Tag: Pauline Oliveros
Laurie Anderson’s new show is a network performance with Ai Wei Wei. Video from the premiere at the Luminato Festival in Toronto.
They are using Skype to connect the live Toronto performers with Ai Wei Wei in Beijing.
Network performance is a growing area and Play the Moment is on the leading edge!
I was inspired to start working with network performance by Pauline Oliveros and Chris Chafe. Chris Chafe calls these Telematic performances and has developed a software at CCRMA Lab, Stanford, that works really well. For the techies who read this blog — using Red Hat Linux OS — a communications port can be opened.
In 2010, I visited San Francisco to learn this software, and I was able to open ports on two computers and communicate using the software. This system works really well, but both sides of the performance must have the ability to operate sophisticated technology. That is why my efforts to successfully produce a network performance were not realized until I started using Waterwheel in 2012. My first solo show, Flow Time, led to the development of work for the group, Play the Moment.
It was my vision to have a combined live and networked performance that was realized with the recent Mini Maker Faire show. This was the first time one of the group members was live, playing with the networked stage on a projected screen. Now, I am seeking more of these performance opportunities so internet viewers can join concert goers to enjoy live, improvised media performances.
Now network performance is going mainstream with this show by Laurie Anderson — as mainstream as experimental performance art ever gets — but soon, I believe this will become a widely recognized genre of performance.
Stay tuned to this site to learn about the next Play the Moment performance or follow us on Facebook.
Exhibiting Bandwidth as part of the Guelph Jazz Festival Nuit Blanche gave me the opportunity to enjoy the audience reaction to the work, as three enthusiastic audience members participated simultaneously. Each individual operated a controller to “dance” one of the images projected on one of the three screens as the other images (one per screen) reacted to selected frequencies in the soundtrack.
Now, I have a very good idea of how to create an interface for stand alone installation. Everyone had positive comments and the wireless arduino powered control was a source of wonder. Thanks to everyone who assisted me in the programming of the Arduino sketch.
During the day, I was able to hear some of the other performances in downtown Guelph and was fortunate enough to be interviewed by the resident radio station. CIUT fm was broadcasting live from the tent and playing CD’s of musicians who were performing at the festival.
Toronto’s preeminent, listener-supported presenter of leading-edge music and spoken-word programming since 1966.
Producer Erik Betlem was kind enough to send me a copy of the interview recorded live on September 10th in the downtown Guelph outdoor venue tent.
The hosts were David Dacks and Laura Dymock,
Thanks to all the festival organizers, volunteers, CIUT and the friendly citizens of Guelph — I am grateful for the opportunity to premiere my interactive installation in Guelph.
Hope to see you all again soon.
Third Podcast in the Girl Can Dream Series
The previous two podcasts were about my heritage music, gospel and blues. This third one features some of the work I do using the computer and effects. All the music in this series is written and performed by me, Victoria Gibson, and I have imposed the limitation that I be able to perform it in a live solo concert. I am playing with a computer in one of these examples, but I still count it as a solo work.
The title, “Echoes of You Far Away” comes from the memories of the interesting people that I spent time with this summer who are far away now. The style is a recollection of the naturally echoing space called “The Cistern Chapel” that I speak about in the podcast audio.
In May, I met Pauline Oliveros, Stuart Dempster and David Gamper, the trio known as The Deep Listening Band, in Port Townsend. This ensemble first recorded in the cistern 20 years ago and many sound artists have followed them down the narrow entrance to experience the 45 second reverb since then. My mission was to document the 20 year anniversary return of the Deep Listening Band to The Cistern Chapel located nearby in Fort Worden with video and photos and to assist with the audio recording.
I journeyed to the location on my Yamaha FJ1200 motorcycle loaded down with all the required gear.
The video and photos that were taken of the band may be released by The Deep Listening Institute as a DVD or on their website, but I am giving a preview of the photos I took of the Cistern Chapel. I do not include any photos of the band as some of them may be used in the commercial release and we have not finalized the details. The audio was recorded by Jonas Braasch, a colleague of Pauline’s from Rensselaer Polytechnic Institute, School of Architecture, Architectural Acoustics Program who is a fine saxophone player. The audio of my experiments was recorded by me using my Zoom H4.
This slideshow gallery includes photos of my trip and some of the cistern itself. It was very dark under the ground and the feeling in the place was unique.
The inspiration that I have received from the time I was able to spend in Banff cannot be over-rated. It was a complete coincidence that I was acting as video and photographic documentary support to composer Pauline Oliveros during the first Roots and Rhizomes: Percussion Residency with Steven Schick. My discussions with the percussionists who were participating in the educational opportunity and the instructors encouraged me to complete a draft of the work for percussion quartet that I have been working on since 2003.
Pauline Oliveros was particularly inspirational to me in so many ways. Her example, as composer of “Meditation on a Single Stroke Roll”, and her advice to me in writing instructional notation were invaluable.
Hearing the very high level performances and experiencing both the excellence of traditional works and the innovation of American composer Mark Applebaum were part of the experience. Mark Applebaum is a serious composer who included a movement in his composition that had the percussionists drawing shapes with black markers on large easels. The resulting sound were amplified to create the percussive sounds of the piece. He is so imaginative to have injected such humour and wit into the intelligence of his work.
Now, I have finished a draft copy of “The Incredible Delicacy of Silence”, I have also asked a local Vancouver percussion quartet to consider performing it. They are busy with their first recording at the moment, but they have accepted a copy and will be reading it soon.
I was very honoured to be asked to produce the film that was shown as the visual component of this concert in the Walter Phillips Gallery, located in the Banff Centre for the Arts.
Pauline Oliveros explained the concept and gave me freedom to develop the 20 minute film using the photos provided and my own digital artworks. Ms. Oliveros was inspired by President Obama’s speech in Cairo and the Codepink efforts to encourage peace by building three playgrounds in Gaza. I obtained permission to use photos from the Codepink Flikr stream, with attribution, from:
National Media Coordinator
CODEPINK Women for Peace
The Codepink projects are very worthy and I was proud to be able to support them and be associated with an initiative that is intended to bring people together to work for peace. In addition to the photos of children and playground construction in Gaza, we used photos of American children playing in a playground provided by Ione. She explained at the concert that she thought it was nice for them to play together. Ione was inspirational in the production of this film as she helped me to gain a more precise understanding of the concept of the musical work.
Many people complimented me on my work after the show and it will remain one of the highlights of my time in Banff. I did document the performance on video and the audio was recorded by the Banff Centre technicians, led by John DS Adams. At some point, I hope that my film, “A New Beginning: A Playground” will be shown during future concerts when Pauline and Ione perform this piece. When the audio is mixed, there are plans to produce a DVD with the soundtrack of the concert. When it is complete, it will be available from the Deep Listening Institute site.
Tech Notes: All photographs and digital artworks were prepared in open source software, The Gimp. The film was created using Final Cut Studio on a Macintosh workstation owned by the Banff Centre.
Chris Chafe is the director of CCRMA at Stanford University. He is on sabbatical leave and is in residence at Banff Centre until September 2009.
While I was in Banff, he was involved in several Telematic concerts that involved Pauline Oliveros and Ione in the “Chris Chafe, Pauline Oliveros, Ione Trio”.
I was thrilled to find a Ubuntu Linux user and he told me that he was using an application called jacktrip, based on jackd to patch the Telematic communication over the internet.
I will talk more about this later, but I witnessed some very low latency musical interaction between Chris (in Toronto) and Pauline Oliveros and Ione in Banff. This concert could also be experienced live in Second Life, a virtual reality, on-line world. These mixed reality concerts, where avatars are watching concerts that the real person is playing in are a new experience for me.
After he returned to Banff, a rehearsal with Jonas, who I met in WA, and another musician I did not know, both in NY state; joined Chris and Pauline in Banff through the internet connection facilitated by jacktrip. They recorded in Banff using Ardour on Ubuntu Linux.
This is a really interesting area to explore in Linux and he will be an invaluable resource to help me develop my move into Open Source music. “The Chris Chafe Trio”, including Chris, Pauline and Ione, also performed live in the Walter Philips Gallery in Banff and I produced the film that accompanied their musical performance. I will devote a post to this concert, and write much more about all of the exciting work that I was involved in supporting Fleck Fellow, Pauline Oliveros. While I was in Banff, I was too busy doing the work to write about my experiences. I did take photos and will be posting them as soon as I can.
Right now I am at an internet cafe in Calgary and I plan to start my journey home to Vancouver with stops in Banff, and Summerland. More photos and posts as soon as I have reliable internet. Thanks to Pauline Oliveros for the corrections.
This past week, I have been involved in documenting the programming and rehearsals and finally, the recording of the audio for the musical quartet, EHRES. This is only one of the projects I have been involved in while I have been in Banff, and it has been very exciting to watch the MAX/MSP programmer, Ryan, work on creating a gesture control patch.
John DS Adams not only plays in the group, he was the recording engineer on a hugely complex session that included 36 tracks of recorded audio. I have lots of work to do editing the video and photos and then editing them to the music that was recorded yesterday and today. I should have some photos ready to post soon, but I want the group to see them first.
The next steps include processing the photos, editing the video, matching the visuals to the mixed audio and authoring a DVD. I will be busy for a while doing this.
I have quoted some information about the ensemble sent to me by Norm Adams, composer, cellist and electronics player.
Exteme High Risk Entertainment System (EHRES)
EHRES is Pauline Oliveros, John DS Adams, Ione, and Norman Adams: a quartet of performers employing a groundbreaking system of acoustic and electronic interconnections for live performance. EHRES creates multilayered networks of connections allowing all sounds to be shared, processed and distributed to a multi-channel sound system.
The web of connections begins with the interaction of the artist’s immediate music making process. EHRES balances on the unique qualities of listening, intuition, emotion, timbre, and range that make their individual methods of music making present. Their web extends further into electronic sound, as the musicians process various signals, as the artists interact with one another’s acoustic and electronic sounds and as the sounds move through the performance space, via the immersive, eight channel speaker array.
Musical structures are created spontaneously within each of the performer’s instruments/systems and extends into the interconnections and interactions between the artists and the control of their systems.
EHRES has performed on the suddenlyLISTEN Series in Halifax, Nova Scotia; on the NUMUS Series in Waterloo, Ontario; and at The Lincoln Center Outdoor Festival in New York City.
Tech Notes: I have tagged this post as Open Source because all of the photos will be processed in Ubuntu Linux using various software. Ubuntu software handles RAW conversion with a Gimp plug-in or in RAW Studio.