NOWNET ARTS CONFERENCE 2019 Nov 7––—–10
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NOWNET ARTS CONFERENCE 2019 Nov 7––—–10 Social Purpose in Contemporary Network Arts NOWNET ARTS CONFERENCE 2019 Nov 7–––10 PRIMARY SITE: Institute for Advanced Computational Science (IACS), Stony Brook University, New York, USA SATELLITE SITES: Center For Computer Research Edinburgh Napier University, Orpheus Institute, Electronic Studios In Music And Acoustics (CCRMA), Edinburgh, Scotland Ghent, Belgium At The Technical University, Stanford University, Berlin, Germany California, USA WITH REMOTE SITES: Elder Conservatorium of Music in Adelaide (Australia), University of Melbourne (Australia), University of California San Diego (California, USA), University of California Santa Barbara (California, USA), York University/Arraymusic (Toronto, Canada), Northwestern University (Illinois, USA), Indiana University-Purdue University Indianapolis (Indiana, USA), Nagoya University (Japan), University of Auckland (New Zealand), LASALLE College of the Arts (Singapore), Zurich University of the Arts (Switzerland) PROGRAM DESIGN BY SCOTT LEWIS WWW.BEHANCE.NET/SCOTTLEWIS 2 NOWNET ARTS CONFERENCE IS AN ANNUAL EVENT for artists, technologists, researchers, educators, and industry professionals advancing topics in contemporary network arts for the ongoing development of the field. The 2019 theme Social Purpose in Contemporary Network Arts is a prominent motivation and capacity of this work. The ability to transcend geographic distance through performance and technology has inspired new forms of social connection and impact. As an artistic medium, contemporary network arts is a social purpose. It has also served as a vehicle for community projects on themes such as peace building, the environment, and diversity. Technologists in the field have incorporated social topics including access, green technology, and international network development. The NowNet Arts Conference 2019 Social Purpose in Contemporary Network Arts is a program of papers, workshops, presentations, and concert demonstrations that feature this topic and generate new innovations for this work forward. SUPPORTERS NowNet Arts, Inc. Department of Music, Stony Brook University Institute for Advanced Computational Science (IACS), Stony Brook University, New York, USA Center for Computer Research in Music and Acoustics (CCRMA), Stanford University, USA NYSERNet, Inc. Cycling ‘74 Artivive: Augmented Reality Platform for Art SplitmediaLabs CONFERENCE COMMITTEE Director: Sarah Weaver, NowNet Arts Inc. Chris Chafe, Stanford University, TU Berlin Scott Oshiro, Stanford University Margaret Schedel, Stony Brook University CONFERENCE WEBSITE https://nownetarts.org/conference-2019 3 AllFULL sessions are listed SCHEDULE in Eastern Standard Time (EST). Conference location of presenter(s) listed in parentheses. NOVEMBER 5–6, 2019 1:00PM–4:00PM Open sessions for Network Arts works-in-progress, technology trials, research, and NOWNET ARTS CONFERENCE group improvisation. LAB ENSEMBLE Location: Multiple Sites NOVEMBER 7, 2019 10:00AM–11:0 0 AM REGISTRATION 11:0 0 AM–11:3 0 AM Sarah Weaver Scott Oshiro OPENING SESSION Conference Director Satellite Site Host (Stony Brook University, New York) (Stanford University, California) Margaret Schedel Paul Ferguson Conference Committee Satellite Site Host (Stony Brook University, New York) (Edinburgh Napier University, Scotland) Chris Chafe Juan Parra Cancino Conference Committee Satellite Site Host (Technical University, Berlin) (Orpheus Institute, Belgium) 11:3 0 AM–12:00 PM Description: Telematic performances of thetic backgrounds I aim to expose the CONCERT DEMONSTRATION two pieces: A new rendition of Karlheinz differences between cultural and geo- Stockhausen’s “Solo” (1965–66), blend- graphic interpretations that sometimes Title: Karlheinz Stockhausen’s Solo ing several performances of “solo(s)” historical repertoire (even “recent” one, (1965–66) (version 2019) & Multiple simultaneously over the net, with live like the one used in this proposal), is co- paths: (omaggio a Nono) for networked diffusion on location, followed by my loured by. I have been working on Solo(s) soloist and live electronics own work “Multiple paths: (omaggio a since 2015 with musicians coming from Presenter: Juan Parra Cancino Nono)” for networked soloist and live traditional academia as well as jazz and (Orpheus Institute, Belgium) electronics. world music, negotiating the traditional notions of “faithfulness to the work”, This demonstration aims to present the and the uniqueness that each aesthetic affect (and effect) of network technology approach can contribute. both in the re-interpretation of a seminal work of live electronic music, as well as Using digital and network technology to in a new work, inspired by the concep- revise a historical work, with “period” tual and technical methods of another technology attached to it, invites to a seminal work of live electronic music. reflection pertinent to the topics of this By using musical collaborators spread conference: the historical importance around the world, with different aes- of a piece like Solo can be understood 4 through the lens of the tools it was first puter music today, and the extraction Biography: Juan Parra Cancino realised with, and its implications for of musical elements from references to (b. Chile, 1979) studied Composition that technology. Solo represents the pre-existent music in order to feed them at the Catholic University of Chile and first well-known instance of introducing back into new compositions. Sonology at The Royal Conservatoire tape delays to the concert space, with The Hague (NL), where he obtained his all the challenges and shortcomings that My encounter with the sound world of Masters degree with focus on composi- such an endeavour generated. Looking Luigi Nono’s music provided me with a tion and performance of electronic music. back, the technology required to realise starting point to explore my own musical In 2014, Juan obtained his PhD degree this work is now considered trivial in path. I retained several elements of this from Leiden University with his thesis its implementation, but the aesthetic encounter as particularly relevant to my “Multiple Paths: Towards a Performance contribution to our perception of the own questions regarding instrumental Practice in Computer Music”. work (through recordings, for example) identity and practices. Furthermore coloured by the original tape technology I perceived that various implications His compositions have been performed in and its struggles, is undeniable. Using of Nono’s work go beyond the specific Europe, Japan, North and South America network technology as part of the setup materials and performers featuring in in festivals such as ICMC, “Sonorities”, of the work serves a secondary function: either his music or my own, and beyond “Synthese”, and “November Music”, to bring back the “unstable” nature to his or my specific historical moments, in among many others. His acousmatic piece the setup of the piece, given the glitches, constituting a fundamental challenge to “Serenata a Bruno” obtained a special artifacts and other shortcomings that traditional definitions of interpretation mention at the Bourges electroacoustic still have to be confronted in realising and composition. music competition of 2003 and in 2004, these kinds of performance. I dare enter- his piece “Tellura” was awarded with the tain that in fifty years time, those wrin- The use of telematic technology in both residence prize of the same competition. kles will be perceived by future digital works allows to disassociate the visual artists as part of the sounding and visual and aural components of the instrumen- Founder of The Electronic Hammer, nature of the telematic works of today, talists, opening possibilities of phys- a Computer and Percussion trio and as much as we perceive the warble, wow ical displacement, mixing and sound Wiregriot, (voice & electronics), he and flutter of tape of fifty years ago. manipulation that otherwise would be collaborates regularly with Ensemble The second piece “Multiple paths (omag- challenged by the ongoing presence of KLANG (NL) and Hermes (BE), among gio a Nono)”, deals with history in a the instrumental source in the concert many others. His work in the field of live different way: It uses technical and con- space. This disjointed nature allows the electronic music has made him recipient ceptual methods found in Luigi Nono’s electronic performer to highlight the of numerous grants such as NFPK, Prins works “A Pierre” and “Post-prae-ludium importance of the manipulation of the Bernhard Cultuurfonds and the Interna- no. 1 per Donau”, focusing on sound physical space over time, turning the tional Music Council. Since 2009 Parra spatialisation a musical parameter for only “live” performer in front of an au- is a fellow researcher at the Orpheus the computer music performer. dience in something of a meta-conductor, Institute (Ghent, BE), focused on perfor- who, not having a sonic imprint of his mance practice in Computer Music. Multiple Paths engages with two main own, sculpts the musical experience by issues: the search for a historical and manipulating, distributing, and balanc- aesthetic context for the creation of com- ing the voices of others. 12:00 PM–12:30 PM Description: Physiological computing are normally used to monitor biological PAPER applied to the arts is a new genre of functions and health. Immersive and scholarship and practice focusing on the multisensory installations that challenge Title: The documentation of immersive