- http://www.joshuabanksmailman.com
Joshua B Mailman
Columbia University, Music, Department Member
- Philosophy, Aesthetics, Computer Music, Embodied Cognition, Computational Modelling, Conceptual Metaphor Theory, and 346 moreElectroacoustic Music, Medieval Music, Narrative and interpretation, Renaissance music, 20th/21st Century Vocal music, Computational Musicology, Elliott Carter, Schoenberg, Milton Babbitt, Ruth Crawford Seeger, Wearable Computing, Music of Ligeti, Atonal Music, George Balanchine, Music, Phenomenology, Music Psychology, Music Cognition, Music Technology, AudioVisual Music Composition, New Interfaces for Musical Expression, Electronic Media Theory, Music Software Development, Improvisation, Lena Boroditsky, Gagaku, Intersections Between Art and Philosophy (Expecially Bergson, Deleuze and Henry) and Art and Music, Cybernetic Phenomenology, Composition Studies, Applied Mathematics, Chamber Music, Musical Composition, Music Theory, Musicology, Models of Creativity & of Creative Processes, Computational Modeling, Algorithmic Composition, Psychology of Music, Composition (Music), Computers and Composition, Rhythm, Cybernetics, Emergent Phenomena, Radical Constructivism, Teaching Composition, Soundscape Studies, Process Philosophy, Post-tonal Theory, 12-tone Composition, Empirical Musicology, Extended Mind, Quantitative Research, Music Information Retrieval, String Quartets, Quantitative Methods, Twentieth-century Music, Quantitative methodology, Mathematical Modeling, Mathematical Modelling, Modernism, Music Composition, Contemporary Music, Computer musicology, Art and technology, String Chamber Music, Serial Music, American music, Teleology, Musical Form, Systematic Musicology, Matrix Theory, Music analysis, Music Signal Processing, Rhythmanalysis, 20th century Avant-Garde, Form (Music Theory), Contemporary Art Music, Emergentism, Second-Order Cybernetics, Twentieth-Century Music (Music), Composition, Musical Modernism, Teaching Listening, Musica, Harmonic Serialism, Music and Shape, Sonic Cognition, Sonic Perception, Music Theory and Music Analysis, Timbre, Music Perception and Cognition, Música, Musical Textures, David Lewin, 21st Century Learning, Contemporary Classical Music, Computational Aesthetics of Music, Mathematics and Music, Computational Music Theory, Pitch Perception, Musical Rhythm Theory, Musical Analysis, Mathematics of Music, Musik, Análise Musical, Serialismo, Dodecafonismo, Serialism, Twelve-Tone Technique, Computer Assisted Composition, Texture Classification, Computer-Assisted Composition, Music and Mathematics, Composer, Computational Modeling of Music, Applied Mathematics and Statistics, Sound/Music/Physics of Sound/Mathematics of Music, Rhythm Metrics, Dodecaphonic Music, Music Theory and Analysis, Texture Analysis, Post-Tonal Music/electroacoustic Music/computer Music/orchestration, Musikwissenschaft, String Quartet, computer-assisted compositioncomputer-assisted analysis OpenMusicMaxMSPMax/MSPAmadeusAudioSculptMaomusicalisationrhythm constraintsOpen Music, Contemporary Music and Composition, Pitch-class Set Theory, Music and philosophy, Music and Maths, American Twelve Tone Music, Mathematical Music Theory, Music and Timbre, 20th Century Avantgarde, Investigación De Los Procesos Formativos Musicales, Harmony In Atonal Music, Mathematics in Music, Emergent Properties, Music Processing, Music Composition Teaching Strategies, Math and Music, Pitch-class theory, Analysis of Post-tonal music, Mathematics and Music, Atonality, Musical Contour Relations Theory, Machine Listening, •Post-Tonalism, JACK Quartet, Computational and Mathematical Modeling, Twentieth and Twenty first century Music, Musical Information Dynamics, Theory and Analysis of Western Art Music, Theories of Musical Rhythm, Atonal, Armonía Atonal; Análisis Musical;, Forma Musical, Pc Set Theory, Integral Serialism, Music Visualization and Mathematics, Tonal atonal composition set class theory, Twelve-Tone Music, Post-Tonal Music, Post-Tonal Analysis, Applied Mathematics and Modeling, Post-tonality, Analysis of Post-Tonal Music, Development of Musical Forms, Contemporary String Quartet, Systems Theory in Musical Analysis, Musica Analysis, Serialismo Dodecafonico, 12-Tone Serialism, Robert Morris (composer), Pitch-class theory, 12-Tone, Computers and Composition, and Contemporary Art Music, Journal of Mathematics and Music: Mathematical and Computational Approaches to Music Theory, Analysis, Composition and Performance, Time in Musical Form, Twentieth Century Music, Armonía Atonal; Análisis Musical, Narrative and Music, Contour theories, Piano Music, Ernst Mach, Second Viennese School, Arnold Schoenberg, Dualism, Theory of Harmony, Dialectics, Diatonic Scale, Music Segmentation, Chords, Schönberg, Berg, Zemlinsky, Binary Systems, Lewinian Transformational Theory, Pierrot Lunaire, Binary Oppositions, Chords in Atonal Music, Musical narrative, Tone psychology, Melody, Consonance and Dissonance, Schoenberg op.11, Octatonic, Hexatonic, THEORY OF MELODY, Pitch-Class Sets, Set Theory, Modernity, Harmony, Emotional Response to Musical Chords and Visual Imagery in Children, Viola solo, strings chamber music, Ancient Mathematics and Music, Extended techniques for strings, Strategies of Developing Listening Skills, Computational Models for Musical Expression, Interdisciplinarity, Music and Language, Creativity, Cyberpsychology, Information Theory, Digital Humanities, Sound Anthropology, Sound and Image, Anthropology of Music, Performing Arts, New Media, Media Studies, Education, 21st Century Literacies, Epistemology, Philosophy of Mind, Folklore, Mathematics, 21rst Century Music, Composition and Rhetoric, Algorithmic Art, Visual Music, Interactive and Digital Media, Noise And Music, Experimental Music, Drumming and Percussion, Dance Research, Audio Visual Media, Self-Organization, Nelson Goodman, Game Theory (Psychology), Game Theory, Utopian Studies, Embodiment, Media and Embodiment, Decision And Game Theory, Gilles Deleuze, Henri Bergson, Alfred North Whitehead, Philosophy of Music, History of Music Theory, Interactive Arts, Speculative Realism, History of music theory (Music), Process Philosophy (Peirce, Whitehead), Bergson, Hannah Arendt, Gilles Deleuze and Felix Guattari, Rhetoric in Music, Heraclitus, Behavioral Game Theory, Algorithmic Game Theory, Qualia, Emergence, Lachenmann, Kandinsky and Music, Music and Synesthesia, Gilles Delueze and Henri Bergson, Helen Frankenthaler, Olfactory Art, Morris Louis, History of Music Theory and Acoustics, Music Qualia, A.N. Whitehead, Hans Hofmann, Alien Phenomenology, Joachim Burmeister, Rothko, Deleuze and Guattari, Game of Go, Messaien, Synesthesia & Visual Abstraction, Introspective qualia, Manuel DeLanda, György Ligeti, Tonnetz, Mark Rothko, Helmut Lachenmann, Self Organization, Strategy games, Synesthesia, Speculative Realism (Philosophy), Wassily Kandinsky, Trivium, Applied Game Theory, Gerhard Richter, Olivier Messiaen, Synesthesia and Art, Quadrivium, Alfred North WhiteheadxProcess Philosophy (PeirceWhitehead)xWilliam JamesxHenri BergsonxAlgebraxPrincipia MathematicaxMetaphysicsxOntologyxEpistemologyxPolitical SciencexTheologyxPhilosophy Of Religionx, Computational Psychology, Qualia and Aesthetic Experience, Philosophy of Embodied Consciousness, Strategy Board Games, Relationship Between Tuning and Culture, Music Aesthetics, Game studies, Animated Visual Music, Musical Instrument Technology, Interactive Media, Phenomenology of the body, Music Technology in Music Education, Phenomenology (Research Methodology), Phenomenology of Space and Place, Interpretative Phenomenological Analysis, Interactive Multimedia, Interactive Art, Ludology, Carnatic Music, Games, Karnatic music, Interactivity, Techne, Music and Technology, Psychology of Video Games, Ligeti, Synthetic Non-Magical Speculative Realism, Music Visualization with Colours, Teaching Music Creatively and Music Technology, Techné, Ludomusicology, Creative music technology, Polyrhythms, Indian Carnatic Music, Phenomenology of Music Listening, Graham Harman, Ian Bogost, Timothy Morton, Phenomenology of Music, Technē, Polyrhythm, Korvai, and Cybernetics and Musicedit
- http://www.joshuabanksmailman.com ...................http://soundcloud.com/joshua-banks-mailman/tracks........... I a... morehttp://www.joshuabanksmailman.com ...................http://soundcloud.com/joshua-banks-mailman/tracks........... I am a music theorist-analyst (and part-time composer and philosopher of music) specializing primarily in "classical" music since 1900. I also write on music of other time periods such as the Middle Ages. I design, program, and perform interactive computer music as well.
At professional conferences I've presented on various topics including music of
• Berio
• Schoenberg
• Crawford Seeger
• Ligeti
• Brahms
• Schumann
• Schoenberg
• Babbitt
• Carter
• Berg
• Brahms
• Schumann
and issues of
• improvisation
• cybernetic phenomenology
• cybernetic phenomenology of music
• ontology of music
• interactive music systems
• Metaphors for time in music
• music generative iPhone apps
• electroacoustic music
• narrativity
• perception of octave equivalence and long-term memory with atonal melodies
• binary-state generalized interval systems
• organicism
• computational approaches to dynamic formedit
An introduction to the distinctive cultural history of composer Milton Babbitt and to a double issue of CMR about _Playing (with) Babbitt in the 21st Century_.
https://www.tandfonline.com/doi/full/10.1080/07494467.2021.2031066
https://www.tandfonline.com/doi/full/10.1080/07494467.2021.2031066
Research Interests: Musical Composition, Music Theory, Musicology, Cold War and Culture, Electronic Music, and 13 moreExperimental Music, Artistic Research of Music, Milton Babbitt, 20th century American cultural history, Broadway Musical Theatre, Stephen Sondheim, Serialism, Twelve-Tone Technique, 20th and 21st-Century Music, Princeton University, Avant Garde Music, Playfulness, and Ludomusicology
This essay considers some specific examples, as well as the general idea, of adapting and transforming Babbitt's compositions, especially cross-stylistically (to traditional chord-melody texture jazz, to improvised electronic idioms, to... more
This essay considers some specific examples, as well as the general idea, of adapting and transforming Babbitt's compositions, especially cross-stylistically (to traditional chord-melody texture jazz, to improvised electronic idioms, to late-Romanticism, and to algorithmically generated textures). These unorthodox activities shed new light on the implications of some of the most central aspects of Babbitt's theorising and compositional systematics (such as hexachordal combinatoriality, all-partition arrays, and superarrays), making these potentially arcane facets easier to imagine, comprehend, and hear.
Research Interests: Music, Musical Composition, Music Theory, Musicology, Algorithmic Composition, and 15 morePost-tonal Theory, 12-tone Composition, Orchestration and Arranging, Milton Babbitt, Music Improvisation, Theory of Harmony, Musical Analysis, Serialism, Twelve-Tone Technique, Chords, Chromaticism, Musical borrowing, Max Reger, Jazz Harmony, and Serialismo Integral
Research Interests:
This essay develops an interpretation of the title and technical facets of Milton Babbitt’s 1983 composition Canonical Form. This leads to insights about the value of canonicity generally. Among the musical facets explored are: Tonality... more
This essay develops an interpretation of the title and technical facets of Milton Babbitt’s 1983 composition Canonical Form. This leads to insights about the value of canonicity generally. Among the musical facets explored are: Tonality (portmantonality), including a tonal voice-leading graph, and the long-range pattern of pitch registers, modeled three ways: through (a) curve fitting, (b) binary-state operators, and (c) boolean functions. (The latter modeling reveals an intriguing parallelism between middleground registral patterning and local patterns of pitch.) Conceptual Integration Networks (CINs) organize all of these musical facets into a blended reading of the composition’s title, suggesting a poetics of double entendre. This thread culminates in yet another reading of the entire two-word title, which analogizes a well-known process of solving of equations (that is enabled by a canonical form) to the process of humanity incrementally building up knowledge.
Research Interests: Musical Composition, Schenkerian Analysis, Hermeneutics, Poetics, Post-tonal Theory, and 15 more12-tone Composition, Serial Music, American music, Musical Form, Music analysis, Linear Algebra, Milton Babbitt, Boolean Algebra, Musical Modernism, Canon, Conceptual Blending, Conceptual Integration, Canonicity, Musical meaning, and Dodecaphonic Music
A reflection on the new collection of writings on music by Benjamin Boretz
Research Interests:
This essay presents a theory of musical and verbal double entendre inspired by and applicable to the late-period music of Milton Babbitt. Rather than assuming the appropriateness of any single method (which might tend toward singularity... more
This essay presents a theory of musical and verbal double entendre inspired by and applicable to the late-period music of Milton Babbitt. Rather than assuming the appropriateness of any single method (which might tend toward singularity of meaning), a number of approaches are applied to three late works: primarily his Whirled Series (1987), and secondarily his Canonical Form (1983) and Gloss on 'Round Midnight (2001). These are interpreted through various kinds of analysis, not only serial, but also tonal (chordal and voice-leading), associational, pitch-permeational, and form-functional. Connections to Tin-Pan-Alley song lyrics, jazz improvisation, hermeneutics, and Gibsonian affordances are discussed in relation to these musical analyses. All this is done to infer and cultivate connections (represented as a conceptual integration networks) between Babbitt's extra-theoretic verbal expression and extra-dodecaphonic aspects of his music, connections that suggest an underlying poetics (a tacit motivational philosophy implicitly fueling his creativity) that provides pragmatic benefit to the artistic ambitions of diverse personal identities.
https://mtosmt.org/issues/mto.20.26.2/mto.20.26.2.mailman.html
https://mtosmt.org/issues/mto.20.26.2/mto.20.26.2.mailman.html
Research Interests: Music, Music Theory, Musicology, Improvisation, Schenkerian Analysis, and 15 moreBaseball, Hermeneutics, Poetics, Late Modernism, Musical Form, Music analysis, Affordances, Milton Babbitt, Conceptual Integration, Stephen Sondheim, Serialism, 20th and 21st-Century Music, Mathematical Music Theory, Jazz Harmony, and Portmanteau words
This video essay trilogy explores the surprising indeterminacy between pre- compositional structures and composed surfaces in Milton Babbitt’s music, and in doing so identifies significant affiliations with music (such as jazz) that is... more
This video essay trilogy explores the surprising indeterminacy between pre- compositional structures and composed surfaces in Milton Babbitt’s music, and in doing so identifies significant affiliations with music (such as jazz) that is predominantly improvised. It thereby suggests a different way of understanding and appreciating the nature of Babbitt’s creativity. http://doi.org/10.30535/smtv.5.1
Research Interests: Musical Composition, Music History, Music Theory, Musicology, Improvisation, and 15 moreCold War, 12-tone Composition, Music Composition, Serial Music, Jazz Improvisation, 20th century Avant-Garde, Milton Babbitt, Musical Modernism, Music Improvisation, Music and the Visual Arts, Indeterminacy, 20th Century Music, Musical Analysis, Music and Mathematics, and 20th and 21st-Century Music
Milton Babbitt has been a controversial and iconic figure, which has indirectly led to fallacious assumptions about how his music is made, and therefore to fundamental misconceptions about how it might be heard and appreciated. This video... more
Milton Babbitt has been a controversial and iconic figure, which has indirectly led to fallacious assumptions about how his music is made, and therefore to fundamental misconceptions about how it might be heard and appreciated. This video (the first of a three-part video essay) reconsiders his music in light of both his personal traits and a more precise examination of the constraints and freedoms entailed by his unusual and often misunderstood compositional practices, which are based inherently on partial ordering (as well as pitch repetition), which enables a surprising amount of freedom to compose the surface details we hear. The opening of Babbitt’s Composition for Four Instruments (1948) and three recompositions (based on re-ordering of pitches) demonstrate the freedoms intrinsic to partial ordering. http://doi.org/10.30535/smtv.5.1
Research Interests: Set Theory, Musical Composition, Improvisation, Historiography, Cold War and Culture, and 15 moreCold War, Digital Media & Learning, 12-tone Composition, Jazz Studies, 20th century Avant-Garde, Milton Babbitt, Music Improvisation, Serialism, Twelve-Tone Technique, Music and Mathematics, Pierre Boulez, Music and Maths, Playfulness, Ludico, and Partial Order
Babbitt’s pre-compositional structures (partial orderings) serve as a series of game-like rules affecting the composition of surface details we hear. Especially in Babbitt’s late works (post-1980) these partial ordering rules vary... more
Babbitt’s pre-compositional structures (partial orderings) serve as a series of game-like rules affecting the composition of surface details we hear. Especially in Babbitt’s late works (post-1980) these partial ordering rules vary drastically in terms of how much freedom they allow. This variance can be modeled mathematically (a computational formula is explained and visualized). This video (the second of a three-part video essay) reveals, in an excerpt from Babbitt’s 1987 sax and piano work Whirled Series, an intricate web of referential details (serial and tonal) that are improvised from the trillions of possibilities enabled by its background structure (partial ordering). The advantages of this peculiar improvisatory compositional situation in which Babbitt places himself are compared to visual art, chord-based bebop jazz improvisation, and to current ethics-infused philosophies of improvisation. http://doi.org/10.30535/smtv.5.2
Research Interests: Set Theory, Musical Composition, Improvisation, 12-tone Composition, Blues, and 15 moreMusic and the Visual Arts, Indeterminacy, David Lewin, Partition, Aleatoric Compositon, Dodecafonismo, Twelve-Tone Technique, Saxophone, Music Visualization with Colours, Dodecaphonic Music, Blues Music, Array, George E Lewis, Permutation, and Generation of pre-compositional musical material
Babbitt’s relatively early composition Semi-Simple Variations (1956) presents intriguing surface patterns that are not determined by its pre-compositional plan, but rather result from subsequent “improvised” decisions that are strategic.... more
Babbitt’s relatively early composition Semi-Simple Variations (1956) presents intriguing surface patterns that are not determined by its pre-compositional plan, but rather result from subsequent “improvised” decisions that are strategic. This video (the third of a three-part video essay) considers Babbitt’s own conversational pronouncements (in radio interviews) together with some particulars of his life-long musical activities, that together suggest uncanny affiliations to jazz improvisation. As a result of Babbitt’s creative reconceptualizing of planning and spontaneity in music, his pre-compositional structures (partial orderings) fit in an unexpected way into (or reformulate) the ecosystem relating music composition to the physical means of its performance. http://doi.org/10.30535/smtv.5.3
Research Interests: Musical Composition, Music Theory Pedagogy, Music Theory, Musicology, Digital Humanities, and 15 moreBaseball, Audio Visual Representations Of Music, Atonal Music, Jazz Theory, Milton Babbitt, Wassily Kandinsky, Musical Analysis, Revision, Serialism in the 1950s, Pierre Boulez, George E Lewis, Voice-Leading Spaces, Robert Morris (composer), Kandinsky and Music, and The Bad Plus
The field of interactive music systems (IMSs), beginning in the 1980s, is still relatively young and fast moving. The field of music theory-analysis, during the same period (since 1980), has undergone a major transformation in terms of... more
The field of interactive music systems (IMSs), beginning in the 1980s, is still relatively young and fast moving. The field of music theory-analysis, during the same period (since 1980), has undergone a major transformation in terms of technological innovations, flexibility, and breadth. The two fields have not really caught up with each other. It will be interesting to see what arises as they do — especially as both fields have become more concerned with the role of the body and embodied cognition. Framed in terms of contrasting epistemological orientations, this essay considers some relevant developments in IMSs, music cognition, and music theory and analysis, leading up to the present. The most popular approaches to music cognition and to IMS design are rationalist (Ashby 2010), exploiting the ‘correct’ embodiments of music (Godøy 2004, Leman 2007, Paine 2009) based on affordances (Gibson 1977, Kelso 1998). This essay, however, advocates a pragmatist (Ashby 2010) approach inspired by music analysis and exploiting the potential of kinesthetic learning (associative learning). Prompted by a progressive approach to music analysis, theory, perception, and cognition (Dubiel 1999, Mailman 2007), interactive music technology can also be constructive, flexible, and progressive, by exploiting kinesthetic learning from immersion in new and unusual motion-to-sound mappings derived from dynamic formal processes in analysed music. In this way, immersive interactive systems offer an opportunity systematically to learn new associations based on principles theorised in response to analysis. Experience of these systems essentially ‘rewires the brain’, thereby exemplifying what Korsyn (2004) has attributed to Lewin’s (1986, 1987) approach to music perception: the ironist approach, as formulated by Rorty (1989). Thus a pragmatist ironist experimental (PIE) approach is articulated. Rather than committing to any particular ways music is already embodied, this approach acknowledges the flexible nature of embodied musical experience. It forges and uses interactive music technologies continually to redescribe and therefore reform how music is embodied, thereby disembodying to re-embody music, expanding how music is heard, contemplated and experienced.
Research Interests: Music, Musical Composition, Music Theory, Musicology, Pragmatism, and 213 moreDalcroze Eurhythmics, Improvisation, Performing Arts, Music Technology, Space and Music, Sensors and Sensing, Gesture Studies, Computer Music, Mimesis, Human Perception and Performance, Associative Learning and Memory, Visual Music, Herbert Marcuse, Multimedia, Anthropology of the Body, Mirror Neurons, Rhythm, Cybernetics, Pragmatist Aesthetics, Embodied Cognition, Embodiment, Human-Computer Interaction for Games, Conceptual Metaphor, Performance Art, Media and Embodiment, Music and Politics, William James, Musical Instrument Technology, Philosophy of Music, Interactive and Digital Media, Post-tonal Theory, Mediation, Electroacoustic Music, Laban Movement Analysis, Ontology of Music, Adorno's Philosophy of Music, Interactive Arts, Music Information Retrieval, Audio Visual Representations Of Music, Minimalism, Phenomenology of the body, Noise And Music, Music Technology in Music Education, Music Cognition, Praxial Philosophy of Music Education, Richard Rorty, Listening (Music), Experimental Music, Contemporary Music, Rationalism, Pythagoreanism, Pragmatism (Philosophy), Universals, Gilles Deleuze and Felix Guattari, Avant-Garde, Embodied Music Cognition, Franz Liszt, HCI, Kinesthetics, Kinesthetic teaching, Mimetic Theory, Phenomenology of the Body (Philosophy), Phenomenology of Touch, Kinesthetic Empathy, Musical Form, Computational Musicology, Music Perception, Rorty, Philosophy of Music Education, Immersion and Experience, Music analysis, Philosophy of music (Philosophy), Embodied musical experience, Embodiment Theory, Form (Music Theory), Body and Movement, Elliott Carter, Noise (Experimental Music), Second-Order Cybernetics, Ontology of Music (Philosophy), Noise (Music), Arthur Danto, Umberto Eco, Music and Space, Neo-Pragmatism, Music and Gesture, Kinesthetic learning, Pythagoras, Spectator Participation in Art Since the 1960s, George Lakoff, Immersive Environments, Mauricio Kagel, Noise, Formalism, Phenomenology- Mind/Body Problems/ Merleau-Ponty's Philosophical Thought/Phenomenology and Embodiment, Human Motion Analysis, Helmuth Plessner, Body movement and cognition, Arthur Danto's 'Transfigruation of the Commonplace, Audiovisual, Music Perception and Cognition, 20th Century Music, Effort, Kinect, Motion Tracking, AudioVisual Music Composition, Peter Kivy, Interactivity, Musical Textures, Viscosity, Philosophy of Music, Music Aesthetics, Harmony, David Lewin, Games and Interactivity, Deterritorialization, Audio Visual Media, Feedback, Music + Electronics + Live + Interactive, Technological Instrumentalism, Mathematics and Music, Interactive Systems, Musical Rhythm Theory, Werktreue, Synergy, Musical Analysis, Mirror Neurones and empathy, Enactive Approach to Music Cognition, Musical Semantics, Biological Bases of Music Cognition, Touch Sensors, Tempo, Texture, Glenn Gould Theodor Adorno Edward W. Said Music and Society, Rorty, Richard, Synesthesia and Art, The music of Steve Reich, Microsoft Kinect Applications, Brian Ferneyhough, Ecological Approaches to Music Perception, Philosophy of Music, Philosophy of Digital Art, Postmodernism, generative and interactive Music systems, Musical cognition, Music Visualization, Musical gesture, Interarts, Algorithmic Composition Musical Composition Musical Theory Computer Science Dynamical systems and Chaos Melodic Measures Chaotic music, Music Ontology, Pitch-class Set Theory, Music and philosophy, Teaching Music Creatively and Music Technology, Spatial music, Cross-modal Perception, Avant Garde Music, Improvisation / comprovisation, Radical embodiment, William James, History of physiology, history of psychology, Contemporary Music Composition, (Musical) Gesture, Algorithmic Music, Ludomusicology, Lakoff and Johnson, Steve Reich, Disembodiment, Music, Philosophy and Aesthetics of Noise, Postmodern Rejection of Absolute Truth in Richard Rorty, Theory of Music, Mesoscale Model, American Pragmatism (William James), BODILY KINESTHETIC INTELLIGENCE, ACTION RESEARCH OF BODILY-KINESTHETIC INTELLIGENCE, Artur Schnabel, Responsive Technology, Ferneyhough, Pitch-class theory, Analysis of Post-tonal music, Phenomenology of Music Listening, radical Embodied Cognitive Science, Minimalist Music, Hybrid media, visual music, interactive media, Noise Music, Classical Musical Composition, Media and Mimesis, Phenomenology of Music, Theory and Analysis of Western Art Music, Intersections Between Art and Philosophy (Expecially Bergson, Deleuze and Henry) and Art and Music, Helmuth Plessner Philosophical Anthropology, Rorty hermeneutics, Rorty and Hermeneutics, Dalcroze Eurhyhtmics, Interactive Music Systems, Dalcroze Eurhythmics Music Education How to Teach Musicianship, Algorithmic Music Composition, Mesoscale, Performative Aesthetics, Problems of Universals, Music and Synesthesia, Robert Morris (composer), Music Semantics, Electroacoustic and experimental music, Cybernetic Phenomenology, Gesture in Music Performance, Semantics of Music, Sensorized glove, Human Motion Tracking, Electroacoustic Improvisation, Kinesthetic and Sonesthetic Impact/Affect, Torso, Glenn Gould: Il corpo del pianoforte, The Problem of Universals, Rortyan Neopragmatism, Representational explanations of musical ontology, comprovisation, music visualization with colors, and ubiquitous instruments
The recent loss of composer Robert Ashley (1930–2014) prompted in some of us a grab-bag of reflections – private but perhaps peculiarly shareable. My first encounter with Ashley's music was when I was working in college radio in Chicago.... more
The recent loss of composer Robert Ashley (1930–2014) prompted in some of us a grab-bag of reflections – private but perhaps peculiarly shareable. My first encounter with Ashley's music was when I was working in college radio in Chicago. We used to receive CDs from the label Lovely Music Ltd., among others. I suppose it was my first full-blown exposure to what we now call post-minimalist music, although these CDs did include earlier sound-art minimalism such as Alvin Lucier's. I'm not sure whether I got to hear William Duckworth's, Joan LaBarbara's, David Behrman's, Robert Ashley's, or ‘Blue’ Gene Tyranny's music first, but despite some scepticism, I did find all of this music strangely attractive in ways I didn't expect.
https://doi.org/10.1017/S004029821600070X
(Previously published version of the article:
https://www.academia.edu/12166638/Crash_and_getting_me_started_How_Robert_Ashley_changed_my_mind)
https://doi.org/10.1017/S004029821600070X
(Previously published version of the article:
https://www.academia.edu/12166638/Crash_and_getting_me_started_How_Robert_Ashley_changed_my_mind)
Research Interests: Creative Writing, Post Modern Literature, Music, Musicology, Performing Arts, and 89 moreMusical Theatre, Theatre Studies, Music and Language, Speech Prosody, Narrative, Humor, Multimedia, Music Theater, Opera, Drama, Storytelling, Food History, Avant-Garde Theater, Contemporary Drama, Music Criticism, Cultural Musicology, Sociology of Music, Postmodernism, Narrative and Music, Great Depression, Electronic Music, Minimalism, American Drama, Narrative and Identity, Experimental Music, Acting, 20th/21st Century Vocal music, American music, Repetition (Music Theory), 21st Century Studies, Franz Schubert, Humor Studies, Milton Babbitt, Transmedia Storytelling, Ambient Music, Narrativity, Post-modernism, History of Food, Post-postmodernism, Musica, Contemporary American Drama, Soup, HOWARD GARDNER'S MI THEORY, Life Cycles, Anecdotes, Ketchup Research, Repetition, Short Stories, Americana, Music-text interactions, Alvin Lucier, Language and Music, Tomato, Mindset theory, Vocality, 20th and 21st-Century Music, Experimental Music Theatre, Text and Music, Theatre and Film, Drama and theatre studies, Performing Art, Haydn String Quartets, Music and philosophy, American Experimental Music, Narrativity, Narratology, Music textual criticism, American Musical Theater, Howard Gardner, Joseph Haydn, Text-Music relations, Ad Reinhardt, Lutoslawski, Rhetoric of Anecdotes, Narrativity/Storytelling, Tomatoes, Robert Ashley, American Musical Theatre, ópera, Twentieth and Twenty first century Music, Whitney Biennial 2014, Modernism and Posmodernism in Post World War Two North America, Downtown Music, Operatic Performance, Witold Lutoslawski, Post-Minimalism, Changing People Mindset, Vocality, Music and Text, Experimental Musical Theatre, and Roulette intermedia, Brooklyn
This article deals with the philosophical idea of worldmaking pursued through techné, meaning the fusion of the technical means of artistic creation, theorizing, and analysis, but specifically occurring in a feedback loop involving... more
This article deals with the philosophical idea of worldmaking pursued through techné, meaning the fusion of the technical means of artistic creation, theorizing, and analysis, but specifically occurring in a feedback loop involving introspection and computation (cybernetic phenomenology). The discussion ranges over a wide variety of topics, including (1) the history of music theory from Ancient Greece to the present (including a rebuttal to Daniel Chua’s (2001) account of music history); (2) emergent properties in music arising from self-organization (explored through the Ancient Chinese abstract strategy board game go); (3) the ontology of musical qualities (properties) and categories (including their relation to visual, tactile, and olfactory qualities and categories).
Various repertoires, artists, and philosophies are referenced. The essay analyzes aspects of Ligeti’s Violin Concerto, Carter’s String Quartet No. 5, and Lachenmann’s Kinderspiel. Connections to the author’s own previous analytical and theoretical work are also discussed in relation to his interactive algorithmic audio-visual works (such as Fluxations and FluxNOISations). The techné of these is discussed in terms of logistics as well as aesthetic influences, including Wagner, Liszt, Stravinsky, Schoenberg, Crawford, Babbitt, Carter, Xenakis, Parker, Reich, Ligeti, Truax, Oliveros, Kandinsky, Miro, Pollock, Pollock, Hofmann, Rothko, Louis, Frankenthaler, Moholy-Nagy, Newman, Richter, and Brakhage. The essay touches on philosophical ideas of Bergson, Whitehead, Deleuze, Harman, and Bogost, and more fully engages the philosophies of Nelson Goodman and Hannah Arendt in connection with artistic creation as relating to the theorizing and analysis of artistic works.
Contact the author at jmailman@alumni.uchicago.edu
Download the article through JSTOR: http://www.jstor.org/stable/10.7757/persnewmusi.54.1.0005
or http://tinyurl.com/zdvkllr
Various repertoires, artists, and philosophies are referenced. The essay analyzes aspects of Ligeti’s Violin Concerto, Carter’s String Quartet No. 5, and Lachenmann’s Kinderspiel. Connections to the author’s own previous analytical and theoretical work are also discussed in relation to his interactive algorithmic audio-visual works (such as Fluxations and FluxNOISations). The techné of these is discussed in terms of logistics as well as aesthetic influences, including Wagner, Liszt, Stravinsky, Schoenberg, Crawford, Babbitt, Carter, Xenakis, Parker, Reich, Ligeti, Truax, Oliveros, Kandinsky, Miro, Pollock, Pollock, Hofmann, Rothko, Louis, Frankenthaler, Moholy-Nagy, Newman, Richter, and Brakhage. The essay touches on philosophical ideas of Bergson, Whitehead, Deleuze, Harman, and Bogost, and more fully engages the philosophies of Nelson Goodman and Hannah Arendt in connection with artistic creation as relating to the theorizing and analysis of artistic works.
Contact the author at jmailman@alumni.uchicago.edu
Download the article through JSTOR: http://www.jstor.org/stable/10.7757/persnewmusi.54.1.0005
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Research Interests: Artificial Intelligence, Human Computer Interaction, Music, Musical Composition, Music Theory, and 187 moreMusicology, Game Theory, Philosophy of Mind, Philosophy of Science, Game studies, Performing Arts, Music Technology, Philosophy Of Mathematics, Game Theory (Psychology), Visual Music, Animated Visual Music, Algorithmic Composition, Self-Organization, Cybernetics, Nelson Goodman, Interaction Design, Utopian Studies, Sound and Music Computing, Embodiment, Phenomenology, Human-Computer Interaction for Games, Emergent Phenomena, Media and Embodiment, Decision And Game Theory, Gilles Deleuze, Henri Bergson, Alfred North Whitehead, Musical Instrument Technology, Philosophy of Music, Music Aesthetics, Interactive and Digital Media, Post-tonal Theory, Philosophy of Mathematics Education, History of Music Theory, Interactive Media, Interactive Arts, Speculative Realism, Concept Mapping, Phenomenology of the body, Music Technology in Music Education, Game Development Studies, Praxial Philosophy of Music Education, History of music theory (Music), Experimental Music, Affect Theory, Contemporary Music, Process Philosophy (Peirce, Whitehead), Bergson, Gilles Deleuze and Felix Guattari, The Sublime, Computer musicology, Affect/Emotion, Phenomenology (Research Methodology), Affect Studies, Phenomenology of Space and Place, Computational Musicology, Hannah Arendt, Rhetoric in Music, Philosophy of Music Education, Heraclitus, Music analysis, Music of Ligeti, Philosophy of music (Philosophy), Interpretative Phenomenological Analysis, Rhythmanalysis, Behavioral Game Theory, Algorithmic Game Theory, Qualia, Form (Music Theory), Game studies (Technology), Emergentism, Emergence, Strategy games, Synesthesia, Interactive Multimedia, Body and Movement, Elliott Carter, Second-Order Cybernetics, Interactive Art, Speculative Realism (Philosophy), Ludology, Sublime, Carnatic Music, Wassily Kandinsky, Trivium, Go, Affect, Games, Musica, Applied Game Theory, Karnatic music, Philosophy of New Music, Gerhard Richter, Human Motion Analysis, Philosophy of Artificial Intelligence, Olivier Messiaen, Music Theory and Music Analysis, Kinect, Música, Interactivity, Techne, Philosophy of Music, Music Aesthetics, Music Aesthetics and Philosophy of Music, Philosophy of Embodied Consciousness, Qualia and Aesthetic Experience, Music and Technology, Computational Psychology, Audio Visual Media, Musical Rhythm Theory, Musical Analysis, Psychology of Video Games, Kantian Sublime, Organizational Emergence, Music and Mathematics, Alfred North WhiteheadxProcess Philosophy (PeirceWhitehead)xWilliam JamesxHenri BergsonxAlgebraxPrincipia MathematicaxMetaphysicsxOntologyxEpistemologyxPolitical SciencexTheologyxPhilosophy Of Religionx, Motion Capture, Ligeti, Ludologia, Quadrivium, Synesthesia and Art, Synthetic Non-Magical Speculative Realism, Relationship Between Tuning and Culture, Strategy Board Games, Music Visualization with Colours, Self Organization, Helmut Lachenmann, Microsoft Kinect Applications, Mark Rothko, Tonnetz, Texture Analysis, György Ligeti, Philosophy of Music, Philosophy of Digital Art, Postmodernism, Manuel DeLanda, Music Philosophy, Introspective qualia, Synesthesia & Visual Abstraction, Pitch-class Set Theory, Messaien, Music and philosophy, Teaching Music Creatively and Music Technology, Game of Go, Mathematical Music Theory, Techné, Cross-modal Perception, Tecnologías emergentes, Flux, Avant Garde Music, Deleuze and Guattari, Ludomusicology, Creative music technology, Game Studies, Theory of Music, Polyrhythms, Indian Carnatic Music, Emergent Properties, Rothko, Pitch-class theory, Analysis of Post-tonal music, Joachim Burmeister, Phenomenology of Music Listening, Mathematics and Music, Alien Phenomenology, Graham Harman, Ian Bogost, Timothy Morton, Hans Hofmann, Twentieth and Twenty first century Music, Phenomenology of Music, A.N. Whitehead, Music Qualia, History of Music Theory and Acoustics, Technē, Technological Sublime, Morris Louis, Music and Performing Arts, Theory of Sublime, Intersections Between Art and Philosophy (Expecially Bergson, Deleuze and Henry) and Art and Music, Musical Time Theory, Olfactory Art, Helen Frankenthaler, Kinect Sensor, The Technological Sublime, Gilles Delueze and Henri Bergson, Polyrhythm, Music and Synesthesia, Journal of Mathematics and Music: Mathematical and Computational Approaches to Music Theory, Analysis, Composition and Performance, Kandinsky and Music, Cybernetic Phenomenology, Lachenmann, and Korvai
This edited transcript of a public pre-concert discussion with composer, theorist and critic Benjamin Boretz not only touches on early personal encounters with Babbitt but also ranges over issues of reception of his music, listening... more
This edited transcript of a public pre-concert discussion with composer, theorist and critic Benjamin Boretz not only touches on early personal encounters with Babbitt but also ranges over issues of reception of his music, listening experiences, transfor- mations of music’s temporality, connections to Schoenberg, Webern, Cage, and postmodernism, stylistic changes over Babbitt’s career and composerly poetics, as well as motivations and consequences for pre- compositional structures and systems. The discussion took place on 22 November 2015, at the first of three recitals during the 2015–16 concert season at Spectrum, in New York City, in which Augustus Arnone for the second time performed all of Milton Babbitt’s solo piano works, this time in honour of the composer’s centenary. (Access: http://dx.doi.org/10.1017/S0040298216000322)
Research Interests: Music, Musical Composition, Music History, Music Theory, Musicology, and 17 morePost-tonal Theory, 12-tone Composition, History Of Electroacoustic Music, Atonal Music, Modernism, Contemporary Music, Serial Music, Milton Babbitt, Musical Modernism, John Cage, Serialism, Serialism in the 1950s, Princeton University, Brandeis University, Anton Webern, Pitch-class theory, Analysis of Post-tonal music, and Perspectives of New Music
Morris's Arc (1988) for String Quartet flows; it flows with substance, and with purpose. By flowing, I don’t just mean in the trivial sense that all music flows because it is unfolding in time and time flows. Rather I mean that there is... more
Morris's Arc (1988) for String Quartet flows; it flows with substance, and with purpose. By flowing, I don’t just mean in the trivial sense that all music flows because it is unfolding in time and time flows. Rather I mean that there is continuity to its various surges of eventfulness; these surges are not disjunct or sudden. And by substance I mean both that its sound is as a sensuous fluid material and that the unfolding of its constituent events presents a coherent organization, thus binding together into a statement that seems meaningful in retrospect. By purpose I mean not only that there is a local logic to the consequence of one note following another, but also that the flow of events enables the material to organize into processes that forge a trajectory toward a goal.
The analysis first focuses on local details considered in terms of pitch and pitch-class formations as arising from twelve-tone rows; then it delves into aspects of form, process, and texture. These are considered in terms of emergent properties in flux. The modeling of these properties and their flux employs some mathematical formalisms, but the reader can rely on the fact that every mathematical definition and formula is described carefully in prose as well.
In Arc, the twelve-tone pitch class details and the surging emergent qualities projecting form are not completely separate from each other. Rather, all these features interact. Thus not only does the article weave together connections between such facets as form, process, and texture, but it also connects these to the twelve-tone rows and pitch-class configurations that are more straightforwardly part of the compositional plan (and more usual in analyses) of Morris’s music.
[Download the pdf below, or contact the author jmailman@alumni.uchicago.edu, for a digital offprint. It can also accessed through JSTOR: www.jstor.org/stable/10.7757/persnewmusi.52.2.0249 ]
The analysis first focuses on local details considered in terms of pitch and pitch-class formations as arising from twelve-tone rows; then it delves into aspects of form, process, and texture. These are considered in terms of emergent properties in flux. The modeling of these properties and their flux employs some mathematical formalisms, but the reader can rely on the fact that every mathematical definition and formula is described carefully in prose as well.
In Arc, the twelve-tone pitch class details and the surging emergent qualities projecting form are not completely separate from each other. Rather, all these features interact. Thus not only does the article weave together connections between such facets as form, process, and texture, but it also connects these to the twelve-tone rows and pitch-class configurations that are more straightforwardly part of the compositional plan (and more usual in analyses) of Morris’s music.
[Download the pdf below, or contact the author jmailman@alumni.uchicago.edu, for a digital offprint. It can also accessed through JSTOR: www.jstor.org/stable/10.7757/persnewmusi.52.2.0249 ]
Research Interests: Composition Studies, Mathematics, Applied Mathematics, Set Theory, Music, and 199 moreChamber Music, Musical Composition, Music Theory, Musicology, Composition and Rhetoric, Dynamical Systems, Models of Creativity & of Creative Processes, Music and Language, Computer Music, Psychology of Music, Computational Modeling, Algorithmic Composition, Complexity Theory, Music Psychology, Composition (Music), Computers and Composition, Rhythm, Cybernetics, Time Series, Computational Modelling, Phenomenology, Emergent Phenomena, Radical Constructivism, Teaching Composition, Soundscape Studies, Systems Theory, Complexity, Process Philosophy, Post-tonal Theory, 12-tone Composition, Empirical Musicology, Extended Mind, Quantitative Research, Music Information Retrieval, String Quartets, Quantitative Methods, Quantitative methodology, Twentieth-century Music, Atonal Music, Analysis of Film Music, Philosophy of Time, Music Cognition, Mathematical Modeling, Mathematical Modelling, Modernism, Listening (Music), Music Composition, Contemporary Music, Time-Series Analysis, Computer musicology, Algorithmic Art, Art and technology, Time Perception, String Chamber Music, Viola solo, strings chamber music, Serial Music, American music, Teleology, Musical Form, Computational Musicology, Temporality (Music), Systematic Musicology, Phenomenology of Temporality, Matrix Theory, Music analysis, Music Signal Processing, Rhythmanalysis, Time series analysis, 20th century Avant-Garde, Form (Music Theory), Temporality (Time Studies), Contemporary Art Music, Emergentism, Emergence, Second-Order Cybernetics, Twentieth-Century Music (Music), Philosophy of Cybernetics, Composition, Musical Modernism, Teaching Listening, Temporality, Temporality of Landscape, Musica, Musical time, Harmonic Serialism, Music and Shape, Sonic Cognition, Sonic Perception, Music Theory and Music Analysis, Timbre, Musical Time Series, Music Perception and Cognition, Música, Musical Textures, General Systems Theory, David Lewin, 21st Century Learning, Second order cybernetics, Contemporary Classical Music, Dynamic contours, Computational Aesthetics of Music, Mathematics and Music, Computational Music Theory, Pitch Perception, Musical Rhythm Theory, Cyborgs, Musical Analysis, Mathematics of Music, Time Series Data, Musik, Análise Musical, Serialismo, Dodecafonismo, Serialism, Twelve-Tone Technique, Computer Assisted Composition, Texture Classification, Computer-Assisted Composition, Music and Mathematics, Composer, Computational Modeling of Music, Applied Mathematics and Statistics, Sound/Music/Physics of Sound/Mathematics of Music, Rhythm Metrics, Dodecaphonic Music, Music Theory and Analysis, Texture Analysis, Post-Tonal Music/electroacoustic Music/computer Music/orchestration, Musikwissenschaft, Music analysis and performance, String Quartet, computer-assisted compositioncomputer-assisted analysis OpenMusicMaxMSPMax/MSPAmadeusAudioSculptMaomusicalisationrhythm constraintsOpen Music, Contemporary Music and Composition, Pitch-class Set Theory, Music and philosophy, Music and Maths, American Twelve Tone Music, Mathematical Music Theory, Ancient Mathematics and Music, Music and Timbre, Listening Strategies, Extended techniques for strings, 20th Century Avantgarde, Investigación De Los Procesos Formativos Musicales, Harmony In Atonal Music, Strategies of Developing Listening Skills, Computational Models for Musical Expression, Mathematics in Music, Emergent Properties, Music Processing, Music Composition Teaching Strategies, Math and Music, Pitch-class theory, Analysis of Post-tonal music, Holophonic Musical Texture, Mathematics and Music, Atonality, Musical Contour Relations Theory, Machine Listening, •Post-Tonalism, Theories of Temporality, JACK Quartet, Computational and Mathematical Modeling, Cybernetic Epistemology, Twentieth and Twenty first century Music, Musical Information Dynamics, Theory and Analysis of Western Art Music, Theories of Musical Rhythm, Atonal, Musical Time Theory, Armonía Atonal; Análisis Musical;, Forma Musical, Pc Set Theory, Integral Serialism, Music Visualization and Mathematics, Tonal atonal composition set class theory, Music and Complexity, Twelve-Tone Music, Post-Tonal Music, Post-Tonal Analysis, Applied Mathematics and Modeling, Post-tonality, Analysis of Post-Tonal Music, Development of Musical Forms, Contemporary String Quartet, Systems Theory in Musical Analysis, Musica Analysis, Serialismo Dodecafonico, 12-Tone Serialism, Analysis Robert Morris, Robert Morris (composer), Pitch-class theory, 12-Tone, Computers and Composition, and Contemporary Art Music, Journal of Mathematics and Music: Mathematical and Computational Approaches to Music Theory, Analysis, Composition and Performance, Armonía Atonal; Análisis Musical, Twentieth Century Music, Time in Musical Form, Cybernetic Phenomenology, and 21rst Century Music
Some music, more than others, prompts heightened awareness of the passage of time—certainly some passages from Beethoven’s late sonatas and quartets, or, in Feldman’s Rothko Chapel, the chord conspicuously sustained by the chorus whose... more
Some music, more than others, prompts heightened awareness of the passage of time—certainly some passages from Beethoven’s late sonatas and quartets, or, in Feldman’s Rothko Chapel, the chord conspicuously sustained by the chorus whose time is marked by the toll of chimes. Ben Boretz’s string quartet Qixingshan (2011) is in this category, but with a difference: its self-conscious temporality is much more infused with teleology or directedness. It puts its ears ever to the future—in this case perhaps a future of geological change, change which is usually slow, but which in some geological formations can also be violently quick. The article presents an analysis of the Boretz's quartet Qixingshan. Connections to Stravinsky, Gershwin, 12-tone theory, canon, and palindrome are discussed.
Research Interests: Music, Chamber Music, Musical Composition, Music Theory, Volcanology, and 40 moreComposition (Music), Volcanic Geology, Taiwan Studies, Post-tonal Theory, 12-tone Composition, String Quartets, Atonal Music, Listening (Music), Music Composition, String Chamber Music, Music analysis, Modernist Studies, Musical Modernism, Stravinsky, Music Theory and Music Analysis, Morton Feldman, Taiwan, Volcanoes, Symmetry, Contemporary Classical Music, Musical Analysis, Twelve-Tone Technique, Igor Stravinsky, 20th and 21st-Century Music, Musical Canon, Taipei, Tetrachords, String Quartet, Palindromes, Pitch-class Set Theory, The Rite of Spring, Pentatonic, Gershwin, Pitch-class theory, Analysis of Post-tonal music, Benjamin Boretz, Music of George Gershwin, Music, analysis, Morton Feldman, Transformational Music Theory, Symmetry in Music, and Qixingshan
The better quality pdf is downloadible from here: "http://www.leoalmanac.org/wp-content/uploads/2013/07/LEAVol19No3-Mailman.pdf Through recent artistic practices and technology of interactive systems for music, composition and... more
The better quality pdf is downloadible from here: "http://www.leoalmanac.org/wp-content/uploads/2013/07/LEAVol19No3-Mailman.pdf
Through recent artistic practices and technology of interactive systems for music, composition and improvisation have more and more blended and interconnected with each other – a sui generis situation now called comprovisation. The concept of comprovisation applies equally well to the spontaneous generation and manipulation of computer graphics, especially as such graphics are systematically coordinated audio-visually, while being subject to spontaneous manipulation by a performer.
This is explained in terms of the Fluxations and FluxNoisations Human Body Interfaces, interactive dance systems that generate music and graphics spontaneously in response to hand and body movement. They enable spontaneous expressive shaping of coherent complexity and variety. Thus a multi-layered multimodal experience arises. The aesthetic experience of this multimedia spectacle relates to experiences of various prior music and visual art of the 19th, 20th, and 21st centuries, as well as to hypothetical physical realities. Thus a kind of cybernetic phenomenology of art is pursued and enacted through an embodied cybersynthesis of art with simulated alternate reality. Call it a pragmatic speculative realism, an adventurous technoetic ‘what if.’ As compared to more traditional forms of improvisation, the opportunities for risk-taking and aesthetic exploration rise to a new level of uncertainty, as the reactions of the improviser simultaneously draw from and target both visual and aural modalities, such that the intentions toward each fuse together."
Through recent artistic practices and technology of interactive systems for music, composition and improvisation have more and more blended and interconnected with each other – a sui generis situation now called comprovisation. The concept of comprovisation applies equally well to the spontaneous generation and manipulation of computer graphics, especially as such graphics are systematically coordinated audio-visually, while being subject to spontaneous manipulation by a performer.
This is explained in terms of the Fluxations and FluxNoisations Human Body Interfaces, interactive dance systems that generate music and graphics spontaneously in response to hand and body movement. They enable spontaneous expressive shaping of coherent complexity and variety. Thus a multi-layered multimodal experience arises. The aesthetic experience of this multimedia spectacle relates to experiences of various prior music and visual art of the 19th, 20th, and 21st centuries, as well as to hypothetical physical realities. Thus a kind of cybernetic phenomenology of art is pursued and enacted through an embodied cybersynthesis of art with simulated alternate reality. Call it a pragmatic speculative realism, an adventurous technoetic ‘what if.’ As compared to more traditional forms of improvisation, the opportunities for risk-taking and aesthetic exploration rise to a new level of uncertainty, as the reactions of the improviser simultaneously draw from and target both visual and aural modalities, such that the intentions toward each fuse together."
Research Interests: Applied Mathematics, Set Theory, Algorithms, Human Computer Interaction, Humanities Computing (Digital Humanities), and 380 moreMusic, Musical Composition, Music Theory, Musicology, Philosophy of Mind, Visual Studies, Experimental philosophy, Media Studies, New Media, Improvisation, Performing Arts, Music Technology, Space and Music, Sound and Image, Visualization, Dance Studies, Software for choreographers, Movement analysis, Creative processes in contemporary dance, Creativity, The VirtualWorld-Game-Simulation-Reality Continuum--gradual steps of added reality/imagination, Computer Music, Cross-Media Studies, Dance/Movement Therapy, Performance Studies, Interdisciplinarity, Film Music And Sound, Choreographic Methodologies, Digital Media, Visual Music, Dance Science, Animated Visual Music, Synaesthesia, Gesture, Algorithmic Composition, Sonic Art, Experimental Media Arts, Intermediality, New Media Arts, Multimedia, Information Visualization, Music Psychology, Mirror Neurons, Visual attention, Computer Animation, Cybernetics, Visual Semiotics, Abstract Art, Interaction Design, Embodied Cognition, New Interfaces for Musical Expression, Embodiment, Painting, Phenomenology, Video Game Audio and Music, Human-Computer Interaction for Games, Visual perception, Computer-Mediated Communication, Conceptual Metaphor, Performance Art, Live Art, Real-time Systems, Augmented Reality, Choreography, Radical Constructivism, Transdisciplinarity, Applied Transdisciplinarity, Media Arts, Media and Embodiment, Intermedia, Color (Philosophy), Music and Media, New Media Performance and Installation, Digital Culture, Cyberstudies, The Body, Technoetics, Decision And Game Theory, Classical Improvisation, Interactive Digital Storytelling, Interacting Particle Systems, Performance, Somatics, Music Aesthetics, Interactive and Digital Media, Post-tonal Theory, 12-tone Composition, Extended Mind, Intentionality, Humanities Visualization, Colour Theory, Laban Movement Analysis, Sonification, Multimodal Interaction, Cross-Media Information Spaces, Visual Communication, Dialogue Studies, Nonverbal Communication, Interactive Media, Interactive Arts, Live Cinema, Multimedia Learning, Audio Visual Representations Of Music, Electronic Music, New Media Art & Emerging Practices, Multimodal Cognition, Atonal Music, Speculative Realism, Media, Freedom Of Expression, Phenomenology of the body, Multimodal Composition, Music Cognition, Experimental Animation, Imagination, Richard Rorty, Decision Making Under Uncertainty, Modernism, Sound Design, Experimental Music, Dance and the brain, Contemporary Music, Digital Arts, New Media Art, Multi Criteria Decision Making, Cyber Aesthetics, Body in Performance, Multimodal Perception, Dance and Aesthetics, Inter And Transdisciiplinary Art, Women Composers And Musicians, Intermodal perception, Arts-sciences interdisciplinarity, Music Therapy, Artistic Research, Multimodal Discourse Analysis, Algorithmic Art, Theory and Practice of Visual Arts, Multimodality, Art and technology, Virtual Worlds, Digital Media Art, Analysis of Improvisation, Intentionality and interpretation in art, Critical Thinking and Creativity, Free Improvisation, Abstract Painting, HCI, American music, Syncretism, Kinesthetics, Motion Capture (Animation), Film Aesthetics, Phenomenology of the Body (Philosophy), Phenomenology of Space and Place, Modern and Contemporary Dance, 21st Century Studies, Interdisciplinary Studies, Visual Arts, Rorty, Interactive Multimedia Applications, Enactivism, Immersion and Experience, Intention, Music analysis, Dance, Experimental Forms of Performing Arts, Risk-taking, Immersive Virtual Learning Environment, Abstract Expressionism, Spontaneity, Sound Art, Embodiment Theory, Theory of Body, Perception of Space (Dance Studies), Acousmatic, Motion Graphics, Contemporary Art Music, Liveness, Audiovisual Translation, Synesthesia, Interactive Multimedia, Pedagogy of Improvisation, Noise (Experimental Music), Audio-Visual, Second-Order Cybernetics, Interactive Art, Real time audiovisual performance, Generative Music and Audio, New Media Studies, Color Perception, Speculative Realism (Philosophy), Creative Arts, Multimodal learning, Philosophy of Cybernetics, Cross Media Platforms, Sound and moving image, Schoenberg, Fine Arts, Interdisciplinary Art, Audiovisual Art, Improvised Music, Data Visualization, Laszlo Moholy-Nagy, Wassily Kandinsky, Arnold Schoenberg, Music and Gesture, Kinesthetic learning, Visual Art, Multi-model, interactive art/dance performances, Musical Instruments, Music Improvisation, New Media & Digital Arts, Multimodal Communication, Experimental Digital Arts, Transmedia, Intermodality, Immersive Environments, Cross-Modal Ineraction, Non Verbal communications, Intentional Systems Theory, Music and the Visual Arts, Interdisciplinary, Multimedia Synchronization, Cross-modality, Chaos Theory and the Mind/Body Connection, Stan Brakhage, Interdisciplinary mixed media multisensory performance art; and the influence of sensory and cognitive idiosyncrasies in Autism on creative process., Live Electroacoustics, Live Electronic Music, Interart studies, Audiovisuals, Der Blaue Reiter, Audiovisual, Behavioral Intention, Conceptual Blending, Dance Research, Kinect, Music performance and improvisation, Infographics and data visualization, Digital Media and Learning, Entrainment, Motion Tracking, AudioVisual Music Composition, Interactivity, The Aesthetics of Algorithmic Processes, Comunicacion audiovisual, Intentions, Color Theory, Shape Grammars, Color Psychology and Use of Colour, Multi-media, Color research, Color in architecture, Color and culture, Color Vision, Creative Processes in Art & Music, Visual and Performing Arts, Music and Technology, Multi Media, Second order cybernetics, Audio Visual Media, Music + Electronics + Live + Interactive, Jazz, Music Cognition, Improvisation, Neurology of Music, Neurology, Sonic Arts, Embodied Intersubjectivity, Audio Visual, Metaphor and Synesthesia, 3D 2D animation vfx maya 3dsMax zbrush vue photoshop motion graphics photorealism painting fantasy Graphic design acting wildlife forest sea, Choreographic Research, Visual Comunication, Damien Hirst, Twelve-Tone Technique, Computer Assisted Composition, Classical and contemporary dance, Music and Mathematics, Cybernetics and Learning, Motor Intentionality, Media Multitasking, Physical Modeling Synthesis, Education, Philosophy, Cybernetics, Free will and determinism debate, 20th and 21st-Century Music, Digital Media Arts, Embodied knowledge, Contemporary Art Art History Art Theory Writing in Visual Art Art writing Artistic Research Artists’ Books Curation Art ‘beyond the gallery’ Culture Gender Interdisciplinarity Visual Studies, Synesthesia and Art, Effect of Improvised Musical Expression on Healing and Learning, Synthetic Non-Magical Speculative Realism, Animated Visual Music, Animation, Contemporary Performance Art in the Context of Digital Arts and New Media, Comunicación Audiovisual, Interactive / Reactive Sculpture, Sound Sculptures, Installation Art, Video Art, Live Video Mixing, Motion tracking, HCI, Interactive / Reactive Lighting, Interactive / Reactive Sculpture, Comunicación Audiovisual y Publicidad. Gestión de Intangibles y comunicación de Marca, Theatre Improvisation, Creativity, Psychodrama, Moholy-Nagy, Cross-Modal Interactions, Post-Tonal Music/electroacoustic Music/computer Music/orchestration, Bogost, Research theory and methodologies: Visual and Multimodal research and and Video-based research, AUDIOVISUALS, MEDIA AND COMUNICATION, Embodied and Enactive Cognition, generative and interactive Music systems, Music Visualization, Interactive and Digital Media, Interactive Media, Interactive Arts Edit, Modeling and simulation of physical systems, Synesthesia & Visual Abstraction, Sound and Visual Image, Music and philosophy, American Twelve Tone Music, Intermediality, transmediality, Cross-modal Perception, Philosophy of Dance and Theatre Arts, Philosophies of Auditory Spatial Perception in Real and Artificial Environments, Spatial Story Telling, Gesture Technology, Transmedia Studies, Visualization Skills, Interdisciplinarity in the Arts (experimental poetry, ekphrasis, contemporary art), Body Psychotherapy, Mathematics Education Multimedia, Chords in Atonal Music, Phenomenal Intentionality, Josef Albers, Cross-modal Processing, Musical Composition, Opera, Music and Visual Art, Harmony In Atonal Music, Cross-Media Information Spaces and Architectures (CISA), Multi media and visual Arts, Kandinsky, Qualitative and Quantitative Interdiscplinary Research in Human Development Through the Capability Approach, BODILY KINESTHETIC INTELLIGENCE, ACTION RESEARCH OF BODILY-KINESTHETIC INTELLIGENCE, Cross-modal Mapping, Traducción Audiovisual, Johannes Itten, Pitch-class theory, Analysis of Post-tonal music, Cross-modal correspondence, Synesthesia In Art Creation Process, Media Arts(Interactive Art, Video Art, Game, and Etc.) and Digital Media and Contemporary Visual Art Theories and Practices Interaction Interface and Application Research on Tangible Media, Sensing Technology Through Digital Media Devices, George E Lewis, Hybrid media, visual music, interactive media, Music and Movement Education, Alien Phenomenology, Roy Ascott, Choregraphic research, •Post-Tonalism, Sound Spatialization, Interactive and Digital Arts, Laszlo Moholy Nagy, Twentieth and Twenty first century Music, Transmediality, L. Moholy Nagy, Psychology of Human Computer Interaction, Visual Improvisation, Integration of Cybernetics and Semiotics, Performance/live Art, Art Appreciation, Transmedia & Performance, Modern Music and Videos, Live Visuals, Music and Performing Arts, Conditions of Uncertainty, Media /Digital Arts and Game Art, Intersections Between Art and Philosophy (Expecially Bergson, Deleuze and Henry) and Art and Music, Improvised Electronic Music, Cross-modality priming, Transvergence, Philosophy of Improvisation, Clyffird Still, Helen Frankenthaler, Synchresis, Music Visualization and Mathematics, Human-Computer Interaction, Experimental Music Music Perception Time and Music Time and Space In Music Philosophy Micrometeorology, Twelve-Tone Music, Audio Visual Music, 12-Tone Serialism, Kandinsky and Music, The Blue Rider Group and Music, and Cybernetic Phenomenology
Read online: http://journal.sonicstudies.org/vol02/nr01/a03 or https://www.researchcatalogue.net/profile/show-exposition?exposition=261722 This essay probes the nature of listening by refusing to pin it down to a single essence. The... more
Read online: http://journal.sonicstudies.org/vol02/nr01/a03 or https://www.researchcatalogue.net/profile/show-exposition?exposition=261722
This essay probes the nature of listening by refusing to pin it down to a single essence. The epistemological value of metaphor is explained in terms of the cognitive metaphor and embodied mind theories of Lakoff and Johnson as well as the philosophies of Rorty and Fiumara. Then the various natures of listening are explained via seven metaphors: (1) Digestion, (2) Recording, (3) Adaptation, (4) Meditation, (5) Transport, (6) Improvisation, and (7) Computation. As a positive example, this set of metaphors promotes recognition of the inherent plurality of listening by staking out distinct facets which cannot be reduced to one another. This irreducibility is made more vivid and conceptually manageable by associating each of these facets with more concrete activities that are literally irreducible, or indeed seemingly unrelated. Moreover, some of these metaphors suggest the complementary and sometimes interdependent nature of diverse aspects of listening.
This essay probes the nature of listening by refusing to pin it down to a single essence. The epistemological value of metaphor is explained in terms of the cognitive metaphor and embodied mind theories of Lakoff and Johnson as well as the philosophies of Rorty and Fiumara. Then the various natures of listening are explained via seven metaphors: (1) Digestion, (2) Recording, (3) Adaptation, (4) Meditation, (5) Transport, (6) Improvisation, and (7) Computation. As a positive example, this set of metaphors promotes recognition of the inherent plurality of listening by staking out distinct facets which cannot be reduced to one another. This irreducibility is made more vivid and conceptually manageable by associating each of these facets with more concrete activities that are literally irreducible, or indeed seemingly unrelated. Moreover, some of these metaphors suggest the complementary and sometimes interdependent nature of diverse aspects of listening.
Research Interests: Composition Studies, Cultural Studies, Psychology, Music, Musical Composition, and 268 moreMusic Education, Music Theory Pedagogy, Music History, Music Theory, Musicology, Folklore, Philosophy of Mind, Aesthetics, Epistemology, 21st Century Literacies, Education, Media Studies, New Media, Improvisation, Performing Arts, Music Technology, Anthropology of Music, Popular Music Studies, Sound and Image, Sound Anthropology, Digital Humanities, Information Theory, Film Studies, Cyberpsychology, Popular Music, Creativity, Ethnomusicology, Music and Language, Computer Music, Psychology of Music, Radio And Sound Studies, Interdisciplinarity, Film Music And Sound, Digital Media, Auditory Perception, Visual Music, Gesture, Sonic Art, Multimedia, Music Psychology, Poetry, Composition (Music), Opera, Psychoacoustics, Cybernetics, Music therapy (Psychology), Embodied Cognition, Critical Thinking, Auditory Culture, Sound and Music Computing, Computational Modelling, Embodiment, Phenomenology, Philosophy of Art, Computer-Mediated Communication, Metaphysics of Time, Embodied Mind and Cognition, Conceptual Metaphor, Narrative and Design, Radical Constructivism, Transdisciplinarity, Teaching Composition, Media Arts, Media and Embodiment, Music and Politics, Music and Media, William James, Soundscape Studies, Digital Culture, Bakhtin, Sound studies, Sound, Machinima, Media Literacy, Alfred North Whitehead, Digital Media & Learning, Use of Metaphors and teaching combinative theories and methodologies, Interaction, Digital Signal Processing, Performance, Social Media, Reading, Phenomenological Research Methodology, Pedagogy, Musical Instrument Technology, Conceptual Metaphor Theory, Philosophy of Music, Music Aesthetics, Cultural Musicology, Sociology of Music, Electroacoustic Music, Analysis of Electroacoustic Music, Ecological Psychology, Extended Mind, History of Music Theory, Sonification, Metaphor, Interactive Arts, Electronic Music, Ear Training For Electroacoustics, Twentieth-century Music, Physical Computing, Media, Wittgenstein, Digital Media And New Literacies, Phenomenology of the body, Later Wittgenstein, Philosophy of Time, Music Cognition, Composition of Electroacoustic Music, Hermeneutic Phenomenology, Richard Rorty, Sonic Interaction Design, Arts, Listening (Music), Sound Design, Sound Aesthetics, Sonic Ethnography, Experimental Music, Music Composition, Listening Comprehension (Psychology of Language), Contemporary Music, Embodied Mind Theory, Cyber Aesthetics, Music Therapy, Computer musicology, Dialogism, Avant-Garde, Deep Listening, Soundscape (Music), Embodied Music Cognition, Art and technology, Embodied Embedded Cognition, Virtual Worlds, Time Perception, Analysis of Improvisation, Critical Thinking and Creativity, Free Improvisation, Anthropology of Time, Postcolonial musicology, Critical Musicology, Phenomenology of the Body (Philosophy), Behavioral Ecology, Computational Musicology, Music Perception, Systematic Musicology, 21st Century Studies, Interdisciplinary Studies, Rorty, Phenomenology of Temporality, Philosophy of Music Education, Music Teacher Education, Music analysis, Cybercultures, Philosophy of music (Philosophy), Embodied musical experience, 20th century Avant-Garde, Sound Art, Embodiment Theory, Aesthetics (Music), Acousmatic, Jazz, Listening (Sound studies), Extended Mind (Humanities), Second-Order Cybernetics, Interactive Art, Sonic Studies, Conceptual metaphors, Gilbert Ryle, Effective Listening, Classical Music, Music Therapy and Oncology and Palliative Medicine; Music Therapy and Global Crises; Music Therapy in Multicultural contexts, Mass media, Teaching Listening, Metacognitive Strategies in Listening, Brain Music Therapy, Cognitive Sciences, Temporality, Ruth Crawford Seeger, Music Improvisation, Music Improvisation, George Lakoff, Soundscape, Musica, Sound Recording, Sound Arts, Historical Musicology, Musical time, Sonic Cognition, Sonic Perception, Philosophy of New Music, Digital design, Sound symbolism, Remix, Music Theory and Music Analysis, Strategies of Devoloping Listening Skils, Musical Time Series, Music Perception and Cognition, Conceptual Blending, The Extended Mind, Música, Conceptual Integration, Auditory Working Memory, Educação Musical, Philosophy of Music, Music Aesthetics, Philosophy of Jazz, 21st Century Learning, Covers, Jazz, Music Cognition, Improvisation, Neurology of Music, Neurology, Electroacoustic music studies, Sonic Arts, Listening, conceptual metaphor theory (CMT), blending theory (BT), critical metaphor analysis (CMA) and critical dscourse analysis (CDA), Cyborgs, Philosophy and popular culture, Musical Analysis, Musik, Conceptual Metaphor Theory, Blending Theory, knowlege representation systems, Language and Music, J. J. Gibson, DJ, Computer Assisted Composition, Jean-Philippe Rameau, James J. Gibson, Music and Mathematics, Music Pedagogy, Game Spaces, Acoustic, The application of Conceptual Metaphor Theory to poetry, literature, art and film, Composer, "extended Mind"-Thesis, Knowledge Representation and Reasoning, Time and Music, Soundscapes Aural Architecture Urban Acoustic Environments Sensory Geography Public Art and Policy Concepts of Place Sense of place + place experience Place-making, Embodied and Enactive Cognition, Semiología Musical, Music Jazz Emotion Expression Improvisation Extended Embodied Cognition Clark, Cognitive Neuroscience of Language and Music, Music and philosophy, Gottfried Weber, Video Music, Electroacoustic Movies, Gemma Corradi Fiumara, Philosophies of Auditory Spatial Perception in Real and Artificial Environments, Spatial Story Telling, Listening Strategies, Sound Studies, Music and Language Learning, Conceptual Integration and Metaphor, Phenomenology of Music Listening, Machine Listening, Sound Spatialization, Information Rate, Sociology of Cutlure, Sound Art. Performativity Theories, Ethics and Value Theory, Systems and Theory of Communication, Musical Information Dynamics, A. N. Whitehead, Computer Based Communication, Haptic Audio, Museum Exhibits, Digital Dataforms, Music and Performing Arts, Teaching Listening Skills, Intersections Between Art and Philosophy (Expecially Bergson, Deleuze and Henry) and Art and Music, Musical Time Theory, and Cybernetic Phenomenology
http://tinyurl.com/zks5uwz This article considers the chronological flow of Schoenberg’s chordal atonal music, using melodic contour and other contextual features to prioritize some chordal events over others. These non- consecutive... more
http://tinyurl.com/zks5uwz
This article considers the chronological flow of Schoenberg’s chordal atonal music, using melodic contour and other contextual features to prioritize some chordal events over others. These non- consecutive chords are tracked and compared for their coloristic contrasts, producing an unfolding akin to Klangfarbenmelodie, but paced more like a narrative trajectory in a drama. The dramatic pacing enhances discernment of nuance among atonal dissonant chords, thereby emancipating them from subordinate obscurity to vivid distinctness. Thus Schoenberg’s music is strategically configured to differentiate its own pitch material. This approach is theorized in terms of representational hierarchy association (RHA) among chords, and demonstrated in analyses of Op. 11, No. 2, Op. 21, No. 4, and Op. 19, No. 3. In support, the analyses consider: (1) the combinatorics of voicing as effecting contrasts of timbre; (2) an application of Lewin’s Binary State Generalized Interval System (GIS) to melodic contour and motivic transformation based on binary-state switching; (3) Klumpenhouwer Networks to model chord-to-chord connections hierarchically; and (4) the role of pitch-class set genera (families of chords) in projecting a palindromic arch form.
This article considers the chronological flow of Schoenberg’s chordal atonal music, using melodic contour and other contextual features to prioritize some chordal events over others. These non- consecutive chords are tracked and compared for their coloristic contrasts, producing an unfolding akin to Klangfarbenmelodie, but paced more like a narrative trajectory in a drama. The dramatic pacing enhances discernment of nuance among atonal dissonant chords, thereby emancipating them from subordinate obscurity to vivid distinctness. Thus Schoenberg’s music is strategically configured to differentiate its own pitch material. This approach is theorized in terms of representational hierarchy association (RHA) among chords, and demonstrated in analyses of Op. 11, No. 2, Op. 21, No. 4, and Op. 19, No. 3. In support, the analyses consider: (1) the combinatorics of voicing as effecting contrasts of timbre; (2) an application of Lewin’s Binary State Generalized Interval System (GIS) to melodic contour and motivic transformation based on binary-state switching; (3) Klumpenhouwer Networks to model chord-to-chord connections hierarchically; and (4) the role of pitch-class set genera (families of chords) in projecting a palindromic arch form.
Research Interests: Set Theory, Music, Musical Composition, Music Theory, Musicology, and 71 moreMusic Technology, Music and Language, Music Psychology, Composition (Music), Post-tonal Theory, Narrative and Music, Modernity, Twentieth-century Music, Music Cognition, Modernism, Contemporary Music, Contour theories, Piano Music, Analytic Hierarchy Process, Ernst Mach, Second Viennese School, Musical Form, Heraclitus, Music analysis, Form (Music Theory), Synesthesia, Musical Modernism, Arnold Schoenberg, Dualism, Musica, Grundgestalt, Timbre, Theory of Harmony, Música, Accent, Harmony, Dissonance, Pitch Perception, Musical Analysis, Dialectics, Análise Musical, Diatonic Scale, Music Segmentation, Narratology in music, Chords, Schönberg, Berg, Zemlinsky, Binary Systems, Pitch-class Set Theory, Lewinian Transformational Theory, Music and Timbre, Pierrot Lunaire, Binary Oppositions, The Philosophy of Musical Sounds - Intervals - Consonances, Chords in Atonal Music, Musical narrative, Tone psychology, Melody, Pitch-class theory, Analysis of Post-tonal music, Consonance and Dissonance, Musical Timbre, Schoenberg op.11, Musical Contour Relations Theory, Timbre Perception, Octatonic, Hexatonic, Consonance, Harmony Classical, Armonía Atonal; Análisis Musical;, Forma Musical, Binary Opposition, Tonal atonal composition set class theory, Embellishment, THEORY OF MELODY, Emotional Response to Musical Chords and Visual Imagery in Children, Pitch-Class Sets, and Developing Variation
Research Interests: Semiotics, Music, Musical Composition, Music Theory, Musicology, and 186 morePhilosophy of Agency, Philosophy of Technology, Media Studies, New Media, Music Technology, Secular Humanism, Space and Music, Modernism (Literature), Creativity, Music and Language, Computer Music, Decision Making Analysis and Modeling, Interdisciplinarity, Film Music And Sound, Judgment and decision making, Narrative, Digital Media, Literature and Music, Gesture, Algorithmic Composition, Multimedia, Poetry, Composition (Music), Visual Narrative, Cognitive Narratology, Embodiment, Modernist fiction, Metaphysics of Time, Narrative and interpretation, Narratology, Narrative theory (Languages And Linguistics), Narrative and Design, Music and Media, Bakhtin, Intuition, Time Studies, Sound, Machinima, Henri Bergson, Modernist Literature (Literary Modernism), Narrative Methods, Agency Theory, Nonlinear Time Series, Wagner Studies, Digital Signal Processing, Performance, Science, Technology and Society, Reading, Philosophy of Music, Music Aesthetics, Electroacoustic Music, Analysis of Electroacoustic Music, Semiotics of Music, Extended Mind, Narrative and Music, Material Agency, Metaphor, Beethoven, Electronic Music, Minimalism, Ear Training For Electroacoustics, Twentieth-century Music, Agency (Psychology), Technology And Culture, Decision Analysis, Agency Structure, Hermeneutics and Narrative, Narrative and Identity, Philosophy of Time, Imagination, Modernism, Listening (Music), Experimental Music, Humanism, Contemporary Music, Free Will, Narrative Analysis, Bergson, Narrative Theory, Music Therapy, Computer musicology, Dialogism, Art and technology, Virtual Worlds, Time Perception, Analysis of Improvisation, Critical Thinking and Creativity, Metaphysics of Free Will and Moral Responsibility, Critical Musicology, Decision Theory, Musical Form, Temporality (Music), Modernist Literature, Repetition (Music Theory), Phenomenology of Temporality, Music analysis, Philosophy of music (Philosophy), Sound Art, Aesthetics (Music), Temporality (Time Studies), Narratives, Contemporary Art Music, Vladimir Nabokov, Narrative Inquiry, Agency (Psychology) (Psychology), Minimalism (Art), Sense of agency, Modernist Studies, Critical Theory, Deconstruction, Graphic Narrative, Comics, Latin American Literature, Film Studies, Cultural Studies, Ethnic Studies, Biblical Exegesis, Film and Media Studies, Musical Modernism, Narrativity, Temporality, Stravinsky, TIME, Narrative Research, Counterfactual Thinking, Musica, Agency, Predestination, Open-Ended Non-Narrative Works, Ancient Greek tragedy, Narratology and ancient drama, Reperformances of ancient drama, Structure and Agency, Determinism, Jacques Attali, Music Theory and Music Analysis, Freewill and Determinism, The Extended Mind, Modernismo, Peter Kivy, Technophobia, Ferruccio Busoni, Suspense, Philosophy of Music, Music Aesthetics, Duration, Autonomy and Free Will in Philosophy, Biblical Narrative, Wagner, Ring cycle, Cyborgs, Musical Analysis, Technological Determinism, Alvin Lucier, Counterfactuals, Musik, Language and Music, Computer Assisted Composition, Film Sound and Music, Music and Mathematics, Determinismo, Minimalismo, Game Spaces, Free will and determinism debate, Nabokov studies, "extended Mind"-Thesis, Nabokov, Music Theory and Analysis, Human destiny, Orpheus, Orphism, Orphic literature, Philosophy of mind Free will and Consciousness, Modernisme, Free Will and Determinism, Music and philosophy, American Experimental Music, Narrativity, Narratology, Counterfactual thinking in Fine Arts, Thomas Ades, Spatial Story Telling, Narratve Trajectory, Destiny, Free will vs predestination, Sonata Theory, Minimalist Music, Vladimir Nobokov, Free Will and Determinsim, Sound Spatialization, High and Late Modernist Fiction, Doctrine of Predestination, Models of Suspense, Audience Experience of Suspense, Modernist Hero, Intersections Between Art and Philosophy (Expecially Bergson, Deleuze and Henry) and Art and Music, Methodology for Art History, The Problem of Free Will and Determinism, Modernism and Posmodernism in Post World War Two North America, and Noah's Ark
An interview with the JACK String Quartet about their origins, their approaches to interpretation, their preparation and performance of Robert Morris's two quartets Arc (1988) and Allegro Appassionato (2009), the influence of Morris on... more
An interview with the JACK String Quartet about their origins, their approaches to interpretation, their preparation and performance of Robert Morris's two quartets Arc (1988) and Allegro Appassionato (2009), the influence of Morris on them, as well as their performance of repertoire by Lachenmann, Xenakis, and Rihm. http://www.perspectivesofnewmusic.org/TOC522.pdf
Research Interests: Music, Chamber Music, Musical Composition, Strings, Harp, And Guitar, String instrument pedagogy, and 58 moreEthnography, Performance Studies, Human Perception and Performance, Composition (Music), Performance, Performance Studies (Music), String Quartets, Intonation, Modernism, Experimental Music, Contemporary Music, Body in Performance, Performance Practice, Instrumental Music, Performance Theory, String Chamber Music, Viola solo, strings chamber music, 20th century Avant-Garde, Guillaume de Machaut, Performance Practice (Music), Music Performance, Historical Temperaments, Musical Modernism, Influence of Room Acoustics on Music Performance, Musical Instruments, Interviews, Interview, Wolfgang Rihm, Tuning and Temperament, Temperament, Music Pedagogy (Strings), Xenakis, Early Music & Early Tuning Temperaments, Twelve-Tone Technique, Musical Performance, Iannis Xenakis, Helmut Lachenmann, Performances Studies, String Quartet, Tuning, Just Intonation, American Twelve Tone Music, Music Composition and Performance, Natural Intervals Pythagorean Harmony, Extended techniques for strings, Pythagorean tuning, Eastman School of Music, Musical perfromance, JACK Quartet, Chamber Music Practice, Wofgang Rihm, Contemporary String Quartet, Gran Torso String Quartet, Chamber Ensembles, Robert Morris (composer), Quartet, Quartets, and Music Ethnography
Research Interests: Creative Writing, Post Modern Literature, Music, Musicology, Performing Arts, and 80 moreMusical Theatre, Theatre Studies, Music and Language, Speech Prosody, Operations Research, Narrative, Humor, Multimedia, Music Theater, Opera, Applied Drama/Theatre, Drama, Storytelling, Theater and film, Avant-Garde Theater, Contemporary Drama, Music Criticism, Cultural Musicology, Postmodernism, Narrative and Music, Great Depression, Electronic Music, Minimalism, American Drama, Narrative and Identity, Experimental Music, Acting, 20th/21st Century Vocal music, American music, Repetition (Music Theory), 21st Century Studies, Humor Studies, Transmedia Storytelling, Ambient Music, Narrativity, Post-modernism, Post-postmodernism, Musica, Contemporary American Drama, Soup, HOWARD GARDNER'S MI THEORY, Life Cycles, Anecdotes, Ketchup Research, Repetition, Short Stories, Americana, Music-text interactions, Alvin Lucier, Language and Music, Tomato, Mindset theory, Vocality, 20th and 21st-Century Music, Experimental Music Theatre, Text and Music, Drama and theatre studies, Performing Art, Music and philosophy, American Experimental Music, Narrativity, Narratology, Music textual criticism, American Musical Theater, Howard Gardner, Text-Music relations, Ad Reinhardt, Rhetoric of Anecdotes, Narrativity/Storytelling, Robert Ashley, American Musical Theatre, ópera, Twentieth and Twenty first century Music, Whitney Biennial 2014, Modernism and Posmodernism in Post World War Two North America, Downtown Music, Operatic Performance, Post-Minimalism, Changing People Mindset, Vocality, Music and Text, and Experimental Musical Theatre
Research Interests: Applied Mathematics, Human Computer Interaction, Music, Music Theory, Art History, and 109 moreInterpersonal Communication, Improvisation, Performing Arts, Space and Music, Dance Studies, Software for choreographers, Movement analysis, Creative processes in contemporary dance, Gesture Studies, Computer Music, Dance/Movement Therapy, Performance Studies, Choreographic Methodologies, Wearable Computing, Experimental Media Arts, Visual Culture, Intermediality, Multimedia, Mirror Neurons, Cybernetics, Phenomenology, Video Game Audio and Music, Human-Computer Interaction for Games, Performance Art, Choreography, Transdisciplinarity, Intermedia, New Media Performance and Installation, Digital Culture, The Body, Technoetics, Somatics, Wearable Technologies, Interactive and Digital Media, Performance Studies (Music), Laban Movement Analysis, Nonverbal Communication, Interactive Arts, Electronic Music, Phenomenology of the body, Fluid Dynamics, Sound Design, Dance and the brain, Gesture Recognition, Body in Performance, Dance and Aesthetics, Artistic Research, Computer musicology, Art and technology, Virtual Worlds, Museology, Kinesthetic teaching, Phenomenology of the Body (Philosophy), Phenomenology of Space and Place, Modern and Contemporary Dance, 21st Century Studies, Dance, Experimental Forms of Performing Arts, Sound Art, Wearable sensors, Perception of Space (Dance Studies), Body Language, Synesthesia, Second-Order Cybernetics, Real time audiovisual performance, Philosophy of Cybernetics, Music and Gesture, Kinesthetic learning, Multi-model, interactive art/dance performances, George Lakoff, Transmedia, Immersive Environments, Interart studies, Dance Research, Digital Media and Learning, Experimental Choreography, Visual and Performing Arts, Sonic Arts, VIDEO DANCE, Interactive, Choreographic Research, Cybernetics and Learning, Composer, Embodied knowledge, Contemporary Performance Art in the Context of Digital Arts and New Media, Interactive / Reactive Sculpture, Sound Sculptures, Installation Art, Video Art, Live Video Mixing, Motion tracking, HCI, Interactive / Reactive Lighting, Wearables, Intermediality, transmediality, Museum Education and Communication, Philosophy of Dance and Theatre Arts, Spatial Story Telling, Body Psychotherapy, Acousmatic Theory, BODILY KINESTHETIC INTELLIGENCE, ACTION RESEARCH OF BODILY-KINESTHETIC INTELLIGENCE, Semiotics of the Human Body, Synesthesia In Art Creation Process, Sound Spatialization, Interactive and Digital Arts, Intermediatlity, Transmediality, Psychology of Human Computer Interaction, Social and Locative Media, Integration of Cybernetics and Semiotics, Performance/live Art, Music and Performing Arts, Collaborative and Community Practices, Emobidment, and Numerical and Experimental Methods in Fluid Dynamics
Research Interests: Applied Mathematics, Music, Music History, Music Theory, Aesthetics, and 77 moreAnalytic Philosophy, Music Technology, Ethnomusicology, Music and Language, Computer Music, Cold War and Culture, Composition (Music), Psychoacoustics, New Interfaces for Musical Expression, Sound and Music Computing, History of Musical Composition, New Musical Interfaces, Digital Signal Processing, Philosophy of Music, Music Aesthetics, Music Criticism, Sociology of Music, Post-tonal Theory, 12-tone Composition, Electroacoustic Music, History of Music Theory, Music Journalism, Electronic Music, Twentieth-century Music, Atonal Music, Music Cognition, Modernism, Experimental Music, Music Composition, Contemporary Music, Art and Aesthetics of the Cold War, Logical Positivism, Music in the Cold War, Rudolf Carnap, Serial Music, Serial Music, Historiography of Music, American music, Repetition (Music Theory), Music analysis, Continental (vs.) Analytical Philosophy, Philosophy of music (Philosophy), Spectral Music, Milton Babbitt, Classical Music, Schoenberg, Musical Modernism, Arnold Schoenberg, French Music, Interactive Music, AudioVisual Music Composition, Philosophy of Music, Music Aesthetics, David Lewin, Music and Technology, Computer Assisted Composition, Music and Mathematics, Pitch-class Set Theory, Music and philosophy, Princeton University, Avant-garde and modernist music, Stefan Wolpe, Pitch-class theory, Analysis of Post-tonal music, Benjamin Boretz, Benjamin Boretz, Adam Croom, Jon Forshee, Ted Cohen, Eastman School of Music, Sound Spatialization, Interactive and Digital Arts, Twentieth and Twenty first century Music, Music Theorythe Cold War, Princeton Univesity, Electronic Media Theory, Music Software Development, History and Criticism of Music, and Allen Forte
"Carter's music poses struggles of opposition, for instance in timbre (Double Concerto), space (String Quartet No. 3) or pulse (String Quartet No. 5). His preference for the all-interval tetrachords, 4–Z15 [0, 1, 4, 6] and 4–Z29 [0, 1, 3,... more
"Carter's music poses struggles of opposition, for instance in timbre (Double Concerto), space (String Quartet No. 3) or pulse (String Quartet No. 5). His preference for the all-interval tetrachords, 4–Z15 [0, 1, 4, 6] and 4–Z29 [0, 1, 3, 7], is also well known. From these facets of Carter's music, I develop a narrative interpretation of his Petrarch sonnet–inspired solo flute piece, Scrivo in Vento (1991). Specifically, I forge narrative pathways by imagining the two tetrachords as active agents opposed in competition. Previous Scrivo analyses (Capuzzo 2002; Childs 2006) stress continuity by revealing Q-transforms and common-note voice leading between the tetrachords. While acknowledging such features, my analysis emphasises oppositional struggle by tracing the tetrachords as separate entities which cooperate and conflict as they manoeuvre to outdo each other.
The analysis advances three theses: (1) it guides listening to and reading Scrivo in a way which resonates with Carter's concern for the aesthetics of oppositional struggle, his choice of a sonnet as inspiration and his affinity for all-interval tetrachords; (2) it shows that music-analytical detail can be organised into dramatic narratives by (a) projecting dramatic roles onto categories asserted by a formal theory and (b) treating the formal theory's relations metaphorically as actions performed by each role as the musical work unfolds; and (3) it shows how detailed pc-set analysis can support a Heraclitean view of music: a flux of opposing forces seeking and resisting unity."
The analysis advances three theses: (1) it guides listening to and reading Scrivo in a way which resonates with Carter's concern for the aesthetics of oppositional struggle, his choice of a sonnet as inspiration and his affinity for all-interval tetrachords; (2) it shows that music-analytical detail can be organised into dramatic narratives by (a) projecting dramatic roles onto categories asserted by a formal theory and (b) treating the formal theory's relations metaphorically as actions performed by each role as the musical work unfolds; and (3) it shows how detailed pc-set analysis can support a Heraclitean view of music: a flux of opposing forces seeking and resisting unity."
Research Interests: Discourse Analysis, Semiotics, Evolutionary Psychology, Music, Musical Composition, and 224 moreMusic Theory, Musicology, Anthropology, Mythology, Philosophy, Metaphysics, Aesthetics, Philosophy of Agency, Presocratic Philosophy, Critical Discourse Studies, Music and Language, Literature, Decision Making Analysis and Modeling, Language Variation and Change, Interdisciplinarity, Hermeneutics (Research Methodology), Narrative, Computational Modellng, Computational Modeling, Renaissance Humanism, Shakespeare, Ecopsychology, Poetry, Composition (Music), Visual Narrative, Mirror Symmetry, Cognitive Narratology, Computational Modelling, Narrative Psychology, Hermeneutics, Renaissance Literature (Renaissance Studies), Narrative and interpretation, Narratology, Narrative theory (Languages And Linguistics), Endangered Languages, Narrative and Design, Theory, Drama, Storytelling, Shamanism, Petrarch Studies, Petrarch, Italian Humanism, Theory of Metaphor and Rhetorics, Interactive Narrative, T.S. Eliot, Narrative Methods, Agency Theory, Use of Metaphors and teaching combinative theories and methodologies, Sonnets, Digital Signal Processing, Process Philosophy, Philosophy of Music, Music Aesthetics, Post-tonal Theory, Semiotics of Music, Narrative and Music, Critical Discourse Analysis, Metaphor, Music Information Retrieval, Renaissance drama, Cognitive Linguistics, Twentieth-century Music, Atonal Music, Atonal Music, Hermeneutics and Narrative, Musical Semiotics, Music Cognition, Community Music, Interdisciplinarity and the study of literature, Imagination, Dialectic, Modernism, Humanism, Contemporary Music, Process Philosophy (Peirce, Whitehead), Renaissance literature, Naturalism, Narrative Analysis, Regression Models, Linguistic and Musical Analysis, Arts-sciences interdisciplinarity, Computational Philosophy, Narrative Theory, Computer musicology, Literary History, Dialogism, Northrop Frye, Instrumental Music, Digital Storytelling, Visual Narratology, American music, American music, Ancient Greek Philosophy, Computational Musicology, Temporality (Music), Systematic Musicology, Dante, Petrarch, Bocaccio, Interdisciplinary Studies, Heraclitus, Music analysis, The Romantic Poets, Tragedy (Philosophy), 20th century Avant-Garde, Aesthetics (Music), Form (Music Theory), Petrarch (Literature), Interactive Storytelling, Narratives, Contemporary Art Music, Elliott Carter, Northrop Frye (Literature), Twentieth-Century Music (Music), Keats, Myth, Emotions, Musical Modernism, Petrarchism, Narrativity, Herodotus, Greek Tragedy, the Presocratics; Ancient Greek Religion and Cult, and its reception, Tragedy, Ancient Greek tragedy, Narratology and ancient drama, Reperformances of ancient drama, Flute Music, Wolfgang Iser, Diachronic metaphor, Music Theory and Music Analysis, Percy Bysshe Shelley, Story, Vitalism, Kazuo Ishiguro, Música, Italian Poetry, Political Discourse, Mind, Harold Bloom, Matthew Arnold, Literary Theories, Evolution of mythos and narrative, Negotiating Meaning, Medieval Lyric Poetry, Flute, Symmetry, Digital Narrative, Contemporary Classical Music, Wind Instruments, Rhyme, Mathematics and Music, Computational Music Theory, Self-similarity, Telelology; Darwin; Kant, Musical Analysis, Music-text interactions, Close Reading, Italian Medieval and Renaissance literature. Contemporary Italian poetry, Musik, Conceptual Metaphor Theory, Blending Theory, knowlege representation systems, Dialectics, narrative and music history narrative music analysis Schenker Allan Forte Kofi Agawu metaphor Ur-narrrative music theory, Computer Assisted Composition, Film Sound and Music, Contemporary flute music, Music and Mathematics, The application of Conceptual Metaphor Theory to poetry, literature, art and film, Symmetry Perception, Aesthetics - interdisciplinary studies, Psychology and Philosophy, Computational Modeling of Music, Text and Music, Schrödinger, Interdisciplinary Perspectives of Vitalism, Discourse Analysis, 13th-14th century Italian poetry, Philosophy of Symmetry, Petrarchan Poetry, Post-Tonal Music/electroacoustic Music/computer Music/orchestration, Musikwissenschaft, Tetrachords, Petrarca, Mirror, Pitch-class Set Theory, Music and philosophy, Pitch Class Sets, Flute repertoire, Dynamic Symmetry, Heraclitus, text criticism, Binary Oppositions, AIT, Rhyme In Medieval Spanish Poetry, Symmetry Transformations, Pitch-class theory, Analysis of Post-tonal music, Atonality, Post-atonal Music, Oneness of Life, Quantum Physics (From a Spiritual Perspective), Narrativa Digital, Qualitative and Quantitative Research Methods, Process of Literary Creation, Brain and the Interdisciplinary Studies In the Field of Science, The Transaction of Meaning, Narrative As Epistemological Meme, Hyperrealism and the Singularity, New Dialects, Game Competitors games Playing Games, Players Playing Players, Agents Playing Agents, Theory and Analysis of Western Art Music, Atonal, Intersections Between Art and Philosophy (Expecially Bergson, Deleuze and Henry) and Art and Music, Screen Aesthetics and Formal Analysis, Popular Music and Popular Culture, Critical Theory and Cultural Studies, Close reading poetry, Plato and Heraclitus, Armonía Atonal; Análisis Musical;, Allen Forte, Musical Dialectic, Heraclitus' book, Binary Opposition, MEDIEVAL ITALIAN POETRY, Analysis of Post-Tonal Music, Narrative Archetypes, Transpositional combination, Transformational Network, Pitch-class theory, All-Interval Tetrachord, and Journal of Mathematics and Music: Mathematical and Computational Approaches to Music Theory, Analysis, Composition and Performance
Embracing the notion that metaphors influence reasoning about music, this study explores a computational- phenomenological approach to perception of musical form driven by a dynamic metaphor. Specifically, rather than static metaphors... more
Embracing the notion that metaphors influence reasoning about music, this study explores a computational- phenomenological approach to perception of musical form driven by a dynamic metaphor. Specifically, rather than static metaphors (structure, architecture, design, boundary, section) instead, dynamic ones are emphasized (flow, process, growth, progression) as more appropriate for modeling musical form in some circumstances. Such models are called dynamic form. A pedagogical program for enhancing the perception of dynamic form is pursued, by exploiting embodied cognition through custom built simulation technology.
Adopting an interdisciplinary approach, the presentation shows some computational models of qualities that convey such dynamic form in unconventional repertoire. Since such models are quantitative, it is plausible that, with appropriate technology, listeners who do not spontaneously attend to these could learn to do so, and then subsequently demonstrate perception and cognition of such form-bearing flux. Through simulation algorithms, the paper offers Max/MSP patches and iPhone apps that enable real-time user manipulation of the intensity of such qualities, by moving sliders with a mouse or finger or by tilting the angle of an iPhone. Such hands-on control is intended to kinesthetically cultivate sharper perception, cognition, attention, and interest of listeners confronting unconventional music. The presentation also offers computer animations of some theorized unconventional emergent qualities, which indeed constitute vessels of musical form.
Adopting an interdisciplinary approach, the presentation shows some computational models of qualities that convey such dynamic form in unconventional repertoire. Since such models are quantitative, it is plausible that, with appropriate technology, listeners who do not spontaneously attend to these could learn to do so, and then subsequently demonstrate perception and cognition of such form-bearing flux. Through simulation algorithms, the paper offers Max/MSP patches and iPhone apps that enable real-time user manipulation of the intensity of such qualities, by moving sliders with a mouse or finger or by tilting the angle of an iPhone. Such hands-on control is intended to kinesthetically cultivate sharper perception, cognition, attention, and interest of listeners confronting unconventional music. The presentation also offers computer animations of some theorized unconventional emergent qualities, which indeed constitute vessels of musical form.
Research Interests: Stochastic Process, Music, Music Theory Pedagogy, Music Theory, Musicology, and 53 moreAural Skills, Indirect Composition--emergent art from agents interacting in populations, from culture mixes in events, etc., Computer Music, Music Psychology, Computational Modelling, Time-Consciousness, Emergent Phenomena, Digital Signal Processing, Pedagogy, Conceptual Metaphor Theory, Music Aesthetics, Haptics, Deleuze, Alternative Pedagogy, Ear Training For Electroacoustics, Philosophy of Time, Music Cognition, Music Composition, Contemporary Music, Bergson, Embodied Music Cognition, Kinesthetics, Kinesthetic teaching, Music Perception, Systematic Musicology, Merleau-Ponty, Arts Education and Pedagogy, Interactive Learning Environments, Spatio Temporal Analysis, Music of Ligeti, Digital Pedagogy, Sound Art, Emergence, Elliott Carter, Interactive Art, Cognitive Musicology, Ruth Crawford Seeger, Proprioception, Sonic Cognition, Sonic Perception, Kinesthesia, Music Perception and Cognition, Touch, Musical Textures, Affects, Computer Assisted Composition, Music and Mathematics, Music and Art, Music and philosophy, Sound Spatialization, Phenomenology of Music, Reader response Theory. The Embodied Mind. Mark Johnson and George Lakoff. Metaphor. Virtual Worlds and Embodiment, and Cybernetic Phenomenology
This paper reports on aspects of the Fluxations paradigm for interactive music generation and an iPhone app implementation of it. The paradigm combines expressive interactivity with stochastic algorithmic computer generated sound as... more
This paper reports on aspects of the Fluxations paradigm for interactive music generation and an iPhone app implementation of it. The paradigm combines expressive interactivity with stochastic algorithmic computer generated sound as guided by the author’s musical preferences. The emphasis is on pitch-oriented (harmonic) continuity and flux, as steered through sliders and sensors. The paradigm enables the user-performer to maximize exotic but audible musical variety by spontaneously manipulating parameters within the paradigm.
Research Interests:
Research Interests: Computational Complexity Theory, Human Computer Interaction, Early Music, Music History, Music Theory, and 99 moreMusicology, Philosophy, Aesthetics, Digital Humanities, Cyberpsychology, Music and Language, Computer Music, Medieval Studies, Computational Modeling, Digital Technology, Cybernetics, Embodied Cognition, Medieval Theology, Computational Modelling, Phenomenology, Metaphysics of Time, Time-Consciousness, Conceptual Metaphor, Narrative and interpretation, Audience and Reception Studies, Emergent Phenomena, Terminology, William James, Cyberstudies, Oral Traditions, Time Studies, Temporal Data Mining, Henri Bergson, Alfred North Whitehead, Narrative Methods, Conceptual Metaphor Theory, Post-tonal Theory, 12-tone Composition, Electroacoustic Music, Narrative and Music, History of Music Theory, Metaphor, Adorno's Philosophy of Music, Music And Religion, Minimalism, Cognitive Linguistics, Josquin des Prez, Philosophy of Time, Music Cognition, Medieval Music, Listening (Music), Renaissance music, A and B Theory of Time, History Of Body, Time And Space, Narrative Analysis, Cyber Aesthetics, Polyphony, Bergson, Computational Philosophy, Contrastive Analysis, Contour theories, Baroque opera, Performance Practice, Heinrich Isaac, Time Perception, Serial Music, Claudio Monteverdi (Music), Computational Musicology, Temporality (Music), Phenomenology of Temporality, Music analysis, Music of Ligeti, Translation, Form (Music Theory), Temporality (Time Studies), Emergentism, Emergence, Listening (Sound studies), Elliott Carter, Milton Babbitt, Second-Order Cybernetics, Conceptual metaphors, Claudio Monteverdi, Effective Listening, Metacognitive Strategies in Listening, Stravinsky, Sound, Listening and Environment, Music sociology, Timbre, Strategies of Devoloping Listening Skils, Peter Abelard, Du Fay, Chant research, Early Notations, Computational Aesthetics of Music, Non-Strophic Song, Counterpoint, Music Pedagogy, Whirled Series, Medieval musicology, Information Rate, Chorus Conducting, Musical Information Dynamics, and Cybernetic Phenomenology
"The essay considers, in a positive light, Ockelford's zygonic theory and its implications as presented in his recent book. An analysis of Mozart's K.333 is discussed in regard to vocabulary, notation, and relations to other analytic... more
"The essay considers, in a positive light, Ockelford's zygonic theory and its implications as presented in his recent book. An analysis of Mozart's K.333 is discussed in regard to vocabulary, notation, and relations to other analytic theories, such as Schenker's, Schoenberg's, and Hanninen's. Ockelford's approach to atonal music differs from Forte's but introduces an intriguing set of new mathematical measures for atonal pitch sets, which are clarified, formalized, and presented in an appendix to the essay.
The second half of the essay delves into metatheoretical issues, regarding perception, cognition: Ockelford critiques Lewin's transformation theory for being insufficiently sensitive to the realities of music perception. Yet Ockelford's critique fails to recognize the broad set of contexts of perception and cognition that Lewin's theory encompasses. Specific details of Lewin's GIS theory together with a survey of views (Korsyn's, Margulis's, Dubiel's) about music perception and cognition illustrate and inform the considerations of the metatheoretical issues that Ockelford raises."
The second half of the essay delves into metatheoretical issues, regarding perception, cognition: Ockelford critiques Lewin's transformation theory for being insufficiently sensitive to the realities of music perception. Yet Ockelford's critique fails to recognize the broad set of contexts of perception and cognition that Lewin's theory encompasses. Specific details of Lewin's GIS theory together with a survey of views (Korsyn's, Margulis's, Dubiel's) about music perception and cognition illustrate and inform the considerations of the metatheoretical issues that Ockelford raises."
Research Interests: Music, Music Theory, Musicology, Philosophy, Music and Language, and 24 morePsychology of Music, Music Psychology, Music and Politics, Digital Signal Processing, Music Aesthetics, Post-tonal Theory, Transformation Theory, Music Cognition, Listening (Music), Contemporary Music, Music Perception, Repetition (Music Theory), Listening (Sound studies), Metacognitive Strategies in Listening, Lewin, Progressive Media, Strategies of Devoloping Listening Skils, David Lewin, Repetition, Computer Assisted Composition, Music and Mathematics, Music and philosophy, Lewinian Transformational Theory, and Sound Spatialization
Research Interests: Music, Film Music And Sound, Synaesthesia, Multimedia, Opera, and 20 moreDrama, Conceptual Metaphor Theory, Music Cognition, Acting, Embodied Music Cognition, Claudio Monteverdi (Music), Modern and Contemporary Dance, Dance, Claudio Monteverdi, Schoenberg, Arnold Schoenberg, Classical Ballet, Ballet, Conceptual Blending, Conceptual Integration, Conceptual Metaphor Theory, Blending Theory, knowlege representation systems, George Balanchine, Fauconnier & Turner, Performing Art, and Alessandro Striggio
The collection of articles, by a diverse set of musicians and scholars (21 in all), focuses on the playful side of Milton Babbitt's music, on the performance and recording of his music, and on adapting his music and ideas to such... more
The collection of articles, by a diverse set of musicians and scholars (21 in all), focuses on the playful side of Milton Babbitt's music, on the performance and recording of his music, and on adapting his music and ideas to such activities as improvisation and cross-stylistic arrangements and recompositions. The collection is replete with new interviews, recently discovered compositions, and archive-based revelations.
The intro article is open-access.
https://www.tandfonline.com/toc/gcmr20/40/2-3
Feel free to contact any of the co-editors ( jmailman@alumni.uchicago.edu, awmead@indiana.edu, zbernstein@esm.rochester.edu ) or authors for info (or offprints)
The intro article is open-access.
https://www.tandfonline.com/toc/gcmr20/40/2-3
Feel free to contact any of the co-editors ( jmailman@alumni.uchicago.edu, awmead@indiana.edu, zbernstein@esm.rochester.edu ) or authors for info (or offprints)
Research Interests: Music, Music Theory, Musicology, Improvisation, 12-tone Composition, and 15 morePerformance Studies (Music), Jazz Improvisation, Music analysis, Milton Babbitt, Musical Analysis, Dodecafonismo, Serialism, 20th and 21st-Century Music, Dodecaphonic Music, Princeton University, Playfulness, Ludomusicology, Musical borrowing, The Bad Plus, and Juilliard School
How do our embodied experiences of music shape our analysis, theorizing, and interpretation of musical texts, and our engagement with practices including composing, improvising, listening, and performing? Music, Analysis, and the Body:... more
How do our embodied experiences of music shape our analysis, theorizing, and interpretation of musical texts, and our engagement with practices including composing, improvising, listening, and performing? Music, Analysis, and the Body: Experiments, Explorations, and Embodiments is a pioneering and timely essay collection uniting major and emerging scholars to consider how theory and analysis address music’s literal and figurative bodies. The essayists offer critical overviews of different theoretical approaches to music analysis and embodiment, then test and demonstrate their ideas in specific repertoires. The range of musics analysed is diverse: Western art music sits alongside non-Western repertoires, folk songs, jazz, sound art, audio-visual improvisations, soundtracks, sing-alongs, live events, popular songs, and the musical analysis of non-musical experiences. Topics examined include affect, agency, energetics, feel, gesture, metaphor, mimesis, rehearsal, subjectivity, and the objects of music analysis – as well as acoustic ecology, alterity, class, distraction, excess, political authority, sensoriality, technology, and transcendence. http://www.peeters-leuven.be/boekoverz.asp?nr=10683 review in MT Spectrum https://tinyurl.com/4dafdykc
Research Interests: Music, Musicology, Embodiment, Embodied Mind and Cognition, Soundscape Studies, and 15 moreThe Body, Phenomenology of the body, Embodied Music Cognition, Franz Liszt, Music analysis, Interactive Music, Television Music, Wolfgang Rihm, Music + Electronics + Live + Interactive, Musical Analysis, Music Theory and Analysis, Thomas Ades, Steve Reich, Interactive Music Systems, and Karol Szymanowski
This special 386-page issue of _Perspectives of New Music_ celebrates the compositions, scholarship, and life of Robert Morris and includes a 3-CD boxed set (produced by Ben Boretz) of music by Robert Morris and others. Vol. 52, No. 2 was... more
This special 386-page issue of _Perspectives of New Music_ celebrates the compositions, scholarship, and life of Robert Morris and includes a 3-CD boxed set (produced by Ben Boretz) of music by Robert Morris and others. Vol. 52, No. 2 was mailed to subscribers in November 2014. Among to the contributors to this collection are Rob Haskins, Joseph Straus, Wayne Slawson, Bruce Quaglia, Andrew Mead, Benjamin A Boretz, Daphne Leong, Cynthia Folio, Elaine Barkin, Dorota Czerner, Chitravina Ravikiran, David Plylar, Christopher Shultis, Ciro Scotto, Dora Hanninen, Brian Alegant, The JACK Quartet: John Pickford Richards, Kevin McFarland, Christopher Otto, Ari Streisfeld, Matt Barber, Heather Gardner, Mikel Kuehn, Zuzanna A. Szewczyk Kwon, Scott Worthington, David Mott, J.K. Randall, Robert Morris, and Joshua B. Mailman
Research Interests: Composition Studies, Music, Musical Composition, Music Theory, Composition (Music), and 17 more12-tone Composition, Music Composition, Contemporary Music, Serial Music, Milton Babbitt, Composition, Musical Modernism, John Cage, Neo-Avant-Garde, Music and Nature, Música, Twelve-Tone Technique, Avant-garde and modernist music, Nature and Music Relationship, Eastman School of Music, JACK Quartet, and 12-Tone Serialism
It has long been known that practicing musicians and dancers draw upon interdisciplinary relationships between sound and movement to inform their work and that many performance arts educators apply these relationships in working with... more
It has long been known that practicing musicians and dancers draw upon interdisciplinary relationships between sound and movement to inform their work and that many performance arts educators apply these relationships in working with aspiring composers, choreographers and performers. However, most material on the subject has been, to this point, relegated to single chapters in books and journal articles. Now, Sound, Music and the Moving-Thinking Body brings together the diverse topics researchers and practitioners across the sector are exploring, and raises issues concerning the collaborative aspects of creating and performing new work.
Contributors:
Magnus Andersson, Robert Fullford, Jane Ginsborg, Osvaldo Glieca, Jeremy Peyton Jones, Joshua B. Mailman, Helen Julia Minors, Tatiana Oltean, Stephan Österjö, Sofia Paraskeva, Michael Picknett, Kelvin Thomson, Nguyễn Thanh Thủy, Mark Wraith, Marilyn Wyers.
Contributors:
Magnus Andersson, Robert Fullford, Jane Ginsborg, Osvaldo Glieca, Jeremy Peyton Jones, Joshua B. Mailman, Helen Julia Minors, Tatiana Oltean, Stephan Österjö, Sofia Paraskeva, Michael Picknett, Kelvin Thomson, Nguyễn Thanh Thủy, Mark Wraith, Marilyn Wyers.
Research Interests: Music, Musical Composition, Performing Arts, Space and Music, Dance Studies, and 46 moreSoftware for choreographers, Movement analysis, Creative processes in contemporary dance, Computer Music, Dance/Movement Therapy, Choreographic Methodologies, Dance Science, Experimental Media Arts, Composition (Music), Collaboration, Embodiment, Phenomenology, Embodied Mind and Cognition, Performance Art, Choreography, Media and Embodiment, The Body, Somatics, Interactive and Digital Media, Interactive Media, Motion perception, Choreography (Research Methodology), Phenomenology of the body, Electronic Dance Music Culture (EDMC), Collaboration (Art), Dance and the brain, Body in Performance, Dance and Aesthetics, Artistic Research, Dance Education, Phenomenology of Space and Place, Modern and Contemporary Dance, Interactive Multimedia Applications, Dance, Multidisciplinary Collaboration, Multi-model, interactive art/dance performances, Dance Research, Kinect, Experimental Choreography, Choreographic Research, Contemporary dance choreography, arts and public practice, Music and dance, Embodied knowledge, Interactive / Reactive Sculpture, Sound Sculptures, Installation Art, Video Art, Live Video Mixing, Motion tracking, HCI, Interactive / Reactive Lighting, Body Psychotherapy, and Music and Performing Arts
This comprehensive volume offers a wide-ranging perspective on the stories that art music has told since the start of the 20th century. Contributors challenge the broadly held opinion that the loss of tonality in some music after 1900... more
This comprehensive volume offers a wide-ranging perspective on the stories that art music has told since the start of the 20th century. Contributors challenge the broadly held opinion that the loss of tonality in some music after 1900 also meant the loss of narrative in that music. To the contrary, the editors and essayists in this book demonstrate how experiments in approaching narrative in other media, such as fiction and cinema, suggested fresh possibilities for musical narrative, which composers were quick to exploit. The new conceptions of time, narrative voice, plot, and character that accompanied these experiments also had a significant impact on contemporary music. The repertoire explored in the collection ranges across a wide variety of genres and includes composers from Charles Ives and the Pet Shop Boys to Thomas Adès and Dmitri Shostakovich.
[Table of contents etc: http://www.iupress.indiana.edu/product_info.php?cPath=1037_5718_5753&products_id=806644 ]
[Sample chapter: http://www.academia.edu/749803/Agency_Determinism_Focal_Time_Frames_and_Narrative_in_Processive_Minimalist_Music ]
[Table of contents etc: http://www.iupress.indiana.edu/product_info.php?cPath=1037_5718_5753&products_id=806644 ]
[Sample chapter: http://www.academia.edu/749803/Agency_Determinism_Focal_Time_Frames_and_Narrative_in_Processive_Minimalist_Music ]
Research Interests: Music, Musical Composition, Music Theory, Musicology, New Media, and 60 moreMusic Technology, Music and Language, Film Music And Sound, Narrative, Digital Media, Gesture, Multimedia, Music Psychology, Poetry, Embodiment, Narrative and interpretation, Narratology, Narrative and Design, Music and Media, Benjamin Britten, Bakhtin, Sound, Machinima, Jacques Lacan, Narrative Methods, Performance, Reading, Philosophy of Music, Semiotics of Music, Hermeneutics and Narrative, Contemporary Music, Narrative Analysis, Narrative Theory, Dialogism, Art and technology, Virtual Worlds, Critical Musicology, Webern, Dmitri Shostakovich, Music analysis, Narratives, Dmitri Shostakovich (Music), Arvo Pärt, Narrativity, Musica, Greimas, Harrison Birtwistle, Olivier Messiaen, Music Theory and Music Analysis, Cyborgs, Alvin Lucier, Game Spaces, Charles Ives, Pet Shop Boys, Diegesis, diegetic, Pascal Dusapin, SHOSTAKOVICH, Krzysztof Penderecki, Thomas Ades, Spatial Story Telling, Anton Webern, Salvatore Sciarrino, Musical narrative, Thea Musgrave, and Liszka
Both Gerard Grisey and his posthumous philosophical apologist Hugues Dufourt emphasize Grisey’s innovative approach to temporality. Surprisingly, a processive model for analyzing Grisey’s forms has not emerged. Theorists have shied away... more
Both Gerard Grisey and his posthumous philosophical apologist Hugues Dufourt emphasize Grisey’s innovative approach to temporality. Surprisingly, a processive model for analyzing Grisey’s forms has not emerged. Theorists have shied away from modeling formal processes in Grisey’s music perhaps because the appropriate modeling conflicts with Grisey’s and Dufourt’s ideological pronouncements grounded in anti-quantitative polemics of French process philosopher Henri Bergson. Yet, resisting or overcoming Bergson’s, Grisey’s, and Dufourt’s limitations, to instead offer a mathematical modeling of Grisey’s music, we achieve a more ecological understanding of its distinctive processive temporality and holistic character.
Grisey’s Vortex Temporum presents a motif from Ravel’s Daphnis et Chloe, developed through naturalistic interaction between difference and repetition, a conceptual pairing celebrated by Bergsonian philosopher Gilles Deleuze. The motif changes are modeled (“curve fitted”) with basic mathematical equations also known for modeling such natural phenomena as circadian rhythms, respiration, climate cycles, sound, and hydrodynamics, including the spiral motion of vortices. Specifically: (1) The motif’s shape is modeled as “harmonically” related sine wave oscillators, a smooth, subtly complex, naturalistic wave, in a 2-dimensional plane: a twirling motion. (2) The motif’s timings are modeled as a sum of sinewave oscillation, linear trend, and random noise, relating to the fluidly semi-predictable teleology of these repetitions. (3) The motif’s transpositions are modeled as an exponentially amplifying oscillator; this amplifying oscillator form is shared with Ligeti’s Violin Concerto (Mailman 2016), composed only four years earlier. Both works exhibit a wavelike trend of increasing volatility, which can also be visualized as a spiral or vortex.
VIDEO: https://medias.ircam.fr/x439b59
Grisey’s Vortex Temporum presents a motif from Ravel’s Daphnis et Chloe, developed through naturalistic interaction between difference and repetition, a conceptual pairing celebrated by Bergsonian philosopher Gilles Deleuze. The motif changes are modeled (“curve fitted”) with basic mathematical equations also known for modeling such natural phenomena as circadian rhythms, respiration, climate cycles, sound, and hydrodynamics, including the spiral motion of vortices. Specifically: (1) The motif’s shape is modeled as “harmonically” related sine wave oscillators, a smooth, subtly complex, naturalistic wave, in a 2-dimensional plane: a twirling motion. (2) The motif’s timings are modeled as a sum of sinewave oscillation, linear trend, and random noise, relating to the fluidly semi-predictable teleology of these repetitions. (3) The motif’s transpositions are modeled as an exponentially amplifying oscillator; this amplifying oscillator form is shared with Ligeti’s Violin Concerto (Mailman 2016), composed only four years earlier. Both works exhibit a wavelike trend of increasing volatility, which can also be visualized as a spiral or vortex.
VIDEO: https://medias.ircam.fr/x439b59
Research Interests: Musical Composition, Music Theory, Musicology, Rhythm, Gilles Deleuze, and 15 moreProcess Philosophy, Post-tonal Theory, Audio Visual Representations Of Music, Contemporary Music, Musical Form, Computational Musicology, Spectral Music, Music Theory and Music Analysis, Spectralism, Repetition, Musical Analysis, Music and Mathematics, Gérard Grisey, 20th and 21st-Century Music, and Music Visualization
Metaphors influence reasoning about music. Though ways to classify metaphors abound, static-vs-dynamic is crucial as suggested by Tenney (1977), Lewin (1977, 1987), Cogan (1995), Kramer (1995), Zbikowski (2002), and Spitzer (2004).... more
Metaphors influence reasoning about music. Though ways to classify metaphors abound, static-vs-dynamic is crucial as suggested by Tenney (1977), Lewin (1977, 1987), Cogan (1995), Kramer (1995), Zbikowski (2002), and Spitzer (2004). Metaphors like ‘structure’, ‘architecture’, ‘design’, ‘boundary’, ‘section’, impose biases for staticism, whereas metaphors like ‘flow’, ‘process’, ‘growth’, ‘organicism’, and ‘progression’ impose biases for dynamism.
Though disagreeing on category names, some writers divide time into two supposedly conflicting types: temporal and spatial, corresponding to two ontological manifestations of compositions: as sound (dynamic process) or score (static entity). For instance, Zuckerkandl, Adorno, Kivy, and Paddison divide time into two types corresponding to temporal and spatial. These align with time categories of aesthetic experience asserted by Ushenko and Arnheim, and with general categories of time asserted by McTaggart, Gödel, Heidegger, and Bergson. Famously, McTaggart argues time needs both an A-series (tensed time: past, present, future) and B-series (untensed time: before-after, earlier-later). These coordinate with Bergson’s, Heidegger’s and Gödel’s categories.
In various ways, philosophers, musicologists and cognitive psychologists (Smart 1949, Lippman 1984, Boriditsky 2000, 2001) assert time generally, and music specifically, are routinely conceptualized in either of two ways: as something enduring through which we move, or as something fleeting that moves through us as we experience it. Adopting Bertrand Russell’s ‘relational’ approach to theorizing time, the author’s (2010) computational-phenomenological theory of dynamic form posits the concept of a vessel of form as a dual metaphor (a verbal “necker cube”), strategically connoting two contrasting physical entities, to enable a flexibility of thought for conceptualizing musical time. This, if conceptualized in terms of gender, renders musical temporal experience as androgynous, and in this way addresses certain epistemological biases encountered in customary music discourse.
Though disagreeing on category names, some writers divide time into two supposedly conflicting types: temporal and spatial, corresponding to two ontological manifestations of compositions: as sound (dynamic process) or score (static entity). For instance, Zuckerkandl, Adorno, Kivy, and Paddison divide time into two types corresponding to temporal and spatial. These align with time categories of aesthetic experience asserted by Ushenko and Arnheim, and with general categories of time asserted by McTaggart, Gödel, Heidegger, and Bergson. Famously, McTaggart argues time needs both an A-series (tensed time: past, present, future) and B-series (untensed time: before-after, earlier-later). These coordinate with Bergson’s, Heidegger’s and Gödel’s categories.
In various ways, philosophers, musicologists and cognitive psychologists (Smart 1949, Lippman 1984, Boriditsky 2000, 2001) assert time generally, and music specifically, are routinely conceptualized in either of two ways: as something enduring through which we move, or as something fleeting that moves through us as we experience it. Adopting Bertrand Russell’s ‘relational’ approach to theorizing time, the author’s (2010) computational-phenomenological theory of dynamic form posits the concept of a vessel of form as a dual metaphor (a verbal “necker cube”), strategically connoting two contrasting physical entities, to enable a flexibility of thought for conceptualizing musical time. This, if conceptualized in terms of gender, renders musical temporal experience as androgynous, and in this way addresses certain epistemological biases encountered in customary music discourse.
Research Interests:
The field of interactive music systems (IMSs), beginning in the 1980s, is still relatively young and fast moving. The field of music theory-analysis, during the same period (since 1980), has undergone a major transformation in terms of... more
The field of interactive music systems (IMSs), beginning in the 1980s, is still relatively young and fast moving. The field of music theory-analysis, during the same period (since 1980), has undergone a major transformation in terms of technological innovations, flexibility, and breadth. The two fields have not really caught up with each other. It will be interesting to see what arises as they do — especially as both fields have become more concerned with the role of the body and embodied cognition. This paper will consider the relevant developments in these fields leading up to the present.
The most popular approaches to IMS design are rationalist (Ashby 2010), exploiting the ‘correct’ embodiments of music (Mead 1999, Wessel and Wright 2002, Godøy 2004, Leman 2007, Paine 2009) based on affordances (Gibson 1977, Kelso 1998). The proposed paper, however, advocates an experimental pragmatic (Ashby 2010) approach inspired by music analysis and exploiting the potential of kinesthetic learning. Prompted by a progressive approach to music analysis, theory, perception, and cognition (Dubiel 1999, Mailman 2007), interactive music technology can also be constructive, flexible, and progressive, by exploiting kinesthetic learning from immersion in new and unusual motion-to-sound mappings derived from dynamic formal processes in analysed music. In this way, immersive interactive systems offer an opportunity systematically to learn new associations based on principles theorised in response to analysis. Experience of these systems essentially ‘rewires the brain’, thereby exemplifying what Korsyn (2004) has attributed to Lewin’s (1986, 1987) approach to music perception: the liberal ironist approach, as formulated by Rorty (1989). Rather than committing to any particular ways music is already embodied, this approach acknowledges the contingent status of embodied musical experience. It forges and uses interactive music technologies continually to redescribe and therefore reform how music is embodied, expanding how it is heard, contemplated and experienced.
The most popular approaches to IMS design are rationalist (Ashby 2010), exploiting the ‘correct’ embodiments of music (Mead 1999, Wessel and Wright 2002, Godøy 2004, Leman 2007, Paine 2009) based on affordances (Gibson 1977, Kelso 1998). The proposed paper, however, advocates an experimental pragmatic (Ashby 2010) approach inspired by music analysis and exploiting the potential of kinesthetic learning. Prompted by a progressive approach to music analysis, theory, perception, and cognition (Dubiel 1999, Mailman 2007), interactive music technology can also be constructive, flexible, and progressive, by exploiting kinesthetic learning from immersion in new and unusual motion-to-sound mappings derived from dynamic formal processes in analysed music. In this way, immersive interactive systems offer an opportunity systematically to learn new associations based on principles theorised in response to analysis. Experience of these systems essentially ‘rewires the brain’, thereby exemplifying what Korsyn (2004) has attributed to Lewin’s (1986, 1987) approach to music perception: the liberal ironist approach, as formulated by Rorty (1989). Rather than committing to any particular ways music is already embodied, this approach acknowledges the contingent status of embodied musical experience. It forges and uses interactive music technologies continually to redescribe and therefore reform how music is embodied, expanding how it is heard, contemplated and experienced.
Research Interests:
This paper examines naïve assumptions about purposes of music analysis (distilled in Nattiez’s semiotic tripartition). It then proposes analytical practice (especially Lewin’s, Hanninen’s, Ockelford’s, and Hasty’s) has outgrown these... more
This paper examines naïve assumptions about purposes of music analysis (distilled in Nattiez’s semiotic tripartition). It then proposes analytical practice (especially Lewin’s, Hanninen’s, Ockelford’s, and Hasty’s) has outgrown these assumptions. For this to have happened, analysis must have been, and still is, fueled by an alternative dual-purpose that has remained largely unarticulated. This dual purpose synthesizes from a cluster of ideas presented in philosophical aesthetic writings of Isenberg (1949), Sibley (1959), and Lycan and Machamer (1971); music meta-theoretic writings of Lewin (1968-69), Morris (2000-2001), and Cook (2002); cognitive linguistic work of Reddy (1979); the ecological approach to music theorized by Oliveira and Oliveira, (2003); and Whitehead’s (1929/78) metaphysics. It is driven by critical aesthetic and epistemological concerns, which cover existing analytical practice thoroughly, and leave more room for future developments in theory and analysis.
Contrary to conventional wisdom, analysis cannot reveal how music “really is” in a neutral sense. This is because ostensibly neutral analysis derives from paradigmatic comparison, based on repetition and recurrence, which have become highly relativized by theory, through Lewin (1987), Ockelford (2005), and Hanninen (2003), and thus are non-neutral. Transposition is rendered non-neutral by Lewin’s (1995) non-communitive GISs; repetition is rendered non-neutral by Ockelford’s zygonicity and Hanninen’s recontextualization, not to mention Bergson (1910), Whitehead (1929) and Heraclitus.
The proposed dual-purpose of analysis is critical aesthetic and epistemological. Isenberg’s theory of critical communication proposes the purpose of criticism is not to judge, but rather to teach indirectly an appreciative perspective, pointing out details that lead to this perspective (what Oliveira and Oliveira (2003) call “self-tuning”). Convenying such appreciation, however, demands attention to precision of information (what Peles (2007) calls “initial conditions”), an indirect approach suggested by Reddy (1979) and Whitehead (1929), and explained further by Mailman (2010, 2012), and exemplified with LeCaine’s electroacoustic composition Dripsody (1955), Wishart's Globalalia (2010), and Creshevsky's Four Seasons (2013).
Contrary to conventional wisdom, analysis cannot reveal how music “really is” in a neutral sense. This is because ostensibly neutral analysis derives from paradigmatic comparison, based on repetition and recurrence, which have become highly relativized by theory, through Lewin (1987), Ockelford (2005), and Hanninen (2003), and thus are non-neutral. Transposition is rendered non-neutral by Lewin’s (1995) non-communitive GISs; repetition is rendered non-neutral by Ockelford’s zygonicity and Hanninen’s recontextualization, not to mention Bergson (1910), Whitehead (1929) and Heraclitus.
The proposed dual-purpose of analysis is critical aesthetic and epistemological. Isenberg’s theory of critical communication proposes the purpose of criticism is not to judge, but rather to teach indirectly an appreciative perspective, pointing out details that lead to this perspective (what Oliveira and Oliveira (2003) call “self-tuning”). Convenying such appreciation, however, demands attention to precision of information (what Peles (2007) calls “initial conditions”), an indirect approach suggested by Reddy (1979) and Whitehead (1929), and explained further by Mailman (2010, 2012), and exemplified with LeCaine’s electroacoustic composition Dripsody (1955), Wishart's Globalalia (2010), and Creshevsky's Four Seasons (2013).
Research Interests:
"The names Schoenberg, Babbitt, and Boulez evoke controversy over the listenability of theirs and other intricate modern music. No longer shocking, neither is it popular. Perhaps it’s the nuanced differentiation in its flow, an initial... more
"The names Schoenberg, Babbitt, and Boulez evoke controversy over the listenability of theirs and other intricate modern music. No longer shocking, neither is it popular. Perhaps it’s the nuanced differentiation in its flow, an initial opacity that dedicated listeners penetrate through repeating hearings. Yet what enables this overcoming? Have compositional strategies adapted to spur this? How does it relate to compositional intricacy? Can any of this be theorized? Might appropriate analytical approaches for this differentiate styles and style periods since WWII? How might these be addressed through appropriately tailored formalized analyses.
Using gestalt segmentation of works by Boulez, Cage, Xenakis, Ligeti, and Babbitt, Uno and Hübscher (1995) systematically show variance between weightings of duration, pitch, loudness, and vertical density to optimize the match between surface differentiation and compositional structures: weightings varying by style. Hanninen (1996, 2001, 2012) shows segmentation may be carefully optimized by sonic, contextual, and structural criteria. Yet both approaches require score analysis.
For mere listeners, perhaps the distinctive intricacy of such music merely creates novel soundworlds whose differentiation in flow can be attributed to such generic features as instrumentation, tempo, or loudness intensity. Roeder’s (1995) approach goes further by proposing the climax chronology of attribute functions as an audible trace of differentiation in flow. Yet these attributes are merely the familiar ones (duration, pitch, loudness, and vertical density), which hardly seem particular to the distinctive intricacy of post-war repertoire. Surely there’s more surface to scratch.
Considering music of two composers not central to debates about the relation of compositional systems to musical aesthetics and reception, Carter and Berio, I suggest a multi-tiered approach, which acknowledges various degrees of clarity vs. nuance as relevant to differentiation in flow, some tiers climbed earlier (more clear) and others later (more nuanced) through listening familiarity, and yet others determined through score reading.
"
Using gestalt segmentation of works by Boulez, Cage, Xenakis, Ligeti, and Babbitt, Uno and Hübscher (1995) systematically show variance between weightings of duration, pitch, loudness, and vertical density to optimize the match between surface differentiation and compositional structures: weightings varying by style. Hanninen (1996, 2001, 2012) shows segmentation may be carefully optimized by sonic, contextual, and structural criteria. Yet both approaches require score analysis.
For mere listeners, perhaps the distinctive intricacy of such music merely creates novel soundworlds whose differentiation in flow can be attributed to such generic features as instrumentation, tempo, or loudness intensity. Roeder’s (1995) approach goes further by proposing the climax chronology of attribute functions as an audible trace of differentiation in flow. Yet these attributes are merely the familiar ones (duration, pitch, loudness, and vertical density), which hardly seem particular to the distinctive intricacy of post-war repertoire. Surely there’s more surface to scratch.
Considering music of two composers not central to debates about the relation of compositional systems to musical aesthetics and reception, Carter and Berio, I suggest a multi-tiered approach, which acknowledges various degrees of clarity vs. nuance as relevant to differentiation in flow, some tiers climbed earlier (more clear) and others later (more nuanced) through listening familiarity, and yet others determined through score reading.
"
Research Interests: Music, Post Cold War Era, Music analysis, 20th century Avant-Garde, Elliott Carter, and 5 moreLuciano Berio, 20th and 21st-Century Music, western music of 20th and 21th cenutury, international festivals for new music, Darmstädter Ferienkurse für Neue Musik, Information Rate, and Musical Information Dynamics
Stravinsky’s Rite is often has analyzed in terms of layering or cross-cutting (Van den Toorn 1987). Horlacher (2001) characterizes it as “running in place”: juxtaposing or superimposing radically different material—which Stravinsky did by... more
Stravinsky’s Rite is often has analyzed in terms of layering or cross-cutting (Van den Toorn 1987). Horlacher (2001) characterizes it as “running in place”: juxtaposing or superimposing radically different material—which Stravinsky did by cutting and pasting pieces of paper. Recently Straus (2012) shows some such aspects of Stravinsky’s musical language are also explained with six pitch-models involving transpositions of perfect fifths. Accounts of the processive aspects of Stravinsky’s music have been rare—an exception being Cone’s (1962) “progress” analysis of Symphonies of Wind Instruments.
Despite so much explanation of Stravinsky’s compositional processes, the narrative form in much of his music has remained elusive to analysis. So without contradicting previous explanations, the present study addresses this. It offers an analysis of the cumulative narrative form of the Rite’s Introduction (R1-12), a processive form or temporal dynamic form (TDF). It does this by developing a quantitative model of motivic diversity and flux of such diversity, tracing this flux as a vessel of narrative form (dynamic form) projected gradually as the music is heard. With computed graphs and diagrams (Ex.1 and Ex.2), the analysis traces the fluctuating volatility of motivic diversity and the fluctuating statistical prevelance of motives being switched on and off (applying Lewin’s binary state GIS, 1995). Through this interpretive lens, the seemingly paradoxical possibility of a “climax of silence” is realized—offering an explanation for one of music’s most memorable moments. This study of the Rite’s Introduction promotes a computational approach to phenomenology (a cybernetic phenomenology) of listening, both drawing from and contributing to one’s listening experience.
Despite so much explanation of Stravinsky’s compositional processes, the narrative form in much of his music has remained elusive to analysis. So without contradicting previous explanations, the present study addresses this. It offers an analysis of the cumulative narrative form of the Rite’s Introduction (R1-12), a processive form or temporal dynamic form (TDF). It does this by developing a quantitative model of motivic diversity and flux of such diversity, tracing this flux as a vessel of narrative form (dynamic form) projected gradually as the music is heard. With computed graphs and diagrams (Ex.1 and Ex.2), the analysis traces the fluctuating volatility of motivic diversity and the fluctuating statistical prevelance of motives being switched on and off (applying Lewin’s binary state GIS, 1995). Through this interpretive lens, the seemingly paradoxical possibility of a “climax of silence” is realized—offering an explanation for one of music’s most memorable moments. This study of the Rite’s Introduction promotes a computational approach to phenomenology (a cybernetic phenomenology) of listening, both drawing from and contributing to one’s listening experience.
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Research Interests: Ontology, Philosophy of Mind, Cybernetics, Phenomenology, Complex Systems, and 12 moreFuturism, Consciousness, Music Cognition, Music analysis, Second-Order Cybernetics, Singularity, Enactive cognition, Evolution Theory, Information Rate, Musical Information Dynamics, Foundations of Thought and Evolutionary Theory of Thought, and Model Free Methods In AI
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Please refer to "Schoenberg's Chordal Experimentalism Revealed…" (2015) in Music Theory Spectrum (Oxford UP)
http://tinyurl.com/pgfzh3r
http://tinyurl.com/pgfzh3r
Research Interests:
Research Interests:
http://vimeo.com/167590039 This video should be heard with Left/Right stereo separation, either through headphones/earbuds or with physically separated left and right speakers... more
http://vimeo.com/167590039
This video should be heard with Left/Right stereo separation, either through headphones/earbuds or with physically separated left and right speakers _____________________________________________________________________
The FluxNOISations system is based on a previous interactive system, Fluxations, developed by Joshua B. Mailman and Sofia Paraskeva (since 2012) and algorithms by Mailman (since 2011). The graphics and sound programming in both systems (Fluxations and FluxNOISations) was done by Joshua B. Mailman. Both systems employ the wireless sensor gloves designed, programmed, and constructed by Sofia Paraskeva. In both systems the interactivity is controlled by motion tracking of the whole body (including hands) by infrared video technology (not gloves). Paraskeva's wireless gloves sense flexing of the wrist and enable various on/off and mode controls and triggers of the custom software. For more on the philosophy behind Fluxations and FluxNOISations, see "Improvising Synesthesia" (2013) in _Leonardo_Electronic_Almanac_ v.19/3 leoalmanac.org/vol19-no3-live-visuals/
This video should be heard with Left/Right stereo separation, either through headphones/earbuds or with physically separated left and right speakers _____________________________________________________________________
The FluxNOISations system is based on a previous interactive system, Fluxations, developed by Joshua B. Mailman and Sofia Paraskeva (since 2012) and algorithms by Mailman (since 2011). The graphics and sound programming in both systems (Fluxations and FluxNOISations) was done by Joshua B. Mailman. Both systems employ the wireless sensor gloves designed, programmed, and constructed by Sofia Paraskeva. In both systems the interactivity is controlled by motion tracking of the whole body (including hands) by infrared video technology (not gloves). Paraskeva's wireless gloves sense flexing of the wrist and enable various on/off and mode controls and triggers of the custom software. For more on the philosophy behind Fluxations and FluxNOISations, see "Improvising Synesthesia" (2013) in _Leonardo_Electronic_Almanac_ v.19/3 leoalmanac.org/vol19-no3-live-visuals/
Research Interests:
Audio-visual performance/piece Improvising FluxNOISations from the 2015 NYC Electroacoustic Music Festival (NYCEMF) http://vimeo.com/fluxations/fluxnoisnycemf2015 . (Requires Left/Right stereo sound) Noise- and symmetry-based... more
Audio-visual performance/piece Improvising FluxNOISations from the 2015 NYC Electroacoustic Music Festival (NYCEMF) http://vimeo.com/fluxations/fluxnoisnycemf2015 . (Requires Left/Right stereo sound)
Noise- and symmetry-based audio-visual performance art exploiting motion-capture, dance-like movement, and physical modeling.
No recordings, audio samples, or videos are used. All sounds and graphics are generated in the moment of performance. The performance includes improvised live computer graphics, a colorful spectacle projected on a large screen, controlled by spontaneous body- and hand-movements through the FluxNoisations interactive-dance system. Through this system, the performer simultaneously generates and steers a stream of percussive-noise sound.
FluxNoisations produces sounds of wood, metal, water, sandpaper, sticks, etc. and live computer graphics controlled through infrared camera motion-capture and sensor gloves.
FluxNoisations interactive system (sound and graphics):Designed and programmed by Joshua B. Mailman
Sensor gloves: Designed, programmed, and built by Sofia Paraskeva"
For more info, including the philosophy behind this, see
"Improvising Synesthesia: Comprovisation of Generative Graphics and Music" Leonardo Electronic Almanac v.19/3, 2013, special issue on Live Visuals
http://www.leoalmanac.org/vol19-no3-improvising-synesthesia/
https://www.academia.edu/5104492/Improvising_Synesthesia_Comprovisation_of_Generative_Graphics_and_Music
Noise- and symmetry-based audio-visual performance art exploiting motion-capture, dance-like movement, and physical modeling.
No recordings, audio samples, or videos are used. All sounds and graphics are generated in the moment of performance. The performance includes improvised live computer graphics, a colorful spectacle projected on a large screen, controlled by spontaneous body- and hand-movements through the FluxNoisations interactive-dance system. Through this system, the performer simultaneously generates and steers a stream of percussive-noise sound.
FluxNoisations produces sounds of wood, metal, water, sandpaper, sticks, etc. and live computer graphics controlled through infrared camera motion-capture and sensor gloves.
FluxNoisations interactive system (sound and graphics):Designed and programmed by Joshua B. Mailman
Sensor gloves: Designed, programmed, and built by Sofia Paraskeva"
For more info, including the philosophy behind this, see
"Improvising Synesthesia: Comprovisation of Generative Graphics and Music" Leonardo Electronic Almanac v.19/3, 2013, special issue on Live Visuals
http://www.leoalmanac.org/vol19-no3-improvising-synesthesia/
https://www.academia.edu/5104492/Improvising_Synesthesia_Comprovisation_of_Generative_Graphics_and_Music
Research Interests: Computer Graphics, Human Computer Interaction, Music, Musical Composition, Music Theory, and 116 moreNew Media, Improvisation, Music Technology, Sound and Image, Sensors and Sensing, Dance Studies, Creative processes in contemporary dance, Computer Music, Cross-Media Studies, Digital Media, Visual Music, Sonic Art, Experimental Media Arts, Rhythm, Interaction Design, New Interfaces for Musical Expression, Sound and Music Computing, Embodiment, Performance Art, Media and Embodiment, Intermedia, Color (Philosophy), Soundscape Studies, Sound studies, Sound, Interaction, New Musical Interfaces, Musical Instrument Technology, Interactive and Digital Media, Electroacoustic Music, Multimodal Interaction, Interactive Media, Interactive Arts, Audio Visual Representations Of Music, Electronic Music, Concept Mapping, Multimodal Composition, Noise And Music, Sonic Interaction Design, Sound Design, Experimental Music, Dance and the brain, Contemporary Music, New Media Art, Body in Performance, Avant-Garde, Soundscape (Music), Soundscape composition, Embodied Music Cognition, Free Improvisation, HCI, Drumming and Percussion, Modern and Contemporary Dance, Dance, Sound Art, Motion Graphics, Synesthesia, Interactive Multimedia, Noise (Experimental Music), Audio-Visual, Interactive Art, Sonic Studies, New Media Studies, Structure from Motion, Physical modeling, Sound and Noise, Music Improvisation, Musica, Noise, Sonic Cognition, Sonic Perception, Music and the Visual Arts, Cross-modality, Live Electroacoustics, Live Electronic Music, Timbre, Music Instrument Technology, Dance Research, Music performance and improvisation, Música, Interactivity, Color Psychology and Use of Colour, New Music, Music and Technology, Audio Visual Media, Dance Studies/ virtual and live performance/ the body, Music + Electronics + Live + Interactive, Music Technology, Gestural Interaction/HCI, Music Theory, Sonic Arts, Underground experimental music, Musical Improvisation, Motion Capture, 20th and 21st-Century Music, New interfaces for realtime musical and visual performance, Contemporary Performance Art in the Context of Digital Arts and New Media, Japanese noh theatre, Japanese/Asian performing arts, Interactive / Reactive Sculpture, Sound Sculptures, Installation Art, Video Art, Live Video Mixing, Motion tracking, HCI, Interactive / Reactive Lighting, Music Visualization with Colours, Post-Tonal Music/electroacoustic Music/computer Music/orchestration, Music Visualization, Noise Mapping, American Experimental Music, Teaching Music Creatively and Music Technology, Color Music, Performance Art and Interactivity, Creative music technology, Polyrhythms, Noise Modeling and Mapping, Hybrid media, visual music, interactive media, Sound Spatialization, Japanese Dance, Sonication, Multimedia HCI Design, Sonic and Haptic Interaction, Gestural and Visual Interface Design for Electronic Music, and Emerging Research and Trends in Interactivity and the Human-Computer Interface
Best quality: http://www.joshuabanksmailman.com/interactive/Full_Body_Comprovisation_1/Full_Body_Comprovisation_1b.high-best.mov Faster download: http://vimeo.com/fluxations/fbc1 Full Body Comprovisations No.1 is improvised... more
Best quality: http://www.joshuabanksmailman.com/interactive/Full_Body_Comprovisation_1/Full_Body_Comprovisation_1b.high-best.mov
Faster download: http://vimeo.com/fluxations/fbc1
Full Body Comprovisations No.1 is improvised through the Fluxations interactive system. The algorithms were developed by Joshua Mailman. The interactive system, which involves depth motion tracking with an infrared video camera, was jointly developed with Sofia Paraskeva, who also designed, built, and programmed two sensor gloves also used. Both pieces are made through a sort of dance performed by Mailman.
Fluctuations of texture, rhythm, timbre, and harmony in the music correlate with fluctuations of color, size, position, and density of objects seen in the visual field. All of these trajectories of flux are created through the bodily positions and motions of the dancer-improvisor.
Traces of a ghost: The aural-visual correlations are somewhat clear in Full Body Comprovisation (FBC) No.1, but less so in FBC No.2. How does the particle system layer seen relate to the music heard? Both swerve as if by a ghost, since the video omits the dancer whose movements affect both--a bit like watching Claude Rains spookely shift furniture in The Invisible Man (1933).
Lateral movement of the dancer's body affects the hue of the flat background color as well the pitch-class content of the arpeggiated chords. Also, when the body (ghost) moves, the particles are disturbed and move too. In FBC No.2 from :33 to 1:00 the background hue shifts from yellow-green to blue and back to yellow-green; meanwhile the harmonic content shifts flatward on the cycle of 5ths and back, an atmospheric shift barely felt. While this happens the particles are disturbed leftward and then go rightward. That's the indirect correlation. In both No.1 and No.2, when you see particles moving mostly sidewise you'll also tend to see the background hue shift and the aural harmonies shift as well. It's all smooth though, subtle like physiological or meteorological flux.
Related publications:
• "Improvising Synesthesia: Comprovisation of Generative Graphics and Music" in the Leonardo Electronic Almanac (Goldsmiths/NYU/MIT Press) v.19/3, 2013.
http://www.leoalmanac.org/wp-content/uploads/2013/07/LEAVol19No3-Mailman.pdf
• "Continuous Movement, Fluid Music, and Expressive Immersive Interactive Technology: The Sound and Touch of Ether's Flux" (co-authored with Sofia Paraskeva) forthcoming in Sound, Music and the Moving-Thinking Body (edited by Osvaldo Glieca and Marilyn Wyers) Cambridge Scholars Publishing, 2013.
http://www.joshuabanksmailman.com/writing/scholarly_writing/Continuous_Movement_Fluid_Music.pdf
• "The Fluxations Stochastic Interactive Algorithmic Music Engine (SIAME) and iPhone App" Proceedings of the 9th Sound and Music Computing Conference (SMC), 2012, Copenhagen.
http://www.joshuabanksmailman.com/writing/scholarly_writing/J.Mailman_Fluxations_iPhone_App_SMC_Copenhagen.pdf
Faster download: http://vimeo.com/fluxations/fbc1
Full Body Comprovisations No.1 is improvised through the Fluxations interactive system. The algorithms were developed by Joshua Mailman. The interactive system, which involves depth motion tracking with an infrared video camera, was jointly developed with Sofia Paraskeva, who also designed, built, and programmed two sensor gloves also used. Both pieces are made through a sort of dance performed by Mailman.
Fluctuations of texture, rhythm, timbre, and harmony in the music correlate with fluctuations of color, size, position, and density of objects seen in the visual field. All of these trajectories of flux are created through the bodily positions and motions of the dancer-improvisor.
Traces of a ghost: The aural-visual correlations are somewhat clear in Full Body Comprovisation (FBC) No.1, but less so in FBC No.2. How does the particle system layer seen relate to the music heard? Both swerve as if by a ghost, since the video omits the dancer whose movements affect both--a bit like watching Claude Rains spookely shift furniture in The Invisible Man (1933).
Lateral movement of the dancer's body affects the hue of the flat background color as well the pitch-class content of the arpeggiated chords. Also, when the body (ghost) moves, the particles are disturbed and move too. In FBC No.2 from :33 to 1:00 the background hue shifts from yellow-green to blue and back to yellow-green; meanwhile the harmonic content shifts flatward on the cycle of 5ths and back, an atmospheric shift barely felt. While this happens the particles are disturbed leftward and then go rightward. That's the indirect correlation. In both No.1 and No.2, when you see particles moving mostly sidewise you'll also tend to see the background hue shift and the aural harmonies shift as well. It's all smooth though, subtle like physiological or meteorological flux.
Related publications:
• "Improvising Synesthesia: Comprovisation of Generative Graphics and Music" in the Leonardo Electronic Almanac (Goldsmiths/NYU/MIT Press) v.19/3, 2013.
http://www.leoalmanac.org/wp-content/uploads/2013/07/LEAVol19No3-Mailman.pdf
• "Continuous Movement, Fluid Music, and Expressive Immersive Interactive Technology: The Sound and Touch of Ether's Flux" (co-authored with Sofia Paraskeva) forthcoming in Sound, Music and the Moving-Thinking Body (edited by Osvaldo Glieca and Marilyn Wyers) Cambridge Scholars Publishing, 2013.
http://www.joshuabanksmailman.com/writing/scholarly_writing/Continuous_Movement_Fluid_Music.pdf
• "The Fluxations Stochastic Interactive Algorithmic Music Engine (SIAME) and iPhone App" Proceedings of the 9th Sound and Music Computing Conference (SMC), 2012, Copenhagen.
http://www.joshuabanksmailman.com/writing/scholarly_writing/J.Mailman_Fluxations_iPhone_App_SMC_Copenhagen.pdf
Research Interests: Sound and Image, Visualization, Digital Media, Visual Music, Animated Visual Music, and 24 moreIntermediality, Multimedia, Information Visualization, Transdisciplinarity, Interactive and Digital Media, Audio Visual Representations Of Music, Phenomenology of the body, Contemporary Music, Digital Arts, Body in Performance, Visual Arts, Contemporary Art Music, Audiovisual Translation, Synesthesia, Music and the Visual Arts, Cross-modality, Synesthesia and Art, Interactive / Reactive Sculpture, Sound Sculptures, Installation Art, Video Art, Live Video Mixing, Motion tracking, HCI, Interactive / Reactive Lighting, Music Visualization with Colours, Music Visualization, Color Music, Hybrid media, visual music, interactive media, Syneasthesia, and Relation Between Color and Music
ABC News Nightline TV segment: http://abcnews.go.com/Nightline/video/songs-make-us-sad-29206738
Joshua Mailman decodes the Oscar winning song from Selma, why and how it pulls our heart-strings
Joshua Mailman decodes the Oscar winning song from Selma, why and how it pulls our heart-strings
Research Interests:
http://vimeo.com/fluxations/mc1 An improvised audio-visual (interactive dance) performance by Joshua B. Mailman, employing the Fluxations interactive system developed by him and Sofia Paraskeva. Body movement controls the music and... more
http://vimeo.com/fluxations/mc1
An improvised audio-visual (interactive dance) performance by Joshua B. Mailman, employing the Fluxations interactive system developed by him and Sofia Paraskeva. Body movement controls the music and the visuals. Movement around the stage (left vs. right and forward vs. backward) affects harmony and colors. Flex of the right wrist and body posture (upright vs. lowered) affect texture of the music and visuals. Flex of the left wrist affects rhythm of the music and visuals. Recorded in Montreal in June 2012 at the "Skin-Surface-Circuit: Embodying the Improvisatory" conference of Improvisation Community and Social Practice (ICASP), hosted by McGill University. Live algorithmic music and graphics designed and programmed by Joshua B. Mailman Sensor gloves designed, built, and programmed by Sofia Paraskeva Motion-capture interactive system developed by Joshua B. Mailman and Sofia Paraskeva Video footage recorded by Stephanie Khoury Other videos: http://soundsrite.uws.edu.au/soundsRiteContent/volume5/MailmanInfo.html http://youtu.be/8eBra9gd5QQ
An improvised audio-visual (interactive dance) performance by Joshua B. Mailman, employing the Fluxations interactive system developed by him and Sofia Paraskeva. Body movement controls the music and the visuals. Movement around the stage (left vs. right and forward vs. backward) affects harmony and colors. Flex of the right wrist and body posture (upright vs. lowered) affect texture of the music and visuals. Flex of the left wrist affects rhythm of the music and visuals. Recorded in Montreal in June 2012 at the "Skin-Surface-Circuit: Embodying the Improvisatory" conference of Improvisation Community and Social Practice (ICASP), hosted by McGill University. Live algorithmic music and graphics designed and programmed by Joshua B. Mailman Sensor gloves designed, built, and programmed by Sofia Paraskeva Motion-capture interactive system developed by Joshua B. Mailman and Sofia Paraskeva Video footage recorded by Stephanie Khoury Other videos: http://soundsrite.uws.edu.au/soundsRiteContent/volume5/MailmanInfo.html http://youtu.be/8eBra9gd5QQ
Research Interests: Semiotics, Cultural Studies, Applied Mathematics, Human Computer Interaction, Music, and 217 moreMusic Theory, Musicology, Visual Studies, Perception, Art History, Media Studies, New Media, Improvisation, Theatre Studies, Music Technology, Space and Music, Sound and Image, Visualization, Film Studies, Dance Studies, Creative processes in contemporary dance, Design education, Computer Music, Cross-Media Studies, Performance Studies, Animation Theory, Digital Media, Visual Music, Dance Science, Animated Visual Music, Synaesthesia, Gesture, Sonic Art, Colour Music, Experimental Media Arts, Visual Culture, Intermediality, New Media Arts, Multimedia, Information Visualization, Visual Literacy, Psychoacoustics, Visual Semiotics, Embodiment, Phenomenology, Performance Art, Live Art, Narrative and Design, Media Arts, Intermedia, Music and Media, New Media Performance and Installation, Digital Culture, Body, Sound, Performance, Social Media, Somatics, Interactive and Digital Media, Electroacoustic Music, Exile, Sonification, Cross-Media Information Spaces, Interactive Media, Interactive Arts, Live Cinema, Media Theory, Multimedia Learning, Audio Visual Representations Of Music, Electronic Music, Physical Computing, Phenomenology of the body, Music Cognition, Synchronization, Experimental Animation, Sonic Interaction Design, Traditional Music, Arts, Sound Design, Experimental Music, Dance and the brain, New Media Art, Body in Performance, Dance and Aesthetics, Artistic Research, Information Visualisation, Avant-Garde, Theory and Practice of Visual Arts, Multimodality, Art and technology, Virtual Worlds, Digital Identity, Digital Storytelling, Practice-Based Research, HCI, Museology, Contemporary Dance, Phenomenology of the Body (Philosophy), Modern and Contemporary Dance, 21st Century Studies, Visual Arts, Interactive Multimedia Applications, Interactive Learning Environments, Dance, Sound Art, Music and the Body, Videogames, Audiovisual Translation, Synesthesia, Interactive Multimedia, Real time audiovisual performance, Ambient Intelligence, Visual Identity, Classical Music, Audiovisual Art, Live Performance, Data Visualization, Expanded Cinema, Games, Visual Art, Multi-model, interactive art/dance performances, Soundscape, Transmedia, Ballet, Interactive Media Design, Interactive Music, Immersive Environments, Existentialism, Interactive Installation, Music and the Visual Arts, Multimedia Synchronization, Digital design, Live Electroacoustics, Live Electronic Music, Timbre, Interart studies, Abstract, Audiovisual, Visual Culture Studies, Multimedia Design, Dance Research, Information Fusion, Infographics and data visualization, Digital Media and Learning, Interactivity, Shape Grammars, Color Psychology and Use of Colour, Multi-media, Color research, Color in architecture, Color and culture, Multi Media, 21st Century Learning, Dance Studies/ virtual and live performance/ the body, Pure Data, Site Specificity, Interactive Systems, Audiovisual Performance, DANCE FILM, VIDEO DANCE, Media Semiotics, Cine, musica, artes visuales, Intermedia Art, Embodied knowledge, Synesthesia and Art, Animated Visual Music, Animation, Comunicación Audiovisual, Interactive / Reactive Sculpture, Sound Sculptures, Installation Art, Video Art, Live Video Mixing, Motion tracking, HCI, Interactive / Reactive Lighting, Comunicación Audiovisual y Publicidad. Gestión de Intangibles y comunicación de Marca, Performing Art, VJ, Multimedia Computing, Viking Eggeling, Hans Richter, Sound and Visual Image, Intermediality, transmediality, Museum Education and Communication, Live Visuals Performance, Live Visual, Transmedia Studies, Body Psychotherapy, Live Visuals, Notation, Visual Performance, Mathematics Education Multimedia, Multisensoriality, Adaptive Audio, Real-time interactive audiovisual performance, Hybrid media, visual music, interactive media, Interactive and Digital Arts, Intermediatlity, Multimedia Dance, Dance Semiotics, Artistic Based Research, Psychology of Human Computer Interaction, Attentive Displays, Eye and Gaze Tracking, American European Influences, Postmoder Dance, Performativity and Network Theories, Social and Locative Media, Bio sensory and Bio perceptive Spatial Design Environments, Visual Dyslexia and Ethnography, Computer Based Communication, Performance/live Art, Geographical Dislocation, Interactive Audio, Color Organ, Electronic Music. Immersive Art, Modern Music and Videos, Haptic Audio, Museum Exhibits, Digital Dataforms, Crossmodality, Oskar Fischinger, Walter Ruttmann, Richard Cytowic, William Moritz, Live Visuals, Music and Performing Arts, Digital & Networked Performance, Media /Digital Arts and Game Art, Collaborative and Community Practices, Curatorial Practices In Live Art and Media Arts, Transvergence, and Human-Computer Interaction
"http://vimeo.com/fluxations/fnp Noise- and symmetry-based audio-visual performance art exploiting motion-capture, dance-like movement, and physical modeling. No recordings, audio samples, or videos are used. All sounds and... more
"http://vimeo.com/fluxations/fnp
Noise- and symmetry-based audio-visual performance art exploiting motion-capture, dance-like movement, and physical modeling.
No recordings, audio samples, or videos are used. All sounds and graphics are generated in the moment of performance. The performance includes improvised live computer graphics, a colorful spectacle projected on a large screen, controlled by spontaneous body- and hand-movements through the FluxNoisations interactive-dance system. Through this system, the performer simultaneously generates and steers a stream of percussive-noise sound.
FluxNoisations produces sounds of wood, metal, water, sandpaper, sticks, etc. and live computer graphics controlled through infrared camera motion-capture and sensor gloves.
FluxNoisations interactive system (sound and graphics):Designed and programmed by Joshua B. Mailman
Sensor gloves: Designed, programmed, and built by Sofia Paraskeva"
Noise- and symmetry-based audio-visual performance art exploiting motion-capture, dance-like movement, and physical modeling.
No recordings, audio samples, or videos are used. All sounds and graphics are generated in the moment of performance. The performance includes improvised live computer graphics, a colorful spectacle projected on a large screen, controlled by spontaneous body- and hand-movements through the FluxNoisations interactive-dance system. Through this system, the performer simultaneously generates and steers a stream of percussive-noise sound.
FluxNoisations produces sounds of wood, metal, water, sandpaper, sticks, etc. and live computer graphics controlled through infrared camera motion-capture and sensor gloves.
FluxNoisations interactive system (sound and graphics):Designed and programmed by Joshua B. Mailman
Sensor gloves: Designed, programmed, and built by Sofia Paraskeva"
Research Interests: Human Computer Interaction, Musical Composition, Visual Studies, New Media, Improvisation, and 223 moreMusic Technology, Space and Music, Digital Media, Device, and Software Interface Design, Sound and Image, Dance Studies, Software for choreographers, Creative processes in contemporary dance, Computer Music, Installation Art, Dance/Movement Therapy, Interdisciplinarity, Animation Theory, Choreographic Methodologies, Digital Media, Wearable Computing, Visual Music, Animated Visual Music, Synaesthesia, Gesture, Sonic Art, Colour Music, Experimental Media Arts, Intermediality, New Media Arts, Multimedia, Mirror Neurons, Composition (Music), Computer Animation, Visual Semiotics, Abstract Art, Embodied Cognition, New Interfaces for Musical Expression, Percussion, Embodiment, Phenomenology, Video Game Audio and Music, Human-Computer Interaction for Games, Visual perception, Computer-Mediated Communication, Performance Art, Live Art, Real-time Systems, Choreography, Video Art, Media and Embodiment, Intermedia, Soundscape Studies, New Media Performance and Installation, Digital Culture, Technoetics, New Musical Interfaces, Generative Art, Musical Instrument Technology, Somatics, Interactive and Digital Media, Electroacoustic Music, Circuit Bending, Laban Movement Analysis, Multimodal Interaction, Interactive Media, Interactive Arts, Electronic Music, New Media Art & Emerging Practices, Augmented Reality Art, Multimodal Cognition, Architecture and sound, Phenomenology of the body, Noise And Music, Dance studies (Theatre Studies), Experimental Animation, Sonic Interaction Design, Sound Design, Experimental Music, Dance and the brain, Contemporary Music, New Media Art, Cyber Aesthetics, Body in Performance, Dance and Aesthetics, Arts-sciences interdisciplinarity, Artistic Research, Dynamic Geometry Sofware, Theory and Practice of Visual Arts, Soundscape (Music), Soundscape composition, Multimodality, Art and technology, Virtual Worlds, Free Improvisation, HCI, Motion Capture (Animation), Kinesthetic teaching, Drumming and Percussion, Phenomenology of the Body (Philosophy), Phenomenology of Space and Place, Modern and Contemporary Dance, 21st Century Studies, Visual Arts, Interactive Multimedia Applications, Enactivism, Immersion and Experience, Interactive Media Installations, Immersive Virtual Learning Environment, Sound Art, Embodiment Theory, Perception of Space (Dance Studies), Acousmatic, Contemporary Art Music, Liveness, Artistic Research of Music, Audiovisual Translation, Synesthesia, Noise (Experimental Music), Brazilian syncretism, Interactive Art, Real time audiovisual performance, Generative Music and Audio, New Media Studies, Multimodal learning, Audiovisual Art, Sound and Noise, Interactive Sensor-Based Art Installations, Music and Gesture, Human multi-modal spatial cognition, spatial orientation, and navigation, Perceptually oriented, multi-modal human-computer interfaces and human-centered, effective virtual reality simulations, Acousmatic Composition, Music Improvisation, New Media & Digital Arts, Transmedia, Neo-Avant-Garde, Sound Arts, Interactive Media Design, Interactive Music, Immersive Environments, Drumset; Percussion;, Noise, Cross-modality, Live Electroacoustics, Live Electronic Music, Mirror neurons and Intersubjectivity, Timbre, Interart studies, Audiovisual, Dance Research, Kinect, Motion Detection, Visual Semiology, Motion Tracking, Experimental Choreography, Shape Grammars, Color Psychology and Use of Colour, Creative Processes in Art & Music, Embodied Knowledge Practices, Audio Augmented Realityx Human Computer Interaction x Augmented Reality x Experimental Media Arts x Spatial Audio x Binaural Hearing x Spatial Hearing x Ubiquitous Computing x, Music + Electronics + Live + Interactive, Music Technology, Gestural Interaction/HCI, Music Theory, Jazz, Music Cognition, Improvisation, Neurology of Music, Neurology, Sonic Arts, radical politics in Live Art Performance and Performance Art, Metaphor and Synesthesia, Choreographic Research, Spatialization, Music and Mathematics, Visual Storytelling and Visual Improvisation, Audiovisual communication, Embodied knowledge, Noise Pollution, Media & Sonic Arts, Acousmatic Music, Synesthesia and Art, Synthetic Non-Magical Speculative Realism, Contemporary Performance Art in the Context of Digital Arts and New Media, Medieval and Experimental Music, Codicology, Graphic Notation, Interactive / Reactive Sculpture, Sound Sculptures, Installation Art, Video Art, Live Video Mixing, Motion tracking, HCI, Interactive / Reactive Lighting, Interactive / Reactive Sculpture, Sound sculpture, Jazz and Free Improvisation, Michel Chion, Cross-Modal Interactions, Post-Tonal Music/electroacoustic Music/computer Music/orchestration, Research theory and methodologies: Visual and Multimodal research and and Video-based research, Vision-based motion capture, Glitch Art, Interactive and Digital Media, Interactive Media, Interactive Arts Edit, Synesthesia & Visual Abstraction, Noise Mapping, American Experimental Music, Acousmatic music performance, Intermediality, transmediality, Music and Timbre, Live Visuals Performance, Innovative choreographic practices, Body Psychotherapy, Percussion Improvisation, Interactive Multi-Modal Tasks , Visual Social Semiotics, ACTION RESEARCH OF BODILY-KINESTHETIC INTELLIGENCE, Musical Timbre, Cross-modal correspondence, Liveness In Electronic Music, Synesthesia In Art Creation Process, Media Arts(Interactive Art, Video Art, Game, and Etc.) and Digital Media and Contemporary Visual Art Theories and Practices Interaction Interface and Application Research on Tangible Media, Sensing Technology Through Digital Media Devices, Embodied ways of knowing, Japanese Noise Music, Sound Spatialization, Interactive and Digital Arts, Multi Modality, Performing Arts / Improvisational Performance, Noise and Experimental Music, Transmediality, Psychology of Human Computer Interaction, Visual Improvisation, Performance/live Art, Modern Music and Videos, Live Visuals, Curatorial Practices In Live Art and Media Arts, Electronic Percussion, Transvergence, Synchresis, Interactive Art/dance Performances, Cross-Modal Interaction, Timbre Composition, and Timbre Studies
"https://vimeo.com/fluxations/psfirstsoloside FluxNOISations solo from an improvised duet performed with FluxNoisations and circuit-bent radio (for front on view of the complete performance visit:... more
"https://vimeo.com/fluxations/psfirstsoloside FluxNOISations solo from an improvised duet performed with FluxNoisations and circuit-bent radio (for front on view of the complete performance visit: http://www.youtube.com/watch?v=8eBra9gd5QQ ) In this solo, Joshua B. Mailman: FluxNoisations (sounds of wood, metal, water, sandpaper, sticks, etc. and live computer graphics controlled through infrared camera motion-capture and sensor gloves) All sounds and graphics are generated in the moment of performance. The event includes improvised live computer graphics, a colorful spectacle projected on a large screen, controlled by spontaneous body- and hand-movements of Mailman, through his FluxNoisations interactive-dance system. Through this system, Mailman simultaneously generates and steers a stream of percussive-noise sound."
Research Interests: Computer Graphics, Human Computer Interaction, Musical Composition, Music Theory, Visual Studies, and 190 moreNew Media, Music Technology, Space and Music, Sound and Image, Dance Studies, Software for choreographers, Creative processes in contemporary dance, Computer Music, Installation Art, Dance/Movement Therapy, Animation Theory, Choreographic Methodologies, Visual Music, Gesture, Sonic Art, Colour Music, Experimental Media Arts, Intermediality, New Media Arts, Multimedia, Mirror Neurons, Computer Animation, Visual Semiotics, Abstract Art, Installation (Art), Embodied Cognition, Embodiment, Phenomenology, Video Game Audio and Music, Human-Computer Interaction for Games, Visual perception, Computer-Mediated Communication, Performance Art, Live Art, Real-time Systems, Intermedia, Soundscape Studies, New Media Performance and Installation, Digital Culture, Technoetics, History of Musical Composition, Generative Art, Musical Instrument Technology, Somatics, Interactive and Digital Media, Electroacoustic Music, Circuit Bending, Laban Movement Analysis, Multimodal Interaction, Interactive Media, Interactive Arts, Electronic Music, New Media Art & Emerging Practices, Multimodal Cognition, Transmedial Storytelling, Phenomenology of the body, Noise And Music, Experimental Animation, Sonic Interaction Design, Sound Design, Experimental Music, Dance and the brain, Contemporary Music, Cyber Aesthetics, Body in Performance, Dance and Aesthetics, Arts-sciences interdisciplinarity, Artistic Research, Dynamic Geometry Sofware, Theory and Practice of Visual Arts, Soundscape (Music), Multimodality, Art and technology, Virtual Worlds, Free Improvisation, HCI, Motion Capture (Animation), Kinesthetic teaching, Drumming and Percussion, Phenomenology of Space and Place, Modern and Contemporary Dance, 21st Century Studies, Immersion and Experience, Interactive Media Installations, Immersive Virtual Learning Environment, Sound Art, Embodiment Theory, Perception of Space (Dance Studies), Acousmatic, Contemporary Art Music, Audiovisual Translation, Synesthesia, Noise (Experimental Music), Brazilian syncretism, Real time audiovisual performance, Generative Music and Audio, New Media Studies, Multimodal learning, Audiovisual Art, Sound and Noise, Interactive Sensor-Based Art Installations, Music and Gesture, Human multi-modal spatial cognition, spatial orientation, and navigation, Perceptually oriented, multi-modal human-computer interfaces and human-centered, effective virtual reality simulations, Acousmatic Composition, Audiovisual Translation (subtitling), Music Improvisation, New Media & Digital Arts, Interactive Media Design, Interactive Music, Immersive Environments, Drumset; Percussion;, Noise, Cross-modality, Live Electroacoustics, Live Electronic Music, Mirror neurons and Intersubjectivity, Interart studies, Dance Research, Kinect, Motion Detection, Visual Semiology, Motion Tracking, Experimental Choreography, Shape Grammars, Color Psychology and Use of Colour, Creative Processes in Art & Music, Embodied Knowledge Practices, Audio Augmented Realityx Human Computer Interaction x Augmented Reality x Experimental Media Arts x Spatial Audio x Binaural Hearing x Spatial Hearing x Ubiquitous Computing x, Music + Electronics + Live + Interactive, Jazz, Music Cognition, Improvisation, Neurology of Music, Neurology, Sonic Arts, radical politics in Live Art Performance and Performance Art, Metaphor and Synesthesia, Choreographic Research, Music and Mathematics, Embodied knowledge, Media & Sonic Arts, Acousmatic Music, Synesthesia and Art, Synthetic Non-Magical Speculative Realism, Contemporary Performance Art in the Context of Digital Arts and New Media, Interactive / Reactive Sculpture, Sound Sculptures, Installation Art, Video Art, Live Video Mixing, Motion tracking, HCI, Interactive / Reactive Lighting, Interactive / Reactive Sculpture, Sound sculpture, Interactive / Reactive Lighting, Jazz and Free Improvisation, Cross-Modal Interactions, Post-Tonal Music/electroacoustic Music/computer Music/orchestration, Research theory and methodologies: Visual and Multimodal research and and Video-based research, INTERN ATIONAL RELATIONS, Vision-based motion capture, American Experimental Music, Acousmatic music performance, Intermediality, transmediality, Live Visuals Performance, Innovative choreographic practices, Percussion Improvisation, Interactive Multi-Modal Tasks , Visual Social Semiotics, ACTION RESEARCH OF BODILY-KINESTHETIC INTELLIGENCE, Synesthesia In Art Creation Process, Embodied ways of knowing, Japanese Noise Music, Sound Spatialization, Interactive and Digital Arts, Multi Modality, Noise and Experimental Music, Transmediality, Psychology of Human Computer Interaction, Visual Improvisation, Performance/live Art, Live Visuals, Curatorial Practices In Live Art and Media Arts, Electronic Percussion, Transvergence, Synchresis, Interactive Art/dance Performances, Live Graphics, Syneasthesia, Noise Maping, Gestural Interaction/HCI, Performaing Arts / Improvisational Performance, Artstic Research of Music, Cross-Modeal Interaction, Cross-modal Correspondance, Synesthesia & Visual Abstraction, Sound Sculptures, Interactive Arts Edit, and Nomenology of the Body (Philosophy)
"http://vimeo.com/69186535 The finale (part 3) of an improvised duet performed with FluxNoisations and circuit-bent radio (for front on view of the complete performance visit: http://www.youtube.com/watch?v=8eBra9gd5QQ ) Joshua B.... more
"http://vimeo.com/69186535
The finale (part 3) of an improvised duet performed with FluxNoisations and circuit-bent radio
(for front on view of the complete performance visit: http://www.youtube.com/watch?v=8eBra9gd5QQ )
Joshua B. Mailman: FluxNoisations (sounds of wood, metal, water, sandpaper, sticks, etc. and live computer graphics controlled through infrared camera motion-capture and sensor gloves)
Luke T. Taylor: circuit-bend radio (dismantled analog radio played with wet hands)
No recordings, audio samples, or videos are used.
All sounds and graphics are generated in the moment of performance.
Joshua Banks Mailman and Luke Thomas Taylor present an extended improvised performance of high-tech and low-fi pulsating noise. The event includes improvised live computer graphics, a colorful spectacle projected on a large screen, controlled by spontaneous body- and hand-movements of Mailman, through his FluxNoisations interactive-dance system. Through this system, Mailman simultaneously generates and steers a stream of percussive-noise sound. Interacting with this, Taylor performs on his own devised noise instrument: a circuit board he plays with wet hands. Through micro-fluctuations of the movement, pressure, and moisture of Taylor's hands, the circuit board displays its hidden potential—a sound world with chaotic connectivity of rich noises, clicks, and glissandos.
"
The finale (part 3) of an improvised duet performed with FluxNoisations and circuit-bent radio
(for front on view of the complete performance visit: http://www.youtube.com/watch?v=8eBra9gd5QQ )
Joshua B. Mailman: FluxNoisations (sounds of wood, metal, water, sandpaper, sticks, etc. and live computer graphics controlled through infrared camera motion-capture and sensor gloves)
Luke T. Taylor: circuit-bend radio (dismantled analog radio played with wet hands)
No recordings, audio samples, or videos are used.
All sounds and graphics are generated in the moment of performance.
Joshua Banks Mailman and Luke Thomas Taylor present an extended improvised performance of high-tech and low-fi pulsating noise. The event includes improvised live computer graphics, a colorful spectacle projected on a large screen, controlled by spontaneous body- and hand-movements of Mailman, through his FluxNoisations interactive-dance system. Through this system, Mailman simultaneously generates and steers a stream of percussive-noise sound. Interacting with this, Taylor performs on his own devised noise instrument: a circuit board he plays with wet hands. Through micro-fluctuations of the movement, pressure, and moisture of Taylor's hands, the circuit board displays its hidden potential—a sound world with chaotic connectivity of rich noises, clicks, and glissandos.
"
Research Interests: Cultural Studies, Applied Mathematics, Music, Musical Composition, Music Theory, and 118 moreMusicology, Education, New Media, Music Technology, Dance Studies, Popular Music, Ethnomusicology, Computer Music, Radio And Sound Studies, Animation Theory, Digital Media, Visual Music, Animated Visual Music, Synaesthesia, Gesture, Sonic Art, Colour Music, Experimental Media Arts, Intermediality, Multimedia, Psychoacoustics, Altered States of Consciousness, Embodiment, Phenomenology, Performance Art, Live Art, Narrative and Design, Media Arts, Intermedia, Music and Media, New Media Performance and Installation, Digital Culture, Bakhtin, Sound, Machinima, Performance, Somatics, Interactive and Digital Media, Electroacoustic Music, Circuit Bending, Sonification, Interactive Media, Interactive Arts, Media Theory, Electronic Music, Physical Computing, Phenomenology of the body, Noise And Music, Music Cognition, Sonic Interaction Design, Traditional Music, Site-Specific Art, Arts, Sound Design, Sound Aesthetics, Experimental Music, Body in Performance, Artistic Research, Dialogism, Avant-Garde, Soundscape (Music), Art and technology, Virtual Worlds, Digital Media Art, Digital Storytelling, Free Improvisation, Drumming and Percussion, Phenomenology of the Body (Philosophy), 21st Century Studies, Interactive Multimedia Applications, Sound Art, Acousmatic, Noise (Experimental Music), Real time audiovisual performance, Noise (Music), Classical Music, Audiovisual Art, Soundscape, Field Recording, Neo-Avant-Garde, Eclecticism, Noise, Digital design, Remix, Interart studies, Dance Research, Surround Sound, Sonic Arts, Live Electronics, Cyborgs, DJ, Game Spaces, Acoustic, Composer, Embodied knowledge, Interactive / Reactive Sculpture, Sound Sculptures, Installation Art, Video Art, Live Video Mixing, Motion tracking, HCI, Interactive / Reactive Lighting, Jazz and Free Improvisation, Digital Story Telling, Glitch Art, Musical dialogue, Acousmatic music performance, Video Music, Electroacoustic Movies, Spatial Story Telling, Live Visuals Performance, Body Psychotherapy, Virtual Revolution, Interactive and Digital Arts, Synthesiser, Computer Based Communication, Modern Music and Videos, Haptic Audio, Digital Dataforms, Music and Performing Arts, Digital & Networked Performance, Media /Digital Arts and Game Art, Collaborative and Community Practices, and Curatorial Practices In Live Art and Media Arts
"http://vimeo.com/fluxations/mc2 An improvised audio-visual (interactive dance) performance by Joshua B. Mailman, employing the Fluxations interactive system developed by him and Sofia Paraskeva. Body movement controls the music and... more
"http://vimeo.com/fluxations/mc2
An improvised audio-visual (interactive dance) performance by Joshua B. Mailman, employing the Fluxations interactive system developed by him and Sofia Paraskeva.
Body movement controls the music and the visuals. Movement around the stage (left vs. right and forward vs. backward) affects harmony and colors. Flex of the right wrist and body posture (upright vs. lowered) affect texture of the music and visuals. Flex of the left wrist affects rhythm of the music and visuals.
Recorded in Montreal in June 2012 at the "Skin-Surface-Circuit: Embodying the Improvisatory" conference of Improvisation Community and Social Practice (ICASP), hosted by McGill University.
Live algorithmic music and graphics designed and programmed by Joshua B. Mailman
Sensor gloves designed, built, and programmed by Sofia Paraskeva
Motion-capture interactive system developed by Joshua B. Mailman and Sofia Paraskeva
Video footage recorded by Stephanie Khoury
Other videos:
http://soundsrite.uws.edu.au/soundsRiteContent/volume5/MailmanInfo.html
http://youtu.be/8eBra9gd5QQ
"
An improvised audio-visual (interactive dance) performance by Joshua B. Mailman, employing the Fluxations interactive system developed by him and Sofia Paraskeva.
Body movement controls the music and the visuals. Movement around the stage (left vs. right and forward vs. backward) affects harmony and colors. Flex of the right wrist and body posture (upright vs. lowered) affect texture of the music and visuals. Flex of the left wrist affects rhythm of the music and visuals.
Recorded in Montreal in June 2012 at the "Skin-Surface-Circuit: Embodying the Improvisatory" conference of Improvisation Community and Social Practice (ICASP), hosted by McGill University.
Live algorithmic music and graphics designed and programmed by Joshua B. Mailman
Sensor gloves designed, built, and programmed by Sofia Paraskeva
Motion-capture interactive system developed by Joshua B. Mailman and Sofia Paraskeva
Video footage recorded by Stephanie Khoury
Other videos:
http://soundsrite.uws.edu.au/soundsRiteContent/volume5/MailmanInfo.html
http://youtu.be/8eBra9gd5QQ
"
Research Interests: Semiotics, Applied Mathematics, Human Computer Interaction, Music, Music Theory, and 166 moreMusicology, Visual Studies, Education, Media Studies, New Media, Improvisation, Theatre Studies, Music Technology, Space and Music, Film Studies, Dance Studies, Creative processes in contemporary dance, Computer Music, Dance/Movement Therapy, Animation Theory, Digital Media, Visual Music, Animated Visual Music, Gesture, Sonic Art, Colour Music, Experimental Media Arts, Intermediality, New Media Arts, Multimedia, Visual Literacy, Psychoacoustics, Embodiment, Phenomenology, Performance Art, Live Art, Narrative and Design, Media Arts, Drama, Intermedia, Music and Media, New Media Performance and Installation, Digital Culture, Bakhtin, Sound, Machinima, Performance, Social Media, Somatics, Interactive and Digital Media, Electroacoustic Music, Sonification, Interactive Media, Interactive Arts, Live Cinema, Media Theory, Audio Visual Representations Of Music, Electronic Music, New Media Art & Emerging Practices, Physical Computing, Phenomenology of the body, Music Cognition, Sonic Interaction Design, Arts, Sound Design, Experimental Music, Dance and the brain, New Media Art, Body in Performance, Cinema, Acting, Dance and Aesthetics, Artistic Research, Avant-Garde, Multimodality, Art and technology, Virtual Worlds, Digital Media Art, Digital Storytelling, Practice-Based Research, HCI, Contemporary Dance, Phenomenology of the Body (Philosophy), Modern and Contemporary Dance, 21st Century Studies, Interactive Multimedia Applications, Dance, Sound Art, Acousmatic, Audiovisual Translation, Synesthesia, Interactive Multimedia, Real time audiovisual performance, Color Perception, Classical Music, Audiovisual Art, Live Performance, Cave, Expanded Cinema, Visual Art, Soundscape, Transmedia, Neo-Avant-Garde, Ballet, Immersive Environments, Interactive Installation, Music and the Visual Arts, Human Motion Analysis, Digital design, Timbre, Abstract, Dance Research, Color Psychology and Use of Colour, Color research, Color in architecture, Color and culture, Transmedia and Perfromance, 21st Century Learning, Music + Electronics + Live + Interactive, Sonic Arts, Pure Data, Audiovisual Performance, DANCE FILM, VIDEO DANCE, Cyborgs, Media Semiotics, Cine, musica, artes visuales, Game Spaces, Acoustic, Composer, Embodied knowledge, Animated Visual Music, Animation, Comunicación Audiovisual, Interactive / Reactive Sculpture, Sound Sculptures, Installation Art, Video Art, Live Video Mixing, Motion tracking, HCI, Interactive / Reactive Lighting, Comunicación Audiovisual y Publicidad. Gestión de Intangibles y comunicación de Marca, Performing Art, VJ, Viking Eggeling, Hans Richter, Video Music, Electroacoustic Movies, Intermediality, transmediality, Spatial Story Telling, Live Visuals Performance, Transmedia Studies, Body Psychotherapy, Live Visuals, Notation, Visual Performance, Multisensoriality, Real-time interactive audiovisual performance, Interactive and Digital Arts, Multimedia Dance, Dance Semiotics, Artistic Based Research, Performativity and Network Theories, Social and Locative Media, Computer Based Communication, Performance/live Art, Color Organ, Electronic Music. Immersive Art, Modern Music and Videos, Haptic Audio, Digital Dataforms, Crossmodality, Oskar Fischinger, Walter Ruttmann, Richard Cytowic, William Moritz, Live Visuals, Music and Performing Arts, Digital & Networked Performance, Media /Digital Arts and Game Art, Collaborative and Community Practices, and Curatorial Practices In Live Art and Media Arts
"http://www.youtube.com/watch?v=8eBra9gd5QQ The complete footage of an extended improvised duet performed with FluxNoisations and circuit-bent radio (for side on view of the first part of the performance visit:... more
"http://www.youtube.com/watch?v=8eBra9gd5QQ
The complete footage of an extended improvised duet performed with FluxNoisations and circuit-bent radio
(for side on view of the first part of the performance visit: http://vimeo.com/69212114)
Joshua B. Mailman: FluxNoisations (sounds of wood, metal, water, sandpaper, sticks, etc. and live computer graphics controlled through infrared camera motion-capture and sensor gloves)
Luke T. Taylor: circuit-bend radio (dismantled analog radio played with wet hands)
No recordings, audio samples, or videos are used.
All sounds and graphics are generated in the moment of performance.
Joshua Banks Mailman and Luke Thomas Taylor present an extended improvised performance of high-tech and low-fi pulsating noise. The event includes improvised live computer graphics, a colorful spectacle projected on a large screen, controlled by spontaneous body- and hand-movements of Mailman, through his FluxNoisations interactive-dance system. Through this system, Mailman simultaneously generates and steers a stream of percussive-noise sound. Interacting with this, Taylor performs on his own devised noise instrument: a circuit board he plays with wet hands. Through micro-fluctuations of the movement, pressure, and moisture of Taylor's hands, the circuit board displays its hidden potential—a sound world with chaotic connectivity of rich noises, clicks, and glissandos. "
The complete footage of an extended improvised duet performed with FluxNoisations and circuit-bent radio
(for side on view of the first part of the performance visit: http://vimeo.com/69212114)
Joshua B. Mailman: FluxNoisations (sounds of wood, metal, water, sandpaper, sticks, etc. and live computer graphics controlled through infrared camera motion-capture and sensor gloves)
Luke T. Taylor: circuit-bend radio (dismantled analog radio played with wet hands)
No recordings, audio samples, or videos are used.
All sounds and graphics are generated in the moment of performance.
Joshua Banks Mailman and Luke Thomas Taylor present an extended improvised performance of high-tech and low-fi pulsating noise. The event includes improvised live computer graphics, a colorful spectacle projected on a large screen, controlled by spontaneous body- and hand-movements of Mailman, through his FluxNoisations interactive-dance system. Through this system, Mailman simultaneously generates and steers a stream of percussive-noise sound. Interacting with this, Taylor performs on his own devised noise instrument: a circuit board he plays with wet hands. Through micro-fluctuations of the movement, pressure, and moisture of Taylor's hands, the circuit board displays its hidden potential—a sound world with chaotic connectivity of rich noises, clicks, and glissandos. "
Research Interests: Music, Music Theory, Visual Studies, Art History, Improvisation, and 118 moreMusic Technology, Art Theory, Dance Studies, Computer Music, Radio And Sound Studies, Interdisciplinarity, Animation Theory, Digital Media, Contemporary Art, Visual Music, Animated Visual Music, Gesture, Sonic Art, Colour Music, Experimental Media Arts, Intermediality, Composition (Music), Visual Semiotics, Embodiment, Phenomenology, Performance Art, Live Art, Video Art, Intermedia, New Media Performance and Installation, Gender, Culture, Generative Art, Somatics, Interactive and Digital Media, Electroacoustic Music, Circuit Bending, Interactive Media, Interactive Arts, Electronic Music, Phenomenology of the body, Noise And Music, Sonic Interaction Design, Experimental Music, Contemporary Music, New Media Art, Body in Performance, Dance and Aesthetics, Artistic Research, Dialogism, Soundscape (Music), Soundscape composition, Free Improvisation, HCI, Museology, Drumming and Percussion, Phenomenology of the Body (Philosophy), Interactive Multimedia Applications, Art writing, Acousmatic, Artistic Research of Music, Audiovisual Translation, Synesthesia, Noise (Experimental Music), Real time audiovisual performance, Noise (Music), Audiovisual Art, Acousmatic Composition, Music Improvisation, Transmedia, Neo-Avant-Garde, Interactive Music, Drumset; Percussion;, Noise, Cross-modality, Live Electroacoustics, Live Electronic Music, Timbre, Dance Research, Visual Semiology, Digital Media and Learning, Curation, Music + Electronics + Live + Interactive, Sonic Arts, Spatialization, Music and Mathematics, Audiovisual communication, Embodied knowledge, Synesthesia and Art, Medieval and Experimental Music, Codicology, Graphic Notation, Interactive / Reactive Sculpture, Sound Sculptures, Installation Art, Video Art, Live Video Mixing, Motion tracking, HCI, Interactive / Reactive Lighting, Interactive / Reactive Sculpture, Interactive / Reactive Lighting, Jazz and Free Improvisation, Cross-Modal Interactions, Post-Tonal Music/electroacoustic Music/computer Music/orchestration, Glitch Art, Musical dialogue, Synesthesia & Visual Abstraction, American Experimental Music, Acousmatic music performance, Museum Education and Communication, Music and Timbre, Live Visuals Performance, Body Psychotherapy, Musical Timbre, Cross-modal correspondence, Phenomenology of the Body(Philosophy), Japanese Noise Music, Sound Spatialization, Interactive and Digital Arts, Performing Arts / Improvisational Performance, Visual Improvisation, Performance/live Art, Modern Music and Videos, Live Visuals, Curatorial Practices In Live Art and Media Arts, Embodied Knwoledge, Live Video Mixing, Writing in Visual Art, Artists’ Books, Art ‘beyond the gallery’, and Timbre Composition
Research Interests: Artificial Intelligence, Philosophy Of Language, Natural Language Processing, Machine Learning, Causal reasoning, and 14 moreCharles S. Peirce, Artificial General Intelligence, Causal Inference, Charles Sanders Peirce, Abduction, Counterfactual Thinking, Data Science, LLM, Inteligencia artificial, Counterfactuals, Abductive Reasoning, Judea Pearl, Generative AI, and Large language models
https://towardsdatascience.com/data-smoothing-for-data-science-visualization-the-goldilocks-trio-part-1-867765050615 Making peace with piecewise. We've all heard that information is beautiful. But then life happens, and we find... more
https://towardsdatascience.com/data-smoothing-for-data-science-visualization-the-goldilocks-trio-part-1-867765050615
Making peace with piecewise. We've all heard that information is beautiful. But then life happens, and we find ourselves trying to prettify the mess that often is reality…
Making peace with piecewise. We've all heard that information is beautiful. But then life happens, and we find ourselves trying to prettify the mess that often is reality…
Research Interests: Scientific Visualization, Philosophy of Agency, Visualization, Machine Learning, Information Visualization, and 12 moreData Analysis, Graphic Design, Python, Free Will, Regression Models, Non-parametric methods, Data Visualization, Data Science, Infographics and data visualization, Python Programming, Curve fitting, and Programming in Python
Review/Preview of the 2016 New York City Electroacoustic Music Festival