The here.here concert series is an ongoing internal and external research led collaboration around multimodal compositional strategies and ways to experience technology in text / music / film / performances. Now on its 5th season, we continue generating momentum in the London and UK experimental music scene: by the quality of our research informed curation, by critically revisiting seminal works (Cage, Oliveros, Ellis), and by bringing together our PhD / undergraduate students, UCA researchers, UK based musicians and composers in contact with our international guests and their work. We do this through our curatorial process, the act of performance and ensuing Q&A, online dissemination of the recordings and our findings through bookRoom and ARC (Audio Research Cluster) websites and seminars, off-site concerts, as well as via the guest composers and Iklectik website and networks.
16 concerts so far (3 or 4 per year), involving 10 international guest composers, over 60 performers from the London and UK music scene, 2 UCA PhD students, 3 undergraduates, 4 researchers, 5 premieres of work.
A co-authored paper in 'Future Humanities' examines the intersection of music, creativity, and society through the lens of a critical and self-critical appraisal of the here.here concert series; ongoing research-led collaboration focusing on transdisciplinary approaches to experimental music with a focus on the socio-politico-environmental dynamics at play between all involved in a musical encounter. We explore how the act of curation influences social and political dynamics, examining its potential to create new ways of interaction and empowerment.
The authors reflect upon three case studies from the last two seasons of the here.here concert series that explicitly focused on the concepts of ‘ventriloquy’ and ‘social virtuosity’ as forms of creative agency: entering into critical dialogue with and giving voice to seminal works (Cage 4′33, Alexander J. Ellis (1814–1890)) for the former and three contemporary pioneers of ‘social virtuosity’—Eva-Maria Houben—Maggie Nicols and Eddie Prevost for the latter. The concept of ‘social dissonance’ is examined, illustrating how it can be used as a catalyst for creative dialogue and solidarity, while also encouraging a deeper understanding of our shared societal dynamics. Finally, the paper introduces the concept of ‘a new social virtuosity’, emphasising the importance of listening, collaboration, and collective intention in creating a shared musical experience that expands beyond the stage to include the audience. It concludes by examining the performance of 4′33 within this context and underscores the power of dissonance as a tool for creative and critical thinking.
