Bokowiec performance in London
For those of you in London in late November you may be interested in this forthcoming performance. It features Mark Bokowiec one of the researchers at CeReNeM (Centre for Research in New Music) at the University of Huddersfield and Julie Wilson-Bokowiec, a lecturer on the MA in Interactive Sound Design (Max/MSP). The concert features interactive works using Mark's own Bodycoder system, an interactive wearable performance tool he has been continually refining since the late 90s. The Suicided Voice was created during a residency at the BANFF Centre and Etch during a residency at the Confederation Centre for the Arts on Prince Edward Island, Nova Scotia. The sound world is extremely beautiful in all of the works featured.
Mathew Adkins
Head of Research for Music and Music Technology
University of Huddersfield
____________________________________________________________________________________
BODYCODER - VOICE at the WATERMANS Art Center, LONDON 22nd November 2007
@7.45pm Box Office Tel: 020 8232 1010
www.bodycoder.com
www.watermans.org.uk/live_events/22112007/bodycoder___the_voice/
HAND-TO-MOUTH (for performer/vocalist, the Bodycoder System & live MSP)
Only the energy, breath and raw fractured tonalities of the voice are
employed to populate and animate the soundscape of Hand-to-Mouth.
Mouth/Larynx and the hands of the performer engage in intimate dialogue in
an act of sonic puppetry and ventriloquism. This dexterous piece of sound
manipulation is an overture to the full embodiment of sound manipulation in
the following pieces.
AMERA (Tape: Electro-acoustic music)
THE SUICIDED VOICE (for performer/vocalist, the Bodycoder System, live MSP,
video streaming & computer graphics)
In this piece the acoustic voice of the performer is ³suicided² and given up
to digital processing and physical re-embodiment. Dialogues are created
between acoustic and digital voices. Gender specific registers are willfully
subverted and fractured. Extended vocal techniques make available unusual
acoustic resonances that generate rich processing textures and spiral into
new acoustic and physical trajectories that traverse culturally specific
boundaries crossing from the human into the virtual, from the real into the
mythical. In The Suicided Voice the voice, transformed and re-embodied
within the interactive medium, becomes a fluid originality that is defined
only by its own transmutations.
CHIMERA (Tape: Electro-acoustic music )
ETCH (for performer/vocalist, the Bodycoder System, live MSP, & computer
graphics)
In ETCH extended vocal techniques, Yakut, open throat, overtone and Bell
Canto singing are coupled with live interactive sound processing and
manipulation. ETCH calls forth forna building soundscapes of glitch
infestations, howler tones, clustering sonic-amphibians, and swirling flocks
of synthetic granular flyers. The visual content for this piece is created
in a variety of 2D and 3D packages. In ETCH video content is manipulated on
the screen by the performer using the same interactive protocols that govern
sound manipulation. Visual content is mapped to the physical gestures of the
performer and its live manipulation forms a significant part of the piece.
As the performer conjures extraordinary voices out of the digital realm, so
she weaves a multi-layered visual environment. In ETCH sound, image, and
gesture combine to form a powerful Olinguistic intent¹. Etch was created in
residency at the Confederation Centre for the Arts on Prince Edward Island,
Nova Scotia.
TECHNICAL & AESTHETICS
BODYCODER - VOICE features the Bodycoder System© the first generation of
which was developed by the artists in 1995/6. The Bodycoder interface is a
flexible sensor array worn on the body of a performer that sends data
generated by movement to an MSP environment via radio. Movement data can be
mapped in a variety of different ways to the live processing and
manipulation of sound. All processed sound is derived from the live and
acoustic voice of the performer. The Bodycoder also provides the performer
with real-time access to processing parameters and patches within the MSP
environment as well as control over the sensitivity of sensors. In this way
all vocalisations, decision making, navigation of the MSP environment and
qualities of expressivity are selected, initiated and manipulated by the
performer. The primary expression functionality of the Bodycoder System is
Kinaesonic. The term Kinaesonic is derived from the compound of two words:
Kinaesthetic meaning the movement principles of the body and Sonic meaning
sound. In terms of interactive technology the term Kinaesonic refers to the
one-to-one, mapping of sonic effects to bodily movements. In our practice
this is usually executed in real-time. There are no pre-recorded soundfiles
used in the live pieces of this program and no sound manipulations external
to the performer¹s control.
Mathew Adkins
Head of Research for Music and Music Technology
University of Huddersfield
____________________________________________________________________________________
BODYCODER - VOICE at the WATERMANS Art Center, LONDON 22nd November 2007
@7.45pm Box Office Tel: 020 8232 1010
www.bodycoder.com
www.watermans.org.uk/live_events/22112007/bodycoder___the_voice/
HAND-TO-MOUTH (for performer/vocalist, the Bodycoder System & live MSP)
Only the energy, breath and raw fractured tonalities of the voice are
employed to populate and animate the soundscape of Hand-to-Mouth.
Mouth/Larynx and the hands of the performer engage in intimate dialogue in
an act of sonic puppetry and ventriloquism. This dexterous piece of sound
manipulation is an overture to the full embodiment of sound manipulation in
the following pieces.
AMERA (Tape: Electro-acoustic music)
THE SUICIDED VOICE (for performer/vocalist, the Bodycoder System, live MSP,
video streaming & computer graphics)
In this piece the acoustic voice of the performer is ³suicided² and given up
to digital processing and physical re-embodiment. Dialogues are created
between acoustic and digital voices. Gender specific registers are willfully
subverted and fractured. Extended vocal techniques make available unusual
acoustic resonances that generate rich processing textures and spiral into
new acoustic and physical trajectories that traverse culturally specific
boundaries crossing from the human into the virtual, from the real into the
mythical. In The Suicided Voice the voice, transformed and re-embodied
within the interactive medium, becomes a fluid originality that is defined
only by its own transmutations.
CHIMERA (Tape: Electro-acoustic music )
ETCH (for performer/vocalist, the Bodycoder System, live MSP, & computer
graphics)
In ETCH extended vocal techniques, Yakut, open throat, overtone and Bell
Canto singing are coupled with live interactive sound processing and
manipulation. ETCH calls forth forna building soundscapes of glitch
infestations, howler tones, clustering sonic-amphibians, and swirling flocks
of synthetic granular flyers. The visual content for this piece is created
in a variety of 2D and 3D packages. In ETCH video content is manipulated on
the screen by the performer using the same interactive protocols that govern
sound manipulation. Visual content is mapped to the physical gestures of the
performer and its live manipulation forms a significant part of the piece.
As the performer conjures extraordinary voices out of the digital realm, so
she weaves a multi-layered visual environment. In ETCH sound, image, and
gesture combine to form a powerful Olinguistic intent¹. Etch was created in
residency at the Confederation Centre for the Arts on Prince Edward Island,
Nova Scotia.
TECHNICAL & AESTHETICS
BODYCODER - VOICE features the Bodycoder System© the first generation of
which was developed by the artists in 1995/6. The Bodycoder interface is a
flexible sensor array worn on the body of a performer that sends data
generated by movement to an MSP environment via radio. Movement data can be
mapped in a variety of different ways to the live processing and
manipulation of sound. All processed sound is derived from the live and
acoustic voice of the performer. The Bodycoder also provides the performer
with real-time access to processing parameters and patches within the MSP
environment as well as control over the sensitivity of sensors. In this way
all vocalisations, decision making, navigation of the MSP environment and
qualities of expressivity are selected, initiated and manipulated by the
performer. The primary expression functionality of the Bodycoder System is
Kinaesonic. The term Kinaesonic is derived from the compound of two words:
Kinaesthetic meaning the movement principles of the body and Sonic meaning
sound. In terms of interactive technology the term Kinaesonic refers to the
one-to-one, mapping of sonic effects to bodily movements. In our practice
this is usually executed in real-time. There are no pre-recorded soundfiles
used in the live pieces of this program and no sound manipulations external
to the performer¹s control.
Replies to This Discussion
-
Permalink Reply by Michael Eisenberg on -
Just a bump so it shows up on the first page
-
Permalink Reply by Nick M on -
This looks very interesting, and the venue isn't too far from where I live... but I'll be out of town (out of the country, in fact) that day. I'll pass it on to a few others who might be interested though- thanks.
-
Permalink Reply by Michael Eisenberg on
-
Actually guys...here is another one on your side of the pond that is in a few days...lucky bahstards ;)
Just a reminder about the MANTIS festival this coming weekend, celebrating the launch of the NOVARS Research Centre at the University of Manchester, UK. Programme information is below.
Thanks!
Diana
------------------------------------------------------------------------
MANTIS Presents: NOVARS LAUNCH FESTIVAL, University of Manchester, UK
NOVARS Research Centre for Electroacoustic Composition, Performance and Sound-art
2 - 4 November 2007
http://www.novars.manchester.ac.uk/
------------------------------------------------------------------------
The NOVARS Research Centre at the University of Manchester, UK was created in April 2007 and its new £2.2 million studios facility became operational in September. The Launch Festival celebrates the official opening of the new Centre and Studios.
The Centre was named NOVARS to reference and celebrate the seminal work by Francis Dhomont (Novars). In his own words: a reversed version of Ars Nova - New Art, New Science. We are grateful for his permission to use his title.
Highlights of the Launch Festival include MANTIS concerts featuring works presented by Francis Dhomont, Gerald Bennett and John Casken; concerts curated and diffused by Jonty Harrison, Gilles Gobeil, Ludger Brümmer and Folkmar Hein; performances of new works by the USA Tornado Project (Esther Lamneck/ Elizabeth McNutt); and premieres of new works by Jonty Harrison, David Berezan, Ricardo Climent, Paul Wilson, Andrew May, Eric Lyon, Diana Simpson and Gavin Osborne.
All concerts will be presented using the 48-loudspeaker MANTIS sound diffusion system.
The Martin Harris Centre for Music and Drama
The University of Manchester
Bridgeford Street, Manchester, M13 9PL
Telephone: 0161 275 8951/ 8950
Email for enquiries: boxoffice@manchester.ac.uk
Box Office Hours: 10.00 am – 1.00 pm and 2.00pm - 4.00pm Monday to Friday.
Admission:
Friday evening concert: no charge
Saturday and Sunday concerts: tickets at the Martin Harris Centre Box Office
---------------------------------------------------------------------------
PROGRAMME DETAILS:
Friday 2 November 2007
16:45 - 17:00 Electroacoustic Improvisation by Kairos & Guests (Martin Harris Centre)
17:00 Launch Ceremony: (John Thaw Theater)
Key addresses by guest composers Francis Dhomont and Gerald Bennett, Prof. Graham Ward (Head of SAHC) and University of Manchester President and Vice-Chancellor Prof. Alan Gilbert (by invitation - extras will be available at the Martin Harris Centre Box Office before the ceremony).
18:00 Fanfare by Kevin Malone (Martin Harris Centre)
19:30 Concert 1: NOVARS LAUNCH (Cosmo Rodewald Hall) - FREE CONCERT
Novars (1989) (fixed media) by Francis Dhomont
Un Madrigal gentile (fixed media) by Gerald Bennett
Soul Catcher for marimba and tape by John Casken
Hoodoos (2007) (Live-Acousmatic) by David Berezan (Premiere)
Sound diffusion by the composers.
Saturday 3 November 2007 (Cosmo Rodewald Hall)
13:30 Concert 2: Curated and Diffused by Jonty Harrison (UK)
Pentes (1974) (fixed media) by Denis Smalley
Angel (2006)(fixed media)by Trevor Wishart
Cable Bay (1999) (fixed media) by Andrew Lewis
Matchine (2005) (fixed media) by Iain Armstrong
Afterthoughts (2007) (fixed media - 8 channels) by Jonty Harrison (Premiere)
15:00 Concert 3: Curated and Diffused by Gilles Gobeil (Canada)
Topographie de la noirceur (2005) (fixed media) by Martin Bédard
Liaisons Mécaniques (2007) (fixed media) Nicolas Bernier
Indigo (2000) (fixed media) by Marcelle Deschênes
Feu de voix (2006) (fixed media) by Abril Padilla
Into the Labyrinth (2000) (fixed media - 8 channels) by Hildegard Westerkamp
Entre les deux rives du printemps (2006) (fixed media - 5.1 channels) by Gilles Gobeil
19:00 Concert 4: Curated by Folkmar Hein/ Ludger Brümmer (Germany)
Distance liquide (2007) (fixed media) by Hans Tutschku
3.11.07 for open ensemble and computer by Orm Finnendahl
Anatomia de um poema sonoro for female voice, male speaker, alto sax, percussion,
piano + electronics by Luis Antunes Peña
Der Taumel (fixed media) by Ludger Kisters
tbc (fixed media) Ludger Brümmer
Figure in Movement II for piano, electronics and live video by Shintaro Imai
New Work (2007) (fixed media) by Verner Cee
Sunday 4 November 2007 (Cosmo Rodewald Hall)
13:30 Curated Concert 5: Esther Lamneck (clarinet) / Elizabeth McNutt (flute) -[USA
Tornado Project]
Pavakoothu for clarinet solo and tape by Diana Simpson
Breath for solo flute and live electronics by Gavin Osborn
Beneath the Surface for Flute, Clarinet and Computer by Paul Wilson
Still Angry for for Flute, Clarinet and Computer by Andrew May
Trio for Flute, Clarinet and Computer by Eric Lyon
Russian Disco for Flute, Clarinet and Electronic Expression by Ricardo Climent
(All premiers)
15:00 Concert 6: [Mantis Composers Showcase]
New works by MANTIS postgraduates.
For further info about NOVARS, please visit:
http://www.novars.manchester.ac.uk/
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