Archive for November 2012

TIMECODE David Vorhaus/White Noise

November 20, 2012

White Noise

White Noise.Date: 13-December-2012
Time: 15:00
Location: Leeds College of Music
Speaker: David Vorhaus

Synopsis

David Vorhaus is a pioneer of electronic music. Born in America, he originally studied physics and electronics and worked as a classical bass player with symphony orchestras. In the late 1960s he met Brian Hodgson and Delia Derbyshire from the legendary BBC Radiophonic Workshop, forming the highly regarded electronic rock group White Noise.

As a major experimental musician of this time, Vorhaus built his own instruments including early synthesizers, sequencers and the Kaleidophon, a double-bass-like instrument using four home-made ribbon controllers instead of strings. David Vorhaus has written music for many high-profile TV commercials and themes and film scores (including the sci-fi classic Phase IV). He still performs live under the White Noise mantle. A true musical innovator, David Vorhaus’ thoughts on music, technology and sound design are both pertinent and inspiring.

Additional information wil be available over the forthcoming weeks at http://postgraduate.lcm.ac.uk/leeds-international-festival-innovations-music-production-and-composition

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The technology-image

November 13, 2012

TIMECODE

Felicity Colman

(Manchester Metropolitan University)

Wednesday 14 November 2012, 6pm, On Location, National Media Museum

The activation of technology is contingent upon the human body. But that contingency rests upon not just any body, but upon the specificities of participatory bodies. Connecting Bergson with Foucault we can articulate the matter of the bio-political body whose fate is inevitably linked to its contemporaneous technology. Situation provides the analytic data of this body’s historical issue and nature of participation (what, how, when), but does not answer the god-question of why? With Bergson, I call this body a technology-image among other images. As Foucault identified, technologies of security control the territorial movement and produce of technology-images. These images are locked down into performing their determined fate within collective locations, with and through the actions of other images. This body is no ‘privileged’ body, rather it is just a platform augmenting technology. In action, the technology-image facilitates what individuals call ‘human experience’, but it contributes to the formation of distinct groups of bio-politicized human bodies. This state of the mediatization of life is recorded and narrativized by other images. The questions concerning technology-images, as feminists have activated, involve the predication of social differentiation categories (‘sex’, ‘porn’, ‘DNA’, ‘gender’, ‘race’, ‘nation’), the measurement of change, the implementation of new languages and new laws. Analysis of the situation of technology-images is freely available for participants, yet the image controllers continue to insist on spatialized hierarchies to differentiate and enslave. In this paper, I will examine components of this technology-image through examples of where the perception of social difference is acted out.

Felicity Colman is Reader in Screen Media and Centre Leader of the MIRIAD Media Research unit at Manchester Metropolitan University.  She is the author of Deleuze and Cinema (2011 Berg), editor of Film, Theory and Philosophy: The Key Thinkers (Acumen Publishing 2009) and co-editor of Sensorium: Aesthetics, Art, Life (Cambridge Scholars Press 2007).