Emptyset is the the Bristol-based project of James Ginzburg and Paul Purgas, whose work across production, performance, installation, and the moving image tests the perceptual boundaries between noise and music. Since forming in 2005, Emptyset has continued to pursue the reduction or deconstruction of music to its most unadulterated form; densely technical, their work employs analogue gear to sculpt sine waves and white noise.
While early output from the duo reflected the influence of minimal techno and Bristol's bass music scene, the impact of acoustic environments and architecture on sound has remained a central tenant of their work. The three-part Medium was recorded live at an old Gothic mansion in Gloucestershire, and the Material EP, arriving a year later in 2013, comprised recordings from site-specific installations in a London concrete bunker and abandoned nuclear power station in North Wales. The year 2012 also saw Emptyset debut on vaunted German label Raster-Noton with the Collapsed EP, which gave rise to Recur in 2013. On this, their third and arguably most challenging full-length work, the structural moorings of club music have been almost completely eviscerated.
Emptyset has produced installations for Tate Britain and the Architecture Foundation in London, and presented live performances at Arnolfini, Kunsthalle Zurich, and Sonic Acts XIV. Independently, Ginzburg (who also produces as Ginz) runs the Multiverse studio complex and label collective, and Purgas is a curator and the creator of We Can Evade Control, together with Scorn and Downwards label head Regis. He is also the author of "Digital Audio: Remastering and Radical Revisionism," an essay published in the 2014 edition of CTM Magazine.
For the 16th edition of CTM Festival, Emptyset makes its world premiere of "Signal," a radio-based performance in development for an album release. The duo also premiere their sculptural works "Imprint 1-3" and "Asymmetric Sound Panels" within CTM 2015's exhibition.