tag:blogger.com,1999:blog-39014104508998008342024-03-13T18:44:50.342+00:00LLEAPPLaboratory for Laptop and Electronic Audio Performance Practice,
Established Edinburgh 19-21 May 2009Unknownnoreply@blogger.comBlogger65125tag:blogger.com,1999:blog-3901410450899800834.post-48154304697575322792018-09-05T02:18:00.002+01:002018-09-05T02:18:55.319+01:00LLEAPP 2018: Final Concert Excerpts<iframe allowfullscreen="" frameborder="0" height="360" mozallowfullscreen="" src="https://player.vimeo.com/video/285158015" webkitallowfullscreen="" width="640"></iframe>
<a href="https://vimeo.com/285158015">LLEAPP 2018</a> from <a href="https://vimeo.com/pariesa">PARIESA</a> on <a href="https://vimeo.com/">Vimeo</a>.ElleEsAichhttp://www.blogger.com/profile/10048255395273189142noreply@blogger.com0tag:blogger.com,1999:blog-3901410450899800834.post-43132833216182785472018-04-14T22:59:00.004+01:002018-04-14T22:59:44.264+01:00Sound | Light | Movement 2Here is the preview video showing elements of progress at around the end of Day 3.
<iframe allowfullscreen="" frameborder="0" height="360" mozallowfullscreen="" src="https://player.vimeo.com/video/264490869" webkitallowfullscreen="" width="640"></iframe>
<a href="https://vimeo.com/264490869">LLEAPP 2018 | Preview</a> from <a href="https://vimeo.com/elleesaich">ElleEsAich</a> on <a href="https://vimeo.com/">Vimeo</a>.ElleEsAichhttp://www.blogger.com/profile/10048255395273189142noreply@blogger.com0tag:blogger.com,1999:blog-3901410450899800834.post-35283924658485129352018-04-12T06:23:00.001+01:002018-04-12T06:23:00.165+01:00Sound | Light | Movement 1<div class="separator" style="clear: both; text-align: center;">
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<br />ElleEsAichhttp://www.blogger.com/profile/10048255395273189142noreply@blogger.com0tag:blogger.com,1999:blog-3901410450899800834.post-86400457472095940482018-04-12T06:19:00.000+01:002018-04-12T06:19:04.547+01:00Images from Day 2 & 3<div class="separator" style="clear: both; text-align: center;">
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<br />ElleEsAichhttp://www.blogger.com/profile/10048255395273189142noreply@blogger.com0tag:blogger.com,1999:blog-3901410450899800834.post-88192206530281645422018-04-11T17:18:00.000+01:002018-04-11T17:18:23.453+01:00LLEAP in movementI am so grateful to LLEAP and Lauren for being here and share some moments, sounds, and movements with you all.<br />
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I also would like to post a little about what we did yesterday. This is Augusto Boal most famous book. It contains the description of his games and a little on the history of the Theatre of the Oppressed. I hope you enjoy it and can use the games in different situations in the art world. https://demos.be/sites/default/files/games-for-actors-and-non-actors.augusto-boal.pdfRosely Conzhttp://www.blogger.com/profile/05983449284515120937noreply@blogger.com0tag:blogger.com,1999:blog-3901410450899800834.post-16619876785468893992018-04-09T19:40:00.001+01:002018-04-09T19:40:18.242+01:00LLEAPING into/away from bordersI am writing this post as I way for my airplane to leave San Diego. I crossed the US/Mexican border a few hours ago, and despite my familiarity withthe process today feels a bit different. Not sure if I can explain how that is.<br />
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In a similar way I see improvisation as something that is both familiar and strange. I am at ease, but I am also very stressed. It is in the end a process of being in the situation at hand and responding to it. But it also means making very conscious decisions. So in a way it is both being (somewhat) in control and not having control at all.<br />
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My current improvisation system is a mix of things, both new and old. I try to have them represent me, so I think this actual setup kind of reflects my state of being at this very moment (to be explained at a later time). It also represents a duality: the known and unknown. To be honest, I'm not sure how well will this respond. I might get something good from it, or it might be an utter failure. Guess we'll find out soon.<br />
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<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3901410450899800834.post-19320438313112497262018-04-07T22:42:00.001+01:002018-04-07T22:42:33.982+01:00Exploration begins - a short introduction
<br />
<span style="background: white; font-family: "Times New Roman",serif; mso-ascii-theme-font: major-fareast; mso-bidi-theme-font: major-fareast; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: JA; mso-hansi-theme-font: major-fareast;">I see myself reflected in my music. My body and mind are my music and
performance. The way I live and how I see the world is directly tied to
how I make music and improvise using sounds, visual and physical materials. LLEAPP
is a great opportunity to learn how others practice improvisation and how their
ways of living are connected to their artistic practices, if there are any ties
between them.</span><span style="font-family: "Times New Roman",serif; mso-ascii-theme-font: major-fareast; mso-bidi-theme-font: major-fareast; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: JA; mso-hansi-theme-font: major-fareast;"></span><br /><span style="font-family: "Times New Roman",serif; mso-ascii-theme-font: major-fareast; mso-bidi-theme-font: major-fareast; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: JA; mso-hansi-theme-font: major-fareast;"></span><div class="MsoNormal">
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<span style="background: white;">Improvisational elements in my compositions and
performances enable me to connect with myself and with the environment, including
the audience. I use these elements in a structured way in my compositions -- I
create sonic foundations and the improvisation happens as a real-life event to
complete the piece. This structure gives me a place to reflect on myself
at the moment, and simultaneously I am guided by the past.</span><br />
<br />
<span style="background: white;">My ideas - sounds, visuals, sense-evoking
things like smells, stories, and philosophies - are the focus of my creative
process and performances. Since technologies are available, I use them to
realize my ideas. This is just me, and I am aware that other people's artistic
practices may have other entering points and focuses and I am intrigued to
find out about them.</span><br />
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<span style="background: white;">LLEAPP is an amazing opportunity for me to learn
about others who are experts in what they do; I look forward to being inspired.
I am eager to try something outside of what I usually do, so I will leave my
usual set-up of using custom-made instruments home. I can not exactly imagine what
will happen at LLEAPP, but I have a sense that it's going to be a special
experience for me. Thanks Lauren and others for this opportunity. I look
forward to meeting and working with all of you!</span></span></div>
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<a href="http://akikohatakeyama.com/"><span style="font-family: "Times New Roman",serif; mso-ascii-theme-font: major-fareast; mso-bidi-theme-font: major-fareast; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: JA; mso-hansi-theme-font: major-fareast;">akikohatakeyama.com</span></a></div>
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<span style="font-family: "Times New Roman",serif; mso-ascii-theme-font: major-fareast; mso-bidi-theme-font: major-fareast; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: JA; mso-hansi-theme-font: major-fareast;">Sincerely,</span></div>
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<span style="font-family: "Times New Roman",serif; mso-ascii-theme-font: major-fareast; mso-bidi-theme-font: major-fareast; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: JA; mso-hansi-theme-font: major-fareast;">Akiko Hatakeyama </span></div>
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</style>Akiko Hatakeyamahttp://www.blogger.com/profile/06427739807683763171noreply@blogger.com0tag:blogger.com,1999:blog-3901410450899800834.post-77992173993073403252018-04-07T04:00:00.001+01:002018-04-07T04:00:18.110+01:00POSTERity<div class="separator" style="clear: both; text-align: center;">
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<br />ElleEsAichhttp://www.blogger.com/profile/10048255395273189142noreply@blogger.com0tag:blogger.com,1999:blog-3901410450899800834.post-69281463633043170772018-04-07T03:51:00.004+01:002018-04-07T03:53:34.687+01:00LLEAPPing from Scotland via Santa BarbaraI'm a composer, computer musician and researcher working largely with synthetic sound materials.<br />
With an exception of on the fly generated GUIs, the text editor of a programming language tends to be the main interface I use to compose, perform and improvise, with a keyboard and a mouse-pad of a laptop as a sole physical controller. Such setting imposes a specific way of improvising - slow, limited in physical gestures and focused on the textural development of sound morphologies.<br />
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I have worked in an improvisatory setting before - with fellow LLEAPPers Lauren and Jules, with a collective BOAR and various small ensembles both electronic and acoustic, however, these were always purely sound oriented projects. Thus at LLEAPP, I would be interested in working across media, improvising in a group with 'non-sonic' participants of the workshop - digital graphics and movement artists. My longtime goal was to experiment with 'score' mediated performance strategies (e.g. Curtis Roads 'Point/Line/Cloud' or Stockhausen's 'Moment Form') and explore how the variety of practices and media engage in the process of 'figuring' and 'sounding' out verbal and/or graphic representations? what are the material responses and interpretations across practices? how does the act of playing together changes through mediation via a medium of the score? ... these are just starters for more discussion and probably more questions!!!<br />
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I look forward to meeting and working with all of the participants <br />
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you can read more about my work here:<br />
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<a href="http://www.marcinpietruszewski.com/">www.marcinpietruszewski.com</a><br />
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and hear some of my pieces here:<br />
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<a href="https://soundcloud.com/marcin_pietruszewski">https://soundcloud.com/marcin_pietruszewski</a><br />
Anonymoushttp://www.blogger.com/profile/07393840561979479821noreply@blogger.com0tag:blogger.com,1999:blog-3901410450899800834.post-74973339557290363442018-04-06T23:02:00.001+01:002018-04-06T23:02:30.364+01:00Time to get ready to LLEAPP
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<span style="font-size: 12pt;">It’s my first time for LLEAPP. I admit that I am excited,
and absolutely unsure of what will happen. It will be great to collaborate and
find what the outcome possibilities are. </span></div>
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<br />
This upcoming workshop is about possibilities for me: possibilities in
interdisciplinary improvisational structures, possibilities in considering
media in a variety of ways, and of course, giving me a chance to step out of
the comfortable worlds of sounding with those I usually play along side. My own
work tends towards the noisy, with a hint of nostalgia for the early Music
Concrete days past, executable in real time using Max and a variety of
controllers. This time, the Theremin will stay at home, and I’ll be using
mostly materials that are small and compact, limiting myself to one bag only of
gear. Since I often improvise with acoustic musicians and record them live to
manipulate their sounds, this will be a strange moment- a leaping off into a
place where I have no idea what the sounds will be that I encounter. <br />
<br />
I find this a joyous fear, one that I relish and cannot wait for. <br />
<br />
Perhaps I will find myself slipping in other disciplines, perhaps a bit of
movement, perhaps a bit of video. I am unsure. I am ready for whatever occurs,
and if I am not ready, I am willing to engage to the best of my abilities. The
trappings of my usual rituals left behind, I look forward to these moments of
spontaneous creation and learning.<o:p></o:p></div>
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<br /></div>
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I go to this with my laptop, and a handful of off the shelf
controllers. I will leave the light bulbs, the synths, and most of the bones
behind (oh, there will be at least one bone, I am sure), but for the most part,
it will be what it is. A stripped down version, ready for travel, ready to go
at a moments notice. <br />
<br />
Some of my improvisational sounds can be previewed here:<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
https://soundcloud.com/lyn-goeringer<o:p></o:p></div>
<!--EndFragment--><br />Lyn Goeringerhttp://www.blogger.com/profile/05613557953057616118noreply@blogger.com0tag:blogger.com,1999:blog-3901410450899800834.post-12773087847237297792018-04-06T22:55:00.000+01:002018-04-06T22:57:16.537+01:00On the road...<div style="text-align: justify;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUnfrJpwfGk735Qpq_1yagZgBT7PeBXvecG7YPsahHvMBgs1O0EQo6L99Bd5-tMqWb9EAxJBGVLc2OGZqshsgIWZTzCBSpzjn9xLmPlbgLRKZ0UA51xWOfECm1lCpApJBlQy_JpxwqEiA/s1600/IMG_8194.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUnfrJpwfGk735Qpq_1yagZgBT7PeBXvecG7YPsahHvMBgs1O0EQo6L99Bd5-tMqWb9EAxJBGVLc2OGZqshsgIWZTzCBSpzjn9xLmPlbgLRKZ0UA51xWOfECm1lCpApJBlQy_JpxwqEiA/s320/IMG_8194.JPG" width="320" /></a><b><i>Today, I woke up to a snowy winter-wonderland... in what is supposed to be a mild Spring in Providence, Rhode Island. I am presently on the road, working with the chamber ensemble Verdant Vibes on the premiere of a new composition that was based on my interest in quantum physics.</i></b></div>
<div style="text-align: justify;">
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Presently, based in Saint Petersburg, Florida, USA, I define myself as a "new renaissance artist" because my practice takes form in a host of different media and is influenced by a sea of changing preoccupations about the universe. I am not associated with a particular organization or university, which leaves me free to pursue a career as a "creative nomad" that tours extensively and creates with/for other artists. Coming with me to LLEAPP 2018 is an electronics rig that incorporates Max 7, Ableton Live, Source Audio Hot Hand Wireless MIDI controllers, Critter & Guitari Organelle, Critter & Guitari Septavox, MOOG Mother 32, Teenage Engineering PO-14, and a KORG Volca Kick. In addition to the electronics that I am bringing, I have experience as a concert pianist, toy pianist, movement artist, photographer, and writer. I am looking forward to meeting everyone and gleaning new insights on how our world can be expressed in an artistic framework.</div>
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Below is my proper biography as well as a link to my professional website:</div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/f3wjCUdCvJYcGM4TlcsMyoA-B22W1cBokr8EzPJjKjdLfgyjz-Yq7pWrdhjbwj8KTPdW24frDTw=s400" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="267" data-original-width="400" height="213" src="https://2.bp.blogspot.com/f3wjCUdCvJYcGM4TlcsMyoA-B22W1cBokr8EzPJjKjdLfgyjz-Yq7pWrdhjbwj8KTPdW24frDTw=s400" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo by Charlotte Suarez</td></tr>
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Celebrated for her “terrifying dynamic range,” cleanliness of sound, as well as unique sensitivity and ability to sculpt her performance for the acoustics of a space, Elizabeth A. Baker is a dramatic performer with an honest, near psychic connection to music, which resounds with audiences of all ages and musical backgrounds. As a creator, her understanding of sonic space from organic intuition and studies in music production, pair with a unique eclectic voice, making for a spatial and auditory experience of music. Eschewing the collection of traditional titles that describe single elements of her body of work, Elizabeth refers to herself as a “New Renaissance Artist” that embraces a constant stream of change and rebirth in practice, which expands into a variety of media, chiefly an exploration of how sonic and spatial worlds can be manipulated to personify a variety of philosophies and principles both tangible as well as intangible.</div>
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An active performer highly sought after for her unique concert presentation methods, which break the fourth wall and draw the audience further into the music by asking them to listen beyond the surface through interactive dialogue, reminding them that there is no such thing as an incorrect interpretation of a work. Elizabeth firmly believes that every person will encounter music in a unique manner because each person comes from a different set of cultural norms, life experiences, and even the way they physically hear can be a factor to consider when seeking to relate with a work. Her solo concert tours have featured engagements at Lamar University (Beaumont, TX), Flying Monkey Arts Collective (Huntsville, AL), Eyedrum (Atlanta, GA), Southern Methodist University (Dallas, TX), Georgia Museum of Art (Athens, GA), and the Good Shepherd Chapel (Seattle, WA). As a mixed media movement performer her collaborative work has been presented at The Joslyn Museum of Art (Omaha, NE), The Gallery at Avalon Island (Orlando, FL) as well as at St. Petersburg Opera (Saint Petersburg, FL).</div>
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Emmy-award winning composer Larry Groupé has referred to her works as “Perfect.” and compared one of her early works to Debussy’s Engulfed Cathedral. Elizabeth’s works have been featured by performers, programming organizations, and online publications including: Composers Circle, I Care If You Listen, TEDxYouthTampaBay (Tampa, FL), Tenth Intervention (NYC), Verdant Vibes (Providence, RI), OME Festival (Phoenix, AZ), Voic(ed) Project (Chicago, IL), The Florida Orchestra (Tampa Bay, FL), The Furies (Los Angeles, CA) as well as at Electronic Music Midwest Festival, and the 19th International Festival of Women Composers. Her compositions and work as an arts advocate have been studied in academic institutions throughout the United States including USC-Thornton, University of Buffalo, and the University of Georgia – Athens.</div>
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In 2015 she received an Individual Artist Award from the St. Petersburg Arts Alliance and the City of Saint Petersburg, Florida to create and present an original sound installation In Our Own Words: A Sonic Memory Quilt, which told the stories of various African-Americans in a fresh avant-garde manner, framed by evolving drones and a four-hour live performance by Elizabeth. Additional honors include, a 2017 Professional Artist Fellowship from Creative Pinellas; a guest artist spot in the inaugural co-incidence residency in Somerville, MA with master resident Michael Pisaro, who described her compositions as a marriage Schoenberg, Cage, and Satie; as well as a 2017 Individual Artist Award from the St. Petersburg Arts Alliance.</div>
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In addition to her work on the concert stage and on the page, writing for other performing artists, Elizabeth has extensive training in recording arts, live sound reinforcement, and consistently received praise as well as high marks for the artistic sensibility and technical excellence of her mixes at St. Petersburg College, where she studied closely under mastering engineer Dave Greenberg. Today, friends and colleagues across the globe, frequently look to her as a consultant on projects for her skills as both a recording and mix engineer.</div>
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Combining her love of electronics and keyboard instruments, Elizabeth embarked on a mission in 2015 to promote works for toy piano and electronics, using a setup that combines handmade microphones and hydrophones. Her original works have been hailed by the Orlando Weekly as “a sterling testimonial to her artistry that proves she’s not just an expert in the toy piano field but a pioneer.” In Fall 2015, Schoenhut Piano Company added Elizabeth A. Baker to their official artist roster.</div>
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Between 2016 and 2017, Elizabeth began working extensively with dancers on a number of projects including works for film, stage, and workshops which primarily featured toy piano, electronics, and Indian harmonium, a keyboard instrument that rarely appears on the Western musical concert stage. With the support of her mover colleagues and friends, Elizabeth began incorporating movement in her own performances, adding new depth to her interdisciplinary practice. In 2017 Source Audio LLC, officially endorsed Elizabeth for her innovative work creating musical compositions through physical choreography using their Hot Hands USB Wireless MIDI Controller technology. A sensitive improviser, with experience in a wide array of genres, Elizabeth is a frequent collaborator for improvisational ensembles throughout the United States.</div>
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Elizabeth is author of Toyager: A Toy Piano Method, the first comprehensive instructional book for toy piano, featuring principles of technique, practice strategies, music notation, as well as improvisational tactics. Additional books include a multimedia collection of writings and photographs called Musings of a Young Composer and Compositions for the Contemporary Student Pianist, an anthology of solo piano pieces. As a solo artist, Elizabeth has self-released numerous albums including: {this is not a piano album} (2016), A Series of Strange Narratives (2015), A Sonic Memory Quilt (2015), Music for Possible Probable Ghost Listeners (2015), {BAGGAGE CLAIM} (June 2015), and Solo Piano Compositions In Recital (2011). In 2017, Elizabeth signed with LA-based Aerocade Music, her first release on the label is slated for May 2018.</div>
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Elizabeth is Founder and Executive Director of The New Music Conflagration, Inc., a 501(c)(3) nonprofit and 509(a)(2) public charity founded in the State of Florida to promote the work of contemporary composers and musicians. She is also, Founder and Director of the Florida International Toy Piano Festival. In March 2018, Elizabeth gave up work as an arts administrator, to focus on her artistic practice and presentation.</div>
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<a href="http://elizabethabaker.com/">elizabethabaker.com</a></div>
Anonymoushttp://www.blogger.com/profile/16881788850569874428noreply@blogger.com0tag:blogger.com,1999:blog-3901410450899800834.post-37684244838561694322018-04-06T20:38:00.001+01:002018-04-07T03:58:29.209+01:00Interdisciplinarity: Dilettantes, Experts, and Novices<style type="text/css">
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<span style="font-size: small;">So LLEAPP 2018 begins on Monday here in the Sonoran desert of Arizona! People taking part this year are: </span></div>
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<li><span style="font-size: small; font-weight: normal;">Elizabeth Baker</span></li>
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<li><span style="font-size: small; font-weight: normal;">Rosely Conz</span></li>
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<li><span style="font-size: small; font-weight: normal;">Lyn Goeringer</span></li>
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<li><span style="font-size: small; font-weight: normal;">Akiko Hatakeyama</span></li>
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<li><span style="font-size: small; font-weight: normal;">Lauren Sarah Hayes</span></li>
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<li><span style="font-size: small; font-weight: normal;">Adnan Marquez-Borbon</span></li>
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<li><span style="font-size: small; font-weight: normal;">Marcin Pietrewszewski</span></li>
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<li><span style="font-size: small; font-weight: normal;">Jules Rawlinson</span></li>
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<li><span style="font-size: small; font-weight: normal;">Emiddio Vasquez</span></li>
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<span style="font-size: small;">Why this year's theme of interdisciplinary improvisation?</span><br />
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<span style="font-size: small;">Moving from a music department to an interdisciplinary department (Arts, Media + Engineering), I've been tasked to design courses that can appeal to students from a variety of backgrounds and disciplines. Our undergrad programme has numerous majors from art, to film, dance, engineering, and music. We also have a strong 'maker' theme that runs through many of our courses and the facilities to boot. </span></div>
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<span style="font-size: small;">I designed a course on interdisciplinary improvisation called Improvising Cyborgs (h/t to Haraway) in which students from our various majors (and elsewhere) use techniques from improvisational practices including music and movement to develop multimedia performances together. Instead of being another course where students learn a new technique or software, we critically explore the technologies they are learning to use in other classes through improvisation. </span><br />
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<span style="font-size: small;">We examine some of the research coming out of the Centre for Music and Technology of the Sibelius Academy, in Helsinki, Finland. What can be easily translated between disciplines? Do we arrive at a state of non-discipline? How can techniques from electroacoustic performance practice be incorporated into this task? What is the role of documentation in this and can it be used as part of the performance?<br />
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Speaking to the latter question, I still want to explore improvisor-POV techniques inspired by this old session I did with FHM. Rather than action cams on each performer, performers would be wearing them:<br />
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My students have amazed me with some of their responses to this and their willingness to participate in Deep Listening, Search and Reflect, experimental pedagogies. They've inspired me by incorporating Indian classical dance, virtual instrument animation performance, live charcoal drawing, Iranian belly dancing, noise performance, hip hop expertise, digital drawing, sensor incorporation, materials, social media as performance, etc.<br />
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Thanks to Lyn for helping me figure out this year's workshop and curate the participants. In the past LLEAPP has been focused around sound but this year I propose to change the acronym to a broader Laboratory for Laptop/Live Electronic Audio/Art Performance Practice in fitting with the ethos of AME, and my current teaching and research. The people who are joining us could be described as experts in what they do, but all have resisted boundaries within their practices. Jules and Marcin are bringing (maybe!) a new system for visualising interactions between performers; I strongly recall seeing Akiko perform years (and more recently) ago using movement and a custom box/string interface to physically manifest her piece.<br />
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LLEAPP is an opportunity to further explore these boundaries and to question where the lines between dilettantes, experts, and novices breakdown, as I was arguing with some philosophers of mind a few weeks ago ;) I always find it a daunting process, which usually means it will turn out to be one of the ones I learn the most from. On that note, I have no idea what I'll be bringing next week but I will figure that out soon!</span></div>
ElleEsAichhttp://www.blogger.com/profile/10048255395273189142noreply@blogger.com1tag:blogger.com,1999:blog-3901410450899800834.post-32521104095476199522018-04-05T21:34:00.002+01:002018-04-05T22:31:13.897+01:00By the time LLEAPP gets to Phoenix... I'll be jet-lagged!<div class="separator" style="clear: both; text-align: center;">
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<br />
LLEAPP USA is just a few days away, and I'm slightly behind in preparations!* That said, I've mapped some of my Max4Live instruments to my Quneo so I don't have to unpack too much at airport security. I'm very torn about leaving my Serge modular behind... but hey ho.<br />
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Thanks to Lauren, LLEAPP is jumping across the pond for what should prove to be a really engaging few days. Previously we've focused on musicking, but there's a very wide range of performance disciplines represented, and I'm very excited about the opportunities for pushing my own practice forward.<br />
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A bit about me then... chiefly I'm a improvising performer with live electronics. I tend to play either modular synths or MaxMSP based instruments, but rarely both together as I enjoy limitations. Most things I make go 'Pop, click, fizzzzzzzz.... flutter, splutter, HISSSSSSS'. While I often play solo, I prefer to play in small ensembles. It's more fun to play with (and against) other people, and I make sure I've got gestural devices to hand to allow me to respond quickly.<br />
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As a composer I focus on morphology, and have made a variety of pieces for 2, 3 and 4 people that I call 'chamber electronics',which use a variety of symbolic systems and graphic notations** for organising gestural events and directing timbre. Graphics and visuals have become increasingly important in my 'sonic' work, mostly as a result of a collaboration called A Requiem For Edward Snowden*** (see https://www.youtube.com/watch?v=Zbr3fInvqfI)<br />
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Both Snowden and another work, SKR1BL, use a variety of realtime mappings to sonic events to both visualise gesture and inform performance practice, and I've been working with another LLEAPPer, Marcin, on a new system using the Unity Game engine as a visual front end to audio analysis as an aid to revealing, understanding and shaping interaction between players.<br />
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I've posted a few images from my work, and you can hear some sound at <a href="http://pixelmechanics.com/">http://pixelmechanics.com/</a><br />
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I'm *really* looking forward to meeting you all!<br />
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Jules<br />
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* Due to industrial action!<br />
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** I was a web designer for many years, making icons for content management systems : /<br />
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*** Snowden provided me with some new 'workflow' and tools that meant there were fewer overheads to trying to do both at once, and that allowed me to work a bit more quickly for 'acceptable' resultsUnknownnoreply@blogger.com0tag:blogger.com,1999:blog-3901410450899800834.post-71826236888718212082015-03-05T15:58:00.001+00:002015-03-05T15:58:13.100+00:00LLEAPP 2015! <br /><br />It's 2015 and Leicester De Montfort University's Music, Technology and Innovation Research Centre are graciously hosting. Big thanks due to John Richards and Simon Emmerson for making it possible. <br />Taking part are: <br />
<ul>
<li>Owen Green </li>
<li>Taku Lippit,</li>
<li>Max Wainwright </li>
<li>Steve Jones </li>
<li>John Richards</li>
<li>Amit Patel </li>
<li>Jim Frize</li>
<li>Sam Topley</li>
<li>Audrey Riley</li>
</ul>
There's a couple of respects in which this LLEAPP differs from the previous four (which is of course a fine and dandy thing). First, I'm the only Edinburgher here as Lauren, Sean and Jules all have other commitments. Second, all the participants apart from me are part of the DMU musical community and quite a few are also involved with JR's Dirty Electronics group, so there's a rich network of pre-existing musical relationships that we're starting off with, which is interesting in its own right.<br />
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Festivities kicked off at lunch time on the Wednesday (yesterday), where Taku and I presented at MTI's lunch time research seminar. I tried to give the assembled a sense of the context in which I see LLEAPP existing / continuing, and made the argument that in the current climate, epseically given the political economy of arts research as it stands, LLEAPP might be best cherished as something 'under the radar' that avoids getting caught up in the current trend for outcome fetishism, and rather provides a safe space for live electronics researchers to think about important issues to the disciplines through playing. It was really interesting during the preparation for this talk to re-visit Patrick's comments from 2013, which I think warrant a thoughtful response. <br />
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As with the 2013 LLEAPP, we went straight into preparing for a first-night gig as a way of getting acquainted. It took us a wee while to get ourselves correct in the space (MTI's PACE studio) but we did manage to get some 9-tet playing in and made a tentative sort of plan for breaking up the performance into some shorter set. This was based on a starting assumption (mine) that a brand new 9-tet would be do a convincing long set.<br />
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Turns out that was a rubbish assumption: the group played through for a single 50 minute set with some clear movements, great dynamics and lots of skilful listening. That'll learn me.<br />
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Tonight's gig will be a very different affair, in Leicester's Phoenix Centre, with less friendly acoustics and the different type of attentiveness that people standing around drinking can give. Our plan at the moment is to present shorter sets of smaller groups. We'll see what actually comes to pass...<br />
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<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3901410450899800834.post-76812944808734435172015-02-11T12:38:00.003+00:002015-02-11T12:38:48.355+00:00LLEAPP Paper @ EMS14Very belatedly: At the EMS 2014 conference in Berlin I presented a paper discussing LLEAPP, and how I see it fitting into the larger project of electroacoustic research:<br />
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<a href="http://www.ems-network.org/spip.php?article380">Four Small
LLEAPPs for Electroacoustic Music Studies: Notes on performance
strategies from a series of participatory electronic music workshops</a>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3901410450899800834.post-62772930944592166922013-05-02T16:34:00.003+01:002013-05-02T16:37:55.048+01:00Personal report - Sean Williams<!--[if gte mso 9]><xml>
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<!--StartFragment-->
<br />
<h2>
Preparation</h2>
<div class="MsoNormal">
<span lang="EN-US">I spent a day with mezzo-soprano and vocal
artist Frauke Aulbert working on some technical ideas for integrating voice
with analogue electronics. The aim was to bring a working system or palette of
ideas to the LLEAPP workshop and not have to scrabble around trying to make
things work during the workshop itself.<o:p></o:p></span></div>
<div class="MsoNormal">
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimawKrR6zrHSMKAlrwy-2guD3fIBrxfgDYb1yVEJKwfW00CS70_ah79ekp4Xm56xuhlQkXUtJVYqSqEOzmpJ6yfs5AN3lmLJuZEUlnVdQJ30Lla67ceZzJcf-zU88maVUTkdYqwlJLDAqI/s1600/sean_LLEAPP_setup.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimawKrR6zrHSMKAlrwy-2guD3fIBrxfgDYb1yVEJKwfW00CS70_ah79ekp4Xm56xuhlQkXUtJVYqSqEOzmpJ6yfs5AN3lmLJuZEUlnVdQJ30Lla67ceZzJcf-zU88maVUTkdYqwlJLDAqI/s320/sean_LLEAPP_setup.jpg" width="320" /></a></div>
<br /></div>
<h2>
<span lang="EN-US">Amplitude Filter<o:p></o:p></span></h2>
<div class="MsoNormal">
<span lang="EN-US">One technique we tried was to use a noise
gate (Drawmer DS-201) key-triggered by a John Edwards noise synth or the
analogue synth, to act like the amplitude modulator used in the RAI Studio in
Milan in the early 1960s. This machine was used by Pousseur to make <i>Scambi</i>, and most likely by Berio in his
pieces with Cathy Berberian. This period of electronic experimentation is
central to my research so I wanted to try and achieve a practical outcome by
incorporating this into my work with Frauke.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US">The results were fairly awful since the
amplitude of the voice signal picked up by the microphone had to be fairly
constant, and the key-trigger signal was very very hard to control with enough
expression to generate any kind of interesting effect on the voice. In addition
to this, the only vocal sounds that worked at all were simple sustained tones,
and this precluded the huge range and scope that Frauke is capable of.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<h2>
<span lang="EN-US">Vocoding<o:p></o:p></span></h2>
<div class="MsoNormal">
<span lang="EN-US">Another classic 60s technique is the use of
the vocoder. Using a MAM VF11 was a way of integrating both of our sounds to
produce a composite sound that we could both influence. In rehearsal this
worked well with a wide range of vocal sounds although Frauke was uncomfortable
with the amount of control ceded to the electronics. There was no easy way
around this without devoting far more time than we had available to designing a
more interactive instrument.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<h2>
<span lang="EN-US">LLEAPP<o:p></o:p></span></h2>
<div class="MsoNormal">
<span lang="EN-US">In setting up for the Tuesday evening
performance it quickly became clear that axiom 5 from LLEAPP Axioms of
Practice: “</span>Live microphones ALWAYS need help!!!” was
extremely important. The vocoder was almost impossible to control and the
acoustics of the performance space (Inspace) were no doubt a large factor in
this. Even though I had a mic preamp
with high and low-cut filters, the mic signal was varying so much that either
the vocoder signal would be inaudible or would feedback.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Our decision to have individual speakers
and no Front of House had effectively eliminated the options of using any of
the techniques that Frauke and I had worked on before, so I had to work out
different techniques as we went on. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<h2>
Ensemble Size Matters<o:p></o:p></h2>
<div class="MsoNormal">
In a small ensemble a technical hitch like
this would have been much more problematic than in a 13-person ensemble which
we had formed. The larger number of players meant that more space was needed
and so each player could easily not play for long periods. This helped our
situation in two ways; firstly that I could try different setups and re-patch
my synth without feeling relied upon to be filling out the overall sound.
Second; whatever sound I could come up with could afford to be subtle, quiet,
of narrow bandwidth, or even just a slight enhancement, as the sound-world was
already likely to be quite full.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Having given Frauke her own speaker, I
could also simply route her mic signal directly through my own speaker and
thereby change her vocal sound simply in its spatial presence or location. This
was often enough of a transformation, and was easily controllable via a
dedicated fader.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<h2>
Mic Splitting<o:p></o:p></h2>
<div class="MsoNormal">
<span lang="EN-US">Originally I had hoped to split the mic
signals from both Frauke (voice) and Emma (violin) and send these to anybody
who wanted to process them. For this I introduced my modular mixer for its
first outing from the workshop. Several others took advantage of the mic signal
splitter and at different points throughout the workshop, Owen Green, Jules
Rawlinson, Rob Canning and I all processed some of the acoustic signals. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US">When we changed the arrangement of players
this was reduced to just me, however the splitters allowed me to process the
signals without affecting them going into each players individual speaker.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<h2>
<span lang="EN-US">Violin<o:p></o:p></span></h2>
<div class="MsoNormal">
<span lang="EN-US">Emma fitted her violin with a Fishman
contact mic. This was run through the Radial PZ-DI box, bought especially for
LLEAPP, which provides a suitably high impedance (10 MΩ) to get a really good
full-frequency range signal from a contact or piezo mic. Emma struggled with
her setup to begin with for a number of technical reasons: the signal
originally was going through Jules’ soundcard and was subject to latency; the
volume pedal Emma was using was at first patched between the contact mic and
the PZ-DI, thereby showing the wrong impedance to the contact mic; the gain
staging on the small Mackie mixer used to set overall volume for the loudspeaker
was badly setup so that the signal was distorting; the loudspeaker was setup at
head height and very close to Emma so that she was hearing her own signal
disproportionately loudly and playing quieter to mitigate against this.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US">After addressing these setup issues and
repositioning the speaker, Emma’s signal was much more audible and she quickly
gained confidence in using this setup which was brand new to her. As she became
familiar with the amplified sound and with the response of the volume pedal it
became much easier for me to incorporate her signal into my synthesis patches
and through simple ring modulation, spring reverb, filtering, and mixing with
my own signal I was able to fuse our sounds together quite well a number of
times. I used similar patches with the violin as with the voice, and it was
also effective at certain times to simply amplify the direct violin sound
through my own speaker to extend the spatialisation of the violin sound without
further processing.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<h2>
<span lang="EN-US">Space (Axiom 6)<o:p></o:p></span></h2>
<div class="MsoNormal">
<span lang="EN-US">The workshop itself was going very well
until the idea of moving everybody around was suggested by Jan Hendrickse, our
musical director. My natural reaction to this was negative as I had spent,
along with Jules, Lauren and Owen, most of the previous day setting up my own gear
as well as everybody else’s – my own setup being rather larger than normal
owing to the mic preamps and modular mixer needed for mic splitting and signal
distribution.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US">I was in a distinct minority but, along
with Lauren Hayes (digital and analogue electronics and laptop) and Christos
Michalakos (drums, percussion and laptop) I was able to remain in my original
place. My reservations were that the new orientation would undo some of the
work we had done on building good communication skills and techniques between
ourselves as many people were now out of view, and the distances were quite
large even between people that were in each other’s field of view.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US">As it turned out, the decision to move from
the stage and occupy the entire space was absolutely key in transforming our
performance and activating the whole space. The communication techniques which
we had worked on evolved with our new spatial distribution. An internalization
of some of these techniques was achieved and much more communication was done,
not by hand signals or looks, but by using audio cues, and it felt to me, by
listening much more sensitively to one another’s playing. I don’t feel that
this would have been achieved if we had not worked on the deliberate and
obvious methods of communicating suggested by Jan, and if we had remained in
place in a semicircle on stage. Thus my resistance to moving was wholly
discredited – I had allowed my logistical concerns to blind me to the creative
advantages that a different spatial distribution could offer.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US">One other key factor that relates the space
to the number of players is that it was very easy to extend the customary
communication strategies by getting up and wandering about during the
performance. This was aided by the fact that the audience was instructed to
move about and explore the space rather than just sitting watching the stage.
This diffusion of the focus of attention allowed me to take a portable noise
synth and wander about, interacting with a number of players on the way, and
just listening to the whole sound from different points in the room. I played a
short duet with Bill Vine and another with Amit Patel in which we linked up our
noise synths to form a hybrid dual circuit synth. Other players wandered about
too and I think this also had the effect of activating the whole space so that
as one audience member said, they felt as though the music was going on all
around them and that they were participating in something immersive rather than
just watching people do stuff on stage.<o:p></o:p></span></div>
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<br /></div>
<h2>
<span lang="EN-US">Acoustic Instruments<o:p></o:p></span></h2>
<div class="MsoNormal">
<span lang="EN-US">Amongst the most important elements of
LLEAPP 2013 was the strong presence of acoustic instruments including voice. I
feel that the electronics were able both to come to meet the acoustic sounds in
terms of subtlety, timbral content and expression, but were also able to occupy
territory clearly distant from the acoustic instruments too. The electronic
processing of the double bass (Adam Linson), the electric guitar (Rob Canning),
the clarinet (Bill Vine), the drums (Christos Michalakos) and the microphone
(Owen Green) acted as a strong and broad bridge that allowed the violin and
voice on one hand and the digital and analogue electronics on the other to fit
into a coherent sound world. This is going to sound obvious, but at various
stages the acoustic instruments did what only they can do, and so did the
electronic and digital instruments, but there was a lot of common ground as
well. In this way a really rich sound world was created and I think the success
of the final performance owes a lot to the combination of instruments and the
inherent expressivity of the voice especially.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<h2>
<span lang="EN-US">Conclusion<o:p></o:p></span></h2>
<div class="MsoNormal">
<span lang="EN-US">… need more time…<o:p></o:p></span></div>
<!--EndFragment-->Sean Williamshttp://www.blogger.com/profile/06388061834622984396noreply@blogger.com0tag:blogger.com,1999:blog-3901410450899800834.post-72125700130475104582013-04-28T18:57:00.000+01:002013-04-28T22:56:21.073+01:00The LLEAPP Experience <div class="separator" style="clear: both; text-align: left;">
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<span style="font-family: inherit;">This year I was first time at LLEAPP, and found it an amazing experience. The Project featured workshops and performances with the group of top electronic and acoustic improvisers coming from UK, Europe and USA. It was striking to see each performer with so individual setup, custom made software, DIY and hacked hardware.</span></div>
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<span data-mce-style="font-size: small;" style="font-family: inherit; line-height: 18.99147605895996px;"><span data-mce-style="line-height: 19px;" style="line-height: 19px;">I brought combination of instruments I use for </span></span><a data-mce-href="http://radek-rudnicki.net/space-fight/" data-mce-style="font-size: 13px; line-height: 19px;" href="http://radek-rudnicki.net/space-fight/" style="font-family: inherit; line-height: 19px;" title="Space F!ght">Space F!ght</a><span data-mce-style="font-size: small;" style="font-family: inherit; line-height: 18.99147605895996px;"><span data-mce-style="line-height: 19px;" style="line-height: 19px;">, </span></span><a data-mce-href="http://radek-rudnicki.net/rpe-duo/" data-mce-style="font-size: 13px; line-height: 19px;" href="http://radek-rudnicki.net/rpe-duo/" style="font-family: inherit; line-height: 19px;" title="RPE Duo">RPE Duo</a><span data-mce-style="font-size: small;" style="font-family: inherit; line-height: 18.99147605895996px;"><span data-mce-style="line-height: 19px;" style="line-height: 19px;"> and </span></span><a data-mce-href="http://radek-rudnicki.net/freeform/" data-mce-style="font-size: 13px; line-height: 19px;" href="http://radek-rudnicki.net/freeform/" style="font-family: inherit; line-height: 19px;" title="Freeform">Freeform</a><span data-mce-style="font-size: small;"><span data-mce-style="line-height: 19px;"><span style="font-family: inherit;"><span style="line-height: 19px;"> projects to test their </span></span><span style="line-height: 19px;">flexibility</span><span style="font-family: inherit;"><span style="line-height: 19px;"> in large electronic ensamble environment. I was manipulating my own sound rather then other performers and found it </span></span></span></span><span style="font-family: inherit; line-height: 18.99147605895996px;">challenging</span><span data-mce-style="font-size: small;" style="font-family: inherit; line-height: 18.99147605895996px;"><span data-mce-style="line-height: 19px;" style="line-height: 19px;"> to fit aesthetically with so many electronic musicians. </span></span><br />
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<span style="font-family: inherit;"><span style="line-height: 18.99147605895996px;">On the first day we were grouped randomly and performed few sets in quartets and trios finishing with the set featuring all the musicians involved. This followed by the really interesting workshops focused on communication and collaboration in the group. These changed the way group performed, and interacted with each other. </span></span><span style="line-height: 19px;">I found myself not looking at the gear while performing and visually paying more attention to the people surrounding me, which was really refreshing. </span><span style="font-family: inherit; line-height: 18.99147605895996px;">This was followed by unique immersive performance of 13th people each with one speaker spread around the venue. I was really impressed with speed of interactions, diversity of textures and smoothness of transitions performers generated.</span><br />
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<img border="0" height="223" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiN_5gxtSahml9xyJ_6MqWsVFThMjtRBjtP_3e4joxwAI6Vj7X6tCwDfvr19ibmF-hz3OCGiDFJln7dV3tapn3h0tjWPKENthlKfjKoVFQd1MVq1b7e8-FCPMDpdUVIfTFQqjNDccSsGi-s/s400/LLEAPP-10.jpg" width="400" /></div>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBgtbP_lQTb2B-hSnt-0HIz9d6H3WUsSFjmgFBlSO4UMG3xOvZjgOCYrN-Nyt41gk0y_EbLQNJ61TMuD3vJ3_Mqllgr6LhqBZdnsf99mD_AtlODv63URicGasYvpl49SVEz2LYVFSzwC2H/s1600/LLEAPP-9.jpg" imageanchor="1" style="clear: right; display: inline !important; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="223" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBgtbP_lQTb2B-hSnt-0HIz9d6H3WUsSFjmgFBlSO4UMG3xOvZjgOCYrN-Nyt41gk0y_EbLQNJ61TMuD3vJ3_Mqllgr6LhqBZdnsf99mD_AtlODv63URicGasYvpl49SVEz2LYVFSzwC2H/s400/LLEAPP-9.jpg" width="400" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_6s8XuiHzTGxWPp8UIZrBVBwdOkS0PHHi77lX_qfOXIQNYyUzWo9nCZ59wtsOlfmG7fWdv1iAFxC3xCzgOkkAVZFXqhnJ49mE869sOsxrV06E-_KAEszyD8MPZBc1bqop73dzPcD-uchI/s1600/LLEAPP-13.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="179" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_6s8XuiHzTGxWPp8UIZrBVBwdOkS0PHHi77lX_qfOXIQNYyUzWo9nCZ59wtsOlfmG7fWdv1iAFxC3xCzgOkkAVZFXqhnJ49mE869sOsxrV06E-_KAEszyD8MPZBc1bqop73dzPcD-uchI/s320/LLEAPP-13.jpg" width="320" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmriIfqkw-zwNMkoDIU07LqtSsgF39p2JfgeEb2OpsnYWpjGU1CDh6x74eW-Ypi1k9y3d763KBw8sCxWvUPoD-f9c3MNQEz7OlDFQGuM0L1uy76Qp-2wDCsnOkQRBZM0V5H3VW3PchE0Rv/s1600/LLEAPP-7.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><br /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEip8u2CJJ-IWfnG4ZNIDDXBfevfHY8ogejfi66U58OHtI4Rrxp2-XJ-bNZ0ZCw0Ew19-xgTRe9LsUHVf6dDQA2NQmsdABTnjIV7zDQlV1B3De0W2IR9rbGm0ItI7Kgh0P9u-wJGAPZyYHKU/s1600/LLEAPP-14.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="179" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEip8u2CJJ-IWfnG4ZNIDDXBfevfHY8ogejfi66U58OHtI4Rrxp2-XJ-bNZ0ZCw0Ew19-xgTRe9LsUHVf6dDQA2NQmsdABTnjIV7zDQlV1B3De0W2IR9rbGm0ItI7Kgh0P9u-wJGAPZyYHKU/s320/LLEAPP-14.jpg" width="320" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpzbz02F1nZE1P2cQvZQUu1kgPS33rverG8m2tWSLKj-f9BSX8af_9I2RFIaOiEsPfakOqIEDovYtexBk5pEqQH2pUudp8CEmTn67GhiUukbdRv5zmqH4Su8LeuTv05nF-5YyPnHEmNb9R/s1600/LLEAPP-4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" height="223" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpzbz02F1nZE1P2cQvZQUu1kgPS33rverG8m2tWSLKj-f9BSX8af_9I2RFIaOiEsPfakOqIEDovYtexBk5pEqQH2pUudp8CEmTn67GhiUukbdRv5zmqH4Su8LeuTv05nF-5YyPnHEmNb9R/s400/LLEAPP-4.jpg" width="400" /></a><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiu7_hv6gLXMzl6DF0tVUrOcGoovE8fmhErK6neebHYUFs26jo4M7RyEMO04WbK2J4EWhwexpXPXgvBphyphenhyphenPHLYeCqCsYZUbSE3SYCyq_2HV5N787H1Cm6ta1hAVand7ENm6p1hbE5Mm7opa/s1600/LLEAPP-15.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiu7_hv6gLXMzl6DF0tVUrOcGoovE8fmhErK6neebHYUFs26jo4M7RyEMO04WbK2J4EWhwexpXPXgvBphyphenhyphenPHLYeCqCsYZUbSE3SYCyq_2HV5N787H1Cm6ta1hAVand7ENm6p1hbE5Mm7opa/s320/LLEAPP-15.jpg" width="179" /></a><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2Fh9Focl-yfu6M2OjiX0gbnNHirDQAtFxge2E4e55yiS8BX8rMhadF7rsvS2pbRRrK_cOf5lRkauJDhCJELTAEtjrIjz9np_K6qNyPDROtYtmvrVEm2X-uuBxvrwWTImDrrJcg64vTDrh/s1600/LLEAPP-16.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="179" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2Fh9Focl-yfu6M2OjiX0gbnNHirDQAtFxge2E4e55yiS8BX8rMhadF7rsvS2pbRRrK_cOf5lRkauJDhCJELTAEtjrIjz9np_K6qNyPDROtYtmvrVEm2X-uuBxvrwWTImDrrJcg64vTDrh/s320/LLEAPP-16.jpg" width="320" /></a><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyaKhl2_3gqwJsmaUJrGPGLhkGozMZAhc8PpFYsvehYs8vJw7miewKsUWoK-MAR8b02aHLtL1jaXVDtIGYtUQPV4mhN4FiCcEeJJgIbzu6GCCdef90HWmEZUbOq4xysMQdNkThhhfImD0Z/s1600/LLEAPP-2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="179" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyaKhl2_3gqwJsmaUJrGPGLhkGozMZAhc8PpFYsvehYs8vJw7miewKsUWoK-MAR8b02aHLtL1jaXVDtIGYtUQPV4mhN4FiCcEeJJgIbzu6GCCdef90HWmEZUbOq4xysMQdNkThhhfImD0Z/s320/LLEAPP-2.jpg" width="320" /></a><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzTPXv9GRz8NSTy12tWCV4HenMy6qD6jcJ1Ux36GiX5Sw9lrKzUrgDxPw8uqbF3KgFsN_iMyVPBpLgXWGCrvv1zV31ID5cOnf-UqkzF33voB_pDGVYjSaJrLrqkS9w3qt3K0dw7_-zDqd4/s1600/LLEAPP-5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="179" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzTPXv9GRz8NSTy12tWCV4HenMy6qD6jcJ1Ux36GiX5Sw9lrKzUrgDxPw8uqbF3KgFsN_iMyVPBpLgXWGCrvv1zV31ID5cOnf-UqkzF33voB_pDGVYjSaJrLrqkS9w3qt3K0dw7_-zDqd4/s320/LLEAPP-5.jpg" width="320" /></a><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6D-dekHojYL3ddE0gZVQWD302XaNHs8-R5a5LLn4YyVCRwq7qCnsfdO902DSO4G3JPxDUlWVUCqm1sRTWn2ffQ2jWqwTtrzsDcp9SWQHZyjDRfPutiAnsF2OeInodkR79SZiugHzzaoNP/s1600/LLEAPP.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="179" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6D-dekHojYL3ddE0gZVQWD302XaNHs8-R5a5LLn4YyVCRwq7qCnsfdO902DSO4G3JPxDUlWVUCqm1sRTWn2ffQ2jWqwTtrzsDcp9SWQHZyjDRfPutiAnsF2OeInodkR79SZiugHzzaoNP/s320/LLEAPP.jpg" width="320" /></a><br />
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<span style="line-height: 18.99147605895996px;">The whole LLEAPP experience rose my interest in site specific projects, brought few ideas for the workshops and definitely made me play more gestural structures rather then beat based patterns that I am so used to. </span></div>
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<span style="line-height: 18.99147605895996px;">I hope we can tour the project in the future and take it to really interesting places. </span><br />
<span style="line-height: 18.99147605895996px;"><br /></span>
<span style="line-height: 18.99147605895996px;">Also posted on <a href="http://radek-rudnicki.net/lleapp2013/">my own website</a>.</span></div>
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<br />Radek Rudnickihttp://www.blogger.com/profile/05934476727334196696noreply@blogger.com0tag:blogger.com,1999:blog-3901410450899800834.post-32224594275880441182013-04-24T19:23:00.003+01:002013-04-24T19:23:45.611+01:00observations on the first two days<br />
First of all thanks very much to Sean and Jules for welcoming me as an observer, and also thanks to those who took the time to discuss their individual work with me in between sessions. There was of course only so much we could cover in so little time, and it was inevitable that conversations were cut off by other activities or I had to miss speaking with someone, but I suppose it's a good sign that I was left in the end with the feeling that I wanted to hear more from everyone. It was clear, both as an ethnographer and as a listener, that everyone had brought a really thoughtful and inquisitive attitude to the workshop.<br />
<br />
<span class="Apple-tab-span" style="white-space: pre;"> </span>As an outsider to the research group it's somewhat difficult to know what kind of observations are going to be seen as useful to you, but after having a quick look through the previous blog posts from this year's workshop, I've decided to focus on stimulating reflection and hopefully starting new conversations. Before I begin, however, I want to note that my position in relation to the project as a whole is not quite as 'outside' as might be expected of an anthropological observer. I started experimenting with electronics in music well over a decade ago when I was an undergraduate at McGill, and I did my master's degree in electronic music at the Institute of Sonology. There I chose to do a thesis project which was musicological rather than performance or composition oriented, and for my doctoral studies at Oxford I've remained in a position somewhere between the ethnographic and historical branches of the music disciplines. As an ethnographer I've also done a fair amount of participant-observation in the form of live performance. So in fact I could almost be writing as an insider, except that I've deliberately chosen not to work in a practice-led paradigm. This decision is motivated by my research interest in the ways that the technical and aesthetic aspects of electronic music practice are distinguished and framed by musicians, as well as the ways connections are made between the technical and the aesthetic in different historical and institutional situations. Writing as a kind of half-breed puts me in a good position to translate these aspects of electronic music discourse and practice for a cross-disciplinary audience of scholars interested in music more broadly. It also often forces me to confront the transformative aspect of the act of translation itself, and often this means highlighting issues that musicians might not otherwise have recognized as central. All this is just to emphasise, then, that I acknowledge that my contribution is not made as an objective outsider, but as someone with an equally vested interest in making (potentially different) sense of what went on. Missing the last day probably also biases my observations, but Lauren suggested that I might get to see the video of the final performance, and I'm curious to see if it might lead me to alter my interpretations. In any case what follows is fleshed out from notes taken during the workshop and further reflections I wrote down after reading my notes on the train ride back to Oxford on the morning of the 18th.<br />
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<span class="Apple-tab-span" style="white-space: pre;"> </span>All of the musicians seemed to me to be remarkably well tuned and practiced with respect to their setups and/or instruments. A sense of instrumental mastery was foregrounded. On one hand I wonder how much of this impression was an effect of my unfamiliarity with each person's practice outside of the immediate context of the workshop. For that matter, would I really have been able to tell who was taking risks or being virtuosic, and who was playing it safe? On the other hand it didn't seem to take me long as a listener to be able to perceive differences in each musician's sonic repertoire. Each seemed to maintain a consistent identity at the level of timbre and/or timing. This was probably enhanced by gestural correspondence at a visual level, but it seemed like each person also chose to stick to a fairly stable range of material over the course of the time I spent in the workshop. Having sat through a number of similar rehearsal situations I was also surprised by the small amount of time spent troubleshooting or re-patching. I mentioned this to a few people, and it was suggested to me that this has not always been the case, and that there had been a significant effort this year to avoid getting bogged down in tinkering. Certainly the introduction of Jan as 'musical director' played a central part in this effort, but to me even the inclusion of 'non-electronic' musicians (Emma and Frauke, although I would say that making a technical distinction between what they did and what the rest of the group did was actually quite difficult in this context) contributed to the sense that this was meant to be about performance more than technology. I'm left with the impression, then, that there must have been a direct relation between the level of individuality I perceived and the deliberate effort to focus on the 'human' aspects of ensemble performance. I wonder if the sense of identity in previous years felt more nebulous. To what extent is a sense of individual 'voicing' a necessary or even deliberate aspect of LLEAPP's take on performance practice? This observation about individuality connects with several areas of concern which appeared to become central to the explorations and negotiations that took place during the workshop.<br />
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<span class="Apple-tab-span" style="white-space: pre;"> </span>The first was the generation of some form of coherent group organisation out of the individual contributions. Having a single director for the rehearsals seemed like quite an effective way to maintain a shared focus. The fact that Jan didn't also attempt to become the group's 'conductor', however, forced individual musicians to adopt a more personal level of responsibility for maintaining that focus. One effect of this seems to have been to generate discussion around notions of freedom and democracy whenever rules or compromises cropped up unannounced or unexpected. I remember finding it particularly striking when, at the end of the day of rehearsals I attended, the show of hands on whether to move setups the following morning was split almost evenly, only to be resolved afterwards without reference to the vote. Did this belie a foregone conclusion?<br />
<br />
<span class="Apple-tab-span" style="white-space: pre;"> </span>Although mitigated slightly by strategies and exercises apparently designed to distribute power more evenly, there were individuals who often seemed to take a more assertive approach than others, taking on a kind of conducting role in order to effect sonic changes. Without getting too theoretical about it, I wonder if this kind of intermittent assertiveness is something people see as an inherent aesthetic necessity (does this music need a sense of 'will', a 'focus' or a 'goal'?) or whether it might invite reflection into alternative ways of distributing power in 'emergent' or other ad hoc ensemble formations. Is there a way to make sure power isn't always concentrated among the same people? Is it possible to think of models of organisation that aren't so much orientated by the notion of subjective sovereignty, or where agency is distributed in such a way as to thwart the emergence of (even momentary) leaders, or give power to the 'wrong' people?<br />
<br />
<span class="Apple-tab-span" style="white-space: pre;"> </span>The question of right and wrong in music leads inevitably to aesthetics. Here, however, minor conflicts over the determination of actual sonic content were brushed aside in favour of discussions on the technicalities of structure and human interaction. This was explained to me a couple of times as being for democratic reasons: you couldn't hope to please everyone at an aesthetic level. But does presupposing the incommensurability of subjective aesthetics actually render the overall aesthetic less diverse? Does the foreclosure of discussion enforce unspoken conventions? I'd say that there was a fairly clear sense of a shared background in 'non-idiomatic' free improvisation, and I noted open conversations dealing with several shared aesthetic points of reference, predominantly in the free jazz and experimental traditions. Is it not the case that a certain resistance to 'influence' is, paradoxically, idiomatic in these traditions?<br />
<br />
<span class="Apple-tab-span" style="white-space: pre;"> </span>Another area of concern was the role of 'communication' between the individual members. A basic model of communication appeared to pass without explicit discussion. The (to me rather classical) notion that groups of musicians should coordinate their action through visual and gestural contact seemed to go without saying. If the more or less proscenium-style framing of the space and the panoramic/circular arrangement of musicians helped to foreground this approach and probably also to facilitate it, at least in the way it was used on the day of rehearsals I attended, it also rather spectacularized it. Interestingly, as musicians became more adept at communicating in this way the sense of virtuosic display was heightened, certainly in comparison with the first evening's concert. I found myself wondering at several points why it should be worth so much effort to master just this particular kind of communication.<br />
<br />
<span class="Apple-tab-span" style="white-space: pre;"> </span>This seems to me an interesting place to open for discussion in the future, especially considering that so many people's setups afford other kinds of communication that aren't so obviously 'musical', at least with respect to the classical tradition. Indeed, there is a sense in which some of the more screen-oriented setups worked against this type of visually-oriented communication (I am reminded of a moment in my video documentation when Marinos continues playing for about 30 seconds following a stop signal because he hasn't looked up from his Supercollider windows). Why not, for example, explore different kinds of aural-tactile communication, different sensory interfaces which might be more accessible to more screen-oriented players? Why not explore 'virtual' communication over a network (as Rob attempted to facilitate, apparently without acceptance from other group members)? What about finding 'analogue' ways of enabling the setups to communicate independently of individual musical intentions, through feedback for example?<br />
<br />
<span class="Apple-tab-span" style="white-space: pre;"> </span>This brings me back to my earlier remark about the relatively small amount of time I noticed being devoted to technical issues during the workshop. Since this was intentional to a certain extent I don't want to completely undermine it. Moreover, I think the emphasis on musicianship seemed to have a focusing effect at an aesthetic level, which is perhaps ironic considering the active resistance to discussing aesthetics. My point is that it led me to wonder how much of a challenge it would be to find a productive way of bringing the setup back into the foreground without getting into the kind of technocratic autism that people seem to want to avoid. Several things about the ways musicians assembled and operated their gear were genuinely interesting and inspiring to me. There might be productive things to say, for example, about the ways people combined custom-made and off-the-shelf technologies. The different roles accorded to automation in peoples' setups could bear further exploration as well. What do we miss when we box these setups into the 'tool' or 'prosthesis' concepts often used to frame and explain common-practice instruments? Are these really just objects that mediate human musical intentions? Bearing in mind the risk of drifting into anthropomorphizing platitudes, expanding the notion of 'performance' in the project title to include non-human 'performers' might open up new questions. What role can the gear's affordances play in these explorations? In what ways might the group involve the operation of instruments in a phenomenological inquiry into 'performance practice' that doesn't assume its essential humanness? Could this be done in a way that doesn't assume the received distinctions between 'electronic' and 'traditional' instruments? Like the group's current concern with human organisation and communication, the line of inquiry into the non-human can also be expanded into an ethical domain. What meaning is given to things like mastery, virtuosity, and control in relation to technology? When does technological agency become problematic and why?<br />
<br />
<span class="Apple-tab-span" style="white-space: pre;"> </span>To close what is already a much longer text than I had planned, I thought it might be interesting to invite some consideration into the social and institutional positioning of the LLEAPP project. Considering the overall demographics of the academic disciplines dealing with music technology in the UK, the research group is obviously delineated around a certain career cohort which straddles the cusp between late-doctoral studies and entry-level academic work. How does occupying the 'early-career researcher' role inform and frame the direction of the project ethically and aesthetically? Is LLEAPP conceived as something that will remain stable over time as the membership either becomes more established or possibly leaves academia altogether? Are there ways of resisting or complicating the institutional orientation of the project which might prove productive, for example opening to non-musician and/or student members, or addressing the gender imbalance?<br />
<br />
<span class="Apple-tab-span" style="white-space: pre;"> </span>Thanks again for a stimulating couple of days. Please feel free to comment upon and respond to what I've written in any way you see fit. I'll be sharing all of my documentation once the archiving provisions are sorted out, and I look forward to seeing and commenting more as I get to see and hear more about the parts of the workshop that I missed.<br />
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3901410450899800834.post-8613354887214565162013-04-19T17:56:00.000+01:002013-04-19T18:05:06.589+01:00Photos<br />
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<br />Anonymoushttp://www.blogger.com/profile/15010119516153071126noreply@blogger.com0tag:blogger.com,1999:blog-3901410450899800834.post-5113679291720764352013-04-19T17:19:00.000+01:002013-04-19T17:19:01.227+01:00fun and games<div class="separator" style="clear: both; text-align: center;">
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The communication strategies/games introduced by Jan was a great help - getting us away from our instruments to focus directly on interaction skills. I'm not sure we would have instigated this as a collective so it was important to have someone outside the group of players to move us beyond our comfort zone. Our playing style changed markedly after we had absorbed these techniques.</div>
Anonymoushttp://www.blogger.com/profile/15010119516153071126noreply@blogger.com0tag:blogger.com,1999:blog-3901410450899800834.post-70113407984400894232013-04-17T23:07:00.001+01:002013-04-20T07:45:31.094+01:00Day 2 - JR Personal PracticeUnlike the events of yesterday (note to self - should really discuss the first day!), where the groupings were the result of spatial distribution and almost arbitrary 'numbering' (e.g. every third person), I spent more time playing with particular people (Christos, Owen, Sean, Amit, and occasionally Adam), as much as anything because they seemed to be capable of quickly moving to the same kind of sound space that I was creating and were responsive to the kinds of gestures that I was trying to introduce. As Christos has noted, there's also a familiarity with instrument and 'voice' that's perhaps an easy option, so maybe I should work harder to meet (in a sonic sense) other participants.<br />
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In the early part of the second session I sat out for a considerable length of time, partly due to virus induced lethargy, and also partly because I didn't feel that I wanted to add anything to the sustained, low amplitude textural material that was unfolding (bizarrely the auto correct on my ipad just changed a misspelling of 'unfolding' to 'noodling', which is not far off the mark IMO).<br />
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Once I'd shrugged off my torpor I (think I) became a little more directing, instigating a number of duets and trios with Amit and Christos, and a 'stabbing' simultaneous trio with Sean and Christos, which I brought back into play following my call for silence. <span style="-webkit-composition-fill-color: rgba(175, 192, 227, 0.230469); -webkit-composition-frame-color: rgba(77, 128, 180, 0.230469); -webkit-tap-highlight-color: rgba(26, 26, 26, 0.292969);">I was perhaps overly terse at one point in discussions, but felt a bit frustrated by one of the comments made while reviewing the efficacy of signals.</span><br />
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There's perhaps still a need for more decisive gestures on the part of the ensemble, with more dynamic contrast and silence, while also returning to previous material giving shape and form, rather than always pursuing new opportunities (am I being old fashioned here?) I'd also really like Frauke and Emma (or anybody else) to cut loose every once in a while and really 'sing'! The final thing that I'd like to explore further is rotation of small groups with some continuing element (e.g two people in a trio drop out to be replaced by two others)<br />
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In respect of interface and instrument, I worked with a limited palette that required minimal attention to the computer and controllers, and familarity with my sound library meant that I was able to quickly load new sounds when required. That said, I think I could probably select 5 or 6 samples for scratching that cover useful timbral territory and simply turn my screen off. This might also require some kind of cueing mechanism to quickly jump to favourite parts of samples. A limited palette does mean of course, that there will be certain situations that just won't be appropriate for contribution.<br />
<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3901410450899800834.post-8277367104268261732013-04-17T22:50:00.001+01:002013-04-18T00:06:20.982+01:00DAY 2 :: PUBLIC NOTE TO SELF<div dir="ltr" style="text-align: left;" trbidi="on">
We have now established a sufficient level of co-performer awareness - what do we do with it?<br />
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- Are we making the most out of our individual practices?<br />
- Are we taking enough risks?<br />
- Are we really struggling on any level?<br />
- Don't we need to leave Ithaca first in order to find our way back home?<br />
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Christoshttp://www.blogger.com/profile/08678983316557215343noreply@blogger.com0tag:blogger.com,1999:blog-3901410450899800834.post-88316497167100040782013-04-17T22:11:00.003+01:002013-04-17T23:31:54.125+01:00Day 2Following a successful concert last night (which essentially amounted to as much material and outcome as we achieved in the 3 days of the first LLEAPP, but conducted in an afternoon!), after some discussion of structuring, placement and the utility of The Odyssey, we spent the best part of the morning working with Jan minus instruments.<br />
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The first exercise aimed to promote visual awareness of the ensemble and group management of 'sound' through gesture and posture. The simplified version is that through eye contact (and some pointing) we would cue in a member of the group, who would cue in another member in turn. Once all members were cued in, we began cueing members out. We did this with a variety of speeds, and it revealed the limitations of oblique lines of sight.<br />
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The second exercise introduced signals for creating solos, duets, trios etc. A participant would hold up two, three, four (etc.) fingers to invite a duet, trio, quartet (etc.) and once an agreement was established the duo/trio would jump into the circle (often to be immediately replaced by a soloist or another group). Some attempt was made at crossfading, but it seemed to produce a ministry of silly walks.<br />
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Even though we were working without sound, there was still a sense that the participants were trying to create an interesting form, with repetitions, clusters of interlocking solos and 'silences'.
After a coffee break we rearranged ourselves into a slightly deformed circle (see Christos' post below), and began to introduce the cueing, signals and groupings into our work with our instruments, attempting to cue in and out all members in 30 seconds (roughly one second per cue). Unlike the non-instrumental version, we had to keep a heads up approach while (perhaps) wrestling with interface.<br />
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In the afternoon session we extended the rules and vocabulary to include a 'follow me' signal, where we should try to imitate the 'lead' performer. It became clear that augmentation was sometimes easier than imitation, and in practice the follow me signal was used to silence proceedings (as long as all members followed the cue ; )<br />
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This do-as-I-do was also intended to bring a sense of 'home' (one of the themes discussed from the Odyssey), but as the afternoon progressed, we didn't really revisit this direction. Similarly, overt crossfades seemed to be overlooked (although spontaneous introduction of new textures continued).<br />
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Other threads included 'rogue' agents (and agency) where (some) players ignored the rules completely. As the rules extended the sonic water became increasingly muddy to the point where it seemed that we were approaching free play again. While this was reasonably sonically and musically satisfying, we later attempted to bring some our previously discipline back into play.<br />
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The session closed with pieces of 2, 7 and 15 minutes which saw some confident use of gesture and augmentation, with simultaneous duets, trios etc.<br />
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<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3901410450899800834.post-67371272076306169742013-04-17T00:06:00.000+01:002013-04-17T00:20:41.641+01:00Day 1 :: Public Note to Self<div dir="ltr" style="text-align: left;" trbidi="on">
Following our exploratory performance and while it's all still fresh:<br />
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Vocabulary - Ways in which I was able to consciously find common ground with individual performers:<br />
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1) with Adam: Semi-dense "wooden" hits, controlling my concatenative synthesis module. Noisy bowing.<br />
2) with Jules: Sampling my bell and buffer scrubbing while playing fragmented rhythms. Waveshaping.<br />
3) with Lauren - Irregular snare rimshots with her Machinedrum samples. Comb filtering worked too.<br />
4) with Frauke - Pitched cymbal bowing producing fast pulses imitating her vocals, controlling my "+++" synthesis module.<br />
5) with Rob - Classic free improv guitar/drums drumming. Bowing.<br />
6) with Sean - Clean feedback gestures worked well with his synth (I remember some reverb from his part but might be wrong).<br />
7) with Owen - Spectral freezing and pitch shifting to meet him down in the low pitch areas.<br />
8) with Bill - Playing on the wooden part of the drums with my plastic brush sticks alongside his clicky(?) sounds (quite possibly his clarinet's keys).<br />
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Things that didn't work for me:<br />
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1) I didn't feel comfortable with Marinos' placement as I was looking at his back and couldn't engage with his sound based solely on this positioning.<br />
2) Similarly, with Radek being quite far from me (and not being familiar with his instrument as I am with Jules' and Lauren's so that I can make informed guesses, or having an acoustic instrument like Emma and Adam so that I can respond to a big extent to visual cues), I don't think that I was able to make a direct connection.<br />
3) Amit's speaker was turned completely to the other side facing the audience so unfortunately I wasn't able to hear much of what he was doing.<br />
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Things worth exploring:<br />
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1) Positioning - I think that a circular configuration would work better, even if some have their backs turned to the audience (I don't mind being one of them). Since we're using mono, one output of the sound card could be facing inside the circle and the other to the audience (given we have another 3-4 speakers).<br />
2) Not all instruments are the same. We should perhaps devise groupings based on instrumental responsiveness - from slower gradual, to faster instant responsiveness (or role). Either 3 groups, each having one of each (ie slow/medium/fast x 3), or 3 homogeneous groups (fast/fast/fast, slow/slow/slow and so on.) Odyssey's embedded narratives could perhaps be relevant to that?<br />
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See you all tomorrow!<br />
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Christoshttp://www.blogger.com/profile/08678983316557215343noreply@blogger.com0tag:blogger.com,1999:blog-3901410450899800834.post-33172465620364141232013-04-16T11:49:00.001+01:002013-04-16T11:49:12.242+01:00Metal boxes and clarinetsThis will be my third LLEAPP, so thank you for inviting me back. This year I thought I'd bring along my clarinet to throw into the mix, along with my increasingly battered arduinome. I'm finding it tricky typing this on my phone on the train, so I shall leave it at that and look forward to seeing you all soon.
Bill Vinehttp://www.blogger.com/profile/12012674983594647135noreply@blogger.com0