I haven't read this but judging by the title it may be of some relevance: <a href="http://web.media.mit.edu/~tristan/Research/MIT_PhD.html">http://web.media.mit.edu/~tristan/Research/MIT_PhD.html</a><div><br></div><div>
<br></div><div><br></div><div>Ross</div><div><br><div class="gmail_quote">On Mon, Jun 21, 2010 at 10:38 PM, Marco Donnarumma <span dir="ltr"><<a href="mailto:info@thesaddj.com">info@thesaddj.com</a>></span> wrote:<br>
<blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex;">Hi Norbert,<br>I worked on this kind of process in a recently renewed participative concert.<br>You can find information at <a href="http://marcodonnarumma.com/works/high-spheres/" target="_blank">http://marcodonnarumma.com/works/high-spheres/</a>.<br>
<br>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.<br><br>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.<br>
Eventually the whole composition is spatialized - always in real-time - through 6 loudspeakers forming a circle.<br>When nobody interacts with the installation, the previously recorded/generated sounds keep on feeding the system.<br>
<br>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.<br>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.<br>
<br>Best,<br><br><br>Marco<div><div></div><div class="h5"><br><br><br><br><div class="gmail_quote">On Mon, Jun 21, 2010 at 11:09 PM, Randal Davis <span dir="ltr"><<a href="mailto:randal_davis@operamail.com" target="_blank">randal_davis@operamail.com</a>></span> wrote:<br>
<blockquote class="gmail_quote" style="margin:0pt 0pt 0pt 0.8ex;border-left:1px solid rgb(204, 204, 204);padding-left:1ex">Norbert -<br>
<br>
There are, perhaps, some problems with your terminology, but I think I know what you are working toward.<br>
<br>
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.<br>
<br>
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.<br>
<br>
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.<br>
<br>
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 electronics.<br>
<br>
RD<br>
<br>
> ----- Original Message -----<br>
> From: Norbert Herber <<a href="mailto:norbert@x-tet.com" target="_blank">norbert@x-tet.com</a>><br>
> To: <a href="mailto:microsound@or8.net" target="_blank">microsound@or8.net</a><br>
> Subject: [microsound] Pieces that play & "listen"<br>
> Date: Mon, 21 Jun 2010 07:33:34 -0400<br>
><br>
><br>
> Hello microsounders,<br>
><br>
> I'm looking for titles of pieces that are algorithmic, generative,<br>
> procedural, etc. and also "listen." Has anyone made a piece that<br>
> procedurally incorporates what has previously been played into what<br>
> it is currently playing or about to play? Technically and<br>
> conceptually I can think of many reasons this has already been<br>
> done but I can't recall hearing (or hearing about) such a work.<br>
><br>
> Thank you for your suggestions. ::Norbert<br>
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</div></div></blockquote></div><br><br clear="all"><br></div></div><font color="#888888">-- <br>Marco Donnarumma aka TheSAD<br>Independent New Media Arts Professional, Performer, Teacher - Edinburgh, UK<br><br><br>PORTFOLIO: <a href="http://marcodonnarumma.com" target="_blank">http://marcodonnarumma.com</a><br>
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