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Joseph Hyde’s background is as a musician, producer and composer, working in various areas but in the 90s — and a period working with BEAST in Birmingham, UK — settling on electroacoustic music, with or without live instruments. Whilst music and sound remain at the core of his practice, collaboration has since become a key concern, particularly in the field of dance. Here he works both as a composer and with video, interactive systems and telepresence, in large scale projects such as me and my shadow and danceroom Spectroscopy.
His solo work has broadened in scope to incorporate these elements, and he has made several audiovisual “visual music” works, and has written about the field, recently completing a project on the unique musical notation used by Oskar Fischinger. Hyde also works as a lecturer / academic, as Professor of Music at Bath Spa University (UK), where he teaches in the BA Creative Music Technology, runs the MMus in Creative Sound and Media Technology and supervises a number of PhD students. Since 2009 he has run a symposium on visual music at the university, Seeing Sound.
Hyde’s work has recently involved a return to analogue technology, which he last used extensively in the late 90s, when he used the Moog modular at Dartington College (UK) and Buchla and Serge instruments at EMS in Stockholm to make his early audiovisual work Zoetrope. For the last year he has been building a hybrid digital/analogue audiovisual synthesiser, and developing a language of complex polar lissajous patterns (influenced in part by techniques derived from the early work of John Whitney) using a variety of analogue vector monitors, including hacked Vectrex consoles (made by MB Games in the early 80s). It is this aspect of his work he hopes to develop during his time at Signal Culture.
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