![]() ![]() Freely and independently start and stop any number of audio or MIDI loops – everything stays in sync. Live syncs everything and works in real time, so you can play and modify your musical ideas without interrupting your creative process.īut Live also features the revolutionary Session View: a unique notepad for improvising, playing and performing with musical ideas, without time limits. Special attention is given to instrument design (which is an integral part of the process of composition in this context) and the organisation of material.Ableton Live lets you easily create, produce and perform music in one intuitive interface. Meaning is touched upon, but left open-ended and ephemeral.Lastly, there is a practical attempt to put a technical description of the work into laymen’s terms, with the invitation to other composers and dancers to use the system for further creative exploration. These questions are(intuitively) presented in a metaphorical creative writing style as intimate fragments of the artist’s imagination. The modified boots are explained from an electronic music/ instrument design point of view, and a dialectic is set up between the technical existence of the work and the philosophical questions it asks. A socio- political milieu is constructed in which to locate the work: Ephemeral Gumboots is presented via description, analysis, and as poetry. Essential (Cagean) considerations surface too: whether music is an art form and how composition relates to music. The concept of process, which is at the heart of interactive art and music, is also located philosophically and historically. The notion of interactivity, its history, development, social meaning and the technology that has enabled it become objects for interrogation. These fields create a frame in which I present mycreative project Ephemeral Gumboots, a hybrid media artwork/musical instrument that takes South African Gumboot dance and extends it as an interface into an electronic music-making system. This paper explores a dialogue between art and technology in the fields of interactive art,interface design and interactive music. The curatorial rationale, methodologies applied to the proof of concept and live performance of the works, as well as the results achieved are discussed. Whilst Decibel may not be the first to attempt these adaptations and approaches, they have presented a number of Australian premieres of Lucier’s work and have carefully documented the process of their realisation in this paper. This is articulated in the consideration given to spatialisation of sound reproduction, the placement and assignment of performers to electronic sound generators and the use of software to facilitate performance requirements. In addition, Lucier’s compositions provide an opportunity to demonstrate how vital the performance of electronic sound generation and manipulation is when combined with live instruments. The adaption of certain analogue electronic components in the works using digital software and hardware has facilitated many of these suggestions. Different possibilities for his works - such as alternative instrumentation, lengths, and live or recorded versions of pieces - were suggested in many his scores. Lucier has made clear that he sees technology as a tool, a means to an end. In May 2010, they presented a concert of works by American composer Alvin Lucier (b1931), applying a range of new approaches to the reproduction of this important artists’ works. New music ensemble Decibel is a group of musicians, composers and improvisers who pursue music that combines acoustic and electronic instruments. ![]()
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