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!
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).
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.
Just a sketch so far, but this space will constantly be being replaced with updates as the work progresses towards a December 2018 deadline.
I’m excited that it’s this far along and isn’t going to be finished for many months yet.
Much to expand on and time to do it.
email me if you download (and you see this note)
Originally posted on 6/8/16 in response to:
CEC — eContact! 17.4 —
Back to the Future: On misunderstanding modular synthesizers
by Richard Scott
The infinitely shifting tool. (the soft weapon)
Historically, objects carried information about their usage with them. You don’t flip an egg with a hammer.
General purpose machines require a decision on the part of the user as to what the tool will be required to afford in a given situation. This is an increase in the overall cognitive load that begins even prior to the object in question being approached.
Simple example: From across the lawn, the shovel imparts information about its uses. The information includes the specific purposes of that tool (digging) as well as other uses that are implied from its shape and materials (possibly as deduced from, and because of it’s intended use) i.e. a lever.
Although having a machine which has nearly unbounded applications available to it is (obviously) useful, it also brings with it known and unknown extra energy expenditures in terms of choice and organizational pre-planning.
It is possible that over time this constant conscious reconfiguration of a single device prior to each different use (calculator, calendar, solitaire, flight simulation or word processor?), becomes inefficient and the difference between the general purpose tool and the single purpose tool is more salient. (A good organism tries to rectify the efficiency)
In the case of computer music devices, as the tools popularized, it became apparent the widest application involved historic and popular models of music. The interfaces standardized relatively quickly, and the rise the keyboard controller with a clear cut set of control parameters emerged (primarily MIDI), thus once again, bounding the tool towards a quickly and simply (more and less) definable purpose.
The modular, or single purpose object, was left out, or hidden. The actions associated with music making along those lines were continued, but mostly through software renditions of those modules’ functions. Software that exemplified object oriented notions were developed (MAX languages and SuperCollider for example). So essentially, for many performers and composers, they were accessing the same functions that analog synthesis afforded, except they were using an infinitely reconfigurable single tool. The question arises: “Is that the only way to make music?” “Is a digital computer the best tool for the music I am trying to make?” If all you are doing is using that computer to recreate synthesis modules, then maybe it isn’t.
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.
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)