Here are some highlights from 2017:
Peyee Chen in Parlour Sounds, Edinburgh International Science Festival, Summerhall, Edinburgh 2017
The year began working on the theatrical multimedia performance Parlour Sounds with Peyee Chen, Scottish Ensemble Red Note and musicians from the Conservatoire de Paris' Diplôme d'artiste interprète programme at the lovely Woodend Barn in Banchory, and presenting a workshop version as part of their Sound Series, thanks to funding from Sound and Music and Diaphonique. The performance was premièred in the Spring at the Edinburgh International Science Festival and reprised at the Conservatoire de Paris, receiving a five-star review from the Scottish Herald.
Much of the rest of the summer was spent co-editing a special edition of Array, the yearly publication of the International Computer Music Association, alongside live-coder and researcher Shelly Knotts. This edition highlighting feminist perspectives on computer music practice was released in hard copy at the 43rd International Computer Music Conference/6th Electronic Music Week in Shanghai in October, and will be available in a new digital release for ICMC 2018 in Daegu.
In the Autumn, I worked with Explore Ensemble and Konstantin Leonenko in creating a new system to mechanically excite the strings of the piano, and composed a new work for it, Tracer la lune d'un doigt, premièred by Explore in the Huddersfield Contemporary Music Festival. Once again, the British press looked kindly on my work.
Trying out a prototype of the piano excitation system, with Nicholas Moroz and members of the Explore Ensemble, Goldsmiths, October 2017