Composer, curator, engraver, performer, and researcher currently living in England
Michael’s current artistic work investigates ways of composing the background of musical and social performance events. Thus far, this has included directing the amount of attention given to perceiving sounds and emotions during social interactions and performances of other pieces of music taking place within concert environments. Recent work has explored the physicality, ephemerality, and interpersonal relationality and memory of music making through a reconsideration of documentation practices surrounding musical work. That led to an expanded conceptualization of the definition and limits of a musical score to include documents of musical performance such as video and audio recordings, as well as the musical and embodied memories of living human beings. Prior work focused on the material impermanency of scores, and the visual and psychological excesses and complexities of musical notations.
Composer based in London
Louis’ most recent music seeks to put individual interpretations of everyday sounds at the centre of the musical experience. He has also been interested in the past in rehearsal as performance, personal relationships with pieces of music, and vulnerability and failure in musical settings.
He has worked with (amongst others) Alice Purton, Juliet Fraser, Jennifer Walshe, Samuel Stoll, Antoine Francoise, Eliza McCarthy, Gwenaelle Rouger, Ilze Ikse, Louise Hjorth Hansen, Victor De La Rosa, orkest de ereprijs, Retro Disco, x.y ensemble, Atlas Ensemble, The Composers Ensemble, Hermes Experiment, London Contemporary Orchestra Soloists, Lontano, The Manon Quartet, and SWR Experimentalstudio Freiburg.
His music has been broadcast on BBC Radio 3, Resonance 104.4 FM, and DR P2 (national Danish radio), and has been released on the CDKlassisk label.
He studies for a PhD at Bath Spa Univeristy with James Saunders and Matthew Shlomowitz.
Charlie Sdraulig (co-curator: W1)
Composes interactions at perceptual and physical thresholds
Charlie’s music has been performed by the Spektral quartet (USA), Adam Tendler (USA) at the MATA festival, Gwenaelle Rouger (France), Weston Olencki (USA), Zubin Kanga (Australia), Distractfold (UK), Max Murray (Canada), [nullpoint] (USA), Apartment House (UK), Ensemble SurPlus at Schloss Solitude (Germany), and the Quiet Music Ensemble (Ireland) among others.
Originally hailing from Australia, he is currently a Doctoral Candidate in Composition at Stanford University, advised by Brian Ferneyhough. He holds a Master of Music in Composition with Distinction from the Royal College of Music (London, UK), as well as Bachelors of Arts and Music from the University of Melbourne (Australia). He was a fellow at the 2013 Schloss Solitude Summer Academy.
David Pocknee (co-curator: W2-W10)
Composer, performer, and visual artist
He is currently studying for a PhD in music composition at Huddersfield University. He previously gained his bachelor’s degree in music from the same institution, and was awarded a Master’s degree from the Royal Conservatoire in The Hague.
He is a founding member of the independent research body, The Institute Of Applied Cultural Economics and Sociology, and its subsidiary New Fordist Organization artist collective.
Between 2012 and 2013, he helped run the twitter-based daily experimental text score service Text Score A Day. He has previously played in the music and performance-art group Acid Police Noise Ensemble, and in Huddersfield’s experimental Edges Ensemble.
He engages in quite a lot of writing and editing related to music. In 2015, he edited Huddersfield University’s 5th edition of its CeReNeM Journal about New Music. He has previously been involved in editing independent publications for The Institutes of ACES and his own, short-lived Much Too Much Noise zine for radical aesthetics. He currently publishes confrontationally conceptual work by himself and others under the same name.
Teoma Naccarato (co-curator: W10)
Choreographer of pretext and context
Through the critical appropriation of surveillance and biomedical technologies in work for stage, installation, and page, she thrives on the intersection of value systems between disciplinary cultures. Recent creations along these lines include III, Experience #1167, Synchronism, Beneath the pavement, an ocean, and Gently between us. Teoma is engaged in a long-term practice-based research and creation project with composer John MacCallum, involving multiple performances, workshops, and publications.
She completed an MFA in Dance and Technology at the Ohio State University in 2011, and has since enjoyed appointments as a Visiting Professor in Dance at Concordia University, Sam Houston State University, and Florida State University. She presently lives in London, where she is pursuing a practice-based PhD at the Centre for Dance Research (C-DaRE) at Coventry University.