User:Eastwood/research writing/ThesisProposal4: Difference between revisions
(Created page with "= Graduate Proposal : Draft 4 (Final?) = == What do you want to make? == I want to develop a performance and installation practice that asks whether embracing the precarious...") |
|||
| Line 7: | Line 7: | ||
== Why do you want to make it? == | == Why do you want to make it? == | ||
Improvisation interests me because of its immediacy, and its possibility for the unexpected. It is an act that we are not openly encouraged to explore, and the fields that perpetuate the practice are often closed and specific. In saying this however, improvisation is expressed in our daily activities. Yes like many improvisational practices, the daily events are imbued with affect that imply many of the actions. Mattin sheds light on the fragility of improvisation and suggests its essentially an improvisational music making process. To extend this idea, I believe it is the improvisation beyond an inherent system that allows improvisators to break a standard cycle. I wonder weather outside of music, by embracing the fragility of improvisation and collaboration we can critique our ubiquitous systems in new and exciting ways, and resist the forces of standardisation and blind progress. | Improvisation interests me because of its immediacy, and its possibility for the unexpected. It is an act that we are not openly encouraged to explore, and the fields that perpetuate the practice are often closed and specific. In saying this however, improvisation is expressed in our daily activities. Yes like many improvisational practices, the daily events are imbued with affect that imply many of the actions. Mattin sheds light on the fragility of improvisation and suggests its essentially in an improvisational music making process. To extend this idea, I believe it is the improvisation beyond an inherent system that allows improvisators to break a standard cycle. I wonder weather outside of music, by embracing the fragility of improvisation and collaboration we can critique our ubiquitous systems in new and exciting ways, and resist the forces of standardisation and blind progress. | ||
Music has a long history of improvisation, its roots likely formed by it. Yet too, music has a long history of standardsiation, much like language, tools were developed for its archival and dissemination. Only at very distinct times in our history can we see spikes of an improvised mainstream, which since has dwindled into a relatively fringe practice. Outside of music, one could suggest that improvisational practices exist within the DIY and Open Source software scene (to name two), which were born out of empowerment, and in some ways resistance. | |||
Music has a long history of improvisation, its | |||
I wish to understand my position within this interaction, how the systems impose themselves on me, and visa versa. | I wish to understand my position within this interaction, how the systems impose themselves on me, and visa versa. | ||
| Line 17: | Line 15: | ||
== Relation to larger context == | == Relation to larger context == | ||
In society we are not encouraged to perform outside of the frameworks provided to us through law, education, culture, and consumption. Improvisation allows us to take these systems and play with them, allowing new angles into their functions. The act of improvisation too is different to random acts, although chance is gracoiously embraced, as it it reinforces responsibility. In an improvisational act, the improvisor is taking risks to explore possibilities full accepting the possiblities for failiure and the responsibilities of the consequence of deep experimentation. Unlike a compositional method, perfection is not an option, nor is it aspirational. The spontaneous exploration of a system, or network of systems, its deconstruction, augmentation or abstinence is at the core of improvisational motivation. | |||
The improvised practice is not embraced within the frameworks of our wider society, which is built upon the motivations of ''knowledge'', ''progress'', ''product'', ''rules'', ''roles'' and ''regulation''. Although these ideas are ripe for improvisational practice, and in which their most progressive attributions have been thanks to it, today we are confined by a large and abstract soft oppression by systematic standardisation. | |||
== How do you plan to make it? == | == How do you plan to make it? == | ||
I have developed an algorithmic software instruments in PureData that | I have developed an algorithmic software instruments in PureData that are controlled using a MIDI and audio analysis, and hacked traditional musical instruments to alter the practice of music improvisation. I improvise on my saxophone along with this semi-autonomous computer orchestra, prompting the instruments to regenerate the melodic or rhythmic patterns. I imagine that this work could take the form of a generative installation, a performance piece, album, and a book of man versus machine transcriptions of the new language that will have generated from this practice based research. | ||
I imagine that this work could take the form of a generative installation, a performance piece, and a book of man versus machine transcriptions of the new language that will have generated from this research. | |||
== What is your timetable == | == What is your timetable == | ||
Revision as of 20:22, 8 November 2017
Graduate Proposal : Draft 4 (Final?)
What do you want to make?
I want to develop a performance and installation practice that asks whether embracing the precarious, and fragile position of improvisation can allow for greater human agency. My work will attempt to disrupt standard music making methods, and tools through improvisation, networks, and custom software instruments. For my final work I wish to perform a multi instrumental work that embraces the unstable nature of improvisation in software and music. I wish to put stress on my training in jazz improvisation through experimentation with custom built algorithmic instruments, as a exploration into whether improvisation can be a force for resistance against standardisation.
Why do you want to make it?
Improvisation interests me because of its immediacy, and its possibility for the unexpected. It is an act that we are not openly encouraged to explore, and the fields that perpetuate the practice are often closed and specific. In saying this however, improvisation is expressed in our daily activities. Yes like many improvisational practices, the daily events are imbued with affect that imply many of the actions. Mattin sheds light on the fragility of improvisation and suggests its essentially in an improvisational music making process. To extend this idea, I believe it is the improvisation beyond an inherent system that allows improvisators to break a standard cycle. I wonder weather outside of music, by embracing the fragility of improvisation and collaboration we can critique our ubiquitous systems in new and exciting ways, and resist the forces of standardisation and blind progress.
Music has a long history of improvisation, its roots likely formed by it. Yet too, music has a long history of standardsiation, much like language, tools were developed for its archival and dissemination. Only at very distinct times in our history can we see spikes of an improvised mainstream, which since has dwindled into a relatively fringe practice. Outside of music, one could suggest that improvisational practices exist within the DIY and Open Source software scene (to name two), which were born out of empowerment, and in some ways resistance.
I wish to understand my position within this interaction, how the systems impose themselves on me, and visa versa.
Relation to larger context
In society we are not encouraged to perform outside of the frameworks provided to us through law, education, culture, and consumption. Improvisation allows us to take these systems and play with them, allowing new angles into their functions. The act of improvisation too is different to random acts, although chance is gracoiously embraced, as it it reinforces responsibility. In an improvisational act, the improvisor is taking risks to explore possibilities full accepting the possiblities for failiure and the responsibilities of the consequence of deep experimentation. Unlike a compositional method, perfection is not an option, nor is it aspirational. The spontaneous exploration of a system, or network of systems, its deconstruction, augmentation or abstinence is at the core of improvisational motivation.
The improvised practice is not embraced within the frameworks of our wider society, which is built upon the motivations of knowledge, progress, product, rules, roles and regulation. Although these ideas are ripe for improvisational practice, and in which their most progressive attributions have been thanks to it, today we are confined by a large and abstract soft oppression by systematic standardisation.
How do you plan to make it?
I have developed an algorithmic software instruments in PureData that are controlled using a MIDI and audio analysis, and hacked traditional musical instruments to alter the practice of music improvisation. I improvise on my saxophone along with this semi-autonomous computer orchestra, prompting the instruments to regenerate the melodic or rhythmic patterns. I imagine that this work could take the form of a generative installation, a performance piece, album, and a book of man versus machine transcriptions of the new language that will have generated from this practice based research.
What is your timetable
- Software Development
- Transcription
- Reading & Experimentation reflection
- Developing instruments
- Saxophone repair and service
- Sythesiser building
- Network instruments
- THESIS