Performance: Nature and the Body
Friday 6 September, 20:30 - 21:45 - TivoliVredenburg - Hertz
Morph
Timo Hoogland (HKU University of the Arts Utrecht), Rafaele Andrade (Knurl lab)


Morph
Abstract:

Morph is an audiovisual performance that explores live hybrid sound design, with the use of electric guitar, acoustic drums, electronics and live coding. This iteration of Morph is performed by Timo Hoogland (drums, code) and Lina Bautista (guitar, code). While playing they both code live using the Mercury language. During the piece they explore how their instruments can extend beyond their own sound by controlling each others sonic output. Morph is an ongoing research between Rafaele Andrade, Timo Hoogland and Lina Bautista.


encarnadas (f.) embodiments [Performance + Screen Dance Project
Jessica A Rodríguez (McMaster University), Zaahirah Bellydance


encarnadas (f.) embodiments [Performance + Screen Dance Project
Abstract:

encarnadas => (f.) embodiments is an audio-visual project in the form of a performance piece and a dance-video piece. This is an 8-minute performance mixing a dancer live video coding and ASMR sonic experiences.


Summoner
Mei-ling Lee (Haverford College)


Summoner
Abstract:

Summoner a music composition performance is created using Kyma by Symbolic Sound Corporation Max software by Cycling '74 and the Leap Motion Controller by Ultraleap. All performative movements are based on turning an intangible sound into an imaginary physical object.


WYPYM - Were you a part of your mother?
Chiara Percivati (Royal Conservatoire Antwerp), Claudio Panariello (Independent researcher)


WYPYM - Were you a part of your mother?
Abstract:

This performance will present through artistic means the current state of development of the feedback-augmented bass clarinet—a NIME instrument previously created by the two authors. The performance aims to showcase improvements made to the instrument both in terms of hardware and software. Regarding hardware and instrument design after experimenting with different neck extensions realized through CAD and 3D printing—enabling the insertion of our first microphone into the instrument body and a more refined tuning of the instrument—we decided to focus on the use of an intra-mic to capture the bass clarinet sound. This not only ultimately addressed previous issues with tuning but also enhanced the playability of the feedback-augmented bass clarinet aligning it more closely with traditional performance practices. Consequently this augmented instrument is potentially approachable by a larger number of performers. Improvements in the software such as in-depth control of the audio routing and a feedback calibration routine have addressed issues related to the freedom and playability of the system that the authors experienced while working on the previous model. The performance will feature a new version of the piece “WYPYM - Were you a part of your mother?” for bass clarinet and feedback system. The work explores the relationship between the performer on the augmented bass clarinet and the feedback system and is based on active listening constant adaptation and precarious balance.


die Schönheit der Vergänglichkeit
Se-Lien Chuang (Atelier Avant Austria), Andreas Weixler (mdw Vienna, ABPU Linz, Atelier Avant Austria)


die Schönheit der Vergänglichkeit
Abstract:

The illustrated structure and the organization of lines and strokes are the essence of the Chinese calligraphy. In an artistic analogy to musical expression the rhythmic dynamics of the hand the time-shifting method the articulation of breath the wet pen/dry nib and the speed of pen movement during the writing-process-momentum combine the characteristics of time and space in a distinctively individual and an immediately compositional way. Here is the occasion to pick up the brush again for the desire of linking the beauty of the cultural treasure with the globally interconnected understanding of contemporary music.


Dromos/Autos: The Autistic Ontology as Performance
Matthew Rogerson (De Montfort University)


Dromos/Autos: The Autistic Ontology as Performance
Abstract:

The essence of this research performance-project is comprised of a transgressive implementation of 'neurofeedback'; a process in which one attunes and self-regulates their own cognitive and emotional functioning via the utilisation of EEG (Electroencephalography) to harness their brainwaves and generate external audio and/or visual stimuli, which in turn consecutively modulate their brainwave patterns to desired, often placative results; a feedback loop. The transgressive nature of this performance derives from the conceptualisation of neurofeedback as a process that induces negative cognitive consequences, by means of a 'provocative' audio-visual performance ecology the performer is both a passive mediator and subject to; engendered via cascading digital 'provocative' systems established within Max/MSP. The performance leverages, and assigns primacy towards, the artist/performers autistic cognition; a particularly idiosyncratic and revealing interface for performance and musical expression which can serve to auto-ethnographically evoke and deconstruct the systemically debilitating socio-economic constructs and metanarratives of the social model of disability (Shakespeare, 2013), represented by the provocative performance ecology, that disempower members of the autistic and wider disability community.