SYMPOSIUM ON CREATIVE TECHNOLOGIES

The Symposium on Creative Technologies was held at the Science Gallery, TCD, on Tuesday, April 17, 2012 - 14:00 - 19:00.  There were many strands of research teams at Trinity College who are involved in research re creative technologies.  The ATRL had a team there to present in relation to Digital Arts.  Matthew Causey, director of the ATRL invited some of us DAH (Digital Arts Humanities) PhD students to present our research in the Digital Arts slot.

I was one of the presenters as well as Neill O'Dwyer, Sharon Phelan, Aidan Delaney.

Cobi and Emma were providing moral support.

I presented on Visual Music!

There were some really interesting presentations, in particular those from Neil, Sharon and Aidan.

For more information, there is an archive link here:

http://www.sciencegallery.com/events/2012/04/symposium-creative-technologies

Emma Meehan took this photograph of my presentation, she also took several more, which can be viewed on the facebook page -

LINK

Music and the Body - Symposium - Sonorities Festival 2012

The 

Two Thousand + TWELVE

<<< International symposium focusing on music and the body >>>  took place in SARC (the Sonic Arts Research Centre) at Queens University, Belfast on Saturday 24th March, 2012.  Running alongside the symposium was the annual week long Sonorities Festival of Contemporary Music, which again focused on the theme of music and the body.

Link:

http://www.qub.ac.uk/sonorities/symposium.html

Music and the Body Symposium

I attended the symposium and attended some of the 'open fader' concerts that were held in the SARC center on the sat (23rd) and sun (24th) March.  It was an incredibly interesting and exciting two days, at the cutting edge of technology, performance, music and the body.  Perhaps it gave me a glimpse into the future. 

The idea that the body can emanate music through technology and to then use that body and in particular its inner workings to create musical material in a performance setting, is wondrous.  For me, it brings a mysterious element to the whole performance.  The speakers at the symposium all presented their way of accessing the inner workings of the body, the devices they build to transfer that information into musical material.  Even though the intervention is really very technological, its the ideas that were most fascinating.

Ben Knapp - The Ecosystem of Biosignal Interaction

Ben Knapp works with ways to measure emotion and empathy and that the data generated from these measurements drive the musical material.  He explained the artistic, engineering and scientific underpinnings of "the concept of an Integral Music Controller (a generic class of controllers that use the direct measurement of motion and emotion to augment traditional methods of musical instrument control" (

source

)

One performance video example he demonstrated of his performance with his Integral Music Controller was really fascinating.  The piece is called Stem Cells, with the music composed by Eric Lyon and Interaction Design and Performance by Ben Knapp.

As he sat on the stage and visibly displayed emotions and agitation and states of calm, which affected the data that was displayed on a projection screen beside him and affected the musical material.  Fascinating that the mysterious inner world of thought and emotion could provide such a variety of reactions that could be measured and used to control a music performance.   It is for the audience, like the 'invisible' controls the music.

Youtube Excerpt of Stem Cells Performance

Ben Knapp on body, signals, and energy

Ben Knapp on body, signals, and energy

from

STEIM Amsterdam

on

Vimeo

.

All papers were really integrated and followed similar and related themes.

Link:

http://www.qub.ac.uk/sonorities/symposium.html

Open Fader Concerts

I went to the two Open Fader Concerts in SARC on the sat 23rd and sun 24th March, 2012.  Each concert was fascinating.  However, the two highlights for me were two performances that took place at the sunday concert, 

The Biomuse Concert

(full programme link:

http://www.qub.ac.uk/sonorities/full-schedule.html

 )

BioMusic Concert (Sonic LAB: 1.10pm)

Miguel Ortiz - Dentro

Marco Donnarumma - Music for Flesh II

Conor Barry - BeatBack

Samson Young - I am thinking in a room

Miguel Ortiz - Dentro

was an brilliant and exhilirating performance, but all he did was sit on the stage, with subtle controllers attached, a darkened room, and the odd interjection of a video projection of the inner body on his torso.  Fully dressed in black, eyes closed for the full performance.

Miguel emanated a presence, a kind of expectation and performance presence, and yet all he did was sit on a stool with hands on knees, nearly in a meditative pose.  From these poses he performed himself and his inner emotions and physical body into states of calm, repose to states of agitation where you could see his shoulders move up and down.  He was generating these states himself, for an audience the changes were subtle but very perceivable and from these states, he was able to gather the data to generate musical material and wow how powerful that muscial material was as his states moved from calm to agititation, greatly helped by the power of the mutliple speakers  in the auditorium and the sheer physicality of some of the low frequencies, at times, I thought the cage that holds the sarc auditorium together might come apart, so powerful were the sounds.  Yet, Miguel was in the same pose.  This was one of the most thrilling performances I have seen in a long time and the potential for this, is immense.  The idea that ones inner bodies workings can emanate such sounds.

Website:

http://www.miguel-ortiz.com/

 I hope the Sonorities team put a video of this performance on the web soon and that this piece gets to have lots of performances, though Miguel looked visibily exhausted after the performance.

For details about the symposium, here is a link to follow:

http://www.qub.ac.uk/sonorities/symposium.html

Ben Knapp was the keynote speaker - and what a truly fascinating presentation he gave on his Music, Sensors, and Emotion research group work and performances. 

http://www.qub.ac.uk/sonorities/ben-knapp.html

Short Presentation on My PhD Research Topic - Visual Music

For the core module - History of Digital Arts, Matthew Causey and Rod Stoneman asked each of the Digital Arts PhD candidates on the DAH programme to prepare a short presentation on our PhD research topic, key ideas and influences presented on the 20th February 2012 in the ATRL, Trinity College, Dublin.  For this presentation, I prepared a powerpoint presentation on My Research is... Visual Music.

My Research is... Visual Music by Maura McDonnell, PhD candidate, Digital Arts and Humanities, Trinity College, Dublin

Slideshow embed of powerpoint slide:

Maura McDonnell - Visual Music Research Topic

View more

presentations

from

webexistential

Futurism – Movement and Sensation

FUTURISM - MOVEMENT AND SENSATION
by Maura McDonnell

Futurism praised and glorified the energy, speed and danger of machines in art.  The futurists had disgust for and rebelled against the 'relics of the past' (interestingly these relics in museums were ok for the old, the disabled and prisoners - people with no future?).  The new beauty was not the old art of the past, such as the sculptor piece 'Victory of Samothrace', but the beauty of speed.

Victory of Samothrace

How was something so ephemeral and invisible to the eye as speed to be rendered in painting?
Something invisible but felt?

In the two painting manifestos and in particular the Technical Manifesto of Futurist Painting, added to the futurist list of statements is the celebration of science - 'victorious science'.  Science could reveal what was hidden in nature and to our vision, x-rays had penetrated the 'opacity' and materiality of the body.  Chronophotography and the time-lapse photography of Eadweard Muybridge and Étienne-Jules Marey had provided a means of analysing and seeing movement via  an image by breaking down movement into a sequence of superimposed images, emulated then in futurist painting.

Giacomo Balla, Speed of a Motorcycle, 1913, Oil on Canvas
Invisible phenomenon to the eye such as motion, speed, movement could be revealed through photography and painting and therefore simulated in painting creating a sensation of movement.

Science also provided artists with new knowledge at the time about colour theory and how our eye mixed light.  These related to how the eye responded to light and vibrancy, in particular Michel Chevreul's theory of simultaneous contrast which influenced the divisionist technique in painting and as such divisionism was promoted by the futurists.  Divisionism a form of additive colour mixing, was considered to assist in creating vibrancy and luminosity in a painting.  Here, contrasting colours laid side by side create a new colour and one that is more vibrant than traditional colour mixing.

With such ephemeral, vibrant sensation sought in their paintings, more statements from their manifesto sum up their ideas.  'Movement and light destroy the materiality of bodies' and 'Our bodies penetrate the sofas upon which we sit, and the sofas penetrate our bodies. The motor bus rushes into the houses which it passes, and in their turn the houses throw themselves upon the motor bus and are blended with it'. It is then to this incredible painting that I end my presentation -  The Street Enters The House by Umberto Boccioni.




This very short writing on Futurism was prepared for a presentation on the History and Theory of Digital Arts Seminar on Thursday 8th February 2012, where Mathew Causey asked us to prepare a short presentation on one of a number of topics.  I chose Futurism as I have always been fascinated with the emphasis painters put on motion and sensation in their works.  This short presentation is based on three pieces of art work and based on reading the following futurist manifestos. The Futurist Manifesto by F. T. Marinetti, 1909 http://cscs.umich.edu/~crshalizi/T4PM/futurist-manifesto.html Manifesto of the Futurist Painters by Umberto Boccioni, Carlo Carrà, Luigi Russolo, Giacomo Balla, Gino Severini http://www.unknown.nu/futurism/painters.html Technical Manifesto of Futurist Painting by Umberto Boccioni, Carlo Carrà, Luigi Russolo, Giacomo Balla, Gino Severini http://www.unknown.nu/futurism/techpaint.html

source images from:
http://musee.louvre.fr/oal/victoiredesamothrace/victoiredesamothrace_acc_en.html
http://upload.wikimedia.org/wikipedia/commons/thumb/0/0e/Umberto_Boccioni_-_A_strada_entra_nella_casa.jpg/574px-Umberto_Boccioni_-_A_strada_entra_nella_casa.jpg

Visual Music Aesthetics - Viewing Class in ATRL

December 17th 2011

I brought my Visual Music Aesthetics class to the ATRL in Trinity College, Dublin to view their final assignment work for the class in the wonderful equipped ATRL theatre (Thursday 15th December, 2011). 5 of the 6 students turned up and their work looked and sounded incredible on the big screen with booming sound. It was really great. As we were a small group, the students also showed their first assignment work and David got to play his live performance audiovisual piece (created with processing).

Links:

ATRL:

http://www.tcd.ie/drama-film-music/atrl/

Music and Media Technology Programme:

http://www.mee.tcd.ie/mmt/

Student vimeo links 

(they don't have assignment uploaded yet)

David Collier -

http://vimeo.com/davidbcollier

Karl McHugh

Peter Sheridan

Saramai Leech -

http://vimeo.com/saramai

Sean Byrne -

http://vimeo.com/user5106543

Tom Canning -

http://vimeo.com/user5177741