On PLP I
The creative premise behind PLP I, for electric violin and computer, began as a way to explore the grey area in computer music between the roles of composer, performer and instrument builder. In particular, it explored how the devenir1between these roles could, first, be understood as the unique quality that a computer performer should acknowledge and develop, and, second, be transferred to traditional instrumentalists as a way of creating a convergence – conceptually and logistically – between the approaches to sound production and performance of both traditional and electronic musicians.
PLP I presents itself as a practical implementation of both the technical and the conceptual principles proposed by Timbre Networks (see case study Accumulation of Hesitation). It addresses, and demands from its performers, not only a flexible approach to creating and interpreting live computer music but also an understanding of the final set of parameters and interrelations that form a new score, which turns into a reference point to return to, revise and improve the outcome of the piece.
To start the process of fixing the backbone of PLP I, the behavioural limits of the sound sources (the initial nodes of the network) were defined. Later, the focus concentrated on the inner complexities of these nodes and on how they could be streamed within the complex of the network, as either control information for another fixed node (a thread between two sources) or an intrinsic richness of the node in itself (still subject to variations through performance).