Live Performance

"PONTO, um videogame sem vencedor" (2011) é uma performance audiovisual com sons e imagens sincronizados, tocadas por um console construído e programado por HOL, e controlado por joysticks de videogame (Nintendo) retrô. O instrumento é completamente autônomo e funciona sem a necessidade de um computador, usando apenas um projetor e um sistema de som para reproduzir o seu conteúdo. Cinco pessoas da plateia são convidados a "jogar" a performance junto com o artista, acrescentando um aspecto aleatório, onde o artista já não tem o controle completo do trabalho. Este artigo passa por todo o processo de criação da performance, mostrando o conceito artístico, estética e algumas técnicas generativas usadas pelo artista para adicionar um pouco de aleatoriedade ao processo para que o show seja diferente cada vez que é realizado.

"Dot, a videogame with no winner" (2011) is an audiovisual performance with synchronized sounds and images, played by a 'game console' built and programmed by HOL, and controlled by retro videogame (Nintendo) joysticks. The instrument is completely autonomous and works without the need of a computer, using only a projector and a sound system to play its content. Five people from the audience are invited to play the performance along with the artist, adding a random aspect where the artist no longer have the complete control of the work. This paper passes through the complete process of creation of the performance, showing the artistic concept, aesthetics and some generative techniques used by the artist to add some randomness to the process so that the show is different each time it is performed.

Performative Experience Design (PED) is an extension of experience design focusing on the unique time-bound encounter between performers and spectators. Technology is purposefully designed to enhance the experience between audience and performers. PED has been studied with adult participants; however, it has not been explored with children. We conducted a Cooperative Inquiry session to explore 1) how children want to interact with live performances; 2) how they seek to change a story in live performances; and 3) a specific technique that might facilitate designing for such interactions. We present our initial findings regarding children’s perceptions of what constitutes live performance and the ways in which children want to use technology to interact with, direct, and respond to narrative structures and characters within live performances. We include a discussion of the features of a specific co-design technique for supporting the ideation process of our child designers.

Australian classical saxophonists advise that an Australian ‘language’ is emerging in the saxophone repertoire. This is a vital issue to practitioners yet little scholarly research has been conducted in the field. This article begins to fill this lacuna by bringing together the ideas and opinions of leading Australian classical saxophonists with regard to Australian music and live performance repertoire. Drawing on data collected from interviews, it has been revealed that the creation of new Australian music forms an essential part of the ethos of those interviewed. As practicing musicians, they actively strive to create, promote and engage with new Australian music. The resulting relationships with composers provides a sense of purpose and satisfaction to these musicians. Further, in networking within the global classical saxophone community, Australian saxophonists disseminate the compositions of Australian composers, facilitating the works’ inclusion in the global canon of classical saxophone music (CSM). The music becomes a vehicle for collaboration and self-expression that fosters and promotes a sense of national Australian identity. Through the ongoing partnerships between composer and performer Australian saxophone music is constantly evolving, resulting in innovative and distinctive contributions to the global CSM repertoire.

With their unusual grooves and virtuosic use of sample sources, the beats of producer J Dilla have inspired a generation of MCs, instrumentalists and producers. Using microtiming analyses of two of Dilla’s early works, this paper will identify sources of rhythmic stability and instability that combine to create Dilla's signature "tipsy" rhythmic style. I will suggest that this style was the result of juxtaposing seemingly opposed binaries: quantized and un-quantized, mechanical and live, precise and loose. I argue that this was motivated by his desire to manifest a "live" feel in his work. As electronically-assembled music that strives to sound “live,” Dilla’s work may provide insight into a reconciliation of this tension. Debates about the relative values of rhythms produced by humans or machines ought to acknowledge a dialogue between mechanical looping and “live” beats that is as old as hip hop. Dilla’s work and its influence will serve here to further reveal this dialogue.

Héroes del Silencio ha sido una de las bandas de rock más destacadas del
panorama musical español de los noventa. En el presente trabajo hemos
abordado el estudio de su producción atendiendo al discurso de género
subyacente en ella. Así, hemos podido observar una relación entre dicho
discurso y las prácticas musicales y performativas llevadas a cabo por el grupo
a lo largo de su carrera. Héroes del Silencio comenzaron enmarcándose dentro
de un estilo cercano al pop que presentaba una masculinidad no hegemónica,
cercana al concepto de boy expuesto por Freya Jarman-Ivens e Ian Biddle
(2007). Más adelante, el grupo reorientó su propuesta hacia un rock más duro,
calificado de “épico” por la crítica y parecido al de ciertas bandas anglosajonas
del momento, como U2. En ese proceso, Héroes de Silencio configuraron una
identidad de género cercana a lo que Connell (2005 [1995]) denomina como
masculinidad hegemónica, con una performance que encajaba dentro de los
patrones del cock rock. La inclusión dentro de las escenas del rock hizo que la
banda se centrara en aspectos como el directo o la incorporación de elementos
sonoros como la guitarra eléctrica con distorsión. La legitimación de Héroes del
Silencio dentro del rock se vio dificultada por el empleo de artificio que
comportaba el estilo de canto de Enrique Bunbury. Este artificio era un factor
disruptivo de la masculinidad, ya que ésta se supone, como señala Halberstam
(2008 [1998]), de carácter natural o no construida. Igualmente, hemos
considerado relevante analizar cómo la feminidad era presentada por el grupo,
ya que estos la articulaban según la visión normativa de ella. De este modo, el
caso de Héroes del Silencio nos ha sido útil para observar cómo, como señala
Connell (2000), las estrategias del patriarcado permean las escenas culturales
a nivel global.

This paper presents an intelligent agent model for simulating the behavior of a jazz bass player during live performance. In jazz performance, there is a strikingly large gap between the instructions given in a chord grid and the music actually being played. To bridge this gap, we ...

A pesquisa trata das diversas ferramentas tecnologicas utilizadas por artistas para criar e executar trabalhos de Visual Music desde os primeiros experimentos com Color Organs no seculo XVIII ate a producao contemporanea, mostrando de que maneira estes instrumentos interferem no resultado artistico final. O objetivo do projeto e mostrar como cada instrumento acaba guiando a criacao artistica, seja por suas possibilidades, seja por suas limitacoes. Utilizando exemplos de trabalhos nessa area, realizados principalmente nos seculos XX eXXI, pretendemos mostrar a diversidade da producao e sua influencia direta no resultado criado pelos artistas. No estudo de casos, artistas fundamentais dentro desta area foram cuidadosamente escolhidos e analisados a fim de entender de que forma os instrumentos por eles inventados concretizaram suas aspiracoes conceituais, ampliando seu potencial artistico e servindo de inspiracao para as geracoes posteriores. A pesquisa envolve ainda uma delimitacao do...

In 2015, I gave a keynote lecture on ‘Interactive Documentary and Live Performance’ (Aston 2015), a subject which has received little attention to date within the field of interactive documentary practice. My argument was that the sense of time, place and occasion that surrounds live performance has a role to play within interactive documentary and that there is much to be learnt about this from the world of interactive theatre. I showed a number of examples, suggesting that performative approaches could inform mediated as well as live work, and that there was much scope for creating interesting synergies between these two processes. This paper builds on this keynote, by tightening up my argument and bringing in some new examples. It also situates my work alongside Julie Fischer’s MSc dissertation on ‘The Emerging Field of Live Documentary Practice’ (2014), the work of Paul Dourish (2001) on ‘embodied interaction’, and the work of David Howes (2004) and Sarah Pink (2009) on the emerging paradigm of ‘emplacement’. In bringing together these different strands, I suggest a new term through which to interrogate i-docs: ‘emplaced interaction’.

In this paper, we describe an algorithm for the numericalevaluation of the orientation of an object to which a clusterof accelerometers, gyroscopes and magnetometers has beenattached. The algorithm is implemented through a set ofMax/Msp and pd new externals. Through the successfulimplementation of the algorithm, we introduce Pointingat, a new gesture device for the control of sound in a 3Denvironment. This work has been at the core of the Celeritas Project, an interdisciplinary research project on motiontracking technology and multimedia live performances between the Tyndall Institute of Cork and the InteractionDesign Centre of Limerick.

Current physics-based synthesis techniques tend to synthe- size the interaction between different functional elements of a sound generator by treating it as a single system. How- ever, when dealing with the physical modeling of complex sound generators this choice raises questions about the re- sulting flexibility of the adopted synthesis strategy. One way to overcome this problem is to approach

A pesquisa trata das diversas ferramentas tecnológicas utilizadas por artistas para criar e executar trabalhos de Visual Music desde os primeiros experimentos com Color Organs no século XVIII até a produção contemporânea, mostrando de que maneira estes instrumentos interferem no resultado artístico final. O objetivo do projeto é mostrar como cada instrumento acaba guiando a criação artística, seja por suas possibilidades, seja por suas limitações.
Utilizando exemplos de trabalhos nessa área, realizados principalmente nos séculos XX e XXI, pretendemos mostrar a diversidade da produção e sua influência direta no resultado criado pelos artistas. No estudo de casos, artistas fundamentais dentro desta área foram
cuidadosamente escolhidos e analisados a fim de entender de que forma os instrumentos por eles inventados concretizaram suas aspirações conceituais, ampliando seu potencial artístico e
servindo de inspiração para as gerações posteriores. A pesquisa envolve ainda uma delimitação do conceito de Visual Music, sua gramática e influência sobre outros gêneros do audiovisual, apresentando possíveis desdobramentos de seus princípios. A pesquisa é embasada principalmente nos conceitos de Gilbert Simondon a respeito dos objetos técnicos, e de Wassily Kandinsky sobre os possíveis modos de relação entre som e imagem, entre outros importantes autores da área.

This paper presents a brief review of current literature detailing some of the issues and trends in composition and performance with interactive music systems. Of particular interest is how musicians interact with a separate machine entity that exercises agency over the creative process. The use of real-world metaphors as a strategy for increasing audience engagement is also discussed. The composition and system Church Belles is presented, analyzed and evaluated in terms of its architecture, how it relates to existing studies of musician-machine creative interaction and how the use of a real-world metaphor can promote audience perceptions of liveness. This develops previous NIME work by offering a detailed case study of the development process of both a system and a piece for popular, non-improvisational vocal/guitar music.

The open-ended durational performance The Foreigner is a personal response to the migration question currently involving Europe, Africa, and the Middle East. The work explores and questions notions of identity and territoriality, reality and virtuality, through the anonymity and vulnerability of the artist, and the active participation of the audience in the performance process. The artist’s body worked as a mirror that reflected personal ideas, constructs, and emotions of the visitors, who experience and interpret the image of the Foreigner according to their personal histories and past experiences. The result is a multiplicity of perspectives on migration and beyond.
KEYWORDS: migration, performance art, identity, vulnerability, participation.

Aiming to contribute to an ongoing debate on the relationship between opera and screen media, my article begins by posing a number of questions about the aesthetic and political implications of technological reproduction. I then examine and critique a paradox that pervades our media-saturated culture-namely, that the remediation of musical-theatrical works is often treated as a means of enhancing, rather than of questioning, a sense of authenticity, uniqueness, and presence. This in turn leads me to an analysis of three objects (and three fantasies) in which this paradox, which is bound up with a strange blend of nostalgia and an urge for excess, takes on paradigmatic form. I conclude with a critical reflection on the challenge inherent in recording and broadcasting operatic stage productions. Throughout, I aim to suggest ways of avoiding a fetishization of liveness without, however, falling into another trap-the simple dichotomization of liveness and mediatization.

Submitted: <leave for Editor to date> „Cloud Chamber ‟ is a live performance in which the invisible quantum world becomes visible as a violinist and subatomic particle tracks duet together. An electronic instrument was developed which can be "played " live by radioactive atomic particles. Electronic circuitry was developed enabling a violin to create a physical force field that directly affects the ions generated by cosmic radiation particles. This enabled the violinist and the ions to influence each other musically in real time. A glass cloud chamber was used onstage to make radioactivity visible in bright white tracks moving within, with the tracks projected onto a large screen.

The conference 'XII Animal Debates: Sharing the lifetime experience on welfare standards when training companion animals for live performances and in the film industry' took place in the Aula Magna of the Law Faculty of the Autonomous University of Barcelona, in Catalonia, on March 16, 2018, organized by ICALP.
During this venue, issues related to the welfare of animals used for human entertainment were discussed, comparing their protection in Europe and in the USA, focusing on companion animals trained for live performances and in the film industry in particular.
This exchange was enriched by the long experience of Dorothy Berloni, our speaker, who shared her impressions with us on the occasion of the performance of "Link Link Circus" in March 2018 in the Teatre Akademia.
The ethics of the Berloni couple and their role in promoting high private standards in the use of animals in the entertainment industry are of paramount importance, in order for these animals to no longer be treated as objects, with the priority that their performances respect their natural behavior. In the long run, there is hope for the adoption of a law to regulate such use of animals in the USA.

This article explores and documents the work of leading Midwestern performance artist Julie Laffin, in the years since she developed a serious form of environmental illness (Multiple Chemical Sensitivity). This condition has effectively rendered her housebound and unable to appear in public, so that her previous live performance practice – which typically took place in public, urban spaces – has

Dual media composition and live performing needs special tools and new strategies. We should be able to control and manipulate form, structure, micro and macro elements on both media simultaneously. As there’s no existing commercial platform that can fulfill this requisites, we have to design and build a suitable tool from scratch. I’ll be analyzing different alternatives on software and hardware, and describe several prototypes I’ve developed and tested on stage in the last five years. We’ll see how this tools work, and focus on the conceptual difficulties, as the technical aspects can be solved with ease.