Exposition

Pascale Criton / Deborah Walker - Variables, Diagrams, Process (last edited: 2016)

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Pascale Criton / Deborah Walker | Pierre et Marie Curie University, Paris, FR / Cellist, Paris, FR Day 2, 10 November, De Bijloke Kraakhuis, 17:00–17:30 The characteristic of a musical time-space, whether sound is the result of material sources or generated by machines, is to give consistency to previously unheard sound individuations—without identity (Deleuze 2003). To this end, mapping and spatial-temporal diagrams determine the variables’ changes and the modelling of dynamic events—following either a gestural or techno-generated process. Far from excluding each other, the complementary poles of the continuous and discontinuous are in constant exchange while becoming fields, varying their dimensions and distributions, renewing the composition of their relations in variable, gradual, and imperceptible transformations, speeds, and density changes (Criton 2015). Transitivity, more than stable continuities, retains our interest here, setting contiguity of different sizes (smooth/striated), indiscernible areas, and dazzling couplings that allow linear, exclusive, or restrictive models to be abandoned and be moved from one category or “middle” to another (Criton 2011). The presentation will outline a few transitive situations—sensory, gestural, spatial continuities. Through Chaoscaccia for cello (2013) and Circle Process for violin (2012), the presentation will focus on performance and gestural processes, pushing the dramaturgy of gesture to its event size, in order to grasp its driving idea and to identify its principle, both processually and extensively. What will enable affects to gain speed and direction, and introduce dynamic, intensive, and extensive associations? Through Plis (2008) and Ecoutes croisées (2014), the possibilities of ubiquitous (Criton 2012) and multimodal listening (Criton 2014) will be discussed. Chaoscaccia (Criton and Walker 2013) follows a gesture process to explore a scordatura in 1/16th tone on the cello. The route is determined by a gesture map and consists of five steps: (1) rebounds, (2) parlando, (3) multiphonies, (4) mutando, and (5) disappearing. The basic principle is concerned with instability and sudden changes (shift process) between different states. Each state proceeds in an unstable mode and emerges without a forced beginning or ending. The duration of the cycle is open and it can be played in a concise or extensive manner. The cello is sonorised with two microphones (on foot), which can be directional or cardioid (type Neumann 184). 
typeresearch exposition
date10/11/2015
last modified01/03/2016
statusin progress
share statuspublic
licenseAll rights reserved
urlhttps://www.researchcatalogue.net/view/237730/237731


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256004 Criton ME21 All rights reserved
253721 Pascale Criton Edited_1 ME21 All rights reserved

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