Monday, 30 May 2011

--[[ MANTIS FESTIVAL: JUNE 10-12, 2011 ]]--

MANCHESTER'S SONIC META-ONTOLOGY

Cities@manchester
PROGRAMME (JUNE'S LEG)
CITY AS INSTRUMENT / CITY AS TOOL
10th-12th June 2011

DOWNLOAD PROGRAMME NOTES FROM HERE-> http://bit.ly/lTQPoa

Sonic-metaontology artists and Collaborators in JUNE: The Noise Upstairs (Richard Knight, Dave Birchall, Hervé Perez, Rodrigo Constanzo, Ben Cottrell, Simon Prince), Manchester; H.E.L.L.O ensemble (Hope Experimental Live Laptop Orchestra), Liverpool Hope University; National University Ireland, Maynooth (Victor Lazzarini, Gordon Delap, John Lato, Jesse Ronneau, Eoin Smith); UCLAN-University of Central Lancashire/ Futureworks School of Media; Gavin Osborn (Flute), Paul Michael Labelle (Guitar), Angela Guyton, R. Constanzo, and Anton Hunter (Takahashi's Shellfish Concern), Europa [Presion. First Scene] (Eva Frutos, Jaime Soler, David Martinez, Nestor Lopez Arauzo); AudioGuide NOTOURS-Escoitar Project, (Suk Jun Kim); and also Monty Adkins, Rob Bental, Richard Scott, Jane Hall, Stephen Homoky (Hardwater) plus all the MANTIS artists and crew.

MANTIS Partners: Islington Mills, Salford; Cities@manchester NOVARS Research Centre, Martin Harris Centre.



Friday 10th June 2011 @ NOVARS and Martin Harris Centre

WORKSHOPS:
From 12 noon: Day Education Workshop @ NOVARS:
H.E.L.L.O ensemble (Hope Experimental Live Laptop Orchestra) to workshop maxmsp patches with a group of students from UCLAN-University of Central Lancashire/ Futureworks School of Media. Workshop outcomes to be presented as part of the 16:00 Live Sound installations


INTERACTIVE INSTALLATIONS, SOUNDS AND CONCERTS:

Where?: Cosmo Rodewald, Martin Harris Centre, MARTIN HARRIS CENTRE FOR MUSIC AND DRAMA, The University of Manchester, Bridgeford Street, Manchester M13 9PL
[click for map]
16:00 - Project Launch (part 2) - Live Sound Installations (Live ambience sound by H.E.L.L.O and city interactive projects) / John Thaw studio theatre
17:00 - Drinks Reception (entrance to the drinks reception is free on production of a ticket for either of the concerts)


Artists: TNU- The Noise Upstairs rocks MANTIS Diffusion system (TNU are Richard Knight, Dave Birchall, Hervé Perez, Rodrigo Constanzo, Ben Cottrell, Simon Prince), plus fixed media works by Rob Bental, Manuella Blackburn, Haruka Hirayama,
Lee Fraser, Brona Martin and Constantin Pop. With special guests
Gavin Osborn (Flute), Paul Michael Labelle (Guitar) and Richard Scott.


18:00 - Concert One: Meta-ontologies two; fixed media works and live improvisations by The Noise upstairs diffused live across the MANTIS surround sound theatre (Cosmo Rodewald), and MANTIS Artists.

  • The Noise Upstairs I , ca 10 minutes /+ Live Diffusion: MANTIS
  • Cyan (2011) For Stereo Tape, 7:38 by Rob Bentall (*)
  • From The Dark Waters for fixed media 12:00 by Andrew Garbett (*)
  • The Noise Upstairs II, ca 10 minutes /+ Live Diffusion: MANTIS
  • Switched on (2011) for fixed media 7:00 by Manuella Blackburn (*)
(*) world premiere

---------------


19:30 - Concert Two: Meta-ontologies three: Premiere of new works by Manchester Artists, with Gavin Osborn (Flute), Paul Michael Labelle (Guitar), MANTIS Artists and live improvisations by The Noise upstairs and guest Richard Scott
  • Tints of July (2011) for Flute, Guitar and a Computer ca. 10:00 by Haruka Hirayama (*)
  • Ply for fixed media 10:03 by Lee Fraser (*)
  • The Noise Upstairs III, ca 10 minutes
    /+ Live Diffusion: MANTIS
  • 192 for fixed media 7:22 by Brona Martin (*)
  • empty rooms (2011) for fixed media 10:27 by Constantin Popp (*)
  • The Noise Upstairs IV and guest (Richard Scott), ca 15 minutes
    /+ Live Diffusion: MANTIS

(*) world premiere

Tickets £6 / £5 / £4 for each concert 2-concert rate: £9 / £7.50 / £4.50 Entrance to the 4pm event is free on production of a ticket for the other concerts




Saturday 11th June 2011 @ Manchester City Centre


AudioGuide meta-ontology Guided Group Tours

Cities@manchester
Provisional tour times: Tour 1 @ 12 noon, Tour 2 @ 16:00
Starting point: @ NOVARS Research Centre
Cost: Free (sponsored by Cities@manchester)
In collaboration with escoitar.org / notours.org

Limited places
Contact ricardo.climent[AT]manchester.ac.uk for details





Sunday 12th June 2011 @ Islington Mill, Salford

Venue: Islington Mill, James Street, Salford M3 5HW
12:00-16:00: City as Instrument - MANTIS Sounding the MARKET (Free event)
Come to enjoy MANTIS Live Ambient sound for the Eight Sunday Market at Islington Mill with great traders.

  • With a special 1 hour mix for the occasion by Monty Adkins
  • Live ambience by MANTIS artists

EVENING AT ISLINGTON

From 17.30 - An evening of live music with Angela Guyton, Rodrigo Constanzo, and Anton Hunter (Takahashi's Shellfish Concern), Eva Frutos, Jaime Soler, David Martinez (Spanish Theatre), Victor Lazzarini, Gordon Delap, John Lato, Jesse Ronneau, Eoin Smith and PhD Composers (National University of Ireland, Maynooth) and a selection MANTIS composers.

£3 donation

  • Angela Guyton, Rodrigo Constanzo, and Anton Hunter (Takahashi's Shellfish Concern)
  • Orbit by Gordon Delap:
  • Une étude étrangère, by John Lato
  • Noctilucent Clouds 8' by Victor Lazzarini
  • Opalesce: 6’ by Eoin Smith
  • Fixed media work by Jesse Ronneau
  • Jane Hall, Stephen Homoky (Hardwater)
  • Fixed media work by Richard Scott
  • untitled for fixed media (2011) 5:00 by Michael Lau
  • Europa: Irma Catalina Alvarez, Eva Frutos, Jaime Soler, David Martinez
  • (electronic duo) Mark Pilkington- Constantin Popp





Tickets and Info:
MARTIN HARRIS CENTRE FOR MUSIC AND DRAMA, The University of Manchester, Bridgeford Street, Manchester M13 9PL
£6 / £5 / £4 for each concert 2-concert rate: £9 / £7.50 / £4.50 Entrance to the 4pm event is free on production of a ticket for the other concerts
For tickets contact Box Office (Mon-Fri 2pm-4pm) Tel: + 44 161 275 8951 or email enquiries to: boxoffice@manchester.ac.uk
Online Tickets: www.quaytickets.com
www.manchester.ac.uk/martinharriscentre
ISLINGTON MILL STUDIOS, James Street, Salford M3 5HW
Donation from £3







Manchester Sonic Meta-ontology encapsulates a number or newly created compositions, sonic events and ambisonics field recording trips across the City of Manchester and the North West of England. The project is showcased in two parts (5th-6th March 2011 and 10th-12th June 2011) in the form of concert events and experimental laboratories at Manchester University, Islinton Mill and the City of Manchester. 'Manchester's Sonic Meta-ontology' explores whether there is really such thing as a 'Manchester sound' and if so, what is it, can we experience it, and can we understand it? Substantive empirical investigation takes place in partnership will local agents and artists in the region, which are looking into the creation, identity, and survival of the real truth of Manchester's Sound.



MANTIS sonic meta-ontology team: Project manager: Ricardo Climent. Web Map and wiki: Brona Martin, Constantin Popp, Chris Swithinbank; Publicity and design: Sam Salem, Andrew Garbett; ST350 Ambisonics Recording team: Jose Ignacio Pecino, Irma Catalina Alvarez, Mark Pilkington. Technical chiefs: Sam Salem, Constantin Popp. Technical team: Oliver Carman, Lee Fraser, Mark Pilkington, Haruka Hirayama, Donal Sarsfield, Rodrigo Constanzo, Michael Lau, Nick Casswell, Archive: James Percival.










JUNE: About Manchester Sonic Meta-ontology



.

H.E.L.L.O Laptop Orchestra workshop


WORKSHOPS:
From 12 noon: Day Education Workshop @ NOVARS:
H.E.L.L.O ensemble (Hope Experimental Live Laptop Orchestra) to workshop maxmsp patches with a group of students from UCLAN-University of Central Lancashire/ Futureworks School of Media. Workshop outcomes to be presented as part of the 16:00 Live Sound installations
Workshop Leader: Manuella Blackburn (Liverpool Hope University)
Location: Studio Cluster @ NOVARS Research Centre [click for map]
(14 iMac Stations with Max5 and Digidesign soundcards)
H.E.L.L.O participants from BAMP Futureworks/UCLAN: Ben Marsden, Douglas Redfern, Marc Green, Daniel Goodwin, Carlo Ribeiro, Sam Pemberton, John Holmes, Douglas Redfern, Douglas Redfern, Ben Taylor, Joseph Wilson, Craig Burgess
Participants are welcome to bring their own city-scape recordings (high quality, short and edit when possible), in response to the MANTIS Festival theme Manchester Sonic-Metaontology.

Duration: 12:00- 14:15
  • 12:00 Studio induction (technical intro)
  • 12:15 Workshop starts
  • 14:15 Workshop ends
14:15-15:00 Setting up laptops for Sound installations (Cluster and John Thaw Theatre)

From 4 pm @ John Thaw Theatre- Ambience Sound Installation 'Aural Chandelier' with the H.E.L.L.O Laptop orchestra and invited audience.

Aural Chandelier Interactive Installation (with H.E.L.L.O)
The Aural Chandelier is an automated audio installation that welcomes audience participation to alter subtle differences in the sound world via buttons and sliders on the laptop interfaces. The installation makes use of repeating short sounds that overlap and combine to create a shimmering and sparkling texture based on the analogy of reflecting and refracting shards of light from a chandelier.
The installation was built for the city wide Night Light in Liverpool (13th May 2011) and premiered in a live laptop improvisation set with H.EL.L.O (Hope Experimental Live Laptop Orchestra) at the creative campus at Liverpool Hope.


Biography:
Manuella Blackburn was born in London in 1984. She went on to gain a bachelors degree in Music at The University of Manchester followed by a Masters in Electroacoustic Composition, gaining a Distinction and the Peter J Leonard Composition Prize. She has completed a PhD at the University of Manchester with Dr Ricardo Climent's supervision, supported by the Arts and Humanities Research Council (AHRC). Manuella is now as a lecturer in music technology at Liverpool Hope University.

Successes include First Prize for her work Vista Points in the 10th Musica Viva Electroacoustic Music Competition, 2009, Portugal, and Grand Prize in the Digital Arts Awards, Japan for Kitchen Alchemy. She has received Honorary Mentions in the CMMAS competition in Mexico and in the VII CIMESP (Concurso Internacional de Musica Eletroacustica de Sao Paulo 2007. Other awards include First Prize for her acousmatic work, Causal Impacts, in the 7th Musica Viva Electroacoustic Competition 2006, Portugal 2nd Prize in the Diffusion Competition, Limerick, Selection in the 2006 Bourges International Electroacoustic Music and Sonic Arts Competition, and the Public Prize in the CEMJKO competion in Brazil.







Interactive Installations & Drinks Reception



INTERACTIVE INSTALLATIONS, SOUNDS AND CONCERTS:
Where?: Cosmo Rodewald, Martin Harris Centre, MARTIN HARRIS CENTRE FOR MUSIC AND DRAMA, The University of Manchester, Bridgeford Street, Manchester M13 9PL
[click for map]
16:00 - Project Launch (part 2) - Live Sound Installations (Live ambience sound by H.E.L.L.O and city interactive projects) / John Thaw studio theatre

17:00 - Drinks Reception (entrance to the drinks reception is free on production of a ticket for either of the concerts)

LIVE SOUND INSTALLATIONS IN THE JOHN THAW
  • Aural Chandelier / H.E.L.L.O laptop interactive Orchestra by Manuella Blackburn and UCLAN-University of Central Lancashire/BAMP Futureworks School of Media. The Aural Chandelier is an automated audio installation that welcomes audience participation to alter subtle differences in the sound world via buttons and sliders on the laptop interfaces. The installation makes use of repeating short sounds that overlap and combine to create a shimmering and sparkling texture based on the analogy of reflecting and refracting shards of light from a chandelier. The installation was built for the city wide Night Light in Liverpool (13th May 2011) and premiered in a live laptop improvisation set with H.EL.L.O (Hope Experimental Live Laptop Orchestra) at the creative campus at Liverpool Hope.

  • Exploring the Dark Waters - Interactive installation by Andrew Garbett
    This is an interactive Installation which allows the audience to listen to some of the individual layers of the piece "From The Dark Waters" and to play them in any number of different combinations, creating their own version of the piece.

  • Laberinto a game-engine driven interactive installation by Ignacio Pecino
    “Laberinto” is a prototype for a spatial-sonic navigation tool, developed using a game engine technology , specifically, the Unity 3D Game Engine (although other options are also available). A “circular maze” scene is then proposed and a number of sonic spheres are displayed throughout the place, each of them containing a particular and characteristic sound which is played whenever the user gets close to it. Sounds are distributed in space according to their spectromorphological properties (note the graphic squeme), thus helping the user to find his path to the center of the maze. In addition, some pre-composed sections can be found in several strategic locations, contrasting with the visual monotony of the maze, and offering a more conventional electroacoustic miniature. In the given video example a “morphing” cube is displayed and sounds try to emphasise its “gestural” and spatial qualities. However, these pre-composed material could be also given a certain degree of interactivity in a future development. Once the user gets to the centre of the maze, a visual and sonic reward is achieved when a “whole” view of the maze is shown, while sounds are now reproduced simultaneously instead of linearly (in time). Therefore, the focus is now on the textural quality of the mix instead of sequential relationships.



  • Audioguides Poster MAP - NoTours Guide across manchester due on Saturday 11, June explained.



The NOISE UPSTAIRS rocks MANTIS Diffusion


Venue: Cosmo Rodewald, Martin Harris Centre, MARTIN HARRIS CENTRE FOR MUSIC AND DRAMA, The University of Manchester, Bridgeford Street, Manchester M13 9PL
[click for map]

For the first time ever, The Noise Upstairs (1) & MANTIS Diffusion System Collective will join forces for a unique Sonic experience. A Live Improvisation night diffused live plugged to babyMANTIS ©, a newly developed laptop-based large surround sound system designed and created by Postgraduate Students at University of Manchester (this time running 24 genelec speakers) based on David Berezan's MANTIS System (since 2004)

(1) The Noise Upstairs is an improv collective which runs free-improv jam nights in Manchester and Sheffield, as well as putting on other improv related events. The basic premise is that anyone can turn up and join in by putting their name in the hat. Names are pulled out, ensembles formed, and hearts broken.

The Noise Upstairs rocks MANTIS Diffusion system (TNU are Richard Knight, Dave Birchall, Hervé Perez, Rodrigo Constanzo, Ben Cottrell, Simon Prince), plus fixed media works by Rob Bental, Manuella Blackburn, Haruka Hirayama, Lee Fraser, Brona Martin and Constantin Pop. With special guests Gavin Osborn (Flute), Paul Michael Labelle (Guitar) and Richard Scott.

18:00 - Concert One: Meta-ontologies two; live and fixed media works and live improvisations by The Noise upstairs diffused live across the MANTIS surround sound theatre (Cosmo Rodewald), and MANTIS Artists.
The Noise Upstairs I , ca 10 minutes / (Rodrigo Constanzo, Richard Knight, Dave Birchall, Ben Cottrell, Herve Perez) - Live Diffusion: MANTIS
Cyan (2011) For Stereo Tape, 7:38 by Rob Bentall (*)
From The Dark Waters for fixed media 12:00 by Andrew Andrew Garbett (*)
The Noise Upstairs II, ca 10 minutes / (Rodrigo Constanzo, Richard Knight, Dave Birchall, Ben Cottrell, Herve Perez)- Live Diffusion: MANTIS
Switched on (2011) for fixed media 7:00 by Manuella Blackburn (*)
(*) world premiere

---------------
19:30 - Concert Two: Meta-ontologies three: Premiere of new works by Manchester Artists, with Gavin Osborn (Flute), Paul Michael Labelle (Guitar), MANTIS Artists and live improvisations by The Noise upstairs and guest Richard Scott
Tints of July (2011) for Flute, Guitar and a Computer ca. 10:00 by Haruka Hirayama (*)
Ply for fixed media 10:03 by Lee Fraser (*)
The Noise Upstairs III, ca 10 minutes / (Rodrigo Constanzo, Richard Knight, Dave Birchall, Ben Cottrell, Herve Perez) - Live Diffusion: MANTIS
192 for fixed media 7:22 by Brona Martin (*)
empty rooms (2011) for fixed media 10:27 by Constantin Popp (*)
The Noise Upstairs IV and guest (Richard Scott), ca 15 minutes / (Rodrigo Constanzo, Richard Knight, Dave Birchall, Ben Cottrell, Herve Perez) - Live Diffusion: MANTIS

(*) world premiere

Tickets £6 / £5 / £4 for each concert 2-concert rate: £9 / £7.50 / £4.50 Entrance to the 4pm event is free on production of a ticket for the other concerts


The Noise Upstairs Bios:

Richard Knight has been using mixers since a young age, but only realised their potential as expressive instruments within the past few years. During this time he has amassed a formidable collection of audio mixers and investigated their curious musical possibilities. He's interested in using their potential for improvisation, precisely structured 'techno' music and the diverse area between.

Dave Birchall was born in Leicester and started playing the guitar there in 1995. He moved to Manchester in 1999 and still live here. His work as a musician has been in several areas: in improvising within and without structures and in writing and arranging music. At present he am focused on working on developing ideas for improvising with guitar. He has also worked with zines, promoting gigs and in education.

Hervé Perez plays the landscape and the urban environment alike – metal bridges and wooden floors, wisps of water clapotis and wind pipes…
It started with rattling the railings and the next thing you know you are drumming public benches. An offence well worth the penalty of eternal silence. Confined in the motifs of muffled footsteps and veiled hushes. absence of thoughts. field recordings of emptiness. an architecture of sound sculpted to reveal the harmonic imprints of sacred spaces and those corruptly filed in the forgotten folds of consumed phat.

Rodrigo Constanzo is a Spanish-American performer and composer living in Manchester, England. He is an avid improviser and performs regularly using home made electro-acoustic, and modified electronic instruments. He has performed at the FUTURESONIC and Manchester Jazz Festivals in Manchester, the SOUND Festival in Aberdeen, and the Huddersfield Contemporary Music Festival. He has released several CDs including an improv duo CD with Pierre Alexandre Tremblay, and most recently, I AM YOUR DENSITY, a large ensemble improv composition which includes the graphic score with it. He is currently working towards an MA in Electroacoustic Composition at the University of Manchester and involved in several projects including Takahashi’s Shellfish Concern, an improv based performance-art group. He also co-runs The Noise Upstairs, an improv collective and label which puts on monthly nights and quarterly workshops in Manchester and Sheffield.

Ben Cottrell is a composer and saxophonist. He studied on the prestigious Joint Course between the University of Manchester and the Royal Northern College of Music, where his principal study was contemporary classical saxophone. Ben is the musical director of the Beats & Pieces Big Band, which he founded in 2008 as a vehicle for his own compositions and arrangements, and since then the band has established a reputation as one of the UK’s most exciting emerging jazz groups. In March 2011, Beats & Pieces were named as the winners of the European Young Artists’ Jazz Award, one of the continent’s major jazz prizes for emerging musicians, held as part of the Burghausen International Jazz Festival in Germany.

Simon Prince is one half of the improvised flute & piano duet "Our Liberated Winter" & is a saxophonist in the group "Wolf Scarers, who will perform at The Noise Upstairs in July. He directs Oldham Youth Contemporary Music Group & is currently working on a contemporary ensemble take on the music of Eric Dolphy.





EVENING @ ISLINGTON MILL - NUI , TSC etc


Sunday 12th June 2011 @ Islington Mill, Salford

EVENING AT ISLINGTON

From 17.30 - An evening of live music with Angela Guyton, Rodrigo Constanzo, and Anton Hunter (Takahashi's Shellfish Concern), Eva Frutos, Jaime Soler, David Martinez (Spanish Theatre), Victor Lazzarini, Gordon Delap, John Lato, Jesse Ronneau, Eoin Smith and PhD Composers (National University of Ireland, Maynooth) and a selection MANTIS composers.
£3 donation
  • Angela Guyton, Rodrigo Constanzo, and Anton Hunter (Takahashi's Shellfish Concern)
  • Orbit by Gordon Delap:
  • Une étude étrangère, by John Lato
  • Noctilucent Clouds 8' by Victor Lazzarini
  • Opalesce: 6’ by Eoin Smith
  • Connect for by Jesse Ronneau
  • Jane Hall, Stephen Homoky (Hardwater)
  • Manchester solo 4: "Several Cities" by Richard Scott
  • untitled for fixed media (2011) 5:00 by Michael Lau
  • Europa: Irma Catalina Alvarez, Eva Frutos, Jaime Soler, David Martinez
  • (electronic duo) Mark Pilkington- Constantin Popp

£3 donation

Programme:

Takahashi's Shellfish Concern
Takahashi's Shellfish Concern combines abstract expressionist visual art with experimental electronic-acoustic music to accentuate the similarities of both during improvised exchanges. Angela Guyton and Rodrigo Constanzo create a new event that requires the audience to consider this merger of music and art as a single expression. The concept for Takahashi's Shellfish Concern took shape in early 2006 back in their hometown, Miami, Florida. Rodrigo and Angela had both worked along similar lines in Failure, Arc of Beauty, and continued their collaboration after the group's dissolution in 2006. Now based in Manchester England, Takahashi’s Shellfish Concern is performing as a trio with musician Anton Hunter across the UK.
Rodrigo Constanzo was born in Madrid, Spain in 1976. He then spent the next three decades living in Miami, Florida, before moving to Manchester, England where he resides today. He has performed as a solo musician or as part of various groups for the majority of his life, including at the FUTURESONIC Festival in Manchester, the SOUND Festival in Aberdeen, and the GEM DAYS Festival in Huddersfield
Angela Guyton is a Colombian-American artist hailing from Miami, Florida. She is currently pursuing an MA in Contemporary Fine Art.
Anton Hunter is a jazz guitarist now living in Manchester, working with a wide range of groups with a strong free-jazz influence, alongside more conventional projects. Co-runs The Noise Upstairs free-improv jam night with Rodrigo Constanzo.
Anton Hunter is a jazz guitarist now living in Manchester, working with a wide range of groups with a strong free-jazz influence, alongside more conventional projects. Co-runs The Noise Upstairs free-improv jam night with Rodrigo Constanzo.

NUI Maynooth:
Orbit by Gordon Delap:
Une étude étrangère , by John Lato
Noctilucent Clouds 8' by Victor Lazzarini
Opalesce: 6’ by Eoin Smith
Double bass + electronics impro by Jesse Ronneau

Gordon Delap: "Orbit" (piece tbc)
8 channels, fixed media. Generated from Stefan Bilbao’s physical models.
The sounds in this piece were generated using a short Matlab script, of approximately 200--300 lines, simulating a network of interconnected bar and plate elements using finite difference schemes. The composer in this case is faced with not only the tasks of writing a score, consisting of a series of strikes sent to prescribed locations on the instrument, but also the somewhat larger job of designing the instrument itself, which may consist of upward of 100 elements. The composer may also specify locations at which output is read to a soundfile---any number of these may be chosen, and the sounds in this piece have all been generated directly in a multichannel format.

Biography
Gordon Delap comes from Co. Donegal in Ireland. He studied composition at City University, London, and Queen's University, Belfast. He has undertaken residencies at Nadine Arts Centre in Brussels, and at the Technische Universität in Berlin where he carried out research into compositional applications of non-linear plate models. In recent times he has received commissions from the British Council, Spacenet, the Naughton Gellery, and Radio 3, and in 2005 he won first prize in the Projet Itinerant competition "Point de Repere". He is currently lecturer in music technology at the National University of Ireland, Maynooth.

Une étude étrangère , by John Lato
Une étude étrangère is a short piece focusing on development of line and counterpoint within an acousmatic medium. The composition is in essence a Baroque invention in that it features two lines of equal importance that develop together into a whole. Traditionally an étude provides a performer with study in a particular technique while challenging the composer to write fluently with those considerable performance restrictions. As there is no performer with this work, it may instead serve as a study to the audience, providing an opportunity to critically engage with matters of form and structure within an acousmatic setting.

Biography:
John Lato (b. 1979) has written music in a wide variety of different media, ranging from the symphonic band to acousmatic tape music. He has numerous performances of his chamber and wind ensemble works throughout the United States, and his electronic music has been performed across the U.S. and Europe, including performances at the 2005 International Computer Music Conference, SEAMUS, and Spark festivals. He was awarded 1st prize in the 2008 ASCAP/SEAMUS Student Composer Commission Competition for his electro-acoustic work Les Réactions de la Terre Abandonée. John received the D.M.A from UT-Austin in 2009, where he studied with Russell Pinkston and Donald Grantham. John is currently a member of the Electro-Acoustic Revue, a Dublin-based composer’s collective.

Noctilucent Clouds (2010), 8' by Victor Lazzarini
Night-shining clouds, seldom seen, happening in late Summer evenings, when the angle of the earth allows the reflected sun rays to make these clouds visible. They are possibly made up of ice crystals high up in the atmosphere, beyond the ordinary clouds. Just as they indicate the radiance of a hidden sun, the sonic nebulae in this piece reflects the various shades of an audio source that is finally revealed at the work’s end.

Biography
Victor Lazzarini (1969) is a Senior Lecturer at the Music Department and director of the Music Technology Laboratory, working mainly in the area of Computer Music. A graduate of the Universidade Estadual de Campinas (UNICAMP) in Brazil, he completed his doctorate at the University of Nottingham in 1996.
Among his awards, he received an Honour Mention for his orchestral piece Anima Mea, in Brazil (1995); the Heyman Research Scholarship and the Hallward Composition Prize, for his Magnificat, in England (1996); the NUIM New Researcher Award (2001); the ICUF scholarship (2005); and the IMRO/AIC Mostly Modern International Composition Prize (2006), for Dance of the Dawn (Timelines IIIa).

Opalesce: 6’ by Eoin Smith
''Opalesce' is a live piece for turntable and visuals. It is centered around my research in the field of electro-acoustic music and my interest in turntablism. 'Opalesce' is an exploration of the subtle nature of various different lighting shades and patterns. It attempts to use sonic material to compliment and contrast with these shades, creating an engaging sensory experience controlled solely by a turntable.

Biography:
Eoin Smith is a composer and electronic musician from Dublin, Ireland. He is a Phd student at National College of Ireland, Maynooth, where he studies electro-acoustic music composition. His research is centered around exploring the expressive qualities of the turntable in both the performance and composition of electro-acoustic music, more specifically using the turntable as both a controller and instrument for computer based audio and visual tools.

Connect for - for fixed media by Jesse Ronneau

In October 2010 the Galway-based Chrysalis Dance Company commissioned, Connect for, which toured the Republic of Ireland and Northern Ireland and was subsequently chosen to co-represent Ireland at the International Dublin Dance Festival in May 2011.
The choreographer, Jude Sibley, approached me with an abstract idea about writing a piece which explored the frustrations, problems, anxiety and yet constant pursuit of making and maintaining meaningful connections with others.
I approached the work as a sort of “Musique Concrète Instrumentale Electronique” to coin a cumbersome term. What I mean is there are, for the most part, only extended techniques for the bass used in the work. These sounds are ones I use regularly in my compositions and improvisation. Aside from editing and layering there is no processing of the sound. Yet it was always conceived as a tape piece which could stand alone- an acoustic piece for fixed media.
The version heard here is edited down from the original, omitting sections which with the narrative of the dance make sense but as a purely audio experience make little sense.

Biography:
Jesse Ronneau, from Chicago, is a composer of acoustic music (often featuring live electronic manipulation) as well as being an active improviser. His compositions have been enjoying ever increasing international exposure with recent performances in Germany, Thailand, Slovenia, the UK, throughout the United States and Ireland.
His works have been performed by some of the leading interpreters of New Music including Ensemble Sur Plus, the H2 Quartet, Carin Levine, Ian Pace, and Geoff Deibel, et al. He received his Doctorate with Honors from Northwestern University where he studied with Jason Eckhart, Jay Alan Yim, Steve Syverud, and Amy Williams. He holds a Masters with Honors from Roosevelt University where he studied composition, acoustics, and electronics with Don Malone. His undergraduate degree, also in composition, is from the University of Cincinnati College-Conservatory of Music.
He has held minor teaching posts at Northwestern University and the University of Illinois-Chicago. From 2006 to 2010 he was a lecturer at University College Cork. In 2009 he was a fellow at the Summer Akademie Schloss Solitude in Stuttgart. He has also been a composer-in-residence at Focam's Electronic Days at the University of Leeds. In October 2010 a commission from the Chrysalis Dance Company of Galway will be touring throughout the Republic.
His music has also been broadcast by Hessischer Rundfunk and RTÉ Lyric FM.
His research interests also include Extended Instrumental Techniques, the contemporary music of continental Europe (especially the work of Helmut Lachenmann, Salvatore Sciarrino, etc.), and Spectral Music.

Manchester solo 4: "Several Cities" - a fixed media work by Richard scott
Richard Scott exchanged formative experiments with synthesisers and drum machines in the post-punk early eighties for a move to London and the free music scene. Inspired by encounters with John Stevens, Evan Parker, Derek Bailey and AMM, he studied briefly with Steve Lacy, completed a doctorate thesis on free improvisation, and made extended trips to play music in West Africa. Subsequently he has aimed to straddle these two musical worlds searching for connections, through free-improvisation, between music, movement and the body. Richard uses a system of complex motion-controlled electronics, based around the Buchla Lightning.

In the 1990s he moved to Manchester, where he played and recorded with Bark!, Stock, Hausen and Walkman, Grew Trio and Pool and recorded the plunderphonic album Magnificence of Stereo with Rex Casswell (sruti BOX records). He has worked on a variety of projects with David Ross including Let's Make a Solar System (Inu.itu records) and Long Shore Drift (f4b.com) and recently released an electroacoustic album, Wood Wind Tide with Clive Bell (Kwan Yin records). In 2009 PSI released Essex Foam Party by Grutronic, the first release (possibly ever?) to make subsatntial use of the Buchla Lightning in the context of freely improvised music.
The Buchla lightning is reminiscent of two conducting wands which can be used as percussive controllers, as a kind of sophisticated theremin, as virtual space controllers, as an array of potentiometers or in many other ways. Richard has further combined the wands with two Nintendo wii-mote controllers strapped to the handsets creating a bank of switches, controllers and shift keys which can be used to alter the response and mapping of the lightning on the fly as it is mapped through STEIM's interface software JunXion. The controllers are then routed to the live sampling environment LiSa and an internal synthesizer and external processors. The instrument as it stands is designed to be an improvising instrument, as heard on the recent Grutronic CD "Essex Foam Party" on Evan Parker's PSI label but he is also exploring its potential as compositional studio tool, in 2009 creating two electroacoustic pieces featuring percussionist Gustavo Aguilar. He is currently exploring the Buchla Lightning as a means of interacting with other media, for example film, light and sound diffusion.
Richards sound sources for this instrument are varied but are in many cases derived from musicians who he works with, for example Evan Parker, Clive Bell and Gustavo Aguilar. He also works and performs extensively with analogue modular synthesizers which form the sound source for much of his solo work, including a variety of unusual devices such as Rob
Hordijk's blippoo box, Jo Grys's Jumpstep sequencer, STEIM's cracklebox and Tom Bugs' postcard weevil.
He lives in Berlin and Manchester where he is currently studying electroacoustic composition, and is an Artist-in-Residence at STEIM, Amsterdam focussing on infra-red and movement based performance technologies.

Jane Hall /Stephen Homoky - 'Hardwater' ca 5:00
HARDWATER
This piece uses precomposed work by Stephen Homoky (also known as HARDWATER) as a sound source to explore the different properties of liquid and solid, eventually ending up as ice crystals - because what is ice, if not a form of 'hard water?'
Stephen's compositional method is to create familiar sounds using artificial means, then compress the results and use them as source sounds for his own loops. The loops created are not music, but soundscape platforms, which Jane is utilizing in this piece.


Europa ( Presion. First Scene) by Irma Catalina Álvarez
Collaborators: David Martínez, Eva Frutos, Jaime Soler-Huete, Néstor López, Miseria y Hambre S.L.
This work is a stage performance focused on the combination of two research concepts: Using a theatrical text as a sound object and using a video projection as an stage object.
Sound plays a leading role, both as a connection between the actors and the video projection and as a drama thread leading the audience through a journey to experience the play in a unique way.

Bio: Irma Catalina Alvarez was born in Cuenca, Spain in 1980. She began her music studies at the Conservatory of Music of Cuenca, where she obtained primary and medium degree in music and piano. Later, she read music at the Real Conservatory of Music of Atocha in Madrid, specialised in Contemporary Music Composition and Electroacoustic Music Composition. Last year she studied a MusM in electroacoustic music composition in the Manchester University supervised by Ricardo Climent and David Berezan. Additionally, she studied Philosophy at the Complutense University in Madrid and sound technician studies (F.I.P).
She is co-fundator of the interdisciplinary art group ‘Miseria y Hambre’ a and co-director of the ‘Encounters Festival’, an annual music-and-art festival in Cuenca, Spain.
She has worked as a composer, performer, arranger and musical director for theatrical plays and she has composed music for short films, dance and other type of performances.
She is currently in Manchester studying a PhD in electroacoustic music composition supervised by Ricardo Climent.

Mark Pilkington- Constantin Popp (electronic duo)



MARKET @ ISLINGTON - We Sound it!


Sunday 12th June 2011 @ Islington Mill, Salford

Venue: Islington Mill, James Street, Salford M3 5HW
12:00-16:00: City as Instrument - MANTIS Sounding the MARKET (Free event)
Come to enjoy MANTIS Live Ambient sound for the Eight Sunday Market at Islington Mill with great traders. Normally, there is also sunday papers, board games coffee, beer and general good eggs to hang with.

MUSIC PROGRAMME

'The Islington Mix': One Hour of Music specially mixed by Monty Adkins for the occasion- Pre-listen his new CD at audiobulb.com

pictured above, Sixth Market this year @ the Islington Mill

MANTIS Composers' new works


Tints of July for Flute, Guitar and a Computer by Haruka Hirayama

Ply for fixed media by Lee Fraser

192 for fixed media by Brona Martin

From The Dark Waters for fixed media by Andrew Andrew Garbett

empty rooms 10:27 for fixed media by Constantin Popp

Voices submerge , 3:35 by Michael Lau

Cyan (2011) For Stereo Tape, 7:38 by Rob Bentall




Tints of July for Flute, Guitar and a Computer (about 10 min) by Haruka Hirayama


Gavin Osborn (Flute), Paul Michael Labelle (Guitar) and Haruka Hirayama (electronics)


Tints of July : The timbres of Guitar and Flute sound best the tones of my July. Dappled sunlight, shimmering, pleasure, transience, quiet rain and a feeling of openness...


Gavin Osborn (Flute) is a flutist, composer, sound artist & teacher based in the North West. Predominantly a specialist in contemporary music (acoustic & mixed electroacoustic), he has performed in many prestigious venues & festivals (inc. SAN Expo, Sonic Skylines, Manchester International Festival, Futuresonic, Sonorities, YLMF, Brighton Festival & Kings Place), both as a soloist and as director/co-director with various ensembles (Kairos, Beacons of Sound, and currently Trio Atem). Current projects as composer/sound-artist include a multi-scoreform work for the Sterling Trio, sound director for a dance work directed by Charlotte Spencer, an electroacoustic work using texts by American experimental poet Jessica Smith, and a mixed dance/text/sound piece working with multiple dancers.

Paul Michael Labelle (Guitar) was born in Ontario, Canada in 1991. He began his musical studies with percussion; in which, he studied under Anthony Kiedis and Mark Joseph in his home country. After several years, he suddenly became fixated on the guitar, for reasons that are still unclear to him, and decided to seek out private tuition under the German guitarist Oliver Thedieck in Munich. There, he also studied composition under the British composer Graham Laack. It was in Germany that he began giving public performances on the instrument and premiering his compositions. He is currently studying under Craig Ogden and Gordon Crosskey at the Royal Northern College of Music in Manchester and continues to perform in England, Germany and Canada.

Haruka Hirayama studied composition and computer music with Cort Lippe and Takayuki Rai at the Sonology Department of Kunitach College of Music in Tokyo. She was a winner of the Residence Prize at the 32nd International Competition of Electroacoustic Music and Sonic Art, and invited to the Institute for Electroacoustic Music in Sweden (EMS) as a composer-in-residence. Her interactive pieces have been performed at the International Computer Music Conferences (ICMC) of 2005, 2006 and 2009 and in many European countries, Canada, US as well as Japan.


Ply for fixed media by Lee Fraser


Ply derives much of its colour and many of its recurring gestural features from the synthetic representation and extension of some of the harpsichord's most distinct sonic attributes. One might recognise the mark of the instrument in the fizzy, metallic textures which open and conclude the piece, or in the spiky, angular rhythmic statements that jut out at points of significant structural sway.

Another key aspect of the work is its use of symmetry as a guiding architectural principle. This can be found in the dynamic contouring of the piece and in the hierarchy of roles given to its forces. In the case of the latter, one can trace a kind mirror symmetry in the way these forces are deployed, where those that propel the material in the first half, become the subordinate factors in the second, and vice versa.

The title refers to the complex of materials featured, whose singular identities become subsumed into a coagulate whole during rare but pivotal moments of well-tempered accord.


Biography

Lee Fraser (UK, 1981) is an electroacoustic composer with a strong interest in the acousmatic practice. He studied composition with Frank Denyer and David Prior at Dartington College of Arts, before taking a degree in sonic arts at Middlesex University, and in 2009 completed an MA in electroacoustic composition with Denis Smalley at City University, London, for which he was awarded a distinction.

Lee is currently pursuing a PhD in electroacoustic composition under the supervision of David Berezan at the University of Manchester. His research, funded by the AHRC, is concerned with the aesthetics of acousmatic music. In recent years, he has been involved in a number of collaborative and performance-based projects, including the reworking of material for sound artist and composer Mikhail Karikis, released on the Sub Rosa imprint in 2009.

His music has been presented in concert and broadcast throughout Europe and America.


192 for fixed media by Brona Martin

Programme Note: '192' explores the sounds that we choose to ignore on a daily basis. Recordings for this piece were taken from the many bus trips that I have taken from Stockport to Picaddilly Gardens and The University of Manchester. Since moving to Manchester, my reliance on public transport has introduced me to a whole new soundworld, one in which you can choose to ignore with an MP3 player. I decided to really study and embrace this environment, becoming more and more aware of the multiple layers of this soundscape and perhaps embrace this 'noise pollution' that commuters ignore. This piece reflects the rhythms, tones, atmosphere of the '192'.


Bio: Following a BA in History and Geography at the University of Dublin and managing a hotel that resembled Fawlty Towers, I soon realised that working 100 hours a week was not my life long dream. I quickly decided to study music at the University of Cork where I had my first experience with computer music, noise and experimental music. At the University of Limerick I completed a Masters in Music Technology with Jürgen Simpson. I started my PhD in September 2010 under the supervision of Dr. David Berezan and Lamenting is my first Electroacoustic work composed at the NOVARS studios, University of Manchester. My research interests include soundscape composition, augmented auralities, acoustic ecology and narrative within Electroacoustic music.


From The Dark Waters (2010-11) [Acousmatic – 12 minutes] by Andrew Andrew Garbett:

The first part of a water-based electroacoustic cycle (the second part for string quartet and electronics was played by the Danel Quartet earlier this year), this piece combines various recordings of water (dripping and pouring, as well as garden fountains) with piano and a few percussive sounds.These are moulded into gradually transforming ‘sound spaces’ which in the simplest terms move from darkness to light, but actually contain many sonic layers.As far as possible I have tried to avoid direct ‘source-bonding’, instead creating new, abstract, surreal, almost dream-like spaces. Despite the fact that there is no specific programmatic narrative here, the psychological and mythic implications of water provide a dense web of potential meanings for the listener.


Biography

Born in Nottingham in 1980 Andrew is a graduate of the Royal Northern College of Music, where he studied composition with Adam Gorb, Paul Patterson and Anthony Gilbert. Under the supervision of Douglas Jarman and Ronald Woodley he specialized academically in the study of 20th Century and Contemporary Music, as well as studying conducting with Clark Rundell. During this time he also had lessons with Sir Peter Maxwell Davies and James MacMillan. He graduated with a BMus (honours) Degree and then a Masters Degree (both in Composition) and is currently engaged in research at Manchester University for a PhD in Electroacoustic composition, under the supervision of Dr David Berezan and Dr Ricardo Climent.

Andrew’s compositions (which cover everything from solo, chamber, choral, orchestral and electroacoustic music for the concert hall, to music for dance, film, and youth ensembles), range from highly experimental avant-garde works through to very accessible music in a wide range of genres.

His music has been performed throughout England as well at the Montepulciano Festival, Italy.



empty rooms 10:27 for fixed media by Constantin Popp

in “empty rooms” several places and objects have been recorded and weaved together to form a subjective view of manchester and it's sound. the selection of sound and the usage of transformations abstracts the found sounds into the realm of subjectivity and it's representation of it's past and present in the memory. the sounding result takes shape in a slow evolving soundscape with different levels of blurriness and haziness.

the “empty” refers not merely to an “absence”, but also to a “presence” of “things” - machines and memories, creating a sense of space and atmosphere. “empty rooms” therefore becomes more an oxymoron and metaphor of rooms inhabited by machines and memories. consequently, “manchester's sound” evolves into a sign, signifying a personal context, state of mind and narrative


bio: Constantin Popp, born in Berlin 1980, studied electroacoustic composition at the Hochschule für Musik Franz Liszt in Weimar with Robin Minard. Additional supervisions in composition were received from David Berezan, Franz Martin Olbrisch and Thomas Heyn.

He collaborated, among others, with Andreas Bick, laborgras, Jan Wagner, Johannes Mayr, Robin Minard and Markus Wintersberger, doing works for dance, film, radio and stage. He received commissions from "pèlerinages Kunstfest Weimar", "Deutsches Nationaltheater Weimar", the "Deutscher Musikrat" and Swiss Radio DRS2. As a student he worked as a technical assistent at the Friedrich-Schiller-Universtity Jena, Hochschule für Musik Franz Liszt Weimar (HfM Weimar) and the ETH Zurich, as well as an teaching assistent in composition at the Studio for electroacoustic Music (SeaM) of the HfM Weimar since 2007 which has been changed into a lecture position in 2009.

In 2010 he received a DAAD bursary and the Victor Sayer Award to study electroacoustic composition at University of Manchester, UK.




Voices submerge , 3:35 by Michael Lau

‘Voices submerge’ is a miniature which about human voices and conversations. As we often treat our voice as a language tool rather than a musical instrument, this tool become my composing ‘tool‘ and ‘instrument‘. In this piece voices are longer for conversation, but some fragments, notes, rhythms, layers and textures.


Bio: Born in Hong Kong, Michael is an instrumental and electroacoustic composer. Graduated from 2009 in Hong Kong Baptist University with music composition, Michael's interests include acousmatic music practice, fixed media and sound spatialisation.

He is currently a MusM student in electroacoustic composition at the NOVARS Research Centre, University of Manchester, supervised by David Berezan and Ricardo Climent.



Cyan (2011) For Stereo Tape, 7:38 by Rob Bentall

Cyan is focused on two main compositional techniques – use of gesture and use of organically-structured harmonic content. The primary source-sounds used were the Marimba, the Vibraphone and the Viola Da Gamba. Unlike Surge (2010), the Gamba was used in this piece entirely in a non-pitched manner; the noises generated from the instrument’s low pressure-threshold create vast, dense gestures which act as a point of departure for other chordal material. The piece is inspired by old friends and new memories. It was realized in the University of Sheffield’s Sound Studios during January-February 2011. The opening of this piece is an abstract but personal homage to John Young’s Inner (1995), a piece that has endlessly inspired me during my formative years as an acousmatic composer.


Bio: Rob Bentall (b. 1989) is an electroacoustic composer and sound artist currently living in Sheffield, UK. Originally from North London, he read for an undergraduate degree in Music at the University of Manchester, studying acousmatic composition with David Berezan and winning the Peter J. Leonard prize for composition. He is currently reading for an MMus at the University of Sheffield, studying with Adrian Moore, and generously supported by a Julian Payne Postgraduate Scholarship. His compositions have been performed in Manchester, Sheffield, London, Edinburgh and Huddersfield, and his primary research interests are acousmatic music, sound diffusion and the aesthetics of electroacoustic music. Recent performances include Ten Times Out of Nine at Resound Festival 2011, Cornwall and Grayscale Confessions at MANTIS Spring Festival 2011. Upcoming perfomances include Vanity Procedure (2010) at Sound, Sight Space and Play 2011, De Montfort University, Leicester and also at ICMC 2011, Huddersfield. He will begin studying for a PhD at NOVARS in September this year.



MARCH: SONIC META-ONTOLOGY PROGRAMME



============================================================
PROGRAMME (MARCH LEG)
5-6 MARCH 2011

Download FULL programme from here: http://bit.ly/hMNbCg


-------------------------------------------------------------------------------------------------
MANCHESTER'S SONIC META-ONTOLOGY PROJECT (PART ONE)
-------------------------------------------------------------------------------------------------
Festival Dates:

Saturday 5th March 2011

Guest Artist: Helmut Lemke


PROGRAMME:


MANCHESTER'S SONIC META-ONTOLOGY PROJECT (PART ONE)

------------------------------------------------------------------------------------------------------------------------------------------

Saturday 5th March 2011

Where: John Thaw Studio Theatre,

Martin Harris Centre for Music and Drama, University of Manchester, UK

Map here: http://bit.ly/gAIfvw


16:00 - PROJECT LAUNCH - Keynote talk and soundmaps

Room G16 and Foyer - Martin Harris Centre


Keynote & talk:

Guest artist - Helmut Lemke (University of Salford, UK)

Audiovisual Soundmaps:

Volkmar Klien - Contributions to Homeland Sound Topography 01 - The Right Sides of the Road.

Diana Simpson - Spindlesongs Installation (Quarry Bank mills)

Kaho Cheung - A scrapbook of metro sounds (a worldwide rapid transit system sonicography)

Uli Aumüller - Les séries sonores (Mix) - with comments by 40 Manchester students.

Audioguides demo:

City as Museum/City as Instrument - NoTour Audioguides explained (Augmented Aurality GPS demo)


18:00 - CONCERT ONE: Meta-ontologies zero

Helmut Lemke - In response to Manchester's Sonic meta-ontology
(MANTIS special guest)

Mark Pilkington - Peterloo (world première)

Oliver Carman - Memento

Lee Fraser - Narrows

Sam Salem - Lightness (world première)


19:30 - CONCERT TWO: Meta-ontologies one

Ricardo Climent - Havana (Soundwalk)

Constantin Popp - Stone and metal (world première)

Donal Sarsfield - The Footsteps (world première)

Ignacio Pecino - Branches (world première)

Brona Martin - Lamenting (world première)

David Berezan - Styal

------------------------------------------------------------------------------------------------------------------

Sunday 6th March 2011

Place: Islington Mill, James Street, Salford M3 5HW (Manchester, UK)

MAP: http://www.islingtonmill.com/contact.php



PROGRAMME:

17:00 - CONCERT STARTS

Richard Scott - manchester solo 3

"An improvisation reflecting on the sounds of Manchester past and present,

feating personal sound materials drawn from a 20 year period"

Robe Bentall - Grayscale Confessions

Heather Bamforth - Improvisation

Brona Martin - Feadog

Interval

Chris Swithinbank - La leggerezza delle città

Rodrigo Constanzo - Free improvisation on acoustic drum-set and DIY electronics.

Ignacio Pecino - Khaos (Limited Edition)

Mark Pilkington &

Constantine Popp - Improvisation duo

Lee Fraser - Instantia Crucis

------------------------------------------------------------------------------------------------------------------

For tickets contact Box Office:

Tel: + 44 161 275 8951 boxoffice@manchester.ac.uk


Ticket Price:

Martin Harris Centre events:

£6 / £5 / £4 for each concert 2-concert rate: £9 / £7.50 / £4.50 Entrance to the 4pm event is free on production of a ticket for the other concerts

Islington Mill: Donation from £3


MARTIN HARRIS CENTRE for Music and Drama

University of Manchester, Bridgeford Street, Manchester M13 9PL

ISLINGTON MILL STUDIOS

James Street, Salford M3 5HW



MANCHESTER'S SONIC META-ONTOLOGY PROJECT (PART TWO)
------------------------------------------------------------------------------------------------------------------
Festival Dates:
Friday 10th June 2011
Venue: Cosmo Rodewald, Martin Harris Centre, University of Manchester, UK

16:00 - Project Launch (part 2) - Keynote Speakers and soundwalks
18:00 - Concert One: Meta-ontologies two
19:30 - Concert Two: Meta-ontologies three
------------------------------------------------------------------------------------------------------------------
Saturday 11th June 2011
AudioGuide meta-ontology Tours.
Provisional tour times: Tour 1 @ 12 noon, Tour 2 @ 16:00
------------------------------------------------------------------------------------------------------------------
Sunday 12th June 2011
Place: Islington Mill, James Street, Salford M3 5HW (Manchester, UK)
------------------------------------------------------------------------------------------------------------------

For more information about this festival, visit: