PHILL NIBLOCK

Phill Niblock makes thick, loud drones of music, filled with microtones of instrumental timbres which generate many other tones in the performance space. Simultaneously, he presents films / videos which look at the movement of people working, or computer driven black and white abstract images floating through time.

Phill Niblock is an intermedia artist using music, film, photography, video and computers. He makes thick, loud drones of music, filled with microtones of instrumental timbres which generate many other tones in the performance space. Simultaneously, he presents films / videos which look at the movement of people working, or computer driven black and white abstract images floating through time. He was born in Indiana in 1933. Since the mid-60's he has been making music and intermedia performances which have been shown at numerous venues around the world among which: The Museum of Modern Art; The Wadsworth Atheneum; the Kitchen; the Paris Autumn Festival; Palais des Beaux Arts, Brussels; Institute of Contemporary Art, London; Akademie der Kunste, Berlin; ZKM; Carpenter Center for the Visual Arts at Harvard; World Music Institute at Merkin Hall NYC. Since 1985, he has been the director of the Experimental Intermedia Foundation in New York where he has been an artist/member since 1968. He is the producer of Music and Intermedia presentations at EI since 1973 (about 1000 performances) and the curator of EI's XI Records label. In 1993 he was part of the formation of an Experimental Intermedia organization in Gent, Belgium - EI v.z.w. Gent - which supports an artist-in-residence house and installations there. Phill Niblock's music is available on the XI, Moikai, Mode and Touch labels. DVDs of films and music are available on the Extreme label, on the Mode Records label, and on the VonArchives label.

http://www.experimentalintermedia.org/

TIM SHAW

Tim’s practice is concerned with the many ways people listen, specifically how listening environments can be constructed or explored using a diverse range of techniques and technologies. He has a background in recording sound and his practice is anchored in the creative use of field recordings. He is interested in appropriating communication technologies to explore how these devices change the way we experience the world.

In performances Tim improvises with field recordings, microphones, modular synthesisers, sculptural loudspeakers and resonant sound objects which, when combined, create layered listening environments. He uses a variety of self-constructed technologies to playback and manipulate his recordings. The unfolding composition incorporates elements of uncertainty and indeterminacy processed through room acoustics, computational systems and networked infrastructures.

He is particularly interested in the relationships between site, sound and technologies. Presenting work through musical performances, installations, walks and site-responsive interventions his practice attempts to expose the mechanics of systems through sound to reveal the hidden aspects of environments and technologies. Tim works as a lecturer in Digital Media at Newcastle University.

He presents work at galleries, festivals, museums, through residencies and cultural events nationally and internationally. Recently his work has been presented at New Ear Festival, New York (2018), History of Bosnia Museum, Sarajevo (2018), ARC, Switzerland (2018), bb15, Linz (2017), Stereolux, Nantes (2016), Baltic, Gateshead (2017), FACT Liverpool (2016), Eastern Bloc, Montreal (2016) and The Wired Lab, New South Wales, Australia (2016).

http://tim-shaw.net