tag:blogger.com,1999:blog-77491516079918001412024-02-19T10:00:47.250+00:00Tychonas MichailidisNotes, thoughts and musicTychonas Michailidishttp://www.blogger.com/profile/00441476123063265627noreply@blogger.comBlogger25125tag:blogger.com,1999:blog-7749151607991800141.post-37449287853651597122010-11-08T09:34:00.003+00:002013-01-20T20:03:31.206+00:00New website, new blog<div dir="ltr" style="text-align: left;" trbidi="on">
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Finally after a years thinking I've made it. I will no logger post here.<br />
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<a href="http://www.tychonas.com/" target="_blank">http://www.tychonas.com</a><br />
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Tychonas Michailidishttp://www.blogger.com/profile/00441476123063265627noreply@blogger.com0tag:blogger.com,1999:blog-7749151607991800141.post-29892243756031714482009-10-24T20:52:00.006+01:002009-10-24T21:13:15.615+01:00Double bass and toy music<span style="font-weight: bold; font-family: verdana;">Curcuit Bending_Telephone toy</span> <br /><br /><span style="font-family: verdana;">I have done a bit of circuit bend in this amazing phone toy from Jumbo BEBE store. I have used two light dependent resistors (LDR) with different values to control the curcuit flow. This was done as a part of a piece that me and Sebastiano Dessanay are working on called- Double bass and toy music.</span><br /><br /><object width="560" height="340"><param name="movie" value="http://www.youtube.com/v/uvdnO53i4uI&hl=en&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/uvdnO53i4uI&hl=en&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="560" height="340"></embed></object><br /><br /><br /><br /><span style="font-weight: bold; font-family: verdana;">Wirelles switch box</span> <a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihnd_qMSFAYWKZvwXLaZUK3rAn2mU1VL05PlwIqofvhB2S9fN3D7-0pE6OHBY7prE_dI7g-g3bnZnwCf4CWRgcpIwEo1Qcy42R6e9mcNubCicE6AlPwHQ2R5rtyDw1sKNpBvz4iIqjY30/s1600-h/Switch+Boox.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 400px; height: 300px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihnd_qMSFAYWKZvwXLaZUK3rAn2mU1VL05PlwIqofvhB2S9fN3D7-0pE6OHBY7prE_dI7g-g3bnZnwCf4CWRgcpIwEo1Qcy42R6e9mcNubCicE6AlPwHQ2R5rtyDw1sKNpBvz4iIqjY30/s400/Switch+Boox.jpg" alt="" id="BLOGGER_PHOTO_ID_5396260865975120786" border="0" /></a><br /><br /><span style="font-family: verdana;">I have also built a wireless switch box using the Arduino Bluetooth board. The box will also be used to control a simple MAX/MSP patch that will record,playback and transform the sounds form the toys and the double bass.</span>Tychonas Michailidishttp://www.blogger.com/profile/00441476123063265627noreply@blogger.com0tag:blogger.com,1999:blog-7749151607991800141.post-76543046248594113722009-10-08T01:29:00.002+01:002009-10-08T02:08:58.799+01:00Paddling at Birmingham ConservatoirePaddling at Birmingham Conservatoire Recital Hall 19:30 05 October 2009<div><br /></div><div><br /></div><div><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dwbyZywIG3xUm3lEbHfaWeXoO1nXpn2MgP21g4P9HvDKHDOaVZX7v3huQweao-8J5BHcaSaEps1ZL_KYFlK_Q' class='b-hbp-video b-uploaded' frameborder='0'></iframe></div>Tychonas Michailidishttp://www.blogger.com/profile/00441476123063265627noreply@blogger.com0tag:blogger.com,1999:blog-7749151607991800141.post-303650961487609422009-10-02T10:26:00.008+01:002009-10-15T03:40:08.952+01:00Sirenes (2009)<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dyAMZsjIXtPXBG28RkWg9QErhFpDNvq8tC5KKGuUvXUcp_QNn242o130HL07oEqQIipa0hoRSOwhF8GbwrOdw' class='b-hbp-video b-uploaded' frameborder='0'></iframe><div><br /><div>This was the fourth and final piece from the concert. </div><div><br /></div><div><br /></div><div>Sirenes</div><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 400px; height: 87px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgauMlwVjgZAn9miNsAvLYFDymBZTzTYUi1Xkefi38MwqAZuhsOkAn2VeFotwnFQW3_OXWx_X4VzX-rOEzKCIBTBx1f55GuaGuAutUW4uBJEVP3szqxaX_C1xju4pGzsO6ITEsTWu2igng/s400/Picture+4.png" border="0" alt="" id="BLOGGER_PHOTO_ID_5390013858185422610" /><div><span class="Apple-style-span" style="font-family:Times, serif;font-size:6;"><span class="Apple-style-span" style="font-size:19px;"><br /></span></span></div><div><span class="Apple-style-span" style="font-family:Times, serif;font-size:6;"><span class="Apple-style-span" style="font-size:19px;"><br /></span></span></div><div><span class="Apple-style-span" style="font-family:Times, serif;font-size:6;"><span class="Apple-style-span" style="font-size:19px;"><br /></span></span></div><div><span class="Apple-style-span" style="font-family:Times, serif;font-size:6;"><span class="Apple-style-span" style="font-size:19px;"><br /></span></span></div><div><span class="Apple-style-span" style="font-family:Times, serif;font-size:6;"><span class="Apple-style-span" style="font-size:19px;"><br /></span></span></div><div><span class="Apple-style-span" style=" ;font-family:Times, serif;font-size:19px;">Και πρώτα ταξιδεύοντας θα φτάσης στις Σειρήνες,</span></div><div><span class="Apple-style-span" style=" ;font-family:Times, serif;font-size:19px;">που όλους μαγεύουν τους θνητούς που λάχουνε κοντά τους·</span></div><div><span class="Apple-style-span" style=" ;font-family:Times, serif;font-size:19px;">όποιος σιμώση απ' αγνωσιά κι ακούση τη φωνή τους,</span></div><div><span class="Apple-style-span" style=" ;font-family:Times, serif;font-size:19px;">από γυναίκα και παιδιά χαρά να μην προσμένη</span></div><div><span class="Apple-style-span" style=" ;font-family:Times, serif;font-size:19px;">μήτε πατρίδα πως θα δη, τι με γλυκά τραγούδια</span></div><div><span class="Apple-style-span" style=" ;font-family:Times, serif;font-size:19px;">αυτές τόνε μαγεύουνε μες απ' τη λιβαδιά τους.</span></div><div><span class="Apple-style-span" style="font-family:Times, serif;"><br /></span></div><div><span class="Apple-style-span" style="font-family:'trebuchet ms';"><span class="Apple-style-span" style="font-size:medium;">Tom Martin <span class="Apple-tab-span" style="white-space:pre"> </span> Soprano Sax</span></span></div><div><span class="Apple-style-span" style="font-family:'trebuchet ms', serif;"><span class="Apple-style-span" style="font-size:medium;">Spyros Aristeidou<span class="Apple-tab-span" style="white-space:pre"> </span> Electirc Guitar</span></span></div><div><span class="Apple-style-span" style="font-family:'trebuchet ms', serif;"><span class="Apple-style-span" style="font-size:medium;">Michael Valentine West Wiiremote 1 </span></span></div><div><span class="Apple-style-span" style="font-family:'trebuchet ms', serif;"><span class="Apple-style-span" style="font-size:medium;">Tychonas Michailidis Wiiremote 2</span></span></div><div><br /></div><br /></div>Tychonas Michailidishttp://www.blogger.com/profile/00441476123063265627noreply@blogger.com0tag:blogger.com,1999:blog-7749151607991800141.post-33597446886896264342009-10-02T09:46:00.010+01:002009-10-15T00:54:51.505+01:00Skylla & Harivdi (2009)<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dycPJZ7bkS6Lrz1YgEVR2cC8KDXVv42FVYttRt3bff7mwjNWL-iOa3eQNk7yA8lx0Russtskc2kLTRvbDbaNA' class='b-hbp-video b-uploaded' frameborder='0'></iframe><div><br /></div><div>This was the third piece of the concert. <a href="http://books.google.com/books?id=rcjeZ-yxr5MC&dq=odysseus&printsec=frontcover&source=bl&ots=6AqH5WMQLc&sig=zMgcDgTIj38pwXQE5jWPsPRZseQ&hl=en&ei=_iPNSqSJLISsjAeFyoCqDw&sa=X&oi=book_result&ct=result&resnum=4#v=onepage&q=odysseus&f=false">Skylla and Harivdi</a> page 143<div><br /></div><div><span class="Apple-style-span" style="font-family:Times, serif;"><span class="Apple-style-span" style="line-height: 24px;"><span class="Apple-style-span" style="font-family:Georgia, serif;"><span class="Apple-style-span" style="line-height: normal;">SKYLLA</span></span></span></span></div><div><br /></div><div><span class="Apple-style-span" style="font-family:Times, serif;"><span class="Apple-style-span" style="line-height: 24px;"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 400px; height: 128px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggAwfhuRwpnm5bMY4qWAB3WmfmTBz7vGj6AJebVuPTmZHefy58tA2gjTJE_ghMQag_zKHK65RsH4FrbkA6F6Tio5H2PWN0V7l8DNNGpTu_BhTfuKwrN2EFLreYGsmuaZ_FzT7b5nzxZr8/s400/Picture+2.png" border="0" alt="" id="BLOGGER_PHOTO_ID_5390007527753804738" /></span></span></div><div><span class="Apple-style-span" style=" line-height: 24px; font-family:Times, serif;">Κει μέσα η Σκύλλα κατοικεί και φοβερά γαυγίζει·</span></div><div><span class="Apple-style-span" style=" line-height: 24px; font-family:Times;font-size:medium;">έχει φωνούλα σκυλακιού νιογέννητου, κι ως τόσο<br />είναι κακότροπο θεριό, κι ούτε θνητός κανένας,<br /><div style="text-align: right;">κι ούτε θεός θα χαίρονταν θωρώντας το αντικρύ </div><div style="text-align: right;">του.Έχει και πόδια δ</div><div style="text-align: right;">ώδεκα, που ξέκρεμα είναι όλα......</div></span></div><div style="text-align: right;"><span class="Apple-style-span" style="font-family:Times, serif;"><span class="Apple-style-span" style=" line-height: 24px;font-size:medium;"><br /></span></span></div><div style="text-align: justify;"><span class="Apple-style-span" style="font-family:Times, serif;"><span class="Apple-style-span" style="line-height: 24px;">HARIVDI</span></span></div><div style="text-align: justify;"><span class="Apple-style-span" style="font-family:Times, serif;"><span class="Apple-style-span" style="line-height: 24px;"><br /></span></span></div><div style="text-align: justify;"><span class="Apple-style-span" style="font-family:Times, serif;"><span class="Apple-style-span" style="line-height: 24px;"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 400px; height: 121px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjv5QH2FYTP1i_GsaWpYunuC7ljlsPrVyutyw7g9KB4A4YnWl_i9E1ktohb0XbRXYS4L1bXUf3Oe5MrIoGQEsVHG04QD6-vm5uJ2bks7ig0E9oSNdg1cB6YXlfcERwrI6nF4iTN61G_wMw/s400/Picture+3.png" border="0" alt="" id="BLOGGER_PHOTO_ID_5390008690174404898" /></span></span></div><div style="text-align: justify;"><span class="Apple-style-span" style="font-family:Times, serif;"><span class="Apple-style-span" style="font-size:medium;"><br /></span></span></div><div style="text-align: justify;"><span class="Apple-style-span" style="font-family:Times, serif;"><span class="Apple-style-span" style="font-size:medium;"><br /></span></span></div><div style="text-align: justify;"><span class="Apple-style-span" style="font-family:Times, serif;"><span class="Apple-style-span" style="font-size:medium;"><br /></span></span></div><div style="text-align: justify;"><span class="Apple-style-span" style="font-family:Times, serif;"><span class="Apple-style-span" style="font-size:medium;"><br /></span></span></div><div style="text-align: justify;"><span class="Apple-style-span" style="font-family:Times, serif;"><span class="Apple-style-span" style="font-size:medium;"><br /></span></span></div><div style="text-align: justify;"><span class="Apple-style-span" style="font-family:Times, serif;"><span class="Apple-style-span" style="font-size:medium;"><br /></span></span></div><div style="text-align: justify;"><span class="Apple-style-span" style="font-family:Times, serif;"><span class="Apple-style-span" style="font-size:medium;"><br /></span></span></div><div style="text-align: justify;"><span class="Apple-style-span" style="font-family:Times, serif;"><span class="Apple-style-span" style="font-size:medium;"><br /></span></span></div><div style="text-align: left;"><span class="Apple-style-span" style=" ;font-family:Times, serif;"><span class="Apple-style-span" style="font-size:medium;">Τόν άλλο χαμηλότερο, Οδυσσέα, θα δης το βράχο·</span></span></div><div style="text-align: left;"><span class="Apple-style-span" style=" ;font-family:Times, serif;"><span class="Apple-style-span" style="font-size:medium;">κοντά 'ναι οι δυό τους, θά 'φτανε η σαγίτα σου να ρίξης.</span></span></div><div style="text-align: left;"><span class="Apple-style-span" style=" ;font-family:Times, serif;"><span class="Apple-style-span" style="font-size:medium;">Μεγάλος είναι ορνιός εκεί, μυριόφυλλος, και κάτου</span></span></div><div style="text-align: left;"><span class="Apple-style-span" style=" ;font-family:Times, serif;"><span class="Apple-style-span" style="font-size:medium;">η θεία η Χάρυβδη ρουφάει το μελανό το κύμα.</span></span></div><div style="text-align: justify;"><span class="Apple-style-span" style="font-family:Times, serif;"><span class="Apple-style-span" style="font-size:medium;"> <p class="MsoNormal" style="text-align: left;margin-bottom: 0.0001pt; ">Τη μέρα τρεις φορές ξερνάει, και τρεις φορές ρουφάει·</p><p class="MsoNormal" style="text-align: left;margin-bottom: 0.0001pt; ">να μη σου τύχη και βρεθής την ώρα που ρουφήξη,</p><p class="MsoNormal" style="text-align: left;margin-bottom: 0.0001pt; ">τι δε θα σε ξεγλύτωνε μηδέ του κόσμου ο σείστης.</p><p class="MsoNormal" style="text-align: left;margin-bottom: 0.0001pt; "><br /></p><p class="MsoNormal" style="text-align: left;margin-bottom: 0.0001pt; "><span class="Apple-style-span" style="font-size:medium;"><span class="Apple-style-span" style="font-family:'trebuchet ms';">Chris Smith </span></span><span class="Apple-tab-span" style="white-space:pre"><span class="Apple-style-span" style="font-size:medium;"><span class="Apple-style-span" style="font-family:'trebuchet ms';"> </span></span></span><span class="Apple-style-span" style="font-size:medium;"><span class="Apple-style-span" style="font-family:'trebuchet ms';"> Trumpet</span></span></p><p class="MsoNormal" style="text-align: left;margin-bottom: 0.0001pt; "><span class="Apple-style-span" style="font-size:medium;"><span class="Apple-style-span" style="font-family:'trebuchet ms';">Spyros Aristeidou</span></span><span class="Apple-tab-span" style="white-space:pre"><span class="Apple-style-span" style="font-size:medium;"><span class="Apple-style-span" style="font-family:'trebuchet ms';"> </span></span></span><span class="Apple-style-span" style="font-size:medium;"><span class="Apple-style-span" style="font-family:'trebuchet ms';"> Guitar</span></span></p><p class="MsoNormal" style="text-align: left;margin-bottom: 0.0001pt; "><span class="Apple-style-span" style="font-size:medium;"><span class="Apple-style-span" style="font-family:'trebuchet ms';">Sebastiano Dessanay Double Bass</span></span></p> <!--EndFragment--> </span></span></div></div>Tychonas Michailidishttp://www.blogger.com/profile/00441476123063265627noreply@blogger.com0tag:blogger.com,1999:blog-7749151607991800141.post-57065345438266851132009-09-28T21:09:00.009+01:002009-10-02T09:45:47.344+01:00Cyclopes<div style="text-align: justify;">Cyclopes (2009)</div><div style="text-align: justify;"><span class="Apple-style-span" style="font-size:small;">Improvisation for Double Bass and live electronics</span></div><div style="text-align: justify;"><span class="Apple-style-span" style="font-family:verdana, -webkit-fantasy;"><span class="Apple-style-span" style="font-family:Georgia, fantasy;"><br /></span></span></div><div><p class="MsoNormal" style="text-align: justify;"><span lang="EN-US"><span class="Apple-style-span" style="font-family:verdana;"><span class="Apple-style-span" style="font-size:medium;"><span class="Apple-style-span" style="font-family: Georgia, fantasy; "><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dxyU-snk8czNv8i0yoFxUOzQ-Xd16EFxpTia5vvKqIpMADmiU7GbnWBvSJegjtxDAfgl1F8XlYGRxZSTWcJdA' class='b-hbp-video b-uploaded' frameborder='0'></iframe></span></span></span></span></p><p class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family:verdana, fantasy;"><br /></span></p><p class="MsoNormal" style="text-align: justify;"><span lang="EN-US"><span class="Apple-style-span" style="font-family:verdana;"><span class="Apple-style-span" style="font-size:medium;"><span class="Apple-style-span" style="font-family: Georgia, fantasy; "></span>This is the second piece from the concert. Few mouths ago we try an experimental improvisation approach between Sebastiano Dessanay on double bass and me on live electronics. After that we realize that the outcome was good material and we decided to develop it further. Here is an extension of this collaboration with Sebastiano were the bass is taking the form of the Cyclops. </span></span><span class="Apple-style-span" style="font-family:verdana;"><span class="Apple-style-span" style="font-size:medium;"><o:p></o:p></span></span></span></p> <p class="MsoNormal" style="text-align: justify;"><span lang="EN-US"><span class="Apple-style-span" style="font-family:verdana;"><span class="Apple-style-span" style="font-size:medium;">I am recording live, improvised fragments from the bass and then I am feeding the sounds back to the audience through a surround system. The recorded fragments are layered (up to three for now) and automatically looped and processed live through the Wii remote accelerometer that I am holding in my right hand. The surround distribution is controlled through a custom made sensor glove the I am wearing in my left hand.</span></span></span></p> <!--EndFragment--> </div>Tychonas Michailidishttp://www.blogger.com/profile/00441476123063265627noreply@blogger.com0tag:blogger.com,1999:blog-7749151607991800141.post-21109511328309975162009-09-18T09:05:00.007+01:002009-10-01T20:55:50.031+01:00Performance at Custard Factory<div style="text-align: justify;"><br /></div><div style="text-align: justify;"><span class="Apple-style-span" style="font-size: medium;">The following videos are the pieces from my concert that took place at Custard Factory theatre in Birmingham on the 2nd of September 2009. The concert was a part of my final dissertation for the MA course Digital Arts in Performance.</span></div><div style="text-align: justify;"><span class="Apple-style-span" style="font-size: medium;"><br /></span></div><div style="text-align: justify;"><span class="Apple-style-span" style="font-size: medium;">The first piece of the concert was </span><i><span class="Apple-style-span" style="font-size: medium;">Paddling</span></i><span class="Apple-style-span" style="font-size: medium;"> which resembles the Oddyseas 10 year journey in the sea for his way home after the </span><span class="Apple-style-span" style="font-family:Cambria, fantasy;"><span class="Apple-style-span" style="font-size: medium;">Trojan war few thousands year ago.</span></span></div><div style="text-align: justify;"><span class="Apple-style-span" style="font-family:Cambria, -webkit-fantasy;"><span class="Apple-style-span" style="font-size: medium;"><br /></span></span></div><div style="text-align: justify;"><span class="Apple-style-span" style="font-family:Cambria, -webkit-fantasy;"><span class="Apple-style-span" style="font-size: medium;">T</span><span class="Apple-style-span" style="font-size: medium;">h</span><span class="Apple-style-span" style="font-size: medium;">i</span><span class="Apple-style-span" style="font-size: medium;">s</span><span class="Apple-style-span" style="font-size: medium;"> </span><span class="Apple-style-span" style="font-size: medium;">i</span><span class="Apple-style-span" style="font-size: medium;">s</span><span class="Apple-style-span" style="font-size: medium;"> </span><span class="Apple-style-span" style="font-size: medium;">the program from the concert.</span></span></div><div style="text-align: justify;"><span class="Apple-style-span" style="font-family:Cambria, -webkit-fantasy;"><br /></span></div><div style="text-align: justify;"><span class="Apple-style-span" style="font-family:Cambria, -webkit-fantasy;"><br /></span></div><img style="text-align: justify;display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; cursor: pointer; width: 400px; height: 298px; " src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisWEkU-fSjijrGVyj5SLLYAtBShrdPj1TicVJrVXvG2xdHTt5sU-EVPozxAGM9ILwfSj7WAcmQrv3zWKkJ9Mbov4SNf5mDcCKmmDEFyZLPKNz8gXl4jK0c8WM-Zh3sSYz-bHIOjShs13c/s400/program+.png" border="0" alt="" id="BLOGGER_PHOTO_ID_5382718572397736306" /><div style="text-align: justify;"><span class="Apple-style-span" style="font-family:Cambria, -webkit-fantasy;"><br /></span></div><div style="text-align: justify;"><span class="Apple-style-span" style="font-family:Cambria, -webkit-fantasy;"><i>Paddling (2009)</i></span></div><div style="text-align: justify;"><span class="Apple-style-span" style="font-family:Cambria, -webkit-fantasy;">Tychonas Michailidis</span></div><div style="text-align: justify;"><span class="Apple-style-span" style="font-family:Cambria, -webkit-fantasy;"><br /></span></div><!--StartFragment--><!--EndFragment--> <iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dw97_6ua-8r_TdTrFKqOGU4mnXn4UX87QQf4uDka7EsJWbOWwywNMOc1Y0PsTxBteXPWGl5Dv2ODohDQQGONQ' class='b-hbp-video b-uploaded' frameborder='0'></iframe>Tychonas Michailidishttp://www.blogger.com/profile/00441476123063265627noreply@blogger.com1tag:blogger.com,1999:blog-7749151607991800141.post-47090846729221121742009-07-11T11:58:00.003+01:002009-10-08T01:13:03.250+01:00The MA performance concert on the 2nd September<!--StartFragment--> <p class="MsoNormal"><o:p> </o:p></p> <p class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family:verdana;"><span class="Apple-style-span" style="font-size: medium;">For my MA Digital Arts in Performance degree I have to produce a 45 minutes concert. This is not a part of MA program but my suggestion that I have made to Greg since the program is very flexible in terms of creative outcome. This is the beginning of a journey toward the realisation of this concert from the practical and conceptual point of view.</span></span></p> <p class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family:verdana;"><span class="Apple-style-span" style="font-size: medium;">In addition to the concert I will produce an interactive installation that will be placed at the Vaad Galery, which is next to the theatre and then at Margaret Street on Friday. </span></span></p> <p class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family:verdana;"><span class="Apple-style-span" style="font-size: medium;">The concert will be at the Custard Factory in Birmingham on the 2</span></span><sup><span class="Apple-style-span" style="font-family:verdana;"><span class="Apple-style-span" style="font-size: medium;">nd</span></span></sup><span class="Apple-style-span" style="font-family:verdana;"><span class="Apple-style-span" style="font-size: medium;"> of September at 18:30. There will be one big rehearsal on the 1</span></span><sup><span class="Apple-style-span" style="font-family:verdana;"><span class="Apple-style-span" style="font-size: medium;">st</span></span></sup><span class="Apple-style-span" style="font-family:verdana;"><span class="Apple-style-span" style="font-size: medium;"> from 16:00 until 22:00. The theatre is small (100 seat) with a small stage and a surround system. There is also a fitted projector screen 3x4 that I can use. I will come back to this later on since I have to figure out the equipment that I will need in order to book it from the conservatoire.</span></span></p> <p class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family:verdana;"><span class="Apple-style-span" style="font-size: medium;">The concept of the concert will be the Journey of Odysseus. I will come to this all as soon as I decide which episodes I am presenting. Also I am waiting for the final draft of the poster to put it on</span></span></p> <p class="MsoNormal" style="text-align: justify;"><o:p><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:large;"> </span></span></o:p></p> <!--EndFragment-->Tychonas Michailidishttp://www.blogger.com/profile/00441476123063265627noreply@blogger.com0tag:blogger.com,1999:blog-7749151607991800141.post-55750103698403027952009-05-06T18:43:00.001+01:002009-05-06T18:45:57.159+01:00Proposal for the MA Digital Arts in Performance<div style="text-align: justify;"><span style="font-weight: bold; font-family: verdana;"></span><br /><span style="font-family: verdana;">This proposal, for the MA Digital Arts in Performance final show, will aim to explore human interaction and communication within the digital technologies. Sound examination through human digital interaction will be the main outline of this exploration. </span><br /><br /><span style="font-family: verdana;">Music, as a performing art, has distinct approaches for realisation and audience perception in relation to other forms of art like painting, sculpture, video installations e.t.c. There are two main reasons for this differentiation. The first is, as the world indicates, a performing art that takes place in a continuous time space. There is a real-time creation and experience of the art rather than a static and unchangeable, through time, experience like painting and sculpture. The second reason is that, music making, comprises a medium (instrument) in order to produce the outcome. Before the digitalization of sound and electronic equipment, there was a closer human communication and relation with the sounds. The production of sound was associated with the performance of the human body and the mechanical properties of the instrument. For example, a piano key will produce sound that depends on the force that it is applied to. This is also true beyond any musical instrument experience. Hitting two sticks together, or throwing a rock on the ground it is expected to produce sound. However, with the formation of electroacoustic music the last 60 years there was a deliberate attempt to disconnect the onstage causality of sound. With no performers in concert halls there was no direct relation of the causality of sound. This is debatable since electroacoustic music exists within the technology and there is no need for performers. Thus, abandoning any prior reference outside technology can help the formation of a new relation. However, live electronic music has a relation that lies outside the technological aspect and that is the live/real-time human performance interaction. Abandoning prior relation of any performance aesthetic practice, such as the causality of sound, will not form any new performance relation. On the contrary, will suggest unrelated causality of sound and will loose aesthetic values related to the performance. </span><br /><br /><span style="font-family: verdana;">The outcome of this proposal will aim to establish and suggest a digital causality of sound through digital means and instruments. </span><br /><br /><span style="font-family: verdana;">1. A 45-minute concert/performance that explores the relation of human interaction between digital instruments and sound. This exploration will take the form of improvisations and compositions with traditional and digital instruments. Various digital instruments and custom made controllers will allow this exploration. This will take place at the Custard Factory Theatre</span><br /><span style="font-family: verdana;">2. An interactive installation that responds and reflects the audience interaction to discover sound and visual through interaction. This will take place at the Custard Factory Vaad Gallery.</span><br /><span style="font-family: verdana;">The outcome of this exploration will help me to form a better practical understanding about how and why live electronic music and human interaction can blend a successful aesthetic performance. It will contribute to my professional development as a digital performer since the concert will take place in Custard Factory. This will force me to consider performance problems and solutions. It will provide me with experience and knowledge to continue this practical research at a PhD level.</span><br /><br /><span style="font-family: verdana;">Reading:</span><br /></div><ul style="font-family: verdana; text-align: justify;"><li>Collins, Nicolas. 2007. Live electronic music. In N. Collins & J. d’Escriván, eds. The </li><li>Cambridge Companion to Electronic Music, Cambridge: Cambridge University Press. </li><li>Classen, C. 2005 (Ed). The Book of Touch. Oxford: Berg. </li><li>Cox, C.& Warner, D. 2004 (Eds). Audio Culture: Readings in Modern Music. London: Continuum </li><li>Chion, M. 1994. Audio-Vision Sound on Screen. New York: Columbia University Press. </li><li>Collins N. 2006. Handmade electronic music: the art of hardware hacking, New York: Routledge. </li><li>Davies S. 2004. Recordings. In Davies,S . Musical Works & Performances: a philosophical exploration, Oxford: Clarendon Press </li><li>Emmerson, S. 1986 (Ed.). The Language of Electroacoustic Music. London, The Macmillan Press LTD. </li><li>Emmeson, S. 2000 (Ed). Music, Electronic Media and Culture. Hamshire, Ashgate </li><li>Emmerson, S. 2007. Living Electronic Music. Hamshire, Ashgate </li><li>Ghazaa, R. 2005. Circuit -bending: build your own alien instruments, Indianapolis: Wiley Publishing, Inc. </li><li>Holmes, T. 2002. Electronic and Experimental Music. 2nd Ed. London: Routledge </li><li>Howes, D. 2005. Empire of the Senses. Oxford: Berg</li><li>Mirana, E. R. &. Wanderley, M. 2006. New digital musical instruments: control and interaction beyond the keyboard, Middleton, Wisconsin: A-R Editions, Inc </li><li>Nattiez, J.-J. 1990. Music and Discourse Towards a Semiology of Music. Princeton, New Jersey: Princeton University Press. </li><li>Pateson, M. 2007. The Senses of Touch: Haptics, Affects and Technology. Oxford: Berg </li><li>Road, C. 1996. The Computer Music Tutorial, Cambridge Massachusetts: MIT Press. </li><li>Winkler, T. 2001. Composing interactive music: techniques and ideas using Max, Cambridge, : MIT Press </li><li>Wishart, T. 1996. On Sonic Art. Amsterdam: Harwood Academic Publisher</li></ul><div style="text-align: justify;"><br /></div>Tychonas Michailidishttp://www.blogger.com/profile/00441476123063265627noreply@blogger.com0tag:blogger.com,1999:blog-7749151607991800141.post-42809483865404217652009-05-05T00:21:00.003+01:002009-05-05T15:41:17.282+01:00Latency experiment Stage 1<span style=";font-family:verdana;font-size:100%;" ><span style="font-weight: bold;">Hardware and Software.</span><br /><br /></span><div style="text-align: justify;font-family:verdana;"><span style="font-size:100%;">As a starting point for this experiment it is wise to lay down all the hardware and software available. Working with the equipment that is already there at the VRU labs will be beneficial in two ways:<br /></span><ol><li><span style="font-size:100%;"> No money will be spend</span></li><li><span style="font-size:100%;"> It will save time as well since there will be no alternative root for thinking the usability of different equipment. For example, an old and slow wireless rooter is possible to give a different outcome that a fast and new wireless rooter. However, this debatable approach might take place in future, since it is not under the scope of this experiment.</span></li><li><span style="font-size:100%;">By using the same hardware and software it will show easier any dysfunction in the experiment </span><span dir="ltr" id=":2w">be more apparent</span><span style="font-size:100%;">. Also, it will be easier to monitor the outcome since the hardware and software relation will be the same and out of any concern. </span></li></ol><span style="font-size:100%;">The next stage is to write down the possible needs for the experiment and to find out if there are available.<br /><br /><span style="font-weight: bold;">Location.</span><br /><br />There are four locations so far that the experiment can take place.<br /><br />1. VRU lab(Margaret Street)<br />2. VRU Studio (Digbeth)<br />3. Conservatoire<br />4. Tychonas House<br /><br />There is an uncertainty about the functionality of these locations since I have to make sure that there is a possibility to undertake the experiment. So things to do this week are:<br /><br />1. Write down all the hardware and software needed.<br />2. Make sure what is the availability of each location<br /></span></div>Tychonas Michailidishttp://www.blogger.com/profile/00441476123063265627noreply@blogger.com0tag:blogger.com,1999:blog-7749151607991800141.post-37170402665022803202009-05-04T00:20:00.009+01:002009-05-04T02:33:34.825+01:00Music Technology Concert, 21 April 2009<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcOOKaKY7hzSVgIsQEA3k4FWtqZS_sJs6sOd4scnk8xnU3fGw93c7Ou5i0UGiuCHixwmM9LHbNXynhx_HB_5fAP_OqlTphYxi9941mzq9oNZ2SGfxaZ8n1OzHq9fynCHCY2nX6uMjysgk/s1600-h/IMG_1470-4.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 300px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcOOKaKY7hzSVgIsQEA3k4FWtqZS_sJs6sOd4scnk8xnU3fGw93c7Ou5i0UGiuCHixwmM9LHbNXynhx_HB_5fAP_OqlTphYxi9941mzq9oNZ2SGfxaZ8n1OzHq9fynCHCY2nX6uMjysgk/s400/IMG_1470-4.jpg" alt="" id="BLOGGER_PHOTO_ID_5331759828120230994" border="0" /></a><br /><br /><br /><br /><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dzaXsQc4GHjL_V_FcY28j91fr_LHpHtcagvRRJvl9qBwqughoLmJh6s5YsRqu0S_mhxOSPSiRRIcQsHiv3JhA' class='b-hbp-video b-uploaded' frameborder='0'></iframe><br /><span style="font-style: italic;font-size:85%;" >Study Approach No.1</span><br /><br /><span style=";font-family:verdana;font-size:130%;" ><br /><br /><span style="font-size:100%;">This is the video from the performance that took place in the Music with Technology concert at Birmingham Conservatoire 21 April 2009. It is a series of performances exploring improvisation and digital causality of </span></span><span style=";font-family:verdana;font-size:100%;" >sound</span><span style=";font-family:verdana;font-size:100%;" > between live electronics and the double bass (Sebastiano Dessanay)</span><br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwX_4rbe2MS-IC2vFpgIY9cwau6VCu-_nMw4db7XmdZ4SOpagUVg0dozU14X4Sl_08cmFJb_Oy9rrO96nZxC1fveyaaHged0EBprcf5Res-hLPehA-p-q7HKg43svK9wP2hZ7pATwhoyc/s1600-h/IMG_1457-2.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 300px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwX_4rbe2MS-IC2vFpgIY9cwau6VCu-_nMw4db7XmdZ4SOpagUVg0dozU14X4Sl_08cmFJb_Oy9rrO96nZxC1fveyaaHged0EBprcf5Res-hLPehA-p-q7HKg43svK9wP2hZ7pATwhoyc/s400/IMG_1457-2.jpg" alt="" id="BLOGGER_PHOTO_ID_5331759818530715554" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheVCX9_EzMvU79jd5sQt0y-5if16uUTY4-LsWTNZK5ColqpDo2qdaiPzysuoCW_jNaDDxzDysxOzElKv-kh69yHTG7wFtQvWK9DxK6bgAMO6F5Sv6NDfTXASRqntlu3CLI_srkWm_IgDc/s1600-h/IMG_1468-3.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 300px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheVCX9_EzMvU79jd5sQt0y-5if16uUTY4-LsWTNZK5ColqpDo2qdaiPzysuoCW_jNaDDxzDysxOzElKv-kh69yHTG7wFtQvWK9DxK6bgAMO6F5Sv6NDfTXASRqntlu3CLI_srkWm_IgDc/s400/IMG_1468-3.jpg" alt="" id="BLOGGER_PHOTO_ID_5331759825058280722" border="0" /></a><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><span style="font-size:78%;"><br />Photos by Jonathan Green</span>Tychonas Michailidishttp://www.blogger.com/profile/00441476123063265627noreply@blogger.com0tag:blogger.com,1999:blog-7749151607991800141.post-40952835071004782162009-04-30T10:14:00.003+01:002009-04-30T10:19:58.995+01:00Latency experiment. Start 29-04-09<div style="text-align: justify; font-family: verdana;"><br />This is an extract of the suggested performance mentioned in the essay.<br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghdAmoD2FmUoNmN6eHIVI9poh0fYJq6fJ3Aw6pWU0xWD-LUa2_A7kfdTEvdGXc0_i-DDBT3VMuwHTOsvnovBdoKfysoMP7llAdzHhZgdaVkkVaTuQ7nT8t__AOzcKjCWdNw3xKoWVDHgI/s1600-h/Picture+1+18-44-46.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 377px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghdAmoD2FmUoNmN6eHIVI9poh0fYJq6fJ3Aw6pWU0xWD-LUa2_A7kfdTEvdGXc0_i-DDBT3VMuwHTOsvnovBdoKfysoMP7llAdzHhZgdaVkkVaTuQ7nT8t__AOzcKjCWdNw3xKoWVDHgI/s400/Picture+1+18-44-46.png" alt="" id="BLOGGER_PHOTO_ID_5330411211426541170" border="0" /></a><br />“Four laptops are placed in two different locations, Birmingham‐ Athens. Laptop 1 and 4 are based in Birmingham and laptop 2 and 3 in Athens. There is a performer between laptop 1 and 4 that is called Red and the performer in Athens is called Blue. Laptop 1 is connected via Internet network to laptop 2 as well as 3 to laptop 4 via Internet. Laptops 1 and 4 are not communicating together as well as the laptops in Athens. The piece is similar to Steve Reich’s phase musical approach. Instead of having the performer phasing the music in and out the network latency will phase the music in and out as natural effect. Two same instruments, pianos, are located in each location. Red and Blue will have the same score, 8 bars of music or 16 seconds of music at 120 (bpm). A clock will be needed to count the seconds and beats. There will be an ON/OFF situation between the two. When the Red is ON Blue is OFF and vice versa. The ON signal means that the performer will play the 8 bars of music. The OFF signal means the pause for 16 seconds. Red will start as ON by playing the 8 bars. As soon as Blue hears the first note from Red that is the signal to start as OFF, so counting the 16 seconds of rest before setting to ON. After this Red and Blue have to play on time and count with the watch in order to be as strict as possible. Laptop 1 is the input of sounds from Red and laptop 2 the output of Red and the input of Blue. Laptop 3 is the input of Blue and laptop 4 is the output of Blue and the input of Red. Anti‐clockwise circuited starting from laptop 1.The network latency in relation with the strict timing from Red and Blue will phase the music. A close set of headphone will be needed so that latent sounds and notes coming from laptops 2 and 4 cannot affect expectations and the performances of Red and Blue. The piece will stop when the two locations are in phase playing the 8 bars in unison. The outcome of the piece is based on the amount of latency that exists between the two locations.”<br /><br />There are three stages in this experiment that need to be explored:<br />1. <span style="font-weight: bold;"> The design</span> (hardware, software, place, instruments, score e.t.c)<br />2. <span style="font-weight: bold;"> The process </span>(the way to put all this together and how they will work, interact with each other)<br />3. <span style="font-weight: bold;">The outcome</span>, the actual performance, what it is expected, the hypothesis of the experiment and the desired outcome.<br />I the third stage, the hypothesis and the assumption, is a good starting point since it has a major reflection on stage one and two.<br /><br /><span style="font-weight: bold;">The outcome</span> of this experiment, as mentioned earlier, is to allow latency to phase in and out the music from two separate locations in order to experience similar music phases. A general outcome that the experiment will be based on is the following:<br /><br /><span style="font-style: italic; font-weight: bold;">THE MAIN DIRECTION OF THE EXPERIMENT IS TO MAKE AVAILABLE ALL THE COMPONENTS SO THAT LATENCY IS EXPRESSED AS IT IS, SHOWING A CREATIVE PERSPECTIVE.</span><br /><br />The debate between Greg and me in a small chat was whether<br />(a) this will work in the first place and if so,<br />(b) the 16 seconds of silence will become 32 as they will play along (Greg’s suggestion)or<br />(c) they will start towards unison direction from the very beginning (Tychonas suggestion)<br /><br />There are also many other questions to be answered but let’s take some of them since more questions will appear during the process. There is an ON/OFF situation between the two locations. When Red is ON, Blue is OFF and vise versa. There will be latency within the two locations that will be added every time that Red or Blue is ON.<br />1. Is there added latency between the two locations and how much is it, how it can be measured?<br />2. How long it will take to have a noticeable effect?<br />3. How Red audience will listen in relation to Blue’s?<br />4. Is there a direction towards unison or a separation of the two leaving 32 seconds of silence and 32 seconds of music?<br />5. How to synchronize the two to know that there is a reference point to study the experiment.<br /><br />The next step is to shape <span style="font-weight: bold;">the design</span> so that it is possible to know the equipment, place and time, instruments and performers.<br /><br /><br /></div>Tychonas Michailidishttp://www.blogger.com/profile/00441476123063265627noreply@blogger.com0tag:blogger.com,1999:blog-7749151607991800141.post-19458679081147832912009-04-29T11:58:00.003+01:002009-04-29T12:08:10.990+01:00What was done so far<div style="text-align: justify; font-family: verdana;">It is being a long time since I made the effort to write in this blog but I have the best excuse, I was busy…….<br /><br />So to catch things up to the present, in concert with my MA course, I have to mention the presentation and the 5000 word paper under the Contextual Research Presentation module. In a few words what I had to do for this semester are the following:<br />1. a 45 minute presentation on a subject that reflects digital creativity and practice<br />2. a 5000 world essay that will be discuss the aesthetic arguments of creativity and the practical reflection mentioned in the presentation<br /><br />In a way, the presentation was bad and inconclusive. Major features of any aesthetical approaches where missing. However, it was a good approach in technicalities. The subject of the presentation and essay was the aesthetics of latency, in networks. It is a part of the paper presentation that Greg and me will present in Keele University in the 4th of July. In the presentation, I have approached the subject, latency, from the technical point of view leaving out the aesthetic part. I mentioned what and where is latency and the way it is experienced thought the human body. I had also present, not well; the way latency works in networks. The inconclusiveness of the presentation was because I did not mentioned how latency can be used as an aesthetic feature in networks. The presentation took place on the 11th of March 2009 at the lecture room in Margaret Street. I will upload soon a small video from the presentation.<br /><br />I believe the essay covered the missing parts of the presentation giving emphasis on the aesthetical approach and how network latency may suggest creativity. I am waiting to be marked on this essay. As an essay it is an easy reading, making clear arguments and points why and how latency must and should be approached creatively in the digital arts. The essay was handed in the 21st of April 2009.<br /><br />Another part of this semester assignment is the Digital Arts Practice( C-DAP1). The aims of this, as mentioned in the guidebook are:<br />• To enable you to experiment, develop, synthesise and resolve your practice at an advanced level.<br />• To encourage experimentation with digital technology with a view to developing a major practical theme for the MA stage.<br />• To explore the possibilities for improvisation through digital media.<br />• To enable you to investigate and develop alternative media and/ or related skill(s) where relevant.<br />• To enable you to enhance your knowledge and understanding of professional practice through your engagement with it.<br /><br />In a few words is to experiment with technology to discover, understand, explore and develop a different a digital approach to creativity. What I am planning to do is a performance piece suggested in the essay about latency creativity. It will take the form of an experiment simply because Greg theoretically suggest a different outcome from what I had mention in the essay. I have a deadline until the 25th of May that I have to be able to describe any findings from the experiments. This blog will be my digital notes for this experiment. It will help me with the documentation of the design, process and the outcome of the experiment.<br /><br /></div>Tychonas Michailidishttp://www.blogger.com/profile/00441476123063265627noreply@blogger.com0tag:blogger.com,1999:blog-7749151607991800141.post-67677255684129418462009-02-28T10:25:00.002+00:002009-02-28T10:29:27.269+00:00Putting Your Foot Down: the Aesthetics of Latency<b><span style="font-size:100%;">Paper presentation proposal, Dr. Gregory Sporton & Tychonas Michailidis, Visualisation Research Unit, Department of Art, Birmingham City University.<br /><br />It will be presented at the Sixth Biennial International Conference on Music Since 1900<br />2-5 July 2009, Keele University<br /><br /></span></b> <span style="font-size:100%;"> </span><p style="margin-bottom: 0.14in;"> </p> <p style="margin-bottom: 0.14in;" align="justify"><span style="font-size:100%;">Traditionally, <span class="il">latency</span> is considered as a problem in performance contexts, and nowhere has this been more apparent than in the use of the Internet for networked-based performance. The absence of <span class="il">latency</span> in stand-alone computers contrasts with the experience of networked performance, creating ambivalence about the role the network can play in computer-based sonic and visual art.</span></p> <p style="margin-bottom: 0.14in;" align="justify"><span style="font-size:100%;">This paper suggest that rather than being a problem for the digital artist, <span class="il">latency</span> is an inherent property of the network, and as such is one of the determining features of the creative space. This demands that creative practitioners account in their work for <span class="il">latency</span> as a creative and aesthetic aspect of digital arts practice.<br /></span></p> <p style="margin-bottom: 0.14in;" align="justify"><span style="font-size:100%;">The opportunities are more apparent when it comes to live performances or interactive installation using technology. Hardware communication, long cables and networking produce significant <span class="il">latency</span> that does not respond instantly to the performance or installation situation. We discuss, through practical demonstration, not how to reduce <span class="il">latency</span> to the minimum but rather how to use <span class="il">latency</span> as a creative and aesthetic property within the presentation structure. Creativity through <span class="il">latency</span> is exploited by suspending the expectations of what we experience visually, aurally and sensually.<br /></span></p> <p style="margin-bottom: 0.14in;" align="justify"><span style="font-size:100%;">We approach the aesthetics of <span class="il">latency</span> in two ways. Firstly we examine the effect of different latencies by delaying the audio from the visual and vice versa. Secondly, we look at the effects of <span class="il">latency</span> in audio-haptic domain. By examining the areas above we present some alternative approaches in digital creativity practice, experiencing <span class="il">latency</span> from an audience perspective as well as the challenges for the performer.<br /></span></p> <p style="margin-bottom: 0.14in;" align="justify"><br /></p>Tychonas Michailidishttp://www.blogger.com/profile/00441476123063265627noreply@blogger.com0tag:blogger.com,1999:blog-7749151607991800141.post-11360184184392528842009-01-27T00:57:00.006+00:002009-01-27T01:57:49.858+00:00Attractor Performance 06/01/2009The performance took place at the recital hall of Birmingham Conservatoire on the 6th of January 2009<br /><br /><br /><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dzftDY0kd6f6CIt9nVXdB6vV_gTLBExJnJaNm3NsTDSZLcLz62_EAnML8myRPNN0xTuFLS6si3k8E3Hm0SeZQ' class='b-hbp-video b-uploaded' frameborder='0'></iframe><br /><br /><br /><br />The program notes<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNsChDR2k8kiwh7jbAT9TtOCxfzGWQUVwT17r-tyeqrV3Un2_5Y5K-z3-Ffy8jpRUVJ3H0Er7W_7KjV2ucfm6ywSCrZd80YXhHAxiwRaCuzCqdDQx9WIMQVsPbXIIKFxhBIX3QOdRnreQ/s1600-h/Programme+VRU+Mon+pm.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 283px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNsChDR2k8kiwh7jbAT9TtOCxfzGWQUVwT17r-tyeqrV3Un2_5Y5K-z3-Ffy8jpRUVJ3H0Er7W_7KjV2ucfm6ywSCrZd80YXhHAxiwRaCuzCqdDQx9WIMQVsPbXIIKFxhBIX3QOdRnreQ/s400/Programme+VRU+Mon+pm.jpg" alt="" id="BLOGGER_PHOTO_ID_5295786615100197362" border="0" /></a><br /><br /><br /><br />The poster<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTLOng9G6CIf6EL-VHq4fuyjlu8CTy0238YqlGr6NnB_CN89ltYPNfGfKCFqLqoIG5XP80hHh6NH_9QB0JO6MC6OwsHO2QSQDnrvhxZ76I5T-sFt9YPLSfZY2pLOIpctAZ3qxJ7HzviWM/s1600-h/VRU+performance+6:01:09.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 283px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTLOng9G6CIf6EL-VHq4fuyjlu8CTy0238YqlGr6NnB_CN89ltYPNfGfKCFqLqoIG5XP80hHh6NH_9QB0JO6MC6OwsHO2QSQDnrvhxZ76I5T-sFt9YPLSfZY2pLOIpctAZ3qxJ7HzviWM/s400/VRU+performance+6:01:09.jpg" alt="" id="BLOGGER_PHOTO_ID_5295785911202901522" border="0" /></a>Tychonas Michailidishttp://www.blogger.com/profile/00441476123063265627noreply@blogger.com0tag:blogger.com,1999:blog-7749151607991800141.post-42654078515931900172009-01-18T22:53:00.002+00:002009-01-27T00:50:37.750+00:00Rehearsals commentsI think now is time to cover all that happened since the last time I wrote in this blogg.<br />Few things from the last update:<br /><br />1. I had to decide about the artistic outcome of the project since my previous idea (about the audience interaction) did not work.<br />2. Problems with the performers or to be more precise, I didn’t know if they would show up since I had never worked with any of them in the past to know them and trust them.<br />3. The piece needed to be polished and ready for the performance<br /><br />Since the last update 8/12/08 I had 3 rehearsals and the performance on the 6th of January. The three rehearsal was at the 16th and 20th of December and on the 5th of January.<br />I will start with describing what happened in the rehearsals:<br /><br />16 December 08-Rehearsal 1 14:00-17:00<br /><br /><div style="text-align: justify;">This rehearsal, as the other two and the performance, happened in the recital hall at Birmingham conservatoire. I had only three hours on my disposal so I thought that the best rehearsal would be to test if all the equipment works without the performers. We took all the equipment (me and Julia) laptops, soundcards, cables and more cables and tried to put everything together. Julia is the other MA student that she had a film installation performance on that day, 6th January 2009. After three hours and with a lot of help from the conservatoire technician (Matthew O'Malley) everything worked. The 8-channel setup was ready. I had to write down most of the setup configurations (cables, soundcards inputs outputs etc) because we had to unplug everything by the end of the rehearsal. This rehearsal was very important to found out if the technology works and any possible problems.<br /></div><br />20 December 08- Rehearsal 2 10:00 -16:00<br /><br /><div style="text-align: justify;">That day only the saxophone player came and that made me worried more about the other performers. After setting up again all the equipment I had to make sure that everything works. Even though I had done the same thing few days earlier I had still a few things that did not worked as planed. I was though confident because everything had worked the first time, and I had plenty of time to found out how. Again this rehearsal was more about testing the equipment rather a piece rehearsal. What I have gain from all this, is that technology and equipment need to be performed without the performers in advance. I believe this is something that electronic composers and performers start now to realise (at least I did).<br />Since the piece was not even close to any traditional performance I knew that writing down (on paper, notes) the whole performance would not worked. The 4 Wii players had to move in the three-dimensional axis, in space, and push different buttons on the Wii. For that reason I tried to approach this composition with a different technique. Instead of writing what they had to do, I saw what they could do and then wrote it down on paper.<br />At the rehearsal I had worked the way the saxophone and the Wii remote could work as one. What I did eventually was to allow the Wii remote to manipulate the sounds of the saxophone by controlling the amount of different effects (from Abelton Live) through the Wii remote. After knowing what the saxophonist could do I wrote a twelve bar melody in 3 different keys. The saxophone player could choose to play for any number of times any of the twelve bars. The Wii performer had all the twelve bars(sound files) pre-recorded and stored in advance so that he could recall randomly any of them. There are more details that I am not going discuss now.<br /></div><br />5th January 09_Rehearsal 3 10:00- 17:00<br /><br /><div style="text-align: justify;">The same process was done in this rehearsal as well. Set up everything, make sure that everything works and finish the composition. All the performers finally showed up ☺. I had to explain them what I have done in Max and how it worked with the Wii remote. I tried to do this as simple as possible for the reason I explained above, if it was too complicated then the performers could not play with it. Since the Wii remote is a new instrument that you can control and manipulate sound, I had to approach it in a way that could feel right and logical from the first time. Same thing happened with the actual Wii remote for gamming; it felt right from the very beginning. The piece was actually composed on that rehearsal, the setup, the sections, and everything else was decided with the performers at that day. For example the idea of the 3 performers sitting in the audience and then coming on stage was decided because the performers were very interested in doing this. Bass and saxophone player decided what they wanted to do as a group, change of keys, tempo etc. Finally this was the idea from the very begging, how group see themselves in other groups and other individuals in a group.<br /></div><br />I had 7 groups.<br /><br />1. The bass player<br />2. The Sax and the Wii that controls the sax sound<br />3. 1 and 2 together<br />4. The 3 Wii players<br />5. The Sax Wii and the 3 other Wii players<br />6. 1, 2, 4 together<br />7. 1, 2, 4 and me the Conductor<br /><br />I can go further by saying that also the audience form a group since the 3 Wii performers were sitting in the audience.<br />I will post soon some picture and videos form the rehearsals. I will also comment of the actual performance soon.Tychonas Michailidishttp://www.blogger.com/profile/00441476123063265627noreply@blogger.com0tag:blogger.com,1999:blog-7749151607991800141.post-1693951814702543702008-12-08T02:13:00.003+00:002009-01-27T02:37:03.471+00:00Crucial point (part 2)This crucial point in my project is a nightmare. The problems of the project become more obvious at this point since all my ideas I had before are now taking shape and form.<br />The most important thing I have to do is to realise that my compositional outcome is not about technology but an artistic approach through technology. After the meetings with Greg and Lamberto, I have realised that what I've done so far had to do with technology not with art. Because of this situation I have to come up with something new, using the already configured technology. Actually I have to reproach my whole concept for this composition since I had dumped my earlier ideas with the audience participation and colour tracking. I have some troubles with the people that I am supposed to participate with. Is a bit hard for me because I have no idea if they will actually come to the rehearsals or even to the performance. My first degree was not here in Birmingham Conservatoire so I had to ask people to perform that I don’t know if I can trust them. I guess this is part of the collaboration project so I have to prepare for the worst and have a few back up plans just in case.<br />The performance is on the 6th of January 2009, and the conservatoire and the art department are closed. So I have to plan this really good in terms of equipment since I have to take out everything before the 19th of December (Friday). Also to make a poster in advance so people can came to the performance.<br /><br />New compositional concept<br /><br />My new concept approach has to do with how people see themselves as an individual, in relation with other, in relation with a group of people, and in relation with other groups. I am exploring this approach through sounds and physical gestures. The sound files are words that can express gestures. I am using words like,<span style="font-style: italic;"> Me, You, They, Them</span>, Is, Are in addition to that I am using two different languages, Greek and English. The performers will trigger the sound files, randomly, and then he or she will do the appropriate gesture. For example the <span style="font-style: italic;">Me</span> sound, he/she will be showing themselves, for the <span style="font-style: italic;">You</span> sound the performer will make a gesture showing the other performers or the audience and so on. Another level of this concept lays with in the actual setup of the performers. There is a base player who is free to do whatever he want, play or not play, fast slow, rhythmic and so on. This is an attempt to show individuality within a group. There is a saxophone player that is linked with one laptop player that holds the Wii. The sax-Wii performer is able to manipulate the sounds coming from the sax in real time. So '<span style="font-style: italic;">They</span>' may form another group. The other three-laptop performers will perform holding the Wii and making gestures, they are allready a group. From the audience point of view we are a big group with the conductor the leader of the group.Tychonas Michailidishttp://www.blogger.com/profile/00441476123063265627noreply@blogger.com0tag:blogger.com,1999:blog-7749151607991800141.post-49023386283938420762008-11-30T23:51:00.000+00:002008-11-30T23:52:28.798+00:00Crucial point (part 1)I am now at the point, in my project, that I have to decide what sound I am going to use. How I am going to use them it was all figure out more or less at the programming sequencer procedure (and still is). This point is crucial because my decisions now will bring the composition alive or not. Bad quality and bad combination of sounds will of course produce a bad composition. In addition to that I have to consider how sound effects in Ableton Live will change the final outcome. It is very similar to cooking a Christmas turkey dinner with the staffing. If the turkey is not good quality whatever you do with the rest of the dish the results will be less than medium. From the other hand if the turkey is free range and good quality, fresh from a butcher, then is more likely to have an unforgettable Christmas dinner. There are two ways to do these tests. The first option, which I don’t have, is to test each sound at the rehearsals to see (hear) whether are appropriate for this composition. In other words buy ten turkeys from different places and put them in the oven to find out which turkey taste better so that you will buy it for the Christmas dinner. Rehearsals in my case are tricky because the performers are doing this for free so they are not so happy to do rehearsal just to figure out what type of sounds I will use. The other part that is also very related to the final outcome of the composition is the Christmas stuffing (sound effects). Ableton live have a wide range of sound effects that I can use but which of those will taste the better?<br />In addition to all this I have to use 8 different sound files (two for each performer) that the qualities and character of the sounds will be a pleasant mixture. Again like a four-course meal with two ingredients for each course. The reason for this decision to have 8 different sounds files, two for each performer, is because I the composition is in an 8-speaker surround set up. Each performer will have a pair of speakers with the ability to pan and choose the sound file on the fly. The only sounds that I know so far are the alto saxophone and the electric base.<br /><br />My approach here would be a combination of experiments with sounds. I am aiming for faster and most efficient way to choose between the sounds. I know that I will have base and saxophone so having those two sounds as a given I will start choosing my sound around that area. I am approaching the sounds as a saxophone quartet with frequencies low middle and high. I will update this as soon as I decide what sounds I am going to use.Tychonas Michailidishttp://www.blogger.com/profile/00441476123063265627noreply@blogger.com0tag:blogger.com,1999:blog-7749151607991800141.post-18820441307081926092008-11-26T18:30:00.004+00:002008-11-26T18:38:18.242+00:00After the meeting at VRU 25/11/2008Today’s meeting was very helpful. I was able to formulate my aims for this composition-project in a clearer and more directional way. As I’ve mention previously in my Blog the main purpose for this project is to involve the audience in a way that they will transform and interact with the music in a live performance. Furthermore is the idea and fact that audiences can influence the performance consciously and subconsciously. In the first section of my programming with Max/MSP I am using cameras to track the colour from the audience and therefore a consciously interaction. I’ve decided to drop out this part completely since the other two parts are quite complicated. Also another reasons for dropping out is the fact that since I was going to use cameras I had to do some tests to see how the cameras will act in a performance situation. How far away can the camera track colour. How the lights in the performance affect the colour. Am I going to use LEDs or mobile phones from the audience? All these are questions that will produce even more questions if they are answered. Even if the tests are done the final outcome, from the section one, was going to be unstable and would crucially influence negatively the other two sections. It occur to me, after the meeting, that what I was trying to do in section one with the cameras, was to track the position of the particular colour within the frame of the camera. This all could work in a much simpler manner. I will track the amount of colour (Red, Green, Blue) within the frame of the camera. I will need to do some test as well, if I am going to include this, but with this it might work in a more secure way. <br /><br />The next video shows how the, abandon for now, idea of colour tracking works. It works fine with only one colour received form the camera. When are two colours, in this case two red sources, it automatically connect the lines from the outer X to the outer Y. Watch the cursors at the right video. Imagine this in a group of audience of 20 people. The incoming data would be very unstable.<br /><br /><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dzoZEiw3k_vSoGShPIO7fsJ9qfWDc7Szita0Ml3znMVYsZ-Jh_YcA5Ycgc7c3aUuB9srzzOZ87gr_-Dk_C2Tg' class='b-hbp-video b-uploaded' frameborder='0'></iframe><br /><br /><br /><br />Knowing that the first section is not included, I will have to do a few modification to to the second part to be completed as a compositional piece. I will add another Wii as the master Wii or in musical terms a conductor. I will conduct the other four Wiis with the master Wii. The button in the masters Wii will act as a gate for the effects on Live Ableton. I am working on this modification and I don’t know the actual outcome of this process. Hopefully I will be able to control the final musical outcome from the Master Wii . I am still working on the third section. I am waiting from the base player and the saxophone player to let me know if they can do the performance.Tychonas Michailidishttp://www.blogger.com/profile/00441476123063265627noreply@blogger.com0tag:blogger.com,1999:blog-7749151607991800141.post-56164914843542338522008-11-24T00:23:00.005+00:002008-11-25T21:39:59.035+00:00Three sections for the projectI have decided that I will need six people to participate in this project apart from the audience and me. Four of them will perform with laptops and Wiis and the other two will be performing traditional instrument probably on base and sax. I have found two of them so far that are willing to collaborate with me.<br /><br />Project construction<br /><br />I have mentioned earlier that I had to broke down my programming to three sections. Thanks to Jonathan Green that already made a few patches in Max/MSP for colour tracking (similar my section one programming) I have decided that it was better to work on the second section to see how I was doing. In this second section I have done more or less half of the work that I need to do. I have connected the Wii with Max and route different buttons to the sequencer. Using the Rewire in Max I have connected it with Ableton live which I will have all the audio effects for real-time processing. Have a look at the video.<br /><br /><br /><br /><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dzj4aY3Wtjci2a4A1-9z-ibt2Hqj335j9yLGwJ6CH-PnB-WmAzBMD9bfT-OyrW5okneSZL77xraxp-7n3bmcA' class='b-hbp-video b-uploaded' frameborder='0'></iframe>Tychonas Michailidishttp://www.blogger.com/profile/00441476123063265627noreply@blogger.com0tag:blogger.com,1999:blog-7749151607991800141.post-19409677889376773542008-11-09T13:48:00.007+00:002008-11-25T21:39:13.111+00:00Putting things together 9/11/200I have decided that it will be easier and more effective if I break my project in three parts where I can manage each one separately. Also for testing the project it would be much easier.<br /><br />So I have three sections. The first is the tracing colour via the camera or cameras. This section will deal with the audience as a group. The idea here is to use their mobile phones as a source of light to be able to track them through the cameras in to Max/MSP. Another easy way to have light information form the audience is to give them a small colour LED with a small battery attached on. Also it will be visually interesting.<br /><br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5Cou0SmyQk9MvKM8GZtMYvuItCPkFOvxBAkel_ExkFe8QE_irWRYF1O5g4uqT4xwNBDaCoCuBIa083Mbvgn37PqFn3m3nxurrnozEQlDNI6k1tV6zfMBxgrnpQlDkSYBJmnFPl1p5_4g/s1600-h/Photo+3.jpg"><img style="cursor: pointer; width: 136px; height: 102px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5Cou0SmyQk9MvKM8GZtMYvuItCPkFOvxBAkel_ExkFe8QE_irWRYF1O5g4uqT4xwNBDaCoCuBIa083Mbvgn37PqFn3m3nxurrnozEQlDNI6k1tV6zfMBxgrnpQlDkSYBJmnFPl1p5_4g/s200/Photo+3.jpg" alt="" id="BLOGGER_PHOTO_ID_5266655087207065538" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfuW8Cut_FDSF7LOsW85uHGVFHTdwffekI824B-c5p6ElgV3NV5wqHsk3i8lhV27HdmlPwOD8D5o4-99rtI-5q2P63EtdkhDwTi7rLD5I-i10UV5RO-y7sY7Bn8Blw6kjGTednhYxC9mo/s1600-h/Photo+2.jpg"><img style="cursor: pointer; width: 138px; height: 102px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfuW8Cut_FDSF7LOsW85uHGVFHTdwffekI824B-c5p6ElgV3NV5wqHsk3i8lhV27HdmlPwOD8D5o4-99rtI-5q2P63EtdkhDwTi7rLD5I-i10UV5RO-y7sY7Bn8Blw6kjGTednhYxC9mo/s320/Photo+2.jpg" alt="" id="BLOGGER_PHOTO_ID_5266654947982629730" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-f9eJ6skDA6rWRM6PUC8eqcy7a4IBHN0ze8R0YNDhmkNPnokeM7wkE_JZZvKvv9hcohB54tQDR1F2TvHsdvPI0ATkDfQpPZQReXFBy9WU6i4DXRi-fDeMZCiGTISUC4KxUOk6LfvQP34/s1600-h/Photo+4.jpg"><img style="cursor: pointer; width: 136px; height: 102px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-f9eJ6skDA6rWRM6PUC8eqcy7a4IBHN0ze8R0YNDhmkNPnokeM7wkE_JZZvKvv9hcohB54tQDR1F2TvHsdvPI0ATkDfQpPZQReXFBy9WU6i4DXRi-fDeMZCiGTISUC4KxUOk6LfvQP34/s200/Photo+4.jpg" alt="" id="BLOGGER_PHOTO_ID_5266655303396623634" border="0" /></a><br /><br /><br />From there the audience will realise that their action is causing an effect on music. Another part of the audience as a group will be the use of Bluetooth to sent pictures. I am thinking to have a projector with the images that they send which will manipulate and affect the music.<br /><br />The second is the data from the Wii remotes. I will have 4 Wii remotes that each one will be like an instrument. I have finished yesterday 8/11/2008 a few hand made infrared devices to use with the Wii infrared camera that is attached on the Wii remote. So far I am only forming my ideas on how it will work.<br /><br />The third section is dealing with the live performers and the stage set up. I haven’t done anything for this section yet. I will form eventually along with the other sections.Tychonas Michailidishttp://www.blogger.com/profile/00441476123063265627noreply@blogger.com0tag:blogger.com,1999:blog-7749151607991800141.post-25127897514332494052008-11-05T12:32:00.007+00:002008-11-09T12:29:05.932+00:00Something solid 05/11/08Trying to answer those questions, I have mentioned earlier in my blog, I have ended up with more questions and things started to drift away. At that point I knew that I had to arrange a meeting with Greg to put things in order. After a conversation with Greg (28-10-2008) about my new ideas and questions i had in mind, I have realized that it was not clear to me what I am going to do for collaborative project. So,to make my project clear I have to be able to explain it.<br /><br /><br /><div style="text-align: center;">In my collaborative project I am focusing on how the audience can influence and transform a live musical performance.<br /><br /><span style="font-size:130%;">WHY?</span><br /><br />It is fairly accepted, at least from me, that the audience is able to contribute to the final musical outcome. If there is no audience then music can not exist. There is a connection between the audience and performer/s as it is with the composer and performer/s. To make things clearer here is a small drawing how they connect with each other.<br /><br /><img src="file:///Users/nicola/Desktop/Picture%202.png" alt="" /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_3VDokbIhnSA/SRGeKHTdQyI/AAAAAAAAACc/WmT0VttcCSE/s1600-h/Picture+2.png"><img style="cursor: pointer; width: 320px; height: 154px;" src="http://1.bp.blogspot.com/_3VDokbIhnSA/SRGeKHTdQyI/AAAAAAAAACc/WmT0VttcCSE/s320/Picture+2.png" alt="" id="BLOGGER_PHOTO_ID_5265163335969358626" border="0" /></a><br /><br /></div><br /><div style="text-align: center;"> Every element can affect the others in any direction.<br />To create, what we can label as, a live musical outcome we need all of the three elements above. All of these factors can influence and transform the music in a live performance.<br /><br /><span style="font-size:130%;"><br />HOW?<br /></span></div><br />I have to find ways that I can engage the audience to participate into the music. I have mention earlier the conscious and the unconscious influence of the audience. In most of the western civilisation musical tradition the audience contributes to performances/compositions from the unconscious point of view. Their influence is more psychological to the performers. They can not control the mental influence since they don't know how the performer is going to react.<br /><br />From the conscious point of view the audience is very restricted. There are few concerts that the audience is <span style="color: rgb(204, 0, 0);">allowed</span> to interact with the music. The next videos are from the concert Rock Music, Rock Art that held at Birmingham Conservatoire on the 24 of October 2008. During that concert the musicians wanted the audience to clap their hands as a part of the concert. At the end of the concert the musicians from the Uganda Dance Academy ask from the audience to participate by dancing with the rest of the group. Here are two videos taken with my mobile phone.<br /><br /><br /><br /><br /><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dzb0crRmLgxVnH5K7wPWX7hW3wcs8zrz3otUp5W52FQN0ECVSEi0_xb6NBVDU8W3L2kIfLmzC1o2iOFn3W9rA' class='b-hbp-video b-uploaded' frameborder='0'></iframe> <iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dyxyuxJx3ujT100Umfh16jlWKGY3GQKU6598zxvzxumWZbZdQsFsENOEkhsKqjzHYyOCFciQBUW_-xalRvT2A' class='b-hbp-video b-uploaded' frameborder='0'></iframe><br /><br />Furthermore it is <span style="color: rgb(255, 0, 0);">forbidden</span> to influence the performance/composition in a western tradition. In concerts they give you the performance notes in a hard paper so that you don’t make any <span style="color: rgb(255, 0, 0);">sounds accidentally</span> during the performance. They also supply you with throat drops so that you will not <span style="color: rgb(255, 0, 0);">disturb</span> the concert and the others. Moreover you feel so uncomfortable by the <span style="color: rgb(255, 0, 0);">unwritten rules </span>that you are waiting for the section to finish, you cough and then you prepare yourself mentally to seat still for the next 22 minutes.<br /><br />So for my collaborative project I want the audience to be able to choose their participation consciously or unconsciously. For the hardware I am planning to use mobile phones the Wii remote and other portable devices as a part of conscious participation from the audience. Mobile phones because now almost everyone has a mobile phone and they will feel comfortable enough to use it during a performance. Also I am assuming that the already know how to use the Bluetooth or take a picture. The Wii remote because is a small wireless device which I can get lots of data from it. For the software I will us Max/MSP and Ableton Live.Tychonas Michailidishttp://www.blogger.com/profile/00441476123063265627noreply@blogger.com0tag:blogger.com,1999:blog-7749151607991800141.post-65151241507531746782008-10-24T10:47:00.006+01:002008-11-05T14:09:43.141+00:00Hello Digital 24-10-2008I have been to the Hello Digital conference yesterday, which was quite interesting to see. One of the things that I realize, during the drumming gorilla presentation from the Glass and a Half Full Production by Cadbury, was that alongside with the digital evolution there is a high demand of interactivity and participation from the audience. One of the factors that the gorilla ad was and still is such a success the amount of accessibility from the audience to that particular advertisement. The ad was accessible to the public to download, and interact, the same time as it was aired on TV. After that there was a chain reaction in <span style="font-style: italic;">Youtube, Facebook, Myspace, Flickr.<br /><br /></span><br /><object height="344" width="425"><param name="movie" value="http://www.youtube.com/v/CbLr2NEV_7o&hl=en&fs=1"><param name="allowFullScreen" value="true"><embed src="http://www.youtube.com/v/CbLr2NEV_7o&hl=en&fs=1" type="application/x-shockwave-flash" allowfullscreen="true" height="344" width="425"></embed></object><br /><br /><br /><br />Coming back to my project I was thinking that if the audience, which is a large part of my project, is seated then I don’t give them the accessibility and possibility to interact (physically) with the sound. If seated they are limited to seat there until the end, so limited movement limited interaction. They will fill like being in an ordinary performance. The good thing is that the conservatory recital hall is able to move all the seats at the back a have a big space available. Also if there is going to be a performance in the gallery it will be very similar because the audience have to move.<br /><br /><br /><span style="font-size:130%;">Conclusion: No seats in this project</span><br /><br /> I am asking myself two things.<br /><br />1. Is there going to be a performance stage and if so how and where is going to be?<br />2. I mention before the physical interaction of the audience, how about the digital interaction?Tychonas Michailidishttp://www.blogger.com/profile/00441476123063265627noreply@blogger.com0tag:blogger.com,1999:blog-7749151607991800141.post-11783394723111149852008-10-21T20:10:00.004+01:002008-11-05T14:09:43.142+00:00SO FARSo far I’ve been doing mostly two things here at the VRU.<br /><br />The first thing that I have done, and I am still doing it, was to get familiar with the equipment that the VRU have available. I’ve been messing around with different kind of equipment that might be helpful for my collaborative project or for any other project in the future. I got familiar with equipment like the HP PDA , the 770Internet table form Nokia, the Sony Ericson phone-PDA, the DSLR Canon 350D, the eBeam Whiteboard ( not so much), the Sanyo Digital Media Camera and the Lemur. All of the equipment might be useless by the end of the day but I wanted to know the capabilities of the different technologies that I am surrounded. This approach, of just messing around with the different tools, I believe, is a part of my creative outcome in the future.<br /><br />1. By knowing the equipment I can be creative using the technology.<br />2. I will not waste my time reinventing the wheel in terms of technology.<br />3. I will know the limitations and capabilities of my equipment.<br />4. I can combine the different technologies.<br />5. I will know what to look for and where to find it.<br /><br />The second thing that I am on is my collaborative project that I have to hand in at week 15 (5 Jan 2009). At this point I am still trying to come up with some creative and philosophical decision about my collaborative project. I am also trying to find ways to make the project collaborative with someone else.<br />I thought that using FreeMind might help me organize my ideas and the outcome that I am looking for. (http://freemind.sourceforge.net/wiki/index.php/Download). Using FreeMind made things a bit clearer and a bit more complicated in a way. Clearer because I have to make decision which eventually will force the project to come to life. Complicate because I raise more questions to myself that I have to answer them.<br /><br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_3VDokbIhnSA/SP4qKg7lwJI/AAAAAAAAACU/b1-zS5nPCRU/s1600-h/Collaborative+Project.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://4.bp.blogspot.com/_3VDokbIhnSA/SP4qKg7lwJI/AAAAAAAAACU/b1-zS5nPCRU/s320/Collaborative+Project.png" alt="" id="BLOGGER_PHOTO_ID_5259687774942249106" border="0" /></a>Tychonas Michailidishttp://www.blogger.com/profile/00441476123063265627noreply@blogger.com0tag:blogger.com,1999:blog-7749151607991800141.post-91653563463530400092008-10-09T11:33:00.003+01:002008-11-05T14:09:43.142+00:00Notes for my collaborative project for the MA Digital Arts in Performance 08-10-2008<span style="font-weight: bold;">First session with Greg</span> <span style="font-weight: bold;">at VRU</span><br /><br />By introducing some questions will help me to understand and realize better the creativity that I am looking for.<br /><br />1. What is the role of the audience in a performance?<br />2. How can audience influence/interact with the performers and therefore the composition? By performers I include computers as well.<br />3. Is this influence conscious or unconscious to the audience and the performers?<br />4. How much of influence should be allowed to the audience?<br />This idea is similar to the composer-performer connection. See any serial music and Philip Glass Contrary Motion or Cage.<br />5. Compare the differences of the same performance system in two different places. Different people- different outcome.<br />6. How space can influence the writing of a composition? Find out about compositions that were specially made for specific places like the church.<br />7. In what way should engage the audience in a composition? (conscious or unconscious)<br />8. Will the audience then become the performer and if so, where is the audience?<br />9. Above all this, is this going to be an electroacoustic music composition, or an art installation performance?<br />10. Why people should care about all this?Tychonas Michailidishttp://www.blogger.com/profile/00441476123063265627noreply@blogger.com1