Monday, April 17, 2017 - 6:00pm
Event Date Details:
- Studio Xenakis (UCSB)
Admission is free.
Marketing and Communications Manager
UC Santa Barbara Department of Music
UC Santa Barbara Department of Music
Two researchers from the Orpheus Institute, Ghent (Belgium) introduce their new research group ‘Music, Thought and Technology’ (MTT). They will discuss issues surrounding the concept of ‘artistic research’ and present their project in this light.
MTT proposes that the imagining and understanding of music are conditioned by an informal repertoire of conceptual models that can be considered technological. We might therefore look to the concepts and practices of technology to offer a useful discourse not only for the hybrid technology-enabled works that are our current paradigm, but also for wider musical practices. By the same token, we might look to our long cultural experience of the complex materiality/immateriality of music as we seek to understand the nature of digital culture and its artefacts.
By selecting key technological tropes that have become assimilated into broader discourse, we hope to examine their potential in greater detail. Grounded in practice, the work of MTT will explore these ideas through projects of communication and wider understanding, interaction with disciplines where they have very specific implications, and developing methodologies for critical technical practice in music. In this presentation we will focus on current work with concepts of network and simulation, illustrated by recent compositions.
Jonathan Impett (trumpet): Spoken
Bill Viola observed some time ago that wave phenomena provide the natural models for time-based art; Tim Ingold points out that sound is a medium of illumination rather than a series of objects. In Spoken (2015), the uncertain moment of emission of a sound - its coming-into-resonance or “speaking” – is the source of energy for patterns of reflection, refraction, diffraction, interference and resonance. The dynamics and architecture of this space self-organise using data from the physical actions on the instrument and the sound of the system itself. It is driven by the differences of memory and prediction between the constituent wave simulations, formal structures and sonic events – an unsatisfiable cycle of virtuality and materiality.
In TN_AoH (2017), Juan Parra seeks to integrate the tele-communicative, algorithmic and poetic understanding of a “network” by further exploring the ideas seeded in stochastic synthesis and Boolean network patterns into what he calls “timbre networks”. This setup aims to integrate and expose the multi-threaded role of the computer music performer, blurring the borders between composition, software and hardware controller design into an integrated entity. Linear structure composition is replaced by the elaboration of a network of interdependent sound engines and manipulators, as well as an array of rules governing the initial states of each element, and the thresholds where those states are transformed. Performance is then presented as the unfolding of this network over time and space. The spatialisation of the piece is done using Egg, a hardware controller designed in a long-time collaboration between Parra and Lex van den Broek, head of the Elektronica Werkplaats at the Royal Conservatoire in The Hague, The Netherlands.
About Jonathan Impett
Jonathan Impett is a composer and trumpet player. He has worked extensively with real-time composition, interactive performance systems, live electronics and extended instruments (metatrumpet), exploring areas between composition and improvisation. He also has long experience of performing works for solo instrument and tape or live electronics.
About Juan Parra
Juan Parra is a composer, guitarist and computer performer. Founder of The Electronic Hammer, a Computer and Percussion trio and Wiregriot, (voice & electronics), he collaborates regularly with Ensemble KLANG (Netherlands) and Hermes (Belgium), among many others. Parra holds a PhD from Leiden University (Netherlands) and is a fellow researcher at the Orpheus Institute (Ghent, Belgium), ocused on performance practice in Computer Music.
April 17, 2017 - 4:20pm