Events

Exploring timbre as a key element of form, join us for an eclectic evening as Panayiotis Kokoras presents a programme of fixed, mixed media and audiovisual works. The concert will include multichannel compositions AI Phantasy (2020), Qualia (2017) and Sense (2013) for tape, amongst others.

Panayiotis Kokoras is an internationally award-winning composer and computer music innovator, and currently Regents Professor of composition and CEMI director (Center for Experimental Music and Intermedia) at the University of North Texas. Born in Greece, he underwent formal training in classical guitar and composition in Athens (Dip), Greece, and later in York, England (MA, PhD). He taught for many years at Aristotle University in Thessaloniki. Kokoras’s sound compositions use sound as the only structural unit. His concept of “holophonic musical texture” describes his goal that each independent sound (phonos), contributes equally into the synthesis of the total (holos). In both instrumental and electroacoustic writing, his music calls upon a “virtuosity of sound,” a hyper-idiomatic writing which emphasizes on the precise production of variable sound possibilities and the correct distinction between one timbre and another to convey the musical ideas and structure of the piece. His compositional oeuvre draws inspiration from his in-depth exploration of domains such as Sound Composition, Spatial Sound, Mixed Music, Electroacoustic Music, Holophonic Musical Texture, Extended Techniques, Fab Synthesis, Music Information Retrieval compositional strategies, Tactile Sound, Instrumental Prosthetics, Robotics, Sound and Consciousness. Kokoras’s works have received significant recognition, with commissions and fellowships from renowned institutions and festivals including the Guggenheim Foundation (USA), Fromm Music Foundation (Harvard), IRCAM (France), MATA (New York), Gaudeamus (Netherlands), ZKM (Germany), and IMEB (France), among others. His compositions have graced over 1100 performances across the globe, amassing an impressive array of 95 awards and distinctions in international competitions. His compositions have consistently been chosen by juries from over 320 international calls for music. He stands as a founding member of the Hellenic Electroacoustic Music Composers Association (HELMCA) and held positions including board member and president from 2004 to 2012. Presently, he assumes the role of President of the International Confederation of Electroacoustic Music (ICEM). He also served as conference chair for the ICMC 2015 and SMC 2018 and regularly serves as jury member in composition competitions and conferences.

Archives Live, a night of immersion and discovery that brings the story of the East in West Archiveto life. This is the UK’s largest archive of South Asian vinyl records, preserving sounds and stories that span decades of cultural expression and history. Join us for an exclusive journey through this unique collection’s origins, processes, interpretations, and future.

The evening will unfold in four dynamic acts, each designed to deepen your connection to the archive and its history. Experience the archive’s beginnings with rare footage and personal stories, dive into the intricate processes behind preservation, explore interpretations through captivating visuals and music, and conclude with a look toward the future of working with various new archives.

The event will include guest speakers, live archiving, and a curated exhibition, creating a space for audiences to engage directly with this exceptional legacy.

This event is organised in collaboration with Trueform Projects as part of the East in West Vinyl Archive Project. For more information, check out the project site:

https://eastinwest.trueformprojects.com/

MANTIS FESTIVAL is a biannual celebration of electroacoustic music from Manchester and beyond.

With a variety of genre’s practices, and research projects, Mantis festival is a celebration of new music and experimental practices, performed live or diffused over the immersive 48 speaker loudspeaker orchestra in the John Thaw Studio Theatre.

We are delighted to be working with University of Sheffield Sound Studios and the Department of Music to present Composing (with) Systems. The event will span 3 days and nights and will see performances,  papers, presentations and demonstrations on the role of systems in creative practice. 

Performances include multi-channel electroacoustic works by Simon Emmerson, live-coding duo Epiploke and Trevor Wishart’s Hieronymus Bosch inspired piece The Garden of Earthly Delights.

There will be over 20 sessions across the 3 days – highlights include: a workshop with Alex McLean and Lucy Cheesman, demonstrations from Paul Wolinski, a discussion and workshop led with Mark Fell, an installation with Lorenzo Prati and a full session on Cage’s compositional systems. Please check back soon for the full schedule.

Day schedule: 

Wednesday 26 – 12-5pm
Thursday 27 – 10-5pm
Friday 28 – 11-5pm

Concerts:

Wednesday 26 – 7-9.30pm

with Trevor Wishart, Epiploke, Renzo Filinich, Esther Kuburi

Thursday 27 – 7-9.30pm

with Mia Windsor, Jiayi Liu, Juan Hernandez, Enrico Dorgatti, Desmond Clarke

Friday 28 – 7-9.30pm

with Simon Emmerson, Mosquito Farm, Daniel Mayer, Mark Hanslip, Jack Adler-McKean

This event is open to all.

Our first event in Ireland – has a mix of introductions and discussions and is free to attend.

10.00am -10.25am tea and coffee
10.25am – Intro Coryn Smethurst
10.30am – Victor Lazzarini (Live Electronic Performance)
11.05am – Patrick Dunne (Audio Visual Composition)
11.40am – Matt Rogerson (Neurofeedback and Neurodivergence)
12.10pm – 1.15pm lunch
1.15pm – Shane Byrne (Abstract Audio Visual Film)
1.50pm – Robert Coleman (sound art, science and environmental activism)
2.25pm – Megan Hattie Stahl (Compositional Soundwalks)
3.00pm – Tom Macfadyen (Sonic Portraiture)
3.30pm to 3.45pm break
3.45pm – Michael Allen Z Prime/Audrey Rangel Aguirre (Bioelectrical Fields and Human Microbiomes)
4.20 – Boyi Bai (Japanese Field Recording Compositions)
4.55 – Harry Mason (Post-industrialism)
5.30pm End of event

Venue: Bewerunge Room, Logic House, South Campus, Maynooth University

In collaboration with Captivate Spatial Modelling Research Group  

“[R]uins evoke an aesthetics of disorder, surprise and sensuality, offering ghostly glimpses into the past and a tactile encounter with space and materiality.” (Tim Edensor – Industrial Ruins: Space, Aesthetics and Materiality).   

This site-specific performance will extend architectures through sound and projection to re-construct and re-animate the ruins of the St George’s Garrison Church. Emerging from an interdisciplinary collaboration between Captivate Spatial Modeling Research Group, the SOUND/IMAGE Research Centre and sonic architect Nadine Schütz (newly appointed as Visiting Professor to the SOUND/IMAGE Research Centre) this event will showcase the work emerging from ongoing creative heritage research being undertaken at the University of Greenwich which enables new modes of engagement with sites and objects of historical significance to be developed and tested. 

Southeast/Northwest celebrates the global diversity of electroacoustic practices, featuring a host of international artists and special guests.

For the first time in the U.K., Indonesian electronic music pioneer Otto Sidharta will present his work, including a new composition created for the hyper-immersive BEAST system. Bangkok-based multimedia artist Jean-David Caillouët returns to Birmingham for the premiere of his documentary on Sidharta’s music, along with a new audiovisual composition developed as a BEAST artist-in-residence.

Sumatran artists Rani Jambak and Hario Efenur join BEAST’s Scott Wilson to transform Minangkabau martial arts into embodied sound and music. French-Canadian multimedia artist Myriam Boucher showcases her innovative practice blending composition vidéomusicale with live performance, while Trevor Wishart, a longtime friend of BEAST, presents The Garden of Earthly Delights—a ‘comic opera’ inspired by Hieronymus Bosch.

Audiovisual artist Mwen brings A Home for Tender Hearts to the Dome, exploring themes of belonging, oppression, and colonial legacies from their perspective as a queer, non-binary, first-generation diasporic African. Meanwhile, Jim Osman, known for his science fiction and fantasy-infused performances, will present his signature dark ambient and experimental soundscapes.

Full details here

In Partnership with Cutty Sark, Royal Museums Greenwich. 

A programme of new multichannel immersive compositions inspired by maritime heritage and the iconic Cutty Sark, once one of the fastest sailing ships in the world.  

Drawing on rich archive resources and expert curatorial knowledge of the Royal Museums Greenwich, this concert will respond to themes of maritime heritage and its underlying drivers of innovation, human ingenuity, collaboration, ambition for global connection and perseverance.  

Hosted alongside the 2025 international Architecture Media Politics and Society (AMPS) conference “Heritages – Critical Questions Contemporary Practices” the programme showcases the potential of sound to re-animate and re-contextualise heritage sites via multisensory experiences. 

This evening will immerse you in imagined voyages, transporting you via sound waves to evocative destinations. 

In collabration with CeReNeM (University of Huddersfield)

Ernest Berk: A Musical Outsider is a multichannel concert showcasing the work of pioneering electronic music composer Ernest Berk. As part of the AHRC-funded project “Ernest Berk: An Expressionist Outsider” the project team have meticulously restored Berk’s lost recordings made between 1957 and 1983. The performance crafts a unique experience of England’s unsung electronic music history.

Ernest Berk was one of the most prolific composers of early electronic music in England, creating over 220 pieces across a career spanning three decades. Yet his contribution to electronic music is all but forgotten today. After fleeing Germany in the 1930s, Berk opened a dance and electronic music studio in Camden, London and dedicated himself to the composition of electronic music and musique concrète. His synthesis of musique concrète and contemporary dance made him one of the most visionary practitioners in a wave of pioneering English electronic music composers throughout the 1960s and 1970s that saw him working alongside Delia Derbyshire, Daphne Oram, and Tristram Cary. Despite far-reaching influence within music and dance scenes of the time, Berk never achieved lasting recognition and his legacy as a composer, performer, and pedagogue has now all but slipped from the public consciousness. When he died in Berlin in 1993, he was destitute.

The work is an installation and live performance, during which audience members are free to arrive and leave at any point. There will be three showings: 7pm-10pm on Friday 4th July, and two showings on Saturday 5th July – 1pm-2:30pm and 7pm-8:30pm.

In collabration with IKLECTIK

MindScape: Immersive Listening and Sonic Reflection is a research-driven project that investigates the impact of immersive 3D sound environments on human perception and awareness. By guiding participants through focused listening experiences, the project seeks to explore how sound can shape thought processes, emotional responses, and sensory engagement. MindScape combines advanced audio technologies with reflective listening practices, creating a unique dynamic connection between sound and the mind.

IKLECTIK is a non-profit organisation based in London, founded in 2014. It focuses on fostering experimentation in sound, art, new media, and emerging technologies. IKLECTIK organises events, workshops, residencies, talks aiming to explore processes and techniques while addressing social, political, and cultural issues. It has hosted over 3000 artists in live performances, festivals, and fundraisers.

This concert of mixed media chamber music will feature the world premieres of Bill’s Occitan sonnet compositions, beautifully interpreted by celebrated French countertenor Paulin Bündgen, alongside “Turbulent Flow” performed by the Morse Ensemble.

Solo performance of Ellie Wilson’s Moth x Human which combines sonified moth data with live violin. Part of IF Oxford.

This October, BEAST presents a new installation on campus as part of the University’s 125th Anniversary celebrations.

From 10am to 5pm, hear new compositions every 15 minutes from BEAST members past and present, exploring the sonic qualities of the bells of Old Joe. These multichannel works will be broadcast across campus from an array of loudspeakers installed at the top of Old Joe, around the domes of Chancellor’s Court, and across the Green Heart.

This immersive experience invites the University community to hear ‘Old Joe’ in a new way – drawing attention to its significance as a sonic landmark while blurring the lines between past and present, tradition and innovation.

Darragh Morgan violin

Sarah Watts clarinet

2025 marks the centenary of two of the 20th century’s most influential composers: Luciano Berio and Pierre Boulez. Visionary and uncompromising, both reimagined the possibilities of sound, transforming the role of instruments, voice and electronics in contemporary music. This Loudspeaker Orchestra concert honours their legacy through a series of landmark works and contemporary responses. Berio’s trailblazing electronic masterpieces Visage and Momenti are presented in immersive multichannel sound, while violinist Darragh Morgan performs Boulez’s Anthèmes 2 and clarinettist Sarah Watts delivers Dialogue de l’ombre double – two works that remain touchstones of late 20th-century innovation.

The evening also features new works by Sungji Hong and Shiva Feshareki, whose compositions echo and extend the aesthetic dialogues initiated by Berio and Boulez, forging a vibrant link between past, present, and future.

LATENT SPACES_Step inside a computer model

Spatial Sound installation by Vicky Clarke

We’re surrounded by invisible technological systems where machine learning and covert algorithms shape our everyday lives.

At the heart of these systems is Latent Space, a data dimension in a state of flux, where material becomes data, past meets future, and new machine languages emerge.

Latent Spaces is a sound installation that invites the audience to step inside the Aura Machine – an imaginary computational model combining spatial audio, sculpture and digital objects. Once inside the machine, experience a materiality in flow, where sonic echoes of past technological eras emerge, morph and fall apart.

Presented in partnership with The Oram Awards, BEAST welcomes afromerm & abi asisa for our autumn BEASTdome concert. Plus, new works from BEAST composers, all presented on our 32-channel BEASTdome system.

Working with two surviving waveform slides from Oram’s Oramics machine, afromerm (voice, electronics) and abi asisa (electric cello) interpret the slides as a graphic score, manipulating and obscuring the cello’s timbre in real time. The performance blends live processing, improvisation, and interruption, creating a dynamic interplay of texture, memory, and transformation.

Join us in the John Thaw Studio at the Martin Harris Centre for a weekend of new and experimental music on our 44-speaker surround sound system.⁣

Saturday opens with a concert curated by @northernlights_project, featuring music by Pierre Boulez, @thecamdenreeves, and @sungji.hong, performed by @darragh_morgan_violin and @sarahkwattsbassclarinet. The weekend also includes concerts with works by NOVARS composers and guests.⁣

Concert schedule:

✱ Saturday 1 November, 18:00–19:00 – Northern Lights Project⁣

✱ Saturday 1 November, 19:30–21:00⁣

✱ Sunday 2 November, 14:00–15:30

Free entry – first come, first served.

Welcome to the Sonic Arts Forum Swansea! Croes y Fforwm Celfyddydau Synaidd Abertawe

Date: [Event Date]

Location: Swansea College Of Art, UWTSD

The Sonic Arts Forum will be holding an event at Swansea on Saturday 15th of November 2025 from 9am to 5pm.

The event is free to attend.

This is an opportunity for creative people, working with sound as a significant element in their practice, to introduce their work, and receive feedback in a friendly, and supportive, environment, and for audience members to be creatively inspired.

All are welcome.

The event aims to be a safe space for women, LGBTQ+, neurodiverse/neurodivergent, those from non-traditional musical backgrounds, minority ethnic backgrounds, and other under-represented groups.

We look forward to welcoming old friends and new. Scroll down for more details on individual introducers.

https://www.facebook.com/groups/sonicarts
https://bsky.app/profile/sonicartsforum.bsky.social
https://mastodon.social/@Sonicartsforum
https://www.instagram.com/coryn_smethurst/

Principal Organiser – coryncomposer@gmail.com

Schedule for the event

9.10 – 9.40 tea and coffee

9.40 – 10.10am Lydia Evans / Chris Bennett – Homebrew electronics/vocals/acoustic sounds

10.15- 10.45am Richard McReynolds – Interactive electronic tracking systems.

10.50 – 11.20am Vivian Cheung – Piano and fixed media

15 minute break

11.35 – 12.05pm Anna Murray – Noh drama and conductive ink

12.10 – 12.40pm Emily Rae – Politicised Plunderphonics

12.40 – 1.40pm Lunch

1.40 – 2.10pm Mark Hanslip – Saxophone and live electronics

2.15 – 2.45pm Teddy Hunter – Field recording, installations and composition

2.50 – 3.20pm Rhian Hutchings – Sound recycling and vocals

10 minute break

3.30 – 4.00pm Pooyan Saadati – Sound design

4.05 – 4.35 Robert Gillespie – Audio visual hauntings

Anna Murray

Anna’s soundworld is created via live painting, and improvised electronics using a combination of sensors and conductive ink. She uses the sounds of brush and paper, layered with recordings made in locations across the world, from mountain streams in the Pyrenees, to the machinery in an observatory in Chicago, to the sonic texture of Tokyo itself. Influences include graphic scoring, and Noh, which she studied in Tokyo.

Emily Rae

Emily is a queer, female, Scottish multi-instrumentalist, performer, deviser, and genre-fluid composer whose practice re-contextualises and manipulates found sounds and culturally, emotionally, or historically resonant samples. Emily’s work re-conceptualises female lived experiences to create a space for underrepresented voices through experimental and interdisciplinary approaches to sound.

Lydia Evans / Chris Bennett

Lydia and Chris are South Wales–based experimental free improvisers, combining electronic and acoustic sources, including hand-built synthesizers (sometimes using motors and specialised loudspeakers), field recordings, voice (often using extended techniques), percussion and flutes. Music and sound, for them can be transformational, transcendental, an act of activism, expression, subversion, and celebration.

They will be giving a live demo of their work.

Mark Hanslip

Mark’s core practice consists of improvised saxophone and data-driven electronics.

He is currently using Trevor Wishart’s concept of ‘Wavesets’ – a method for identifying then processing short fragments of audio (which originally was only available as a non-real time process) – to process live audio audio signals, achieving unique and unexpected effects in real-time improvised performance.

He will be giving a live demo of his work.

Pooyan Saadati

Pooyan created the sound design for a short film about the rights of women in Iran. The sounds used included Geiger counters, synthesizers, and an MRI scanner, along with vocal recordings and piano, which were arranged and processed.

Rhian Hutchings

Rhian’s Curb Appeal explores the experience of curbside recycling in her vocal and concrete compositional process. Her work highlights the ethical aspects of recycling. All our glass, plastic, paper & cardboard waste is collected, sorted and recycled. Or is it? While glass can be fully recycled, this is not the case for plastic which can end up being burnt or even shipped abroad to waste dumps in other countries.

Richard McReynolds

Richard designs and codes performance instruments using MaxMSP, motion sensors, hacked gaming controllers, or custom light-responsive devices to engage in dialogue with his software. He is interested in how the body’s movement can shape sound, a choreography of performance, and how the body’s visual presence is understood as part of this process. This interest has led him to collaborate with dancers, sculptors, and musicians. By tracking movement, he feels he has regained the embodied, expressive control he missed in his purely digital work

Robert Gillespie

Robert’s audio-visual work ‘Anticipation, Experiencing and Remembering’ is influenced by hauntology – how the past can force it’s way into the present, as a feeling, a disturbance, something which cannot be fully grasped or understood.

Teddy Hunter

Teddy explores the environment through her works using synthetic sound, vocals, field recordings, and plant bioelectrical fields, to produce soundscapes and ambient works which engage with ecological themes, including the interactions between humans and nature. She also merges soundscapes with popular music aesthetics to create ambient electronic immersive experiences.

Vivian Cheung

Vivian’s CantoNeon for live piano and fixed electronics is a portmanteau of ‘Cantonese’ and ‘neon’, depicting the glowing neon lights of a fading Hong Kong. It is a personal exploration of the cultural identity of a British-born Chinese who’s never visited their home country. Snippets of interviews about people’s multicultural experiences intermingle with a palette of stylophone, piano, and voice. Throughout the piece, the piano shifts from in-piano techniques to shimmering, blended textures to reflect on the emotional process of shame, reflection and acceptance of one’s identity.

Address:

University of Wales Trinity Saint David Swansea College of Art

Dynevor Pl,

De-La Beche St,

Swansea

SA1 3EU

Prifysgol Cymru Y Drindod Dewi Sant Coleg Celf Abertawe

Dynevor Pl,

De-La Beche St,

Abertawe

SA1 3EU

Venues:

Thursday and Friday – Bathway Theatre, SE18 6QX   

Saturday and Sunday – Stockwell Street Academic Building, SE10 9BD

SOUND/IMAGE 2025 is an international festival that attracts diverse global voices, to reveal new insights upon questions of creative practices across and between music, film, sound arts, performance and digital arts. 

We received over three hundred paper and artistic submissions from all over the world, from which we have selected a diverse complementary programme of talks, screenings, performances loudspeaker orchestra concerts and workshops. 

This year’s 4-day event will take place across our World Class Labs facilities (SHIFT) in our Immersive Digital Theatre in Woolwich and our Stockwell Street building in Greenwich, featuring works of immersive sound, video and 360º degree film, bringing together diverse perspectives to stimulate discussion. 

We look forward to welcoming you between the 6-9 November 2025, at the University of Greenwich, to participate in the 10th anniversary edition of the SOUND/IMAGE Festival, a laboratory of collaboration exchange and learning.

Monday 17 November – DAY 1

5pm – The Evolution of Music Technology at Royal Birmingham Conservatoire

Prof. Lamberto Coccioli (Professor of Music and Technology) and Dr. Simon Hall (Head of Music Technology) present a review of 25 years of music technology at RBC with Q+A
Admission – free
Book Now

6.30pm – Works with electronics developed and performed by RBC’s Music Technology Department Team (with interval)
Admission – £5
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With
Katharine Lam piano
Suzy Purkiss voice
James Dooley, Simon Hall, Joe Wright, Edmund Hunt, Ben Markland electronics and diffusion

Over the past quarter of a century, the department has championed the development of new music through composition, research, commissioning, and supporting the technical sustainability of legacy pieces. We present some of the works from the past quarter of a century to include:

Jonathan Harvey Tombeau de Messiaen
Simon Hall GSOH
Edmund Hunt UNGELĪC IS ŪS
James Dooley Formuls

Tuesday 18 November – DAY 2

5pm – Talk: Oram@100: Daphne Oram, the Oramics Machine, the Mini Oramics Machine
Admission – free
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Tom Richards and Joe Wright

Daphne Oram was one of the first composers in the UK to produce electronic music, co-founding the iconic and influential BBC Radiophonic Workshop. A true technical and musical pioneer, she was the first British woman to set up a personal electronic music studio, and developed the Oramics Machine, to create synthesised sound using graphic means.

Researcher Tom Richards has recreated Oram’s technology for the 21st century with his Mini Oramics Machine, and with RBC’s Joe Wright, he presents his, and Oram’s work.

6.30pm – Oram @ 100: the Mini Oramics Machine at RBC
Admission – £5
Book now

The Mini Oramics Machine was resident at RBC in 2025, and team members were able to utilise its unique way of making music to create pieces. Some of these are presented here, alongside works by some younger musical pioneers.

8pm – A centenary of electronic music pioneers
Admission – £5
Book now

A concert of classic electronic music from centenarian pioneers of composition with technology along with prizewinning works from the British ElectroAcoustic Network. Pieces are presented and diffused by members of RBC’s Music Technology Department

Programme to include:
Daphne Oram Birds of Parallax
Bebe and Louis Barron Forbidden Planet Main Title
Luciano Berio Visage
John Cage Williams Mix
Irving Kinnersley Estuary 2

Sandbox is a new sound art event series for Manchester from Modus Arts, an open and informal gathering where leading sound practitioners share their latest work and meet fellow sound artists, curated by Wajid Yaseen and Vicky Clarke.

The series launches on the 20th of November at the Anthony Burgess Foundation, with artist Kathy Hinde, who will present her new work-in-progress Magnetic Resonance, a trio of illuminated sonic pendulums set into motion by the invisible push and pull of magnetic fields, developed on a research residency at iii (Instrument inventors) in The Hague. Kathy will share her process and inspirations behind the piece, drawn from the mysterious ways birds and other migratory species navigate using the Earth’s faint magnetic field.

Departure is a live performance of music and dance exploring themes of death, ritual and spirit.