Interactivity/interpassivity and presence/absence in the Ntrallazzu cycle

Autor: Messina, Marcello, Feichas, Leonardo Vieira
Jazyk: angličtina
Rok vydání: 2020
DOI: 10.5281/zenodo.4248186
Popis: Ntralllazzu is the title of a cycle of works based on interactive live scores, that reflects on the multifaceted philosophical concepts of liveness and interaction both from a creative point of view and in more critical terms. The work is based on a projected score that interacts in real time with the material played by the performer(s). While one of the performers plays, the sound is fed to and processed by patching software, and generates both electronic sounds and a score, which is to generally, but not necessarily, to be performed by a second player. In this paper, we discuss the ways in which subsequent versions of Ntrallazzu exist in between two fundamental sets of opposites, namely, interactivity/interpassivity and presence/absence.
{"references":["Aliel, Luzilei; Keller, Damián; Costa, Rogério (2018). The Maxwell Demon: Comprovisation in ecologically grounded creative practice. Musica Hodie , 18(1), 103-116.","Berweck, Sebastian (2012). It worked yesterday: On (re-)performing electroacoustic music (Doctoral dissertation, University of Huddersfield).","Cage, John. (1952) 4' 33'' . New York: Edition Peters.","Carson, Tate (2020). On Ecocomposition. Journal of Digital Media & Interaction , 3(5), 133-142.","Croft, John. (2007) Theses on liveness. Organised Sound , 12(1), 59-66.","Feltham, Mick; Zaldua, Alistair; Bright, Danny; Canning, Rob; Berweck, Sebastian; Baldry, Will; Krekels, Tina; Messina, Marcello; Redhead, Lauren; Hignell, Daniel (2014) PureGold Presents: Digital Score Project . Goldsmiths, University of London, 17 May 2014. Retrieved from https://www.gold.ac.uk/calendar/?id=7556 Accessed 2 Jun 2020.","Foucault, Michel (2008). The birth of biopolitics: lectures at the Collège de France, 1978-1979 . Springer.","Keller, Damián; Messina, Marcello; Silva, Carlos Eduardo; Feichas, Leonardo Vieira (2020). Embasamento da Ancoragem Semântica Criativa. Journal of Digital Media & Interaction 3(5), 117-132.","Keller, Damián; Feichas, Leonardo Vieira (2018). Ecocompositional and Performative Strategies for Creative Usage of Everyday Sounds: Creative Semantic Anchoring. Leonardo , 51(2), 195-196.","Keller, Damián; Barreiro, Daniel Luis; Queiroz, Marcelo; Pimenta, Marcelo Soares. (2010) Anchoring in Ubiquitous Musical Activities. In: Proceedings of the International Computer Music Conference , 2010, p. 319-326.","Mantaras, Ramon Lopez De; Arcos, Josep Lluis. (2002) AI and music: From composition to expressive performance. AI magazine, 23(3), 43.","Mbembe, Achille (2003). Necropolitics. Public culture , 15(1), 11-40.","Messina, Marcello; Aliel, Luzilei. (2019) Ubiquitous Music, Gelassenheit and the Metaphysics of Presence: Hijacking the Live Score Piece Ntrallazzu 4. In 14th International Symposium on Computer Music Multidisciplinary Research .","Messina, Marcello; Aliel, Luzilei. (2018). Ntrallazzu 4 [a cycle of pieces for extractable parts, live scores and electronics]. In W orkshop em Música Ubíqua/Ubiquitous Music Workshop (UbiMus 2018) .","Messina, Marcello; Feichas, Leonardo Vieira (2018) Ntrallazzu: a cycle of musical pieces for extractable parts, live scores and electronics. In Nova Contemporary Music Meeting ( NCMM18 ). [Written proceedings forthcoming later in 2020].","Messina, Marcello (2017). O que queremos dizer quando falamos de tecnologia musical na Amazônia. In VI Simpósio Internacional de Música na Amazônia .","Mooney, James; Schampaert, Dorien; Boon, Tim. (2017) Alternative histories of electroacoustic music. Organised Sound , 2017, 22(2), 143-149.","Pfaller, Robert (1996) Um die Ecke gelacht: Kuratoren nehmen uns die Kunstbetrachtung ab, Videorecorder schauen sich unsere Lieblingsfilme an: Anmerkungen zum Paradoxon der Interpassivität. Falter (41), 71.","Puckette, Miller (2004). Who owns our software? A Firstperson Case Study. In Proceedings of the International Symposium on Electronic Art (pp. 200-202).","Pugliese, Joseph. (2014) The alleged liveness of \"Live\": Legal visuality, biometric liveness testing and the metaphysics of presence. In Anne Wagner and Richard K. Sherwin (eds.) Law, culture and visual studies . Dordrecht: Springer, pp. 649-669.","Pugliese, Joseph; Stryker, Susan. (2009) The somatechnics of race and whiteness. Social Semiotics , 2009, 19(1), 1-8.","Reuben, F. (2012). On Violence. (R. Nakamura, Performer) Goldsmiths, University of London, In Interactive Keyboard Symposium . Retrieved from http://www.youtube.com/watch?v=G05FqpbgB0Q","Reuben, Federico. (2011) Reworking Musical Strategies in the Digital Age . PhD Thesis: University of York.","Risset, Jean-Claude; Van Duyne, Scott. (1996). Real-time performance interaction with a computer-controlled acoustic piano. Computer music journal , 20(1), 62-75.","Wilson, Daniel Richard. (2017) Failed Histories of Electronic Music. Organised Sound , 2017, 22(2), 150-160.","Žižek, Slavoj (1998). Cyberspace, or, How to Traverse the Fantasy in the Age of the Retreat of the Big Other. Public Culture , 10(3), 483-513.","Žižek, Slavoj (1997). The plague of fantasies . London: Verso Books."]}
Databáze: OpenAIRE