April 29 and 30th I attended a workshop on hyperinstruments and GDIF at NMH.
On the first day Dan Overholt w
as holding a very interesting lecture and demonstration of his overtone violin and presentation on his projects.
Later in the workshop Alexander Refsum Jensenius were speaking about how to create more human-(musician) -centered sensor technologies. He also spoke about how to code mid- and high-level music related body movement data and how to use GDIF in practice.
An important question was how to move from prototype to performance.
We also had a chance to go into case-studies on Kjell Tore Innervik, s extended marimba.
How is it possible to play long sustained notes on the marimba, and what kind of controllers could you use?
We were also discussing my own project on electric violin performance.
See www. NIME.no for more information and photos from the workshop.
I was in Genova on the NIME festival from June 4-7.
Out of the many papers, posters, demos and concerts I read an abstract from Clèo Palacio- Quintin from the University of Montrèal on her 8 years of practice on he Hyper-Flute very relevant and interesting.
She refers to a Book by Joel Chadabe one of the pioneers of real-time computer music-systems.
I will definitively read his book on interactive composing soon.
He describes in the following way: ” An interactive composing system operates as an intelligent instrument- intelligent in the sense that it responds to a performer in a complex, not entirely predictable way, adding information to what a performer specifies, and providing cues to the performer for further actions. The performer, in other words, shares control over the music with information that is automatically generated by the computer, and the information contains unpredictable elements to which the performer reacts while performing. The computer responds to the performer and the performer reacts to the computer, and the music takes its form through that mutually influencial, interactive relationship” (page 144) chapter 5
