Who is free on Wednesday or Thursday? (2nd or 3rd April)
Monday, 31 March 2008
Wednesday, 12 March 2008
Hey gang (most probably just Thomas) but as promised, here are the levels of the laguna* around venice, ive got all the data in a pdf, ill email, if you need them,
im also developing a patch in Max which harvests real-time data, i thought it might be cool if we could use real time data from the levels of the laguna to provide the 'standardised' pulse of the piece, if that sounds good?
Sean
Friday, 7 March 2008
Good videos of Nono works
Have a look at the Nono archive Myspace site
http://www.myspace.com/archivioluiginono
for some ideas about how the performance space might be conceived
http://www.myspace.com/archivioluiginono
for some ideas about how the performance space might be conceived
Thursday, 6 March 2008
Next meeting + latest news
I visited the festival hall and saw the variety of spaces that could work very well for us.
If we can get our project off the ground and give it a proper shape then it seems very likely that we can do a performance/installation.
The condition is that the work should be a response to Nono - and that it should have come together convincingly.
We may also have a performer from Sinfonietta to work with us.
There is a workshop on Monday (10th at lcc), where some of the ideas behind Prometeo will be discussed, and then another on Monday 21st April when we can try out our work with a visiting sinfonietta performer (this to be confirmed).
So that means that we have between now and 21st April to finalise a shape and structure.
I have developed some simple patches which help with the group communication, and it would be great if anyone who feels up to it can take them further.
My question is this - can we meet a couple of times in March (say the 3rd and 4th week) to rehearse and form the work? is everyone here?
Please post dates on this blog.
Im away from 4th to 19th April.
All the best
Thomas
If we can get our project off the ground and give it a proper shape then it seems very likely that we can do a performance/installation.
The condition is that the work should be a response to Nono - and that it should have come together convincingly.
We may also have a performer from Sinfonietta to work with us.
There is a workshop on Monday (10th at lcc), where some of the ideas behind Prometeo will be discussed, and then another on Monday 21st April when we can try out our work with a visiting sinfonietta performer (this to be confirmed).
So that means that we have between now and 21st April to finalise a shape and structure.
I have developed some simple patches which help with the group communication, and it would be great if anyone who feels up to it can take them further.
My question is this - can we meet a couple of times in March (say the 3rd and 4th week) to rehearse and form the work? is everyone here?
Please post dates on this blog.
Im away from 4th to 19th April.
All the best
Thomas
Wednesday, 13 February 2008
Notes from Wednesday 13th
We set up this blogspace
Here are some notes from the class.
In our search for significant themes for this performance, which respond to Nono we had this suggestion
Rising water levels in Venice. The construction of the protective wall around it. This is symptomatic of several things -
the paradoxical attitude 'we can beat nature'
the resulting creation of a box or ghetto around Venice (it was beautiful and open, now it must be enclosed) - The wall between Palestine and Israel
Nono also being enclosed and erased by contemporary culture.
We can extract and ponder on these themes.
I felt that Nono was very good at leaving space for real concerns to emerge and be felt. The feeling of space in his work allows kinds of anger/violence to return to a human context. How we treat the issue of rising water levels can be related to this - what are the issues behind the rising water.
Vocal and other simple themes
I suggested that we might find ways of simplifying the material that we use - for example, using a shared set of vocal recordings. This means that when switching between the rhythmic and arrhythmic pulse we will have a cohesive sound.
Think tanking
We will need to meet to try things out. Its only by doing this that we can see what is working and develop the positive ideas collectively.
Collective action
Related (perhaps) to this. We can put a voting facility into the sound system, someone proposes a change and if all or a majority agree it happens. This could create the odd situation where one is waiting for the last person to agree, and the timing of the event becomes their choice. Improvisation can occur much faster than this of course, but the administrative/political process is something we can act on. (is it a communist or democratic or fascist structure)
Think tanking
Our future sessions should emulate the layout and circumstances of the final performance space.
Remote/Random data - arrhythmical
Our source of random time varying data could be environmental statistics about the water height in the Venice lagoon, or tables about the degree of wood root in the supporting structure
Here are some notes from the class.
- The performances are on 9 and 10 May.
- We can use and adapt material created in Cathy's class.
- Im going to the festival hall next monday and will take some photos of the spaces we can use
In our search for significant themes for this performance, which respond to Nono we had this suggestion
Rising water levels in Venice. The construction of the protective wall around it. This is symptomatic of several things -
the paradoxical attitude 'we can beat nature'
the resulting creation of a box or ghetto around Venice (it was beautiful and open, now it must be enclosed) - The wall between Palestine and Israel
Nono also being enclosed and erased by contemporary culture.
We can extract and ponder on these themes.
I felt that Nono was very good at leaving space for real concerns to emerge and be felt. The feeling of space in his work allows kinds of anger/violence to return to a human context. How we treat the issue of rising water levels can be related to this - what are the issues behind the rising water.
Vocal and other simple themes
I suggested that we might find ways of simplifying the material that we use - for example, using a shared set of vocal recordings. This means that when switching between the rhythmic and arrhythmic pulse we will have a cohesive sound.
Think tanking
We will need to meet to try things out. Its only by doing this that we can see what is working and develop the positive ideas collectively.
Collective action
Related (perhaps) to this. We can put a voting facility into the sound system, someone proposes a change and if all or a majority agree it happens. This could create the odd situation where one is waiting for the last person to agree, and the timing of the event becomes their choice. Improvisation can occur much faster than this of course, but the administrative/political process is something we can act on. (is it a communist or democratic or fascist structure)
Think tanking
Our future sessions should emulate the layout and circumstances of the final performance space.
Remote/Random data - arrhythmical
Our source of random time varying data could be environmental statistics about the water height in the Venice lagoon, or tables about the degree of wood root in the supporting structure
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