The Ever Changing Instrument
(2024)
author(s): APJ
published in: Rhythmic Music Conservatory, Copenhagen
The project explores the artistic potential of unpredictability, specifically within the context of electronic music. By referring to an original instrument design—including programming a number of randomized systems—a series of compositions for keyboard instruments were developed. The central theme is the relationship between dialogue and loss of control during the creative process. This project was documented intermediately with new music, as well as technological and procedural reflections.
ALMAT - Iteration RK
(last edited: 2024)
author(s): Hanns Holger Rutz, David Pirrò, Ronald Kuivila, Daniele Pozzi
This exposition is in progress and its share status is: visible to all.
Discourse and materials pertaining to the experimental iteration with Ron Kuivila, during the Algorithms that Matter (Almat) artistic research project.
ALMAT - Continuous Exposition
(last edited: 2024)
author(s): Hanns Holger Rutz, David Pirrò
This exposition is in progress and its share status is: visible to all.
Continuous Exposition is a dissemination strategy of the project Algorithms that Matter (ALMAT). It serves as an entry point to the mesh of our activities.
ALMAT aims at understanding the increasing influence of algorithms, translating them into aesthetic positions in sound. It builds a new perspective on algorithm agency by subjecting the realm of algorithms to experimentation and diffractive reading.
Between Freedom and Fixity: Artistic Reflections on Composition and Improvisation
(last edited: 2023)
author(s): Ilya Ziblat Shay
This exposition is in progress and its share status is: visible to all.
Between Freedom and Fixity: Artistic Reflections on Composition and Improvisation is a practice-based research project that aims to highlight the role of freedom and fixity in music and to develop a discourse based on these two concepts. The research suggests a creative approach based on the interrelationship between freedom and fixity, for example their combination, juxtaposition, and tension, and describes them as abstractions or placeholders for musical agents such as rhythm, notes, structure, timeline, and interactive computer systems. Another important notion is the inherent coexistence of the two concepts, and proposing the constant oscillating between them as a creative musical approach. Furthermore, the research aims to establish the use of freedom and fixity as a productive paths for extra-musical disciplines. Four works by the author are used as case studies to examine the integration of the research concepts as tangible musical forms. In each of the case studies freedom and fixity are embodied differently, and the relationships between them develop into distinct paths. This study relies on the author’s experience and experimentation as a composer, performer, improviser, and electronic-music practitioner, and draws inspiration from works by other musicians and scholars.
Anemone Actiniaria
(last edited: 2022)
author(s): Hanns Holger Rutz, David Pirrò
This exposition is in progress and its share status is: visible to all.
Algorithmic project, where two computer music systems, written by Hanns Holger Rutz and David Pirrò, collide. In progress.
TN_pieces: On Applied Network notions and "Chain Reaction" as compositional strategy
(last edited: 2019)
author(s): Juan Parra
This exposition is in progress and its share status is: visible to all.
A series of works designed within the framework of MTT, aimed to:
Play with different notions of "Network": as algorithm, as descriptor for telematics, as compositional tool (like in "Timbre Networks")
Use each iteration/performance to inform/affect/define/enrich the "following" performance. This will be achieved by preserving one aspect of the performance that can be perceived as "highly volatile" (a dancer reacting to the highly improvised music. like in the first version) and convert it into a digital stream of data, mapped to control (and therefore, automatise) an aspect of the following performance.
On Stockhausen Solo(s)
(last edited: 2016)
author(s): Juan Parra, Johannes (Jos) Mulder
This exposition is in progress and its share status is: visible to all.
Using Karlheinz Stockhausen’s Solo für Melodieinstrument und Rückkoppelung (1965 - 66) as starting point for investigating the affect and effect of technological transference when reproducing historical repertoire with live electronics, we aim to shed light on the misconception of “transparency” of sound reinforcement and current digital media, and how this colouring can (and perhaps should) be used to inject new life and ask new questions to the works it aims to preserve. On the footprint of a rendition that will aim to reflect as close as possible the original performance tradition of the piece, we will later allow the possibilities of current Network, signal processing and reinforcement technology shape and colour a radical interpretation of simultaneous Solo(s).