Brian O'Reilly 

is the creator of various works for moving images, electronic/noise music, mixed media collage, installation, and is a contrabassist, focusing on the integration of electronic treatments and extended playing techniques.

Brian O'Reilly attended the School of the Art Institute of Chicago on a scholarship for sculpture, following his studies in Chicago he relocated to Paris to study the composition methods & techniques of the composer and architect Iannis Xenakis. During this time he worked extensively with Iannis Xenakis' electronic music system utilizing graphic sonic synthesis the UPIC. After a time of research at Les Ateliers UPIC, he received an appointment as the studio's Musical Assistant, during which he worked with Luc Ferrari on his audio and video installation Cycle Des Souvenirs, and Eliane Radigue on her electroacoustic work L'Ile Re-sonante.

He pursued graduate studies in MAT (Media Arts and Technology) at the University of California, Santa Barbara, then worked as operations manager of Recombinant Media Labs in San Francisco, and is now teaching music composition, technology and sonic arts in Singapore.

He has worked on projects with Eliane Radigue, Luc Ferrari, Matmos, Maryanne Amacher, Fe-Mail, William Basinski, Francisco López, Garth Knox, Steina and Woody Vasulka, amongst others...

He also regularly performs and collaborates on projects with Curtis Roads, Iron Egg and Zbigniew Karkowski.


The DVD of his work with Curtis Roads "POINT LINE CLOUD" is available thru Asphodel records, and "SPECTRAL STRANDS" with Garth Knox will soon be released as a part of Wergo's ZKM edition.


"In trying to trace the tangled threads which make up the methods of how I approach constructing a particular work.  I am drawn frequently to a continuation on a conceptual line of thought first developed by Paul Klee as "Andacht zum Kleinen" (a devotion to small things).  From the study of the miniscule, the slightest detail, the smallest manifestation of form within the every day landscape/soundscape, it is possible to understand (in Klee's words) the "magnitude of natural order".  Thus, from a study of minutiae and its interrelationships, one can deduce the unseen outlines of complex forms..." - Brian O'Reilly


Source: Vimeo



Brian O'Reilly, super collider, software


Notation. Calculation and Form in the Arts (2008) is a comprehensive catalogue (in German) edited by Dieter Appelt, Hubertus von Amelunxen and Peter Weibel which accompanied an exhibition of the same name at the Academy of the Arts, Berlin and the ZKM | Karlsruhe. (ZKM)

META/DATA: A Digital Poetics (2007) by pioneering digital artist Mark Amerika mixes (and remixes) personal memoir, net art theory, fictional narrative, satirical reportage, scholarly history, and network-infused language art. META/DATA is a playful, improvisatory, multitrack digital sampling of Amerika's writing from 1993 to 2005 that tells the early history of a net art world gone wild while simultaneously constructing a parallel poetics of net art that complements Amerika's own artistic practice. (The MIT Press)



Ryoji Ikeda (*1966) is one of Japan's leading electronic composers and focuses on the minutiae of ultrasonics, frequencies and the essential characteristics of sound itself. His work exploits sound's physical property, its causality with human perception and mathematical dianoia as music, time and space. Using computer and digital technology to the utmost limit, Ryoji Ikeda has been developing particular microscopic methods for sound engineering and composition. (Ryoji Ikeda)

Bob Sabiston (*1967) is an American film art director, computer programmer, and creator of the Rotoshop software program for computer animation. (Wikipedia)

av00 (2011) by Fredrik Olofsson are audiovisual experiments with SuperCollider. Made in preparation for the workshop MediaMassage. 100 narrow bandpass filters spread exponentially between 200 and 6000Hz. All with individual amplitude tracking that are simply mapped to the colour of 100 rectangles. (Fredrik Olofsson)

Ryoichi Kurokawa (1978) composes time based sculpture with digital generated materials and field recorded sources, and the minimal and the complexities coexist there. Ryoichi Kurokawa accepts sound and imagery as a unit not as separately, and constructs very exquisite and precise computer based works with the audiovisual language. That shortens mutual distance, the reciprocity and the synchronization of sound and visual composition. (Ryoichi Kurokawa)

Audiovisuology: See this sound (2010) - An Interdisciplinary Compendium of Audiovisual Culture. This all-embracing compendium brings together texts on various art forms in which the relationship between sound and image plays a significant role and the techniques used in linking the two. The entire spectrum of audiovisual art and phenomena is presented in 35 dictionary entries. (Cornerhouse)