own project: boomBox, a flight case with sensors in it, performance of manipulating and playing the box.
other peoples’ projects: Remko Scha and Arthur Elsenaar
[taking power and moulding it into music]
own project: circuitMusic
other peoples’ projects: Toshimaru Nakamura: no input mixer.
Material and energy autonomy:
own project: Art Generator
other peoples’ projects: Rory Nugent: Square Band, Jeff Fedderson: Earth Speaker, Michel de Broin: Shared Propulsion Car [pedals].
What are our technology options?
Energy harvesting, piezo, solar, water/wind.
System concerns data, efficiency battery power.
Sine wave turn table, made with Jo Kazuhiro [using a generator to power an amp but also using the sine wave signal as audio source].
Jamie got a craclebox from michel and went to the park and played it outside.
Circuitmusic machines - a portable player being made right now - 6 different versions with different energy sources.
There were lots of questions:
The relevance of russian aura photography?
How involuntary is the autonomous nervous system?
Is it reductionist to want to bypass gesture in music?
How long is for ever?
Is miniaturization actually driven by the desire to stop you from being able to fix things?
Getting of the grid and getting over the embarrassment of being environmental.
Example: David Dunn: listening to the bark beetle - indicated the level of stress in the tree and also the signal from the beetle itself.
Is sonification the poor brother of visualization?
Examples: Katie Patterson, a telephone connected to a glacier. Marko Peljhan Microlab, placing themselves in fragile environments and generating their on infrastructure [like a satellite].
The are too kinds of environmentalism: work that is shouty and preachy or work that illustrates an environmental process but does not preach.
Milkproject by Polak/ Auzina
Helsinki Power Station by hehe, visualizing the energy consumption on a smokestack in Helsinki.
the lake by Julie Freeman, visualization of freshwater fish.
Is there an end to innocence and aesthetics? Can we get from navel gazing to shoe gazing?
Can we take you off the grid? Harvesting energy from motion: we spend a lot of energy moving around. On the micro level we can harvest from blood flow, body temperature and biochemistry.
The word ubiquitous is becoming ubiquitous. It is a very active field now with lots of work being done.
The bio electric signals of the body: The nervous system as a self powered communication source. Wanting to get closer to the source, the metabolism. These energy sources are not big enough provide energy for music but we can amplify the signal and use it as input to music.
Examples of early work:
1965 Alvin Lucier “music for solo performer” [EEG, brainwaves]
1978 Dick Raaijmaker, a man get of his bike very very slowly, the EMG, EKG GSR and nasal microphone records the exertion and energy it takes to do this.
How can we measure emotional energy while playing music?
Systems for measuring CNS activity and the somatic nervous system [movement], autonomic nervous system [breathing, temperature etc], autonomic nervous system [EDA, electrodermal activity]
The ECG signal is the largest electrical signal in the body, it is almost big enough to power something.
How do we use this in musical performance?
The desire to move from pieces that use the body’s energy for power to a point where we are using the signals from the body to create the content of the music itself. Wanting to remove the physical layer and get to the point where we can make music with our thought and emotions.
“We make tools and forever after they shape us” McLuhan
The energy and the tools we use is a part of the broad ecosystem of our lives.
Musical and performance “energy” enables expression.
Energy and information [signals] are precisely the same thing.
What are we plugging into? a handful of coal is enough for burning a light bulb for 24 hours.
Example: “field” by Richard Box
What is Turntable Music ?
Taku gives an insteresting definitions of turntable music, narrowly he defines it as a practice that focuses on the use of a turntable and mixer as an instrument. More broadly Taku defines turntable music as anything that focuses on the instrumental use of media playback through a circular rotating interface. After an interesting look at the history of physical media recording and playback. Starting with the Phonoautograph in 1857 Taku takes us through the details and capabilities of turntable technology right up to the ubiquitous Technics direct drive turntables that arrived in 1970. The ubiquity of the mighty Technics deck is due to the high torque generated by its direct drive platter, this allowed DJs greater capability.Having dispensed with some of the technological aspects of turntablism Taku focuses on social history of recorded music playback and how from the early ‘Home phonograph concerts’ of the 1920s DJ culture emerged over 70 years.
Hope you all are enjoying the Jamboree so far! Later today, I will be giving a presentation on Rhythm and Sequencing for Live Performances.
I’m going to talk about blurring the lines between the use of live and concrete sounds in the context of a live performance followed by electronic rhythm creation and sequencing using Ableton live and Pure Data.
First Part: -
Having been playing with a Monome and a midi controller over the past year, I am trying to push the envelop further in regards to live performance. Recently I have augmented my new live sets with inclusion of live table banging/foot stomping going hand in hand with concrete sounds.
Second Part: -
Being a happy Ableton user, the only thing missing is modulation in this program. Bridging Ableton with Pure Data (PD) using Midiox, I’m able to use the pandora’s box of modulations sources which PD is to shift and shake the rhythms in Ableton!