1,720,963 research outputs found
Ens Ekt (VR)
No full text360 video documentation of Ens Ekt in live performance at the Sonic Lab, Belfast. Ens Ekt features the experimental musical inventions of Paul Stapleton (Californian born, Belfast-based) placed in dialogue with the circular breathed multiphonics and harmonic textures of Simon Rose (English born, Berlin-based) and the resonant gestural and spectrally focused playing of Adam Pultz Melbye (Danish born, Berlin-based). The group explores emergent timbral, dynamic and social musical structures through improvisation in both performance and installation contexts. 'Ens Ekt VR' premiered at Immersive Technologies showcase, NI Science Festival 2019.<br/
Ens Ekt UK tour
No full textMusic Improvisation Performance at the following seven professional and academic venues:IKLECTIK, London;Hundred Years Gallery, London; Bournemouth University; The Old England, Bristol; Queen’s Head, Monmouth; Safehouse, Brighton; Sussex Humanities Lab. Tour funded in part by Jazz Danmark (Denmark).Ens Ekt features the experimental musical inventions of Paul Stapleton (Californian born, Belfast-based) placed in dialogue with the circular breathed multiphonics and harmonic textures of Simon Rose (English born, Berlin-based) and the resonant gestural and spectrally focused playing of Adam Pultz Melbye (Danish born, Berlin-based). The group explores emergent timbral, dynamic and social musical structures through improvisation in both performance and installation contexts
PhD Thesis Portfolio
No full textArtistic portfolio for the PhD thesis "A Continually Receding Horizon: Making, performing, and improvising with semi-autonomous double bass feedback instruments"
Ens Ekt California Tour
No full textMusic Improvisation Performance at the following seven professional and academic venues:Luggage Store, San Francisco; Pro-Arts, Oakland; Center for New Music, San Francisco; Center for Computer Research in Music and Acoustics (CCRMA), Stanford University; Piano Kitchen, Santa Barbara; Furstwurld, Joshua Tree; University of California, San Diego. Tour funded in part by Jazz Danmark (Denmark). Ens Ekt features the experimental musical inventions of Paul Stapleton (Californian born, Belfast-based) placed in dialogue with the circular breathed multiphonics and harmonic textures of Simon Rose (English born, Berlin-based) and the resonant gestural and spectrally focused playing of Adam Pultz Melbye (Danish born, Berlin-based). The group explores emergent timbral, dynamic and social musical structures through improvisation in both performance and installation contexts
The Virtual is Material: Music Improvisation in Post-Digital Ecologies
No full textLink to performance: https://vimeo.com/640946914/cf858052e1Abstract: This performance-lecture was originally presented at the DRHA (Digital Research in the Humanities and Arts) conference in 2021 in Berlin. 3BP (Paul Stapleton, Adam Pultz Melbye and John Bowers) presents three views on the creation of an online performance ecology that allows the trio to improvise together, despite living in three separate locations. Rather than trying to overcome the instabilities and artefacts introduced by the fluctuations in data transfer, 3BP describe how such properties become native to the trios understanding of its own practice, affording new areas of creative exploration and consideration. The trio draws on Karen Barad’s use of terms such as diffraction and apparatus to discuss how music-making and improvisation embedded in run-away technologies affords emergent behaviour that transcends reflection to allow for diverse and unstable non-linear performances.BiosPaul Stapleton is an improviser and sound artist originally from Southern California. He designs and performs with a variety of modular metallic sound sculptures, custom made electronics and found objects in settings ranging from Echtzeitmusik venues in Berlin to the annual NIME conference. Paul is currently Professor of Music at SARC in Belfast, where he teaches and supervises research in new musical instrument design, music performance, sound design and critical improvisation studies. www.paulstapleton.net Adam Pultz Melbye is a double bass player, composer and audio programmer based in Berlin, currently undertaking a practice-led PhD at Sonic Arts Research Centre in Belfast.&nbsp; Adam has released three solo albums and appear on another 40+ releases. He has created sound installations, composed music for film, theatre and dance, and performed in Europe, the US, Japan and Australia, his work appearing at Murray Art Museum Albury (Australia), The Danish National Gallery and Wien Modern (Austria). www.adampultz.com John Bowers is an artist-researcher with an academic background in the social and computing sciences, design, music and critical theory. As an improvising musician, he works with modular synthesisers, home-brew electronics, reconstructions of antique image and sound-making devices, self-made software, field recordings, esoteric sensor systems, and spoken text. He often combines performance with walking and the investigation of selected sites to research an imagined discipline he calls ‘mythogeosonics’. He has performed at festivals including the Venice Biennale, Experimental Intermedia New York, Transmediale/CTM Vorspiel Berlin, Piksel Bergen, Electropixel Nantes, BEAM London, Aldeburgh Festival and Spill Ipswich, and toured with the Rambert Dance Company performing David Tudor’s music to Merce Cunningham’s Rainforest
A continually receding horizon
No full textThis thesis explores double bass feedback systems, with a focus on the FAAB (feedback-actuated augmented bass)—a self-resonating vibrotactile feedback string bass instrument equipped with onboard DSP. Developing against a background of an extensive acoustic instrumental practice in improvised and experimental music, the thesis examines how salient properties of timbral complexity and performative resistance may be applied in an extended electro-acoustic domain. An analysis and discussion of interaction and human-machine improvisation informed by neocybernetic and enactivist theories of autonomy and interactional asymmetry leads to the development of a conceptual framework for the creation of adaptive signal processing architectures. This framework is applied to the design of a set of algorithms, the behaviours of which are described in the context of performance, improvised as well as composed. The discussion is guided by the conviction that what is often conceived of as digital/material binaries is better understood in a shared performative domain. In the discussion of performance, attention is paid to how the FAAB affords the reconsideration of old—as well as the development of new—instrumental techniques and modes of performance, through the unpredictable, yet largely deterministic behaviour of the instrument. The final chapter of the thesis discusses resistance, mastery, and virtuosity, again in the context of a performance practice with the FAAB. With the instrument eluding traditional notions of performative control, materialist, queer, and decolonial theories are employed in a discussion of precariousness and failure as artistic opportunities particularly suited to feedback musicianship and human-machine improvisation. The practice-based contribution of the thesis consists of a set of solo and duo performances using three different feedback bass configurations. The majority of these highlight the role of the FAAB in developing a largely improvised solo performance practice in which the feedback-induced and algorithmically extended behaviour of the instrument affords timbral, amplitudal, and interactional complexity. The two collaborative works situate the FAAB within a performance ecology comprised of other performers, compositional scaffolding, and a set of laptop-based multichannel signal processing algorithms developed in extension of the embedded DSP of the FAAB. The accompanying DSP library consists of familiar low-level algorithms. Yet, their creative integration with a feedback instrument and the implementation of an adaptive and largely autonomous high-level digital infrastructure contributes to the field of feedback signal processing, and can be of value to practitioners beyond the specific field of feedback. The identification of instrumental resistance as being intimately tied to the establishment of interactional asymmetry and instrumental autonomy affects the cultivation of a performance practice as well as an aesthetic, both of which are grounded in an appreciation of unmastery and failure. This does not entail the absence of skill or tools for evaluation, but rather paves the way for the development of aesthetics as well as skillsets that accommodate the dynamic and precarious ecologies emerging through nonlinear human-machine relationships
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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