplace and in some musics, ubiquitous. The perceived musical relationship between instrument and its electronic ‘other’ has been discussed largely from the point of view of listener and composer. This paper focuses on theperformers’ perspective through reflection on and discussion of the author’s working methods in improvising duo contexts. The author suggests ‘estrangement’ as a term to describe and understand aspects of the performer’s experience of live transformation and discusses how this estrangement might influence the relationship between musicians and the resulting musical interaction in improvisation, and finally offers ...
The Imagining of Things was a solo exhibition. It was selected to represent Huddersfield Art Gall... more The Imagining of Things was a solo exhibition. It was selected to represent Huddersfield Art Gallery for ‘Art in Yorkshire Goes Contemporary’. It also formed part of Rotor (Transdisciplinary Dialogues) and the Huddersfield Contemporary Music Festival. The exhibition was featured on BBC Radio 3 Hear and Now. Brass Art merge an interest in nineteenth century optical devices with early twenty-first century body-scanning technologies to produce a series of photographs and a new video installation using Microsoft´s Kinect, a motion sensor often used in 3D gaming. This rich and haunting body of photographic and video work was produced during nocturnal visits to the Bronte Parsonage Museum, Haworth between 2011-12. The Imagining of Things, includes a sound commission produced in collaboration with contemporary electro acoustic composer, Alistair MacDonald, of the Royal Conservatoire, Scotland. The work explores the magical slippages between time and space, captured during the nocturnal visits in which the artists perform a series of spectral alter-egos; pixelated, ethereal beings that make brief cameos before dissolving back into the shadows from whence they came. ‘The Imagining of Things’ develops their preoccupation with shadow play, mirroring and doubles and is presented as the first ‘chapter’ of Shadow Worlds | Writers’ Rooms. “Echoing the projected shadow plays, sounds move around the gallery; voices collide and intersect, move out of reach, re-appear and disappear. Alistair MacDonald has created a soundscape that mirrors the digital texture of the Kinect videos yet suggests real landscapes and shifting weather conditions. The voices of the three artists whisper a secret, hidden narrative - fragmented and looping like their visual counterparts.” The exhibition also features a gallery containing 6 unframed Photographic Inkjet Photorag Prints (dimensions, 1m approx) from the Writers’ Rooms [Bronte Parsonge] series. In the making of these photographic prints, Brass Art collaborated with photographer Simon Pantling and during nocturnal visits to the Parsonage, they sought to capture an expanded theatrical tableau – a performative shadow realm. The Bronte Parsonage is a place where narratives were imagined, acted-out, written and inscribed in time - a site where shadows could be ‘revealed’ and re-written. The photographs do not attempt to re-tell the story of the Bronte’s or their writing, but mirror their playful approach to imaginary realms and characters.
The installation, The Imagining of Things, was reviewed by Sara Mohr-Pietsch as part of the BBC’s... more The installation, The Imagining of Things, was reviewed by Sara Mohr-Pietsch as part of the BBC’s coverage of the Huddersfield Contemporary Music Festival
Sarah Rubidge (PhD) is a choreographer and digital installation artist. Most of her work has been... more Sarah Rubidge (PhD) is a choreographer and digital installation artist. Most of her work has been developed in close collaboration with other artists and over the years has covered a variety of genres, from contemporary dance work, through music-theatre works, mixed media performance and large-scale digital installations. Much of her work is site specific. The focus of her artistic work now lies in the dialogue between dance and new technologies, in particular in interactive installation work. Some focus on audience-directed interactivity, some involve a performance element, some combine the two. At present she is particularly interested in developing installation spaces in which a sense of the environment is absorbed through the body, from the perspective of inhabitant of the environment rather than that of viewer. She is also interested in developing performative installation spaces in which the participants movements become an integral element of the work itself. Her installation...
Sensuous Geographies is an immersive, multi-user interactive installation created by composer Ali... more Sensuous Geographies is an immersive, multi-user interactive installation created by composer Alistair MacDonald and choreographer Sarah Rubidge. It emerged from a research project undertaken under the auspices of Sarah Rubidge's AHRB Research Fellowship, which focused on ...
This paper discusses key issues which arose during the creation of Sensuous Geographies, a multi-... more This paper discusses key issues which arose during the creation of Sensuous Geographies, a multi-user interactive/responsive installation created in 2003/4. In particular it will refer to the way in which the design of the installation was intended to draw attention to bodily sensation, facilitate collaborative interactivity between participants and bring about an emergent choreography, and to the collaborative methodology used
The use of live electronic processing to extend, modify or transform an acoustic musical instrume... more The use of live electronic processing to extend, modify or transform an acoustic musical instrument has its roots in the recording and broadcast technologies that were developed in the first few decades of the twentieth century. In the second half of the century these tools were adopted by composers and musicians in many musical genres and have become commonplace and in some musics, ubiquitous. The perceived musical relationship between instrument and its electronic ‘other’ has been discussed largely from the point of view of listener and composer. This paper focuses on theperformers’ perspective through reflection on and discussion of the author’s working methods in improvising duo contexts. The author suggests ‘estrangement’ as a term to describe and understand aspects of the performer’s experience of live transformation and discusses how this estrangement might influence the relationship between musicians and the resulting musical interaction in improvisation, and finally offers ...
The Imagining of Things was a solo exhibition. It was selected to represent Huddersfield Art Gall... more The Imagining of Things was a solo exhibition. It was selected to represent Huddersfield Art Gallery for ‘Art in Yorkshire Goes Contemporary’. It also formed part of Rotor (Transdisciplinary Dialogues) and the Huddersfield Contemporary Music Festival. The exhibition was featured on BBC Radio 3 Hear and Now. Brass Art merge an interest in nineteenth century optical devices with early twenty-first century body-scanning technologies to produce a series of photographs and a new video installation using Microsoft´s Kinect, a motion sensor often used in 3D gaming. This rich and haunting body of photographic and video work was produced during nocturnal visits to the Bronte Parsonage Museum, Haworth between 2011-12. The Imagining of Things, includes a sound commission produced in collaboration with contemporary electro acoustic composer, Alistair MacDonald, of the Royal Conservatoire, Scotland. The work explores the magical slippages between time and space, captured during the nocturnal visits in which the artists perform a series of spectral alter-egos; pixelated, ethereal beings that make brief cameos before dissolving back into the shadows from whence they came. ‘The Imagining of Things’ develops their preoccupation with shadow play, mirroring and doubles and is presented as the first ‘chapter’ of Shadow Worlds | Writers’ Rooms. “Echoing the projected shadow plays, sounds move around the gallery; voices collide and intersect, move out of reach, re-appear and disappear. Alistair MacDonald has created a soundscape that mirrors the digital texture of the Kinect videos yet suggests real landscapes and shifting weather conditions. The voices of the three artists whisper a secret, hidden narrative - fragmented and looping like their visual counterparts.” The exhibition also features a gallery containing 6 unframed Photographic Inkjet Photorag Prints (dimensions, 1m approx) from the Writers’ Rooms [Bronte Parsonge] series. In the making of these photographic prints, Brass Art collaborated with photographer Simon Pantling and during nocturnal visits to the Parsonage, they sought to capture an expanded theatrical tableau – a performative shadow realm. The Bronte Parsonage is a place where narratives were imagined, acted-out, written and inscribed in time - a site where shadows could be ‘revealed’ and re-written. The photographs do not attempt to re-tell the story of the Bronte’s or their writing, but mirror their playful approach to imaginary realms and characters.
The installation, The Imagining of Things, was reviewed by Sara Mohr-Pietsch as part of the BBC’s... more The installation, The Imagining of Things, was reviewed by Sara Mohr-Pietsch as part of the BBC’s coverage of the Huddersfield Contemporary Music Festival
Sarah Rubidge (PhD) is a choreographer and digital installation artist. Most of her work has been... more Sarah Rubidge (PhD) is a choreographer and digital installation artist. Most of her work has been developed in close collaboration with other artists and over the years has covered a variety of genres, from contemporary dance work, through music-theatre works, mixed media performance and large-scale digital installations. Much of her work is site specific. The focus of her artistic work now lies in the dialogue between dance and new technologies, in particular in interactive installation work. Some focus on audience-directed interactivity, some involve a performance element, some combine the two. At present she is particularly interested in developing installation spaces in which a sense of the environment is absorbed through the body, from the perspective of inhabitant of the environment rather than that of viewer. She is also interested in developing performative installation spaces in which the participants movements become an integral element of the work itself. Her installation...
Sensuous Geographies is an immersive, multi-user interactive installation created by composer Ali... more Sensuous Geographies is an immersive, multi-user interactive installation created by composer Alistair MacDonald and choreographer Sarah Rubidge. It emerged from a research project undertaken under the auspices of Sarah Rubidge's AHRB Research Fellowship, which focused on ...
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