Lower Left

February 5, 2016
by wasswasswass@yahoo.com
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Skill Development

In early stages, a basic movement vocabulary is being assembled and fundamental perceptual distinctions needed for the use of feedback are drawn. In intermediate stage, larger action units are assembled, based on stringing together the existing movement vocabulary in accordance with the developing cognitive framework….by the time advanced or expert stages have been reached, the performer has become highly attuned to subtle perceptual information and has available a vast array of finely timed and tunable motor programs. This results in the qualities of efficiency, fluency, flexibility, and expressiveness. All motor organization functions can be handled automatically (without conscious attention) and the performer attends almost exclusively to a higher level of emergent expressive control parameters.

Jeff Pressing, Improvisation: Methods and Models

January 27, 2016
by wasswasswass@yahoo.com
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underdetermined

Undetermined here indicates an epistemic state of not knowing before the performance what [movement] sequence will be realized. Underdetermined refers to a notation that does not provide explicit, complete instructions for the [dancer] to realize it in [movement] any time a [dancer] is [executing] the score.

to paraphrase Tobyn Demarco, pg. 57 of THE METAPHYSICS OF IMPROVISATION

Secondary Surface Rendered in Midland, TX August 2015

October 15, 2015 by wasswasswass@yahoo.com

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Pairing this technology with dancers trained in Ensemble Thinking would a powerful experience.

“CAMBRIDGE, Mass. — On a recent Tuesday afternoon, Tod Machover, a professor of music and media at the Massachusetts Institute of Technology’s Media Lab and head of the Opera of the Future group there, assembled his students in his glass-walled lab. The space was cluttered with computers, triangular-headed robots, colorful fabric-covered children’s toys and digital control tables. A large metal chandelier hung suspended from the ceiling, its swooping curves and fanned-out spokes giving it the look of a mathematically minded jellyfish.

But at this moment all eyes were fixed on the Cauldron, a computer program developed by Mr. Machover and his group, which was being remotely stirred, so to speak, in Edinburgh. On screens throughout the room, colorful blobs bearing the names of composers floated toward each other, pulsated, grew and shrank, as unseen participants voted by mouse click for a particular composer.

Seated at a Yamaha piano, Tae Kim, a highly skilled improviser, turned the visual brew into sound, reacting to the changing composer bubbles on screen as he fluidly connected snippets of Mozart’s “Magic Flute” with those from Bach’s “Goldberg Variations” and Elgar’s “Nimrod.” Mr. Machover looked on with keen interest.

The remotely controlled improvisation was part of the composition process of Mr. Machover’s “Festival City,” a symphonic work he was writing for — and partly with — the city of Edinburgh, and which will receive its premiere at a festival there on Aug. 27. The piece weaves in city sounds and quotations from the classical works most often performed at the Edinburgh International Festival over the years. Playful, inclusive and driven by a delight in the creative possibilities of computers, it well represents Mr. Machover’s work.”

for more ->Duet for Composition and Software