Ubiquitous Music Conference

The conference in Brazil accepted the paper. It’s a tad long so still some work to be done. I’m given the impression that there’s a good chance an acceptance is a sure precursor to the Journal of New Music Research issue and will need to be expanded to 25 pages. SO!

The abstract:

Music as a Plastic Art
An ecological strategy Facilitating emergence in an instrumental composition ecology

Abstract.  This recounts and expands on a method for fixed-sound composers to construct music for solo as well as fixed-sound accompanied instrumental performance. It uses aural models instead of written or graphic systems to stay congruent with concrete studio practice, rarifying the aural feedback cycle. The composition is realized within this heightened aural environment with the com- poser situated as an embedded organism. Results gathered in the studio, from individual samples to the finished composition, can be thought of as eigenstates, resulting from the complex interaction of various perceptual, audible, conceptual, and computer aided mechanisms. Aural models can potentially reduce the interpretive degrees of freedom to near zero, creating an ’impossible’ task, paradoxically producing a bounded yet infinite spectrum of musical outcomes. The ideas are largely from part of my 2007 PhD research (sponsored by De Montfort University).

tracking sound

https://www.sciencedaily.com/releases/2018/03/180312150525.htm

Still unable to find research on ‘dark with eyes open vs  eyes closed’ auditory tracking efficiency,

The function of tracking in the dark is orientation/identification whereas with eyes closed the task is less risky.

The studies must exist, I didn’t dream them I don’t think.

Although I might just have gotten t wrong.

 

https://www.sciencedirect.com/science/article/pii/S1388245707004002

 

https://www.powershow.com/view/3dece3-OThmY/AUDITORY_LOCALIZATION_powerpoint_ppt_presentation?varnishcache=1

 

 

1000 Instrumental Metaphors

I need to unbind my ideas or some of my ideas about this project.
Why does a finished sketch need to be more than a minute, or 30 seconds, or even 10?
I need to crank out handfuls of these and throw them by the shovelful at these performers.

 

Farming motifs

Bounded vs unbounded affordances

Originally posted on 6/8/16 in response to:
CEC — eContact! 17.4 —
Back to the Future: On misunderstanding modular synthesizers
by Richard Scott

Journals

There’s an upcoming issue of a new music journal that includes ecological-based compositional practice. It’s something I really want to take part in.
More information as it is released.

More Web Fun

More adjustments on the website. It’s subtle. Too subtle really, for a page that rarely gets a hit, but I like playing with it.

Now, if you can notice it or let it sit for a few seconds to let it rise to the surface, a ‘play’ triangle pops up in the middle of the center logo. When you hit it one of the AL animations of the improvs plays underneath the logo, fading in and out.

If you can find the “full screen” button, (although that isn’t likely) it has a great inadvertent ghosting effect. I’m quite happy with it.

I understand that for search optimization purposes, it helps to update the page relatively often. This will be a way of doing that easily. I can just paste the new youtube address i the iframe div.

 

ricknance.org

The Stroll

Errands to run so I’ll walk today. Irvin Arditti is tonight. Music to write today. Friday is improv at the house with Lee, so maybe sketching some scores of some kind might speed things along.

So… Lee is bring some hand-held percussion items and hopefully a plethora of mallets. I’m prepping the improv guitar (Dauphin) for him. I’d really like for this first encounter to be completely free, but I’ll sketch some stuff out just in case.

Probably I’d best prep an aural score. It might be nice to have something to talk to Ricardo about in response to his article.

 

on a side note…
If I’d known cooking was this easy I’d have started a long time ago. (Slow roasted tomato-basil  soup)