UPDATES

news / selected activities
 
 
today March 15, 2016 - Keynote presentation (co-presented with Raymond MacDonald), at the Sempre conference, "Music - Education - Technology (MET2016)", Senate House, University of London.

today January 16, 2016 - Moderator, panel discussion at "Concurrent: Improvisation across disciplines", Edinburgh College of Art (ECA), University of Edinburgh.

chat January 5, 2016 - Article published: Adam Linson, Chris Dobbyn, George E. Lewis, and Robin Laney (2015), "A Subsumption Agent for Collaborative Free Improvisation", Computer Music Journal 39:4, pp. 96-115.

today December 16, 2015 - Presentation, "Designs on interaction: Insights from natural and artificial systems", at the Sonic Arts Research Centre (SARC), Belfast.

today November 26-29, 2015 - Performances at GIOfest VIII, including my composition "E.L." (2007/2008), with the Glasgow Improvisers Orchestra and special guests Marilyn Crispell, Keith Tippett, Maggie Nicols and Corey Mwamba, at the Centre for Contemporary Arts (CCA), Glasgow.

today October 10, 2015 - Performance, "ijereja, Minoan priestess music for ensemble", open-notation digital opera composed by Lauren Redhead, at the St Laurence Church, London, UK.

today October 7, 2015 - Presentation, "Deep waters: The sea of innumerable affordances in musical improvisation", Royal Music Association Colloquium, at the University of Glasgow, Glasgow, UK.

today September 30, 2015 - Presentation, "Shifting perspectives: From veridical to reliable perception across physical and aesthetic contexts", Philosophy, Psychology and Informatics Group (PPIG) seminar series, at the University of Edinburgh, Edinburgh, UK.
 
 
PRESS
HIGHLIGHTS
PRESS
HIGHLIGHTS
 
 
on Figures and Grounds, psi, 2011
 
 
“This is radical music in the best sense, taken back to basics but to basics that are relational in essence. [...] Figures and Grounds is a beautiful and sensuous record.”
Brian Morton, Point of Departure
 
“What I admire most about Figures and Grounds [is that] electronics heighten the visceral sting of their acoustic found sounds, but without the musicians relying on electronics to do the work for them, or worse, allowing electronics to paint a homogenised gloss over the music.”
Philip Clark, The Wire, UK
 
“The four players deliver a vibrant, free-flowing session. [...] As an exemplar of the use of electronics and processing with a small improvising group, Figures and Grounds is a great success.”
John Eyles, All About Jazz
 
“La réactivité, l'attention, la spontanéité et la richesse des propos et des interventions surprennent et envoutent par leur force émotionnelle, leur richesse structurelle et texturale, ainsi que par leur caractère aventureux. [...] Spontanée, chaleureuse, intense et profonde, une musique très énergique qui accèdent à des territoires riches et nouveaux.”
Julien Heraud, Improv Sphere, France
 
“Bien évidemment, la qualité des sons s’avère prépondérante : parfois rugueux, grinçants, métalliques, « industriels », parfois cosmiques, profonds, toujours disposés sur plusieurs plans, des plus proches aux plus lointains. [...] Pour auditeurs hardis, aventureux et passionnés.”
Jean Buzelin, CultureJazz, France
 
“Det är ovanligt öppet, flytande och inbjudande. Samtidigt som alla musiker hela tiden tar sin konst på djupaste allvar utan allt flams.”
Thomas Millroth, Soundofmusic, Sweden
 
 
on Integument, psi, 2009
 
 
Casserley and Linson “open up impressive vistas.”
Julian Cowley, The Wire, UK
 
“This studio meeting delivers a wide range of surprising (and often gritty) textures. A difficult though rewarding listen.”
François Couture, Monsieur Délire
 
“The buzzing intensity this duo creates is just the ticket.”
Jason Bivins, Signal to Noise
 
“An entrancing effort that stands out in radiant colors among similar undertakings of this ilk.”
Glenn Astarita, All About Jazz
 
“Ecco un esempio da non perdere di quintaessenza della musica elettro-acustica!”
Francesca Odilia Bellino, All About Jazz Italia
 
“Casserley et Linson transforment le temps et l'espace et plusieurs écoutes successives n'en altèrent le rayonnement multidimensionnel. Fascinant.”
Jean-Michel Van Schouwburg, Improjazz, France