I love sound. All kinds of sound. I'm constantly fascinated by the sound that the world has to offer - nature, culture, people, places; nuances, human expressions, performers and their instruments, and the distinctive ambiance of different spaces. I want to harness the energy, beauty and unique edgy rawness of these sounds, which all find their place in the grand scheme of music. Maybe not surprisingly I also love silence. In silence I find my imagination.
Over the years my work has ventured along many paths, encompassing not only the acousmatic and live electroacoustic works that feature in most of my concerts. These paths feel like they all add to the map of what it means for me to be a composer: Site-specific sound-art installations designed to resonate with each space. Collaborations with scientists and the use of scientific data as a source for both musical and scientific exploration. Experiments with the public and their curiosity to engage in interactive technologies. Working with AI and keeping apace of the pros and cons. Being in awe of computer art gurus that I have been fortunate enough to collaborate with, and my own work with visual art and real-time computer graphics. Collaborations with music technology experts and engineers who have generously passed on knowledge and engaged in important discussions about the coexistence of art and technology. And not least, wanting to balance music research, composition, teaching and performance.
Biog (1035 characters).
Natasha Barrett (NO/UK) is a composer, new media artist and researcher. She creates acousmatic, electronic, and live-electroacoustic music, public-space sound installations and audiovisual works. She is widely recognised for her artistic exploration of 3D sound and ambisonics. Her work is commissioned and performed worldwide and has received awards in over 30 international competitions, including the most prestigious prize available for Nordic composers, the Nordic Council Music Prize.
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In addition to her solo career, she regularly collaborates with performers, visual artists, architects, and scientists, often drawing on data emulating or created by real-world processes as a source for artistic exploration. Some of the highlights include 3D audiovisual artworks with the USA-based OpenEndedGroup, science-art sonification in collaboration with geoscientists, and live electronics collaborations with many soloists and ensembles.
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She has held professorships and research positions in Norway and Denmark and now works freelance.