Artist/ Marcus Dyer

Bristol, United Kingdom

Followers 5 / Following 8

theskyisthinaspaperhere

Marcus Dyer

Musician / sound artist / sound engineer / technician / programmer.

introduction

The 'Rules' which govern standard musical harmony are often so prescriptive that they are conceptually little different to a computer program. This begs the question, why not just use a computer program to compose?

Marcus is a Bristol-based sound artist, musician and sound engineer. A former Sound Technology student at Paul McCartney’s world-renowned Liverpool Institute for Performing Arts, Marcus has enjoyed an eclectic career, having worked with cult bands and musicians including Matt Elliott (aka Third Eye Foundation, Domino Records / Ici D’Ailleurs), Manyfingers (Ici D’Ailleurs) and Soe’za (upcoming release, Gringo Records). In recent years, he has worked on several sound art pieces including contributions to group exhibitions (‘Hope and Poverty’ exhibition, Paintworks, Bristol, 2012) and collaborations with visual artists Pilar Cortes and Helena Hernandez (Southville Arts Trail, Bristol, 2010 ; Limitrofe: Crossing Borders, El Arbor Gallery, Valencia, Spain, 2011). Most recently, he has been exploring generative and procedural music through a reawakened interest in programming. In 2013, he was awarded a Fascinate Digital Arts grant from Falmouth University to develop a generative/procedural music application and take part in the 2013 Fascinate Conference & Showcase. Marcus is interested in how visual and aural senses can interact to create a sense of space and be used to invoke an emotional response. His work also explores authenticity and how we value creative works - why some tools become almost disparagingly classed as ‘technology’ while others are elevated as ‘instruments’ - challenging what he sees as a false dichotomy between art and technology.

What's Happening

Verisimilitude I  videoOutstanding

Showcase

Experience

Marcus is a Bristol-based sound artist, musician and sound engineer.

A former Sound Technology student at Paul McCartney’s world-renowned Liverpool Institute for Performing Arts, Marcus has enjoyed an eclectic career, having worked with cult bands and musicians including Matt Elliott (aka Third Eye Foundation, Domino Records / Ici D’Ailleurs), Manyfingers (Ici D’Ailleurs) and Soe’za (upcoming release, Gringo Records).

In recent years, he has worked on several sound art pieces including contributions to group exhibitions (‘Hope and Poverty’ exhibition, Paintworks, Bristol, 2012) and collaborations with visual artists Pilar Cortes and Helena Hernandez (Southville Arts Trail, Bristol, 2010 ; Limitrofe: Crossing Borders, El Arbor Gallery, Valencia, Spain, 2011). Most recently, he has been exploring generative and procedural music through a reawakened interest in programming.

In 2013, he was awarded a Fascinate Digital Arts grant from Falmouth University to develop a generative/procedural music application and take part in the 2013 Fascinate Conference & Showcase.  Marcus is interested in how visual and aural senses can interact to create a sense of space and be used to invoke an emotional response.  His work also explores authenticity and how we value creative works - why some tools become almost disparagingly classed as ‘technology’ while others are elevated as ‘instruments’ - challenging what he sees as a false dichotomy between art and technology.

A selection of Marcus’ work is available from:

www.theskyisthinaspaperhere.co.uk.

Education / Qualifications

09/01/2002 - 07/01/2005

Liverpool Institute for Performing Arts

Qualification:

BA (Hons) Sound Technology (2:1)

Location:

Liverpool

Education / Qualifications

09/01/1999 - 07/01/2001

Weston College

Qualification:

BTEC National Diploma Music Technology (distinction grade achieved in all modules)

Location:

Weston-Super-Mare

Constellation generativeprocedural music applicationOutstanding

blog

Composition and Generative Music

The ‘rules’ which govern standard musical harmony are often so prescriptive that they are conceptually little different to a computer program. This begs the question, why not just use a computer program to compose?

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KeyFact

Excellent audio recording

KeyFact

mixing

KeyFact

mastering and editing skills.

KeyFact

Dynamic: both highly creative and able to focus on technical details.

KeyFact

A jack-of-all-trades and master of many.

Dream Job

Something which combines music

Dream Job

sound

Dream Job

programming and whatever else is obsessing me at any moment.

Work Availability

Available for

Full-Time, Part-Time, Consulting, Freelance, Commission / One-off