After four crazy days going back and forth between Yokohama and Tokyo SIGGRAPH Asia came to a successful end. Some japanese bloggers wrote about the event. You can check out a selection of entries here (Kanta Horio) here, and here.
You can access the article here (subscription required)
Abstract: The authors present a perspective on computer music, which is based on some particular definitions of music in relation to oral culture and cybernetics. They describe some experiments with different models of neural architectures which generate original music, and then suggest that if such neural systems are rich, effective and intuitive enough to produce ‘live’ music, the understanding of their behaviour may require the development of some ’schizophrenic’ procedures, as well as analytical ones.
Keywords: Oral Cultures; Cybernetics; Automated Music Generation; Neural Networks; Multi-agent Systems; Music Information Retrieval
Une prothèse machinique fonctionnant et fonctionnelle dans ce système a atteint, elle aussi, le niveau de l’individuation au-delà duquel il est inutile d’avancer par la voie de l’ingénierie. Cette prothèse sera dotée de tous les mécanismes que l’évolution biologique a élaborés, y compris de celui qui lui permettra d’auto-évoluer elle-même. Elle sera donc dotée de l’équivalent technique du code génétique des cellules vivantes. Autrement dit, dès que quelque chose devient un « système informé » efficace au sens biologique, la frontière entre le vivant et l’artificiel s’efface.
Tonight Gérard Buquet’s piece l’Astre Echevelé for which I designed the electronics, is being premiered at l’Espace de Projection, Ircam Centre Pompidou, Paris.
Saxophone: Marcus Weiss, Sound Engineer: David Poissonnier
“What would have happened in 1963 if someone from the voguing ball scene in Harlem had come downtown to perform alongside the early postmoderns at Judson Church?”
Rather than illustrate a historical fiction, Harrell’s new work transplants this proposition into a contemporary context and debate about the seduction of the audience and the naiveté of the performer, and/or vice-versa. The (S) version, co-presented by the New Museum and Danspace Project in association with Crossing the Line 2009, is a solo performance by Trajal Harrell featuring work by visual artist Franklin Evans.
I spent two weeks at the Lucerne Festival Academy in Switzerland eating Rösti and going on crazy hikes with IRCAM and Ensemble Intercontemporain. During the day I ran two workshops (viola with Odile Auboin and trombone with Benny Sluchin). These workshops are part of a unique orchestral academy focused exclusively on the repertory of the 20th and 21st centuries. Pierre Boulez is the artistic director.
The sixth edition of the academy features, for the first time, electronic music giving students the opportunity to discover works by Pierre Boulez, Luca Francesconi, Daï Fujikura, Martin Matalon, Luis Náon, Kaija Saariaho and Marco Stroppa.
A short radio piece on the festival and the masterclasses. In Swissgerman!
Some of the most impressive breakthroughs in art and technology happen by considering the gaps and opportunities in the existing landscape - by adapting what we know to what might be. Now, as the world evolves with exponential speed, we need artists and scientists to show us the way.
The Art Gallery and Emerging Technologies exhibitions at SIGGRAPH Asia 2009 share the theme of Adaptation. The Art Gallery features a diverse, international body of work, ranging from pieces driven by technology to works that critically comment on our technological society.
Spent six days in Finland with IRCAM and Ensemble Intercontemporain preparing a concert at Finlandia Hall and going to sea in a rowingboat with an old friend. We performed pieces by Robin, Francesconi and Boulez under the direction of Susanna Mälkki and Pierre Boulez.
