EVENT #4 LunchNIME
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Can one improvise with computers and electronics in lively, expressive, complex ways, change directions instantly, and communicate within a common flow? Trio Brachiale likes to think: yes! They have bred their soft- and hardware in a direction that allows for spontaneity like traditional instrumentalists are used to. Add all the surprises the computers can offer as an intelligent music partner. Navigating this space of possibility becomes a breathtaking cybernetic endeavor; the band name roughly indicates what the result will sound like.
facialNoise uses facial expressions to generate and manipulate sounds. It explores the idea of the face as an interface a remote control that together with the sounds it generates turns into a tool of performance. The face, one of our strongest means of selfcommunication, is being analyzed by a software. The software, unobservable to the audience, is tracking the performer’s facial features and movements, and uses the data in the process of the creation and mixing of the sounds. facialNoise will is created and performed by Noa Dolberg, Lior Lerman, Maya Pik and Gosha Shtasel.
“Almost Human” describes a hybrid performance of cello and prosthetic digital instrument. Cellist/mover/researcher Seth Woods is interested in the analysis of the instrumental ges- tures used in cello performance and the use of this analysis both for pedagogy and as material for the development of an extended personal gestural repertoire. This composition by Ian Hattwick for prosthetic instruments, cello and electronics is informed by extensive work with dancers, and Woods’ behavioural and physical gestures. In this composition Woods uses the cello to provide the prosthetic instruments with both sonic material and gestural inspiration. “Almost Human” demonstrates a multitude of instrumental possibilities for both instruments, questions the idea of sonic affectivity, and explores areas of choreographic processes and instrumental gestures.
Wezen is a solo music-theatre work which explores the relationship between theatrical gesture and musical instrument, between the body and the sonic world. Gewording (Becoming) is the first performance version where the link between physical and sonic gesture is explored during a live performance, combining movement of the body and live coding.
Martin Howse – The Dark InterpreterRead About This →
Oh, eternity with outstretched wings, that broodest over the secret truths in whose roots lie the mysteries of manhis whence, his whitherhave I searched thee, and struck a right key on thy dreadful organ! – Thomas de Quincey. The Dark Interpreter
The Dark Interpreter is an open source analogue/digital instrument which returns code as contagion (technology) to the skin. Voltage fluctuations on the skin generate and steer software for granular synthesis. It is based on the ARM platform with 16 bit sampling.