CM&T, Helsinki – IAMAS, Ogaki
Remote Seminar
Experimental Music, Technology and Performance
Special Lecturer, Shinji Kanki / CM&T Sibelius Academy
June 2 – 4, 9:30 – 12:30 Finland time, 15:30 – 18:30 Japan time
Technologies being used are as followings.
IP chatting, conference program: SquidCam
Net Streaming program : QuickTime Streaming
RemoteDesktop: Apple Remote Desktop & Timbuktu
Day 1 History of Music Performance/Composition
Prelude: My performance of 4’33” recorded video material.
Addressing aesthetical issues :
What is Performance or performing arts? What is Live? Streaming silence? Multiple
silences? Network technology?
Procedure:
My profile in short. (Conceptual art and Performing art), My interest to music. Sound
as decaying art.
The technologies being used for remote seminar. Experimental.
The artistic direction of the seminar, new pedagogy:
Non linier. Not progressing.
Developing self discovery and self criticism. My suggestion.
Works first. Not performance first!
Not scientific. Creative study.
A viewpoint from creative study.
Discussion
Problem of English References
Starting Point:
The artistic research project of the next generation performing arts at IAMAS
http://www.iamas.ac.jp/project/performingarts/
TNGLP
Kaffe Matthews -> Performance Technology http://www.annetteworks.com/
http://www.dartington.ac.uk
Performance MA program!!
What is Performance art? Performance Art.webloc
Performance Art 1.webloc
What is music as performing art?
Compositions where performance (Check above! persons manipulate at actual live
site) has a major roll.
Schedule
Day 1: Classics. Historical findings.
Performance without technology and technology.
Day 2: Network Space and Musical Performing. My project.
Day 3: Discussion. Introducing the students works of CM&T.
Works:
John Cage
4´33”
http://music.research.home.att.net/4min33se.htm
file://localhost/Users/shinjikanki/Res/Teaching/New%20Musical%20Thinking
/NewMusicThinking9%2F1/4'33"%20article/-273.url
Eric Satie
Vexations 1893,
To play this motif 840 times in succession, it would be advisable to prepare
oneself beforehand, in the deepest silence, by serious immobilities.
Not from viewpoint of composition but from physical activity.
Quotation by 2 performers EM page
Yves Klein.
Monotone Symphony
http://home.sprynet.com/~mindweb/page30.htm
La Monte Young, http://home.earthlink.net/~kgann/lmy.html
1960 Compositions #7, X for Henry Flynt (http://www.henryflynt.org/)
(http://iaaa.nl/cursusAA&AI/concept/flynt.html)
Based on a single low sound repeated indefinitely every two seconds.
First performed Eno.
“Repetition is a form of CHANGE”.
The simplest and the most insignificant repetition produces change.
Play demo.
Eno’s interest in Experimental Music had led him to perform Young’s X for Henry
Flynt (1960) as a student. The piece calls for the performer to ‘play’ a single
unspecified sound or cluster of sounds, without variation, an arbitrary number of
times, symbolised by the letter X. Eno chose to perform X for Henry Flynt on piano,
by linking his forearms together and smashing them down on the keyboard once a
second for the period of an hour (in this case X = 3600, the number of seconds in an
hour). Although he aimed to hit the same cluster each time Eno found that:
“one began to notice the most minute variations from one crash to the next. The
subtraction of one note by the right elbow missing its top key was immediately
and dramatically obvious. The slight variations of timing became major
compositional changes, and the constant changes within the odd beat
frequencies being formed by all the discords began to develop into melodic
lines. This was, for me a new use of the error principle and led me to codify a
little law that has since informed much of my work—‘Repetition is a form of
change’.”1
http://www.diapasongallery.com/archive/01_06_20.html
1960 Composition #5. Why is this music performance??
Turn a butterfly (or any number of butterflies) loose in the performance area. When
the composition is over, be sure to allow the butterfly to fly away outside. The
composition maybe any length but if an unlimited amount of time is available, the
doors and windows maybe opened before the butterfly is turned loose and the
compilation maybe considered finished when the butterfly flies away.
Italian Futurist, Noise,
Fluxus Happenings
http://creativetechnology.salford.ac.uk/fuchs/modules/input_output/survey.htm
In Japan, Hight Red Centre, Neo Dada
Tone, Kosugi.
Works with technology(=Electronics):
John Cage
My Remix of 4’33”
Imaginary Landscape No4(for radio)
http://www.fictive.org/~peter/bits/thesis/chapter2.html#Anchor-John-11481
Music for plants
Planting as a performance0’00” 1962 (amplification) Calvin Tomkins report from EM page
E.A.T.
9 evenings of Theatre and Engineering 1966
The Sonic Arts Union 1966
Gordon Mumma, David Behrman, Rober Ashley, Alvin Lucier.
Alvin Lucier
Music for solo performance 1965
No action except eye blinking in Performance like 4’33” but something in the
brain. From EX page
David Rosenboom Brain wave
Musica Electronica Viva(Alvin Curran at Mills)
Conlon Nancarrow
Steve Reich
Pendulum Music
Automated machine
http://www.furious.com/perfect/ohm/reich.html
http://www.klingt.org/ee/executive_m_pend.html
The User
Charles Dodge
Any Resemblance is Purely Coincidental
Tape and Live
Alvin Lucier
Music for solo performance 1965
No action except eye blinking in Performance like 4’33” but something in the
brain.
David Rosenboom Brain wave
Yoko Ono, Crossfade site. 1961
Stelarc
Sensor Band
Noise, DJ, VJ (New Performing art in Technology Age? New multimedia poet?)
VJ classic:Nam Jun Paik, TV bra for live sculpture 1969
http://www.walkerart.org/salons/shockoftheview/hybrid/sv_fogle.html
Game Playing Performance.
Day 2: Network Space and Performance
Demo:HTO tape streaming
What is Network Space? Physical and conceptual?
Physical Space :Where things move.
Wires(Fiber cables, copper cables), Wireless(radio frequencies),
Where are houses: Router boxes, Servers, Computers,
How things move.
Conceptual Space: Electrons. Magnets.
They are all hidden!!
Is it 2 dimensional or 3 dimensional?
Or is it really a SPCE? Acoustic space?
Collaborative space without any physical limit.
What is left? TIME.
Multi-dimentional space of unstable musics; of musics in flux. By Golo Föllmer
http://crossfade.walkerart.org/
Then what does performance mean in this kind of space?
Who are actually performers? Musical performers or listeners?
New Instruments? MUI, multi user instrument: NetOsc by sensor bands
CUI, Eternal network music site by Chris Brown.
What is live? Compression -> live sending?
Ex. Live encoder: Compressing + Transmitting packets.
Melánge a troi
IP echoing by IP conference system
Multiple streamings from multiple stations JSB1
Sensor Band
Global strings by Atau Tanaka.
Telesymphony
Interactive performance:
= FALSH, Ssshhhh, sound art Denmark
Java. Jsynth. (Shared drum)
PEEP (for HTO)
Day 3 Discussion
Post Modern: Remix of all kinds of styles
Original? Original Live?
English -> Japanese translation
Introducing CM&T students works
PanSonic,
Introducing NIFCA, Helium Project, Strange Noises at the Supermarket
Introducing Geidai MCE, http://www.geidai.ac.jp/labs/mce/
August Black
?? Live -> at the same time sharing the same experience.
Producers and receivers share the same time spot.
Same physical spot? Same virtual space?
Proposition to Net Composition Research Participation