news / selected activities
chat December 2, 2016 - New CD available for pre-order: Trio - Arthur Bull (g), John Heward (d), Adam Linson (b). Studio recording of acoustic trio improvisations (AM 229).

today November 24-26, 2016 - Performances at GIOFest IX, the 9th International Glasgow Improvisers Orchestra Festival, at the Centre for Contemporary Arts (CCA), Glasgow.

today September 7, 2016 - Performance with Evan Parker, Matt Wright and Sam Bailey, at the Vortex Jazz Club, London.

today August 21-23, 2016 - Performances at Fete Quaqua (festival), with Chris Burn, Lawrence Casserley, Alice Eldridge, Charlotte Hug, Julie Kjaer, Stefan Keune, Edward Lucas, Martin Mayes, Maggie Nicols, John Russell, Paul G. Smyth, Ståle Liavik Solberg, Ute Wassermann and Mia Zabelka, at the Vortex Jazz Club, London.

today July 27, 2016 - Performance with Sue McKenzie, Paul Elwood and Rick Bamford, at the The Jazz Bar, Edinburgh.

chat July 13, 2016 - Book chapter published: Adam Linson (2016), "Machine art or machine artists? Dennett, Danto, and the expressive stance", In V. C. Müller (Ed.), Fundamental Issues of Artificial Intelligence (Synthese Library). Berlin: Springer, pp. 441-456.

today July 8, 2016 - Conference presentation (with Eric Clarke), at the 14th International Conference on Music Perception and Cognition (ICMPC), Hyatt Regency, San Francisco.

today June 16, 2016 - Perfomance, "ijereja, Minoan priestess music for ensemble", open-notation digital opera composed by Lauren Redhead, at the Barclay Viewforth Church, Edinburgh.

today June 12, 2016 - Performance of my composition "Plasmids" for player piano (Disklavier), at Goldsmiths, University of London, London.

today May 7, 2016 - Performance with Tony Bevan, Armin Sturm and Peter Nicholson, at the Old Hairdressers, Glasgow.

today April 12, 2016 - Presentation, Intermedia Studio, at the Maryland Institute College of Art (MICA) / Peabody Institute, Johns Hopkins University, Baltimore.

today March 15, 2016 - Performance with Steve Beresford, Pat Thomas and Raymond MacDonald, at the I'Klectik Art Lab, London.

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

today February 20, 2016 - Performance with Tony Bevan, Una MacGlone and Neil Davidson, at the Old Hairdressers, Glasgow.

today February 10, 2016 - Presentation, "Unveiling the shared cognitive basis of improvisation in music and beyond", at the Institute for Advanced Studies in the Humanities, Edinburgh.

today January 20, 2016 - Performance with Sue McKenzie and Rick Bamford, at the The Jazz Bar, Edinburgh.

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.
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