9 04 2009

Thursday, April 23, 2009 @ 9 PM @ DOX

Computer-vision technology to manage sonic and spatial evolution in sound

When sufficient tension exists between a shape and its identity, the spectators’ preconceptions of the shape’s meaning is challenged. The tight conspiracy between perception and language is broken, and perception becomes biased and fallible. This forces us to modify, adjust, convert, and redesign our assumption causing us to acclimatise, accommodate, attune, and orient ourselves with the purpose to cultivate and acculturate to the changing conditions. The impact is potentially unbounded, in which case it may threaten to dissolve our singularity into an atomic cloud of profuse reality. Procedure: Slowly evolving tracing the contour of the author’s almost motionless hands transforms silence into a sonic shapes and subsequent musical frames of meaning.


Lars Graugaard is a composer, flautist, and lecturer with a PhD in the artistic and technological challenges of interactive music and multimedia from Oxford Brookes University. He has more than 160 compositions in all genres to his credit, regularly performed in Europe, Asia, Australia and the Americas. He has composed works for stage and cinema, and participates as composer and/or flautist on over 40 CDs for dacapo/Marco Polo, Classico, Centaur, EMI, SONY Classical, CBS, and others. Lars regularly publishes peer-reviewed papers. Consequently, his artistic vision and musical understanding lets him move freely between sophisticated surroundings and popular culture, and his production therefore comprises digital experiments into the latest trends of interactive music, installations and cross-modal forms, as well as popular projects and compositions in the modernistic European tradition from large-scale orchestral pieces to chamber music. Recent endeavours have brought him the vicinity of experimental real-time electronica, with a variety of international projects.