Composer-performer spanning live electronics, free improvisation, noise, electroacoustics, and Arabic musics.




fig-2: 48/50
Seth Ayyaz: Listening Through a Beam of Intense Darkness

30 Nov–6 Dec 2015

At ICA Studio and Theatre, London
in association with Outset
Opening Monday, 6 – 8pm

Seth Ayyaz has been commissioned to create a new configuration of work, which marks the fourth and final expansion of fig-2 into the premises of the ICA Theatre alongside the ICA Studio. Ayyaz brings together three significant strands of his practice into a new formulation: an installation of his multi-channel AAdM Listening system, two electroacoustic concerts, and a specially commissioned publication, as well as supporting events.

For his first solo exhibition Listening Through a Beam of Intense Darkness, Ayyaz connects two distinct spaces, unfolding two different experiences of listening. Transforming the ICA Theatre into a forest of sounds, he uses the AAdM system to carve paths for the audience to walk through and immerse themselves in the experiences of listening. In the Studio, Ayyaz provides an alternative experience of using the same self-regulating system, which responds to the change of architecture and acoustics. The installation will be active during the week, complemented by two performances of a triptych of electroacoustic works. These critically address both Islamic sonic culture and current Orientalist fantasies that construct it as an alterity.

The two concerts ‘On the Admissibility of Sound’ include ‘Makharej’ which emerges as a trajectory through the Arabic letters; ‘The Remainder’ as an investigation into medieval number theory and algorithm; and ‘the bird ghost at the zaouia’ as a conversation about religious debates and place. Taking up an expanded notion of listening, artist Lisa Skuret will realise a listening laboratory on Saturday. On the same day a discussion between the composer Seth Ayyaz, artist Lisa Skuret, musicologist Zeynep Bulut, composer and theorist Erik Nyström, and fig-2 curator Fatos Ustek will contextualise the topics raised through the week ranging across notions of cognitive opacity/translucency and the concept of ‘listening without a listener’.

A specially commissioned publication will accompany the project.

This project has been realised with the generous support of the Arts Council England.

More information

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Evolution Isn't Fast Enough: A Call from the Library

Saturday 6 – Sunday 7 September 2014

Evolution Isn’t Fast Enough: ‘A Call from the Library’

Live installation (durational performance): Saturday 2-8pm and Sunday 2-6pm

A Call from the Library is a group exercise in ‘listening to’ and ‘playing’ the public library not just as a building, but as a concept, utopian project, and place of knowledge production. The ‘score’ is the former public library itself.

Performed in various locations in a former library, A Call from the Library is a collaboration between artist Lisa Skuret and sound artist Seth Ayyaz, stemming from a week long ‘field-writing’ exercise in the former Rose Lipman Library building. Through their different practices, they will build an open system to listen to rooms and architectural spaces, and in effect play them sonically and textually. The results of their research activities in the library will be a ‘live installation’ or duration performance; a weekend long continuation of the field-writing process in which the building will begin to ‘speak’. During the weekend, Skuret and Ayyaz will be joined by sonic collaborators Guy Harries, and Kay Grant.

(former) Rose Lipman Library
43 De Beauvoir Rd
London N1 5SQ

A Call from the Library forms one strand of Communal Materials; Or, Evolution Isn’t Fast Enough – a project by Lisa Skuret.

Supported by Arts Council England.



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Receptive Field Study No.1

SUPERNORMAL FESTIVAL | Saturday 9th August 2014

For this year’s Supernormal solo performance, I’m previewing ‘Receptive Field Study No. 1’. This brings together two different strands of my work – experimental middle-eastern music with neuroscience-informed system design. Over the past fifteen years I’ve been collecting field recordings of Islamic ritual spaces from  travels across the MENASA region; mostly from Morocco, Egypt, Lebanon and Syria. Some of these may be familiar from ‘the bird ghost at the zaouia’. There is an idea of accumulation – these (and other) recordings are revisited and reheard as a kind of mnemonic palimpsest.

These memories will be deployed, forming activated traces of places and sounds displaced into the supernormal festival. They will be passed through my developing system. Built in the supercollider synthesis language, is based on AAdM (Audio Adaptive Machine) which extracts perceptual features from its input fields. In this case, input is from real-time performance with dafs (Islamic frame drums), nay (Sufi flute) and various objects, played with a variety of extended techniques. and the field recordings. These feed’s receptive fields, cross-reacting the Islamic ritual spaces with the live instruments in a site specific improvisation. The system outputs to a 7.1 multi-speaker system which will be set up in The Barn to create an immersive and uneasy listening.


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Conspirators of PleasureTour 2014

15 March – 8 May 2014
Usurp Chance Tour 2014 – Cage and Beyond

Usurp Art Gallery presents two dynamic, ensemble performances, exploring perceptual concepts of chance, time, listening and humour, and the breadth and parameters of improvisational approaches in new music.

“Indeterminacy” was originally recorded in 1959, with John Cage reading aloud 90 stories, each lasting one minute. For this performance, Stewart Lee assumes Cage’s role accompanied by contemporary pianists, Tania Chen and Steve Beresford improvising on pianos and objects. “Humour and existentialist melancholy co-exist, perching on a knife-edge.” Gramophone.

“The Conspirators of Pleasure” featuring Poulomi Desai (augmented sitar), Simon Underwood (modified, toys + electronics) and Seth Ayyaz ( daaf + electronics), create improvised soundscapes, twisting technology and transforming organic sounds into eerie calls with intense waves of noise, pulsating rhythms and melancholic, lyrical interplay.

The performances draw upon contemporary narratives of, the role of the performer as composer; control, response and liberation in shared music-making, and, extricate the sonic and political potency of instruments, subaltern identities and recycled objects. Produced by Usurp Art Gallery in partnership with Sound and Music. Programmed by Poulomi Desai.

Dates, venues & more info

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Urban Sounds festival Basel

19 October 2013
Urban Sounds festival
Haus Für Elektronische Künste Basel, Switzerland

Performing at the Urban Sounds festival on the 19th of October 2013 as part of the weekend programme: Mechanise. Space and Time

Saturday October 19,
8.30 p.m., Performance of The Remainder (Seth Ayyaz)
The performance of the piece The Remainder of Seth Ayyaz thematises the problem of the invisible number that was formulated in medieval Islam mathematics. Starting with a pulse of 823,543 beats (7^7), the pace is continuously slowed down (by divisions with the number 7), until the pulse comes to a stand still at a beat of 7 beats. Ayyaz uses this algorithm to structure the sound objects of instrumental and vocal sounds created by him and electronically edited, and projects these through 8 channels across the room.

Haus Für Elektronische Künste Basel, Switzerland

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The Sabine Equation, Kunsthalle Luzern

July 20 – August 4, 2013
Kunsthalle Luzern, Switzerland

Protocol #2: The Sabine Equation

Seth Ayyaz (Sound Installation)
Virginie Otth (Photography)

Wallace Clement Sabine (1868 – 1919) was a physicist in Harvard whose pioneer work on sound reverberations has been a crucial contribution to the scientific recognition of architectural acoustics. He was involved in various experiments in relation with the propagation of sounds waves in theaters and auditoriums and put together an equation that is still in use for anticipating the reverberation of acoustic events. This mathematical question works mainly as an excuse for presenting an overshadowed aspect of Sabine’s legacy, namely his groundbreaking use of photographic productions.

By using a technique commonly referred to as Schlieren Methode, he managed to fix the light refracted by sound waves emitted in models of theaters. Once materialised on these documents, it was possible to isolate and classify the effects of acoustic events in a given space. He was able to transform the fluctuation of acoustic flux into tools of knowledge. By marking their distinct features on photographic plates, aural phenomenon left their archaic consonances for entering the modern regime of visuality.

To this effect, Wallace Clement Sabine’s representations allow to surface the interferences, reverberations, echoes and other vibrations embedded into photographs. Thanks to their mere presence, these ghostly silhouettes are also an attempt to poetically recharge photography at a time when it seems to have unveiled all its mysteries for want of being overexposed.

Through this dialogue initiated between Seth Ayyaz (sound installation) and Virginie Otth (photography), Protocol #2 : The Sabine Equation follows the lines of equivalence between aural and visual perceptions.

Joël Vacheron


Kunsthalle Luzern, Switzerland

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Configuring the Potential

Thursday 11 July, 7pm
Parasol Unit, London

Configuring the Potential: A Response to Merlin James

For this evening of live performance, artist & writer Lisa Skuret and musical collective Automatic Writing Circle [AWC] will respond to the themes of memory, tradition and structure in the show through inter-related performances.

Activating alternative readings of Merlin James’ work, Skuret engages the exhibition space through Live Diagramming (2012- ), a participatory performance concerned with reconfiguring how one reads and writes both the text accompanying an exhibition, and the experience of work within a particular setting. The performance investigates forms of knowledge that could be regarded as tangential or superseded, to co-create a new fictional force at play. This will be followed by AWC’s response developed in collaboration with Skuret. Working at the intersection between the visual and sonic in Skuret’s and James’ work, AWC will create extended musical structures which explore the borders with non-musical sound, mediated by a shadow-based electronic instrument. Curated by Louise O’Kelly and Fatos Ustek

Parasol Unit
14 Wharf Road
London N1 7RW

Tickets £6/£5 concessions

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Seth Ayyaz, TheRemainder (2013)

THE REMAINDER by Seth Ayyaz (8 channel fixed electroacoustic)
Recorded Performances: Seth Ayyaz (daf, santur, breath), Amira Ghazalla (vocalisations, breath)

Tuesday 4th June 2013, 7pm (event will start promptly) FREE
City University London Concert Series

Jasper & Jasper ~ Quakea (Live electronics)
Seth Ayyaz ~ The Remainder (Acousmatic, 8 channels, UK premiere)
Marco Stroppa ~ Hist Whist, for violin and electronics (UK premiere)
Ambrose Seddon ~ Pellere (Acousmatic, 8 channels, London premiere)

Violin: Aisha Orazbayeva
Sound Projection: Marco Stroppa, Ambrose Seddon, Seth Ayyaz

Performance Space (ALG10), College Building
City University London
St John Street


THE REMAINDER, Programme Notes:
“Allah’s remainder (is) best for you if you are believing, and I am not with a protector/observer on you.” Qur’an 11:86

But who is this who leaves behind a remainder? Is he other than the One, the Almighty of La ilaha illa Allah? There can never be any remainder for Him.

In medieval Islamic mathematics THE REMAINDER is the number that is left over after all the operations of division have been completed, it is the smallest of the divisor, dividend and quotient, and cannot be divided further. This has echoed within Islamic debates; the remainder is contentious. If it is that which is left over, it threatens the ‘Wahdaaniyyah’, the Unicity of God, since there is only one substance, one God, nothing may remain. For others, that which remains points to something hidden, unrevealed.

There were a number of ideas entwining when constructing this piece. Towards the beginning of Pierre Schaeffer’s In Search of Concrete Music, he laments the lack of success in imposing metrical compositional techniques onto the materials he had amassed onto his discs. This is now avant-garde history. I was interested in the organisation of material using a hidden structuring operating outside of the gestural implications inherent at the level of the sound objects. This structure is a lattice based on divisions of 7. Beginning with the square of 7 (823543), the pulses and wavelets are so fine and fast as to exceed our capacities to perceive individual events. They merge with breath, ‘nafas’ that symbolises the originating impulse to life. This number is systematically divided by seven, and used to parametise the algorithmic synthesis processes and temporal flows, through seven sections, down to the final statement of a seven beat (aksak) dance rhythm estranged from the body, terminating with a unitary daf strike. Like the daf, the santur is a highly symbolic instrument. The instrument was performed with extended techniques and ‘enhanced’ via physical modelling that detunes the original (segah) maqam with unnatural harmonics derived from divisions of 7.

THE REMAINDER is what is left over, it implies a third point, a triangulation that exceeds binary thinking.

The piece was first performed at the Haus der Berliner Festspiele, as part of Maerz Musik Festival 2013. Special thanks are given to the Composer/Curator Oliver Schneller, and the Festival Director Mattias Osterwold.

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Maerz Music Festival 2013

15 – 24 March 2013

Festival of Contemporary Music
Berlin, Germany
Festival website


As part of programmes on 24 March 2013:

Electroacoustic Music: Pioneers / The new generation

Break & Change: International Symposium

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March 2013   Essay in <em>On Listening</em> edited by Angus Carlyle and Cathy Lane.

The book launch will be part of IN THE FIELD symposium at the British Library, London.


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04 – 08 December 2012

Beirut, Lebanon (98 Weeks Project, Ashkal Alwan, Batroun Projects)

With Yane Calovski, Klas Eriksson, Sara Giannini, Per Hüttner, Jacopo Miliani, Marco Pasi, Natasha Rosling, Claudia Squitieri, Samon Takahashi, Fatos Ustek, Stephen Whitmarsh; and Amanda Abu Khalil, Mounira Al Solh, Mirene Arsanios, Marwa Arsanios, Seth Ayyaz, Monika Borgmann, Chaza Charafeddine, Lawrence Abu Hamdan, Sandra Iché, Ilaria Lupo, Ghassan Maasri, Jean-Marc Nahas, Nora Razian, Karine Wehbe, Raed Yassin.

Curated and organised by Sara Giannini & Fatos Üstek

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Thursday 2 August 2012

a one night performative event questioning notions of dystopia/utopia
With a specially commissioned 4 channel sound piece by Seth Ayyaz.
Past Vyner Street Project Space
1 Corbridge Crescent
London E2 9DS
8.00pm, Free
map →
You’re a freebooter. An obstruktionist and a hacker. A nomad without privateer. You’re looking for a place. A terra incognita, a TAZ or a PAZ. Mental. Virtual. Material. You’ll stand by to board. You’ll collect a loot. You’re Calico Jack, Jukes and Kallikaks, Rackham and his women-pirates crew. You’re going to occupy this empty flat. You won’t have a map. You’ll be at the black market of those who hunt and harvest in a TechnoCom world. You’re somewhere. You’re going to think « marmalade yesterday, marmalade tomorrow but never marmalade today ». You’ll hop back on your caravan and leave to Libertalia.

Taking place over one night, OBSTRUKTIONIST questions notions of ownership and dispossession as they relate to and negotiate boundaries in the way space, image and identity merge to form a matrix of possibilities within which a subject performs one’s agency. Having taken place at two alternative venues in Switzerland, the London event will unfold into an assemblage of spatial and audio-visual apparatuses creating temporary oblique spaces and multiple suspended temporalities. Using the “Search by image” tool on Google, the contributing artists have been asked to research, select and collect series of images that relate to the idea of a utopian space, tackling the frontiers of ownership and dispossession of images as enacted by the search engine. Can such a space be created? Who owns its representation? Can we claim this imaginary back? Assembled into a continuous projected loop, these images thus produce the baroque cartography of a space of dissension and interruption, standing on the verge of utopia and dystopia.

For its Past Vyner Street edition, the collective visual mapping produced by the 23 different sequences will interact with a sound piece produced by sonic artist and composer Seth Ayyaz, translating the visual methodology developed for OBSTRUKTIONIST into the field of aurality, hence questioning the audio-visual realm and its artefacts.

With the artists Seth Ayyaz, Ghislain Amar, Antoine Aupetit, Fanny Benichou, Claude, Lauren Currie, Eduardo Cruces, Lucile Dupraz, Emilie Guenat, Veronika Hauer, Rachael Kaplan, Bénédicte Le Pimpec, Anna Luczak, Lauris Paulus, La Raie, Nicolas Raufaste, Marie-Luce Ruffieux, Nicolás Rupcich, Deniz Soezen, Matthias Sohr, Rudolf Steckholzer, Maria Taniguchi, Léonie Vanay, Cristian Valenzuela, Adrien Vauthey, Niels Wehrspann

Curated by:
Laurence Wagner, Adeena Mey and Nicolas Brulhart

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Monday 28 May 2012
Perpetual Triangle of Sound, Vision and Movement
Servant Jazz Quarters
8.00pm, £5
10a Bradbury St,
Dalston, LONDON N16
map →

A multimedia performance creating enigmatic, magical and ritualistic space.
Yumi Hara Cawkwell (vo, p), London
Guy Harries (vo, fl, electronics), London
Seth Ayyaz (nay, daf, electronics), London
Decalco Marie (dance), Japan
Tsuneo Ogura (video projection), Japan
Yoshinori Motoki (found object and electronics), Japan
Rabito Arimoto (trumpet), Japan

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January 2012
‘Four Figures (low resolution) and a Technique of Extraction’, Lisa Skuret
A piece on the birdghost at the zaouia by Lisa Skuret in NOWISWERE Contemporary Art Magazine, Issue 10, 2012.

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bird ghost at the zaouia
the bird ghost at the zaouia
a multi-channel sound installation

October 31 – November 5, 2011
Leighton House Museum
Free exhibition
Museum admission applies

“For the person whose heart has been conquered by the fire of the love of God Most High, music is important, for it makes that fire burn hotter. However, for anyone whose heart harbors love for the false, music is fatal poison for him and is forbidden to him.” (Al-Ghazzali: On Listening To Music)

Between 2002 and 2011, I made many hours of recordings at various zaouia (Sufi shrines), mosques and religious spaces in Morocco, Egypt, Syria, and Lebanon while attending various prayers and ceremonies (dhikr, zar, lilat, adhan, salat, tilawa). At the request of the respective religious leaders, no ‘musical’ material has been used. I found birds, resonant tails, breathes, winds, noise, overheard conversations, and extraneous sounds floating in, sounds that were left behind.

The tensions within Sharia about the permissibility and place of music is long, complex and ongoing. Virtue or poison? As well as engaging debates within Islam, the bird ghost at the zaouia looks outwards, asking questions about sonic orientalisation – tourism that captures the ‘ethnic’ and colonises the ear. The history of Leighton House and its association with the imperial period offers a special context in which to immerse your ears.

Location: Leighton House, 12 Holland Park Road, London W14 8LZ
Opening hours: 10am-5:30pm, closed Tuesdays
Underground: High Street Kensington, Olympia, or Holland Park
Free guided tour on Wednesday at 3pm

More info:
Nour Festival

(Image commission for the bird ghost at the zaouia by Thomas Qualmann.)

7.1 diffusion equipment installed by F1:Sound.

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Thursday, 9 June 2011, 7:30pm – 9:30pm

CRiSAP (Creative Research into Sound Arts Practice) presents:
Sound Art at the Swiss Church in London

Mark Peter Wright, A Quiet Reverie
The Automatic Writing Circle
(Seth Ayyaz, Peter Coyte, Kirsten Edwards, Thomas Gardner, Stephen Preston)
Thomas Gardner, Lipsync

Swiss Church
79 Endell Street
London WC2
More info on Automatic Writing Circle

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30 April 2011

Batroun Concrète (2011)

Sonic jukebox commission for the opening of Batroun Projects art space in Lebanon.

The disused and derelict architecture of a smugglers house in Batroun, Lebanon was explored sonically. I made series of performances-to-microphone using objects and materials found in the space to activate it sonically, intervening to bring various properties into focus. These performance were then assembled with no processing and minimal editing.

Batroun Projects
Batroun, Lebanon


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makharej live @ Irtijal
Seth Ayyaz (live electronics and 8-channel diffusion) with Amira Ghazalla (voice and body)

Friday 8th April 2011 @ Masrah Beirut, Ain Al-Mreysseh, Beirut, Lebanon

“….in the emptiness, I disassembled a letter from one of the ancient alphabets, and I 
leaned on absence…….”
				from In Her Absence I Created Her Image by Mahmoud Darwish

Makharej is an exploration of the sonic potential latent within the dis/embodiment of the 
28 letters of the Arabic alphabet. The voice is situated in elemental sound, speaking 
simultaneously - an impossible embodiment across an array of speakers. The authority 
of the letter is interrogated. 

Makhraj literally means place of origination. This is taken as a cue to investigate the 
embodied nature of vocalisation. An idea around the ownership of the letters is explored, 
moving between the prescribed correct articulation and the sonic potential latent within 
their embodiment in sound. 

In more everyday use, a makhraj is an exit, a denouement, a graceful way out from a 
difficult situation. 

This is the first presentation of the work within the Region, and I'm told the first 
multi-channel work in Lebanon (I'd like to know if this is really true...)

For the full line up and festival details: Irtijal Festival 2011


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MazaJ Festival

Recalibrating Middle Eastern sonic cultures

18 November 2010 – Volatile Frequencies Conference and Concert, City University, London

20 & 21 November 2010 – Talk and Concerts, Café Oto, London

MazaJ (meaning mood in Arabic) is a place of free expression, of attunement that presents sonic experimentation from the Middle East and its diaspora

The first edition of the MazaJ Festival is a celebration of contemporary and experimental Arabic music and Middle Eastern sonic culture, taking place in London from 18-21 November. It is curated by myself, and co-produced by SAM (Sound and Music) and Zenith Foundation.

MazaJ encourages audiences to look beyond the ‘world music’ label by stripping bare the stereotypes of ‘Arabic’ or ‘Middle Eastern’ music. Forging links between UK and Middle Eastern artists and audiences, the festival takes the form of a one-day conference and concert at City University, London on 18 November, followed by a weekend of talks and performances at Café Oto from 20-21 November.

The festival features work from the very best contemporary composers, live musicians, leading electronic producers and sound installation artists from the Middle East and its resonant diasporas. These artists are linked by their sonic experimentation within and without a tradition of Middle Eastern musical practice in which improvisation has always played a key role.

The Volatile Frequencies Conference at City University London will provide an academic framework for the weekend. On the Saturday, media partners The Wire will also host a panel discussion between festival artists and invited speakers to contextualise the artists’ work.

Artists confirmed for concerts include:

Seth Ayyaz (UK), Mazen Kerbaj (Lebanon), Hassan Khan (Egypt), Mutamassik (Egypt / USA), Mahmoud Refat (Egypt), Sharif Sehnaoui (Lebanon), Michael Zerang (USA)

Speakers confirmed include:

Thomas Burkhalter, Kay Dickinson, John Hutnyk, Ziad Nawfal, Tony Herrington, John Kieffer

For information and booking visit:

For information on Volatile Frequencies, check:, and to book a place, check here