Getting the Hands Dirty

2008 ◽  
Vol 18 ◽  
pp. 25-31 ◽  
Author(s):  
John Richards
Keyword(s):  
Social Interaction ◽  
Human Body ◽  
Digital Technology ◽  
Electronic Music ◽  
Live Performance ◽  
Face To Face ◽  
Shared Experiences ◽  
Live Electronic Music ◽  
And Performance

“Getting the hands dirty” refers to an approach in which process and performance are inseparably bound. The “performance” begins on the workbench and is extended onto the “stage” through live bricolage. The idea of “dirt” is seen as a critical ingredient in the process of live electronic music, and the term “dirty electronics” is used to describe an increasing focus in electronic music on shared experiences face-to-face, ritual, gesture, touch, social interaction and the exploration of devised instruments. The author concludes that digital technology has merely reinforced the importance of the human body and the physical in live performance.

scholarly journals Imaginary Soundscapes: Electronic Music Culture and the Aesthetics of the Virtual

2021 ◽  
Author(s):  
Sara Wei-Ming Chan
Keyword(s):  
Digital Technology ◽  
Electronic Music ◽  
Digital Technologies ◽  
Production Performance ◽  
Dance Music ◽  
Music Culture ◽  
Electronic Dance Music ◽  
Composition Methods ◽  
Unique Manner ◽  
And Performance

This study is an exploration into how dance music cultures (better known as "rave" or "club" cultures) find ways to straddle the divide between human and machine through their incorporation of both of these oft-competing elements. Electronic dance music and its digital composition methods represent what Mike Berk calls "a new sonic paradigm." The different modes of production, performance and consumption within this paradigm require alternative ways of thinking about originality, creativity, and authenticity. While I do look briefly at issues of consumption and performance within dance music cultures, I focus specifically on how electronic music producers are bound by a unique vision of musical authenticity and creativity, borne out of their own "technological imagination" and the sonic possibilities enabled by digital technology. To use the concepts employed within my paper, I contend that dance music cultures make evident what Michael Punt calls the "postdigital analogue"--a cultural condition in which the decidedly more "human" or "analogue" elements of felt experience and authenticity coexist and converse with the predominance of the digital technologies of simulation and artifice. Dance music cultures are an emergent social formation, to use Williams' term, revising and questioning the typical relationships understood between digital and analogue. This postdigital analogue manifests in a number of ways in the cultural, aesthetic, and technological principles promoted by dance music cultures. In terms of production in particular, signs of digital and analogue coexist in a form of virtual authenticity, as the sound of the technological process engaged to make electronic dance music bears the mark of musical creativity and originality. This study reveals the unique manner in which dance music cultures incorporate both analogue and digital principles, bridging a sense of humanity with the acceptance of the technological.

Natural Objects

2021 ◽  
pp. 336-415
Author(s):  
You Nakai
Keyword(s):  
Electronic Music ◽  
Electronic Components ◽  
Performance History ◽  
Dance Company ◽  
Complex Oscillation ◽  
Natural Objects ◽  
Merce Cunningham ◽  
Live Electronic Music ◽  
Input Source ◽  
And Performance

Tudor claimed that in his seminal work Untitled, electronic components were discovered as “natural objects” as they were patched in a feedback loop creating a giant oscillator which generated sounds without exterior input. But his description of the piece as “part of a never-ending series of discovered works” calls into question its very status as a standalone “work.” Turning to its performance history appears to only complicate the puzzle. Despite his aim to perform everything live, the proliferation of modular instruments forced Tudor to record the output of his setup in advance and use this recording as input source in subsequent performances. He would later create Toneburst, which realized the no-input principle without the aid of pre-recorded sources. Shortly before his death, Tudor revived Toneburst for other musicians of the Merce Cunningham Dance Company to perform. A close examination of recordings reveals that the same three source tapes were used not only in all performances of Untitled, but also in all performances of Toneburst after its revival. This surprising discovery, along with Tudor’s use of the linguistic indeterminacy inherent in the title of Untitled to solve a conundrum he faced in the revival, is used to depict the complex oscillation between work and performance in Tudor’s live-electronic music.

The Intersection of ‘Live’ and ‘Real-time’

2016 ◽  
Vol 21 (2) ◽  
pp. 138-146
Author(s):  
Kerry L. Hagan
Keyword(s):  
Real Time ◽  
Computer Music ◽  
Electronic Music ◽  
Live Performance ◽  
Live Electronics ◽  
Experimental Practice ◽  
Live Electronic Music ◽  
Time Work ◽  
Compositional Method

Real-time computer music is now common and ubiquitous, no longer a new or experimental practice. In its infancy, it helped to solve perceived issues with the fixity of tape pieces, a natural continuation in the practice of live electronics. However, real-time computer music did not have the same consequences as live electronic music. This situation engendered many discussions about the liveness of real-time computer music performances at the time. It is now 20 years past those first conversations, and it is important to revisit what is ‘live’ and how it applies to real-time musics. Additionally, in some ways, the language surrounding descriptions of fixed medium works, mixed works, live electronics and real-time computer music has evolved and, perhaps, even settled into conventions distinguishing musical approach and philosophies. This article first defines the language, not to proselytise, but rather to ground the argument. The conclusion asserts that liveness is a spectrum despite the fact that ‘live’ is often used categorically. Though one may have an intuitive understanding of what constitutes a ‘live’ event, this article explicitly articulates the most significantly contributive factors. The nature of real-time computer music is explored in relation to these factors of liveness. Using musical examples, this article shows that ‘real-time’ music does not guarantee a ‘live’ performance, contrary to what is typically held to be true. Instead, ‘real-time’ simply becomes a descriptor of compositional method, and any real-time work can exist along a broad range of the liveness spectrum.

Beyond DIY in Electronic Music

2013 ◽  
Vol 18 (3) ◽  
pp. 274-281 ◽  
Author(s):  
John Richards
Keyword(s):  
Electronic Music ◽  
New Paradigm ◽  
Shared Experiences ◽  
Instrument Building ◽  
Do It Yourself ◽  
And Performance ◽  
The Buddha ◽  
Naive Approach

Do-it-yourself (DIY) in electronic music represents a new paradigm that is not just about DIY. Doing-it-together (DIT) and the idea of community and shared experiences are at the root of DIY practice. This article discusses how the workshop and the event have become central to practitioners working in the field of DIY. Collective instrument building, the concept of the living installation, and performance are viewed as a holistic event. Some specific examples of the author's work known as Dirty Electronics are considered, where emphasis is placed upon experience rather than the ‘something to take home’ factor. These include the following works: ICA Solder a Score, Noise Shadow, Still and Cut & Thrust. Composing ‘outside’ electronics is regarded as a method for revealing processes that can be represented in other areas of the work beyond sound-generating circuits. The article also looks at how building circuits and sound devices acts as a way to create a tabula rasa, and how the idea of delegated performance, where instruments are played by ‘non-experts’, serves to establish a naïve approach and authenticity in performance. Through the sharing of information online and in workshops, the DIY community has become knowledgeable, which has resulted in a community ‘full of experts’ and the growth of custom-designed circuits. The rise of discrete hand-held music players, such as the Buddha Machine, and the boutique synthesiser are also discussed, and the physical artefact and sound object are seen as a vehicle for the dissemination of ideas. Finally, the question is asked: ‘In DIY practice, where does the authentic document of the work lie?’

Virtual Electronic Music School

2021 ◽  
pp. 260-264
Author(s):  
Will Kuhn ◽  
Ethan Hein
Keyword(s):  
Electronic Music ◽  
Online Teaching ◽  
Online Community ◽  
The United States ◽  
Music Educators ◽  
Music School ◽  
Teaching Online ◽  
Face To Face ◽  
English Speaking ◽  
And Performance

This chapter discusses how an electronic music school works in a post-COVID world. The chapter gives models for teaching online and in person while following social distancing requirements. The text reflects on teaching techniques that are impossible during a pandemic and introduces strategies for adapting to remote instruction. The disruption caused by the pandemic has forced reassessment of long-standing assumptions and may even foment valuable changes. For example, since large-ensemble rehearsal and performance are difficult or impossible to do remotely, music educators in the United States have both the obligation and the opportunity to compare their practices with those of other English-speaking countries that have de-emphasized large teacher-directed ensembles. The chapter compares synchronous and asynchronous approaches to online teaching and proposes online formats like livestreaming. Finally, in cases where face-to-face interaction is limited or impossible, the chapter presents the concept of an online community of practice and existing examples of such communities.

Does being a Stranger make it Difficult to Cooperate?

2017 ◽  
Vol 20 ◽  
Author(s):  
P. Sariñana-González ◽  
Á. Romero-Martínez ◽  
L. Moya-Albiol
Keyword(s):  
Social Interaction ◽  
State Anxiety ◽  
Social Stress ◽  
Anxiety State ◽  
Negative Outcomes ◽  
Moderating Variables ◽  
Face To Face ◽  
Competition And Cooperation ◽  
Anxiety Levels ◽  
And Performance

AbstractCompetition and cooperation are two somewhat opposed strategies for interpersonal social interaction that help us to achieve both individual and shared goals. The main aim of this study was to explore which type of social interaction (cooperative or competitive) is more stressful in a face-to-face same-sex dyad in healthy young participants (n = 178), considering outcome obtained in these tasks (positive or negative) and sex as moderating variables, and performance of the task alone as a control condition. Salivary cortisol (Csal) was measured in one sample obtained before task and four obtained after the task (+0, +15, +30 and +45 minutes after). Anxiety-state was assessed before and immediately after the task. Participants who cooperated and obtained negative outcomes had higher Csal levels than those who worked alone with negative outcomes in all periods after the task (p = .008, ηp2 = .058 and p = .033, ηp2 = .031, respectively). Moreover, those who cooperated showed higher mean self-reported state anxiety levels than the rest of the participants (p = .013, ηp2 = .051 and p < .001, ηp2 = .530, respectively). Our study indicates that cooperation between strangers in face-to-face dyads is highly stressful, more so than competing or working alone. These results should be taken into account for understanding situations of social stress and can be generalized to situations in which subjects cooperate or must decide between cooperating and competing to attain a goal.

scholarly journals Tecnofagia: A Multimodal Rite

2019 ◽  
Author(s):  
Luzilei Aliel ◽  
Rafael Fajiolli ◽  
Ricardo Thomasi
Keyword(s):  
Electronic Music ◽  
Video Art ◽  
Digital Art ◽  
Cultural Aspects ◽  
Brazilian Art ◽  
Live Electronic Music ◽  
Collective Performance ◽  
And Performance ◽  
The Moment ◽  
Export Product

This is a concert proposal of Brazilian digital art, which brings in its creative core the historical and cultural aspects of certain locations in Brazil. The term ​ Tecnofagia derives from an allusion to the concept of anthropophagic movement (artistic movement started in the twentieth century founded and theorized by the poet Oswald de Andrade and the painter Tarsila do Amaral). The anthropophagic movement was a metaphor for a goal of cultural swallowing where foreign culture would not be denied but should not be imitated. In his notes, Oswald de Andrade proposes the "cultural devouring of imported techniques to re-elaborate them autonomously, turning them into an export product." The ​ Tecnofagia project is a collaborative creative and collective performance group that seeks to broaden aspects of live electronic music, video art, improvisation and performance, taking them into a multimodal narrative context with essentially Brazilian sound elements such as:accents and phonemes; instrumental tones; soundscapes; historical, political and cultural contexts. In this sense, ​ Tecnofagia tries to go beyond techniques and technologies of interactive performance, as it provokes glances for a Brazilian art-technological miscegenation. That is, it seeks emergent characteristics of the encounters between media, art, spaces, culture, temporalities, objects, people and technologies, at the moment of performance.

scholarly journals Imaginary Soundscapes: Electronic Music Culture and the Aesthetics of the Virtual

2021 ◽  
Author(s):  
Sara Wei-Ming Chan
Keyword(s):  
Digital Technology ◽  
Electronic Music ◽  
Digital Technologies ◽  
Production Performance ◽  
Dance Music ◽  
Music Culture ◽  
Electronic Dance Music ◽  
Composition Methods ◽  
Unique Manner ◽  
And Performance

This study is an exploration into how dance music cultures (better known as "rave" or "club" cultures) find ways to straddle the divide between human and machine through their incorporation of both of these oft-competing elements. Electronic dance music and its digital composition methods represent what Mike Berk calls "a new sonic paradigm." The different modes of production, performance and consumption within this paradigm require alternative ways of thinking about originality, creativity, and authenticity. While I do look briefly at issues of consumption and performance within dance music cultures, I focus specifically on how electronic music producers are bound by a unique vision of musical authenticity and creativity, borne out of their own "technological imagination" and the sonic possibilities enabled by digital technology. To use the concepts employed within my paper, I contend that dance music cultures make evident what Michael Punt calls the "postdigital analogue"--a cultural condition in which the decidedly more "human" or "analogue" elements of felt experience and authenticity coexist and converse with the predominance of the digital technologies of simulation and artifice. Dance music cultures are an emergent social formation, to use Williams' term, revising and questioning the typical relationships understood between digital and analogue. This postdigital analogue manifests in a number of ways in the cultural, aesthetic, and technological principles promoted by dance music cultures. In terms of production in particular, signs of digital and analogue coexist in a form of virtual authenticity, as the sound of the technological process engaged to make electronic dance music bears the mark of musical creativity and originality. This study reveals the unique manner in which dance music cultures incorporate both analogue and digital principles, bridging a sense of humanity with the acceptance of the technological.

Face to Face Social Interaction and Inferior Frontal Processing

2003 ◽  
Author(s):  
Jeremy I. Skipper ◽  
Howard C. Nusbaum ◽  
Steven L. Small
Keyword(s):  
Social Interaction ◽  
Face To Face

DIGITAL TRANSFORMATION IN EDUCATION: ACTIVE LEARNERS

2019 ◽  
pp. 14-21
Author(s):  
Sevinç GÜLSEÇEN
Keyword(s):  
Computer Games ◽  
Digital Technology ◽  
Electronic Music ◽  
Teaching And Learning ◽  
Active Role ◽  
Digital Transformation ◽  
Technology Literacy ◽  
Digital Television ◽  
Student Centered ◽  
Student Centered Learning

It is argued that the digital technology has made possible the vast range of applications and media forms including virtual reality, digital special effects, digital film, digital television, electronic music, computer games, multimedia, the Internet, the World Wide Web, digital telephony and so on [8]. Digital transformation has been particularly influential in new directions of society.Providing schools with digital technology promises a high return on investment. The presence of computers and Internet access raises technology literacy and skills, better preparing the future generations to participate in the information society [12]. To this end, schools represent ideal access points because they cover a large part of the population, especially in developing countries. Starting from 1990s, many educators have been realised the potential of Internet for educational purposes and began to introduce it into classrooms. According to [10] the popularity of web-based teaching and learning lies in the strengths of its distributed nature and the case of its browsing facility. Both the use of digital technology and increased interest in student-centered learning may lead to a significant change of the teacher’s role, as well as the recognition of the active role of the learner in the learning process.

Sign in / Sign up

Export Citation Format

Share Document