Med hjälp av designbyrån Familjen STHLM har EMS nu fått en ny visuell identitet som hämtar inspiration från de analoga modulärsyntarnas värld med deras kopplingar, vågformer och elektronik.
Detta är resultatet av ett djupgående projekt där Statens musikverk, som EMS är en del av, tagit fram nya varumärkesstrategier för alla sina verksamheter samt låtit ta fram nya visuella identiteter.
With the help of the design agency Familjen STHLM, EMS has now received a new visual identity that draws inspiration from the world of analog modular synthesizers, with their connections, waveforms, and electronics.
This is the result of a comprehensive project in which Statens musikverk, of which EMS is a part, developed new brand strategies for all its operations and had new visual identities created.
Jessica Sligter is a composer, musician and textwriter, whose work exists in the borderlands between genres, in a conceptual and experimental space.
With a background blending influences such as improvised music, shapenote singing, conceptual visual arts, and abstract electronic music, Sligter's work is characterized by an examining and re-arranging of metaphysical musical building-blocks.
Her releases include 'Polycrisis:yes!' (2018, Butler & Butler), A Sense Of Growth (2016, Hubro), and ‘Untitled #2/The Mute’ med Wilbert Bulsink (2018, Unsound).
She's written commissioned works for among others Ensemble neoN, Tøyen Fil og Klafferi, and Oslo14.
Photo by Jenny Berger Myhre
Nick Fells is a composer and sound artist based in Glasgow, Scotland. He works with computer-mediated sound, using spatial audio processing to create textured and layered sonic environments that aim to bring audience, performers and composer together in the same frame of listening. He grounds his work in listening as active social experience, as a way of creating space to reflect, breathe, and dream, and to connect to environment.
Fulya Uçanok is an electroacoustic musician and pianist; composing and improvising. Her work takes forms of composition, score-based or improvised performance, and artistic research. In her practice she works with everyday objects, acoustic pianos coupled with a variety of objects (utilizing inside-piano technique), electronic processing, generated electronics, and field recordings.
Her interest lies in sympoietic response-able sonic practices with humans, more-than-humans, and physical materials (musical instruments). Currently her practice focuses on instrument-human collaborations, through new materialist and feminist strands of thought.
She investigates interfaces of relation within social sound engagements focusing on embodied explorations for listening, performance and composing; where she explores weaving theoretical, sensory, and movement-based forms of thinking and expression into the sonic process.
Photo by Faith Kucuk
Vilbjørg Broch was born in Denmark in 1967, and returned there in 2019 after almost 30 years in Amsterdam. In the Netherlands she studied dance and improvisation at the SNDO, School for New Dance Development, in Amsterdam. She studied classical voice with coloratura soprano Marianne Blok for more than a decade and has worked in multimedia projects of all sorts and sizes over the past 30 years.
Her activities in computer music are foremost algorithmic
and based on mathematics and her studies of pure mathematics have been quite systematic over the past
20 years, and are ongoing. Vilbjørg has become particularly interested in algebra, algebraic geometry and group theory. In spatial audio she is especially exploring large digital waveguide meshes, which she models from higher dimensional algebraic and geometric structures and then project onto 3D. These structures become both spatialization, resonance and instrument.
The work, which will take place at EMS, will be centered around a few long running spatial audio projects. One of them is algorithmic synthesis, composition and spatialization using the mathematical object the ‘E8’.
This is a famous object of fabulous and gigantic symmetries which lives in 8 dimensions. It offers many possibilities and approaches and it could be some sort of a lifelong project to try to fathom and explore the structure of the E8 - and its projections - in computer music.