Benedict Carey is a Sydney born sound artist and composer, who uses his custom built software to explore the musical potential of found sounds. He has worked on a range of productions in varying roles.
Notably, he has performed electronic parts with Richard Tognetti and the Slovenian Philharmonic Orchestra as part of the Festival of Maribor and with Ensemble Offspring as part of the ISCM (International Society for Contemporary Music) concert series 2009. As a composer Benedict has had his music performed in all manner of diverse locations, from art galleries in car parks and decommissioned submarine workshops to concert halls in conservatoriums and universities. At Cockatoo Island in Sydney, Australia as part of the Cockatoo Calling artist residency program in 2011 he directed an interdisciplinary collaboration resulting in the large-scale audio visual work Plutchik’s Flower. In 2012, he organised the performance of Amniosis for the Darling Harbour Blues and Jazz Festival also in Sydney, premiering the use of Benedict’s live spectral music software SpectraScore. The Sydney Conservatorium of Music as well as the Australian National University have both been venues of performance for his works on multiple occasions as part of the Australasian Computer Music Conference.
As a sound artist he created the sonic component of video work Defaced (William Mansfield), which won the best experimentation in film category at the Sydney Underground Film Festival. In 2013 Benedict premiered his arrangment of The Last Post for poker machine at the Gallipoli Memorial club during Anzac Day celebrations, which featured on FBI radio in Sydney the following year. His works have been played on radio in Australia and abroad, including the rotation of his EP Paranormal Paradise DEGEM Radio (the internet radio station of the Deutschen Gesellschaft für Elektroakustische Musik). Benedict has currently completed mastering the new album by award winning Australian recorder player Alicia Crossley “Alchemy” (now nominated for an Independent Music Award) and collaborated with composers Damian Barbeler and John Taylor their installation “Ten Days on the Island”, which premiered in March of 2015 in Tasmania.
In 2015 Benedict relocated to Germany as a doctoral student and researcher at the Hochschule für Musik und Theater Hamburg focusing on the combination of real-time composition and systematic musicology techniques to create interactive spectral music in Virtual Reality. Since arriving he was involved with the premiere of his work ‘Magnetic Visions FIVE” at the Zentrum für Kunst und Medien, Karlsruhe. He is currently employed at the ZM4, and is working on a series of Spectral Studies.