Paul Whitty is a Reader in Composition; Research Director for Film, Fine Art and Music; and Co-Director of the Sonic Art Research Unit at Oxford Brookes. He completed a Dphil in composition with Michael Finnissy at the University of Sussex. He has also studied with Roger Marsh at York University, Magnus Lindberg and Colin Matthews at the Britten-Pears School, and Vinko Globokar at the Dartington International Summer School. His work has been performed by IXION, Ensemble Expose, London Sinfonietta, Tim Brady, Ensemble Cattrall, dB ensemble, Nosferatu, Jane Chapman, Michael Finnissy, Paul Goodey, [rout], Philip Howard, Kate Ryder and Mieko Kanno, and featured at State Of The Nation, Huddersfield Contemporary Music Festival, Gaudeamus Music Week, ICA, Ultima Festival, Tate Britain, BMIC Cutting Edge Series and Tour, and Brighton Festival. His work has found its way into spaces and contexts not usually associated with experimental music including the Mecca State Bingo Hall in Kilburn, Addenbrookes Hospital in Cambridge, the office of Beaconsfield art gallery in Vauxhall, the freezer compartment of a fridge in Romford, clubs in Hackney and Huddersfield and Vauxhall Cross Gyratory. Recently Paul has been engaged in a series of interventions in pre-existing contexts – re-reading, re-organising, re-categorising, re-distributing and re-sounding the materials that are found there. These contexts can be scores, actual physical sites or instruments. He has received awards from ACE, AHRC, British Academy, Britten-Pears Foundation, British Council, Banff Centre for the Arts, Hinrichsen Foundation, Holst Foundation, RVW Trust and PRSF. Broadcasts of his work have been made by London Sinfonietta, IXION, [rout], Philip Howard, Jane Chapman, Ensemble Cattrall, Mark Knoop. Recordings include thirty-nine pages - a re-organisation of Cesar Franck's Sonata for violin and piano - performed by Darragh Morgan and Mary Dullea (Metier); and seven pages - an exploration of the internal soundworld of Gyorgy Ligeti's Continuum in collaboration with harpsichordist Jane Chapman (NMC). Paul is a founding member of [rout] an ensemble that he directs with composers Sam Hayden and Paul Newland. Recent projects include an appearance at the Night of the Unexpected at HCMF 2007. [rout] took up residence in a Warehouse at the industrial complex Bates Mill and performed a series of works including Paul’s instruction score …i was bored before I even began… In this work contact microphones amplify the sound-making actions of the performers. These sounds are then transformed by signal processors; distortion; pitch-shift; hyper-metal; super-octave; digital delay. For the duration of [rout]’s performance Paul’s film installation watching Antoinette Vischer playing Gyorgy Ligeti’s Continuum was projected. Paul has a particular interest in collaborative practice. His ongoing collaborative project Vauxhall Pleasure (2004-2009) with Anna Best consisted of a site event at Vauxhall Cross, London; an installation at the Museum of Garden History as part of their Tempered Ground exhibition; and two performances at Tate Britain. The latest phase of the project has been funded by the AHRC. In the introduction to the ACE publication Open Space: Art in the Public realm in London 1995-2005 Jemima Montagu comments: Both socio-political protest and live art and music performance, this project captures the richly layered, interdisciplinary and ultimately uncategorisable nature of art in the public realm today. The latest manifestation of the project a film, installation and performance, was presented at the BMIC Cutting Edge Series in November 2008.