[microsound] Pieces that play & "listen"
digiology at gmail.com
Mon Jun 21 18:01:18 EDT 2010
I haven't read this but judging by the title it may be of some relevance:
On Mon, Jun 21, 2010 at 10:38 PM, Marco Donnarumma <info at thesaddj.com>wrote:
> Hi Norbert,
> I worked on this kind of process in a recently renewed participative
> You can find information at http://marcodonnarumma.com/works/high-spheres/
> Perhaps this work is slightly different from what you are looking for - and
> surely not mature as the work of the Scratch Music Orchestra - but you could
> find it interesting.
> Audience produce sounds using 6 unidirectional microphones, their sounds
> are thus composed together in rythmic patterns computed by generative
> algorhythm. At the same time audio data of the bespoken sounds feed and
> modulate five synths following again generative algorhythms.
> Eventually the whole composition is spatialized - always in real-time -
> through 6 loudspeakers forming a circle.
> When nobody interacts with the installation, the previously
> recorded/generated sounds keep on feeding the system.
> Unfortunately the recording you'll find on the above page are quite old,
> and it is the result of a different approach and different software.
> I'll be updating soon the webpage with the new audio and visual material I
> just had the chance to record at Re-New festival opening concert last May.
> On Mon, Jun 21, 2010 at 11:09 PM, Randal Davis <randal_davis at operamail.com
> > wrote:
>> Norbert -
>> There are, perhaps, some problems with your terminology, but I think I
>> know what you are working toward.
>> The condition of a procedure "incorporat[ing] what has previously been
>> played" would be met in a minimum condition by any system using delays.
>> Rich history here, of course, from early Pauline Oliveros and Terry Riley,
>> through Fripp & Eno, and so on. This is probably, though, not exactly what
>> you mean. Note: "delay" here could refer as well to the effect or, even more
>> generally, to various species of counterpoint.
>> The condition of a procedure which "incorporates...what it is...about to
>> play" would be met in a minimum condition by at least most common practice
>> music, requiring only the assumption that the composer "knows" what has
>> already happened. Or, put differently, a procedure that knows the future
>> does not necessarily need to "listen." But I think this is not quite what
>> you mean either.
>> Some of the clearest examples of the interactive systems I think you are
>> really most interested in are the network music of The League of Automatic
>> Music Composers and The Hub, or, most recently, George Lewis' various
>> experiments in this direction, notably Voyager.
>> You might also want to alook into some of the works of Earle Brown and
>> Christian Wolff (mostly their works of the 1950s), and the Scratch Music
>> Orchestra, as well as John Zorn's "game pieces" for examples of complex
>> interactive systems involving live performers, though not necessarily
>> > ----- Original Message -----
>> > From: Norbert Herber <norbert at x-tet.com>
>> > To: microsound at or8.net
>> > Subject: [microsound] Pieces that play & "listen"
>> > Date: Mon, 21 Jun 2010 07:33:34 -0400
>> > Hello microsounders,
>> > I'm looking for titles of pieces that are algorithmic, generative,
>> > procedural, etc. and also "listen." Has anyone made a piece that
>> > procedurally incorporates what has previously been played into what
>> > it is currently playing or about to play? Technically and
>> > conceptually I can think of many reasons this has already been
>> > done but I can't recall hearing (or hearing about) such a work.
>> > Thank you for your suggestions. ::Norbert
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> Marco Donnarumma aka TheSAD
> Independent New Media Arts Professional, Performer, Teacher - Edinburgh, UK
> PORTFOLIO: http://marcodonnarumma.com
> LAB: http://www.thesaddj.com | http://cntrl.sourceforge.net |
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