scholarly journals Electronic_Khipu_: Thinking in Experimental Sound from an Ancestral Andean Interface

2020 ◽  
Vol 44 (2-3) ◽  
pp. 39-54
Author(s):  
Laddy Patricia Cadavid Hinojosa
Keyword(s):  
Computer Music ◽  
Sound Art ◽  
Creative Work ◽  
Electronic Instrument ◽  
Sound Generation ◽  
Creation Process ◽  
Electronic Sound ◽  
Inca Empire ◽  
Spanish Colonization ◽  
Alternative Practices

Abstract A khipu is an artifact used in the ancient Inca Empire and previous Andean societies to process and transmit statistical and narrative information. It is known as one of the first textile computers, a tangible interface encrypted in knots and strings made of cotton and wool. This system was widely used until the Spanish colonization that banned and destroyed many of the existing khipus. This article presents the creation process of the Electronic_Khipu_, a new interface for musical expression. It takes the form of a MIDI controller, inspired by the original Incan device. The Khipu has been converted into an instrument for interaction and experimental sound generation by weaving knots with conductive rubber cords, thereby encoding musical compositions. The article goes on to document the implementation of the electronic instrument and evaluate its use in live performances. The research also explores the work of significant artists in this conceptual line who, from a decolonial perspective, have transformed and incorporated the khipu into different contemporary expressions of electronic sound art. These works, along with the practical example cited with the Electronic_Khipu_, suggest alternative practices of tangible live coding, computer music, and data sonification. Creative work with sound continues a legacy, almost lost in colonization, of the ancestral practice of weaving knots as code. In addition, some ideas will be presented to enhance the instrument's performance in the future.

Remembering How to Forget: An Artist's Exploration of Sound

2001 ◽  
Vol 11 ◽  
pp. 65-69 ◽  
Author(s):  
Scanner
Keyword(s):  
Public Art ◽  
Cellular Phone ◽  
Sound Art ◽  
The Public ◽  
Electronic Sound ◽  
Significant Performance ◽  
The Relationship ◽  
Digital Landscape

This article is an introduction to the work of electronic sound artist Scanner, which explores the place of memory, the cityscape and the relationship between the public and the private within contemporary sound art. Beginning with a historical look at his CD releases a decade ago, the article explores his move from his cellular phone works to his more collaborative digital projects in recent times. With descriptions of several significant performance works, public art commissions and film soundtrack work, the piece explores the resonances and meanings with the ever-changing digital landscape of a contemporary sound artist.

Astro Black Morphologies: Music and Science Lovers

Leonardo ◽  
2006 ◽  
Vol 39 (1) ◽  
pp. 23-28
Author(s):  
Flow Motion
Keyword(s):  
Black Hole ◽  
The Body ◽  
Sound Art ◽  
Modern Music ◽  
Electronic Sound ◽  
Flow Motion ◽  
Art Performance ◽  
Multimedia Installation

Acompressed series of possible histories of science in modern music, the text outlines the themes of poetic and historic correspondences between music, cosmology and the body that informed the making of Astro Black Morphologies/Astro Dub Morphologies, a multimedia installation and live sound-art performance by Flow Motion in which data from possible black hole Cygnus X1 is transformed into an immersive electronic sound-and-image environment.

Alternative venues for computer music: SoundGallery_Living Room_ARTSHIP

2004 ◽  
Vol 9 (3) ◽  
pp. 301-303
Author(s):  
MARGARET ANNE SCHEDEL
Keyword(s):  
Instrumental Music ◽  
Computer Music ◽  
Classical Music ◽  
A Priori ◽  
Sound Art ◽  
Artistic Expression ◽  
Art Galleries ◽  
Contemporary Classical Music ◽  
Concert Halls ◽  
Free People

The audience for contemporary classical music is small – the audience for computer music is even smaller. Traditional concert halls are failing to generate interest in new instrumental music, much less computer music, while museums are having much more success with new art, including art with a technological component. By marketing our music to art galleries and museums, we can reach an audience predisposed to accept the new and unusual in artistic expression. Presenting the works of music outside a traditional proscenium setting also helps shatter any a priori definitions of ‘music’ audiences may hold. Using the term ‘Sound Art’ instead of ‘music’ may also help to free people struggling to appreciate unfamiliar sounds.

Avant-garde artists at the Kharkiv Art School: Vasyl Yermilov and Boris Kosarev

2021 ◽  
Vol 2021 (02) ◽  
pp. 71-84
Author(s):  
T. Pavlova ◽  
Keyword(s):  
Vice President ◽  
Creative Work ◽  
World Culture ◽  
Creation Process ◽  
Avant Garde ◽  
The World ◽  
Teaching Team ◽  
Effective Development ◽  
Easel Painting ◽  
Art School

The article deals with the formation of avant-garde as an alternative to the academic artistic paradigm in the Kharkiv Art School. The contribution of Kharkiv artists to the world culture is determined primarily by the avant-garde art. Its agents, who steadily carried the baton of modernization of artistic culture, were V. Yermilov and B. Kosarev. During 1915–1916 a group of artists, The Union of Seven, was formed at the Art School; their work reflected the diverse palette of changes that accompanied the formation of Cubo-Futurism in Kharkiv. Fundamental changes took place in the artistic culture of Ukraine in the 1920s. The initiative to transform Kharkiv Art School into an Art Technical School with the rights of an institution of higher education in 1921, is attributed to Yermilov (it actually became an institute in 1927). In the 1920s–1930s his teaching team was joined by such artists as Mykola Burachek, Ivan Padalka, Oleksander Khvostenko-Khvostov, Anatol Petrytsky, and Borys Kosarev. Studios were established: easel painting (Mykhailo Sharonov), monumental (Lev Kramarenko), and theatrical (Oleksander Khvostenko-Khvostov). From 1922 to 1934 Yermilov led the graphics studio (together with Padalka starting in 1925). The key figures in the creation process of artistic avant-garde culture in Kharkiv after the 1930s were V. Yermilov and B. Kosarev, who influenced the formation of the next generation of artists. Yermilov’s work in Kharkiv (including teaching at Art Institute) had an impact on the creative features of O. Shcheglov, V. Platonov, V. Savenkov, and defined the horizon of effective development of design in the region. Among those who continued Yermilov’s design traditions are M. Molochynsky, І. Krivoruchko, V. Lesnyak, O. Bojchuk, V. Danilenko, O. Veklenko. Launched by the latter International Environmental Forum of Eco Poster “The 4th Block” has found quite a resonance in the world. “Yermilov’s Mansard” appeared on Kharkiv cultural space as an artistic centre and an original example of artistic design in the spirit of Bauhaus. Due to B. Kosarev a constellation of talented artists appeared in Kharkiv artistic culture and defined its uniqueness. Among his students in the theatre and decorative department there were such people as a teacher Konstantinov; a theater artist, a Doctor of Architecture, corresponding member of the AAU V. Kravetz; the Main artist of Kharkiv State Academic Ukrainian Drama Theater named after T. Shevchenko T. Medvid; theatre artists M. Kuzheliev, G. Nesterovska, P. Osnachuk, L. Pisarenko, N. Rudenko-Krayevska and others. Among the artists, whose creative work shaped under the influence of B. Kosarev, were Honoured Artist of Ukraine, member and Vice President of AAU V. Sidorenko, and Honored Artist of Ukraine, famous graphic N. Myronenko.

Anticipating interactivity: Henry Cowell and the Rhythmicon

2002 ◽  
Vol 7 (3) ◽  
pp. 247-254
Author(s):  
Margaret Schedel
Keyword(s):  
Computer Music ◽  
Electronic Music ◽  
Musical Instrument ◽  
Electronic Instrument ◽  
Interactive Music ◽  
The Road ◽  
Henry Cowell ◽  
On The Road

In the early 1930s, maverick composer Henry Cowell collaborated with inventor Leon Theremin to build an electronic instrument capable of producing intricate polyrhythms. This instrument, dubbed the Rhythmicon, can be considered a rudimentary example of an interactive music system. Cowell and Theremin created the machine to fulfil a compositional need, but it ultimately failed to become a successful musical instrument. The Rhythmicon was one of the first electronic music instruments to use technology to extend performers' musical capacities, anticipating the interactive computer music movement by several decades. Despite its shortcomings, the Rhythmicon should be remembered as an important step on the road to interactivity.

scholarly journals Software Agents in Music and Sound Art Research/Creative Work: current state and a possible direction

2009 ◽  
Vol 14 (2) ◽  
pp. 156-167 ◽  
Author(s):  
Ian Whalley
Keyword(s):  
Recent Work ◽  
Hybrid Model ◽  
Sound Art ◽  
Agent Technology ◽  
Creative Work ◽  
Current State ◽  
Art Works ◽  
Non Linear ◽  
Computer Scientists ◽  
Art Research

Composers, musicians and computer scientists have begun to use software-based agents to create music and sound art in both linear and non-linear (non-predetermined form and/or content) idioms, with some robust approaches now drawing on various disciplines. This paper surveys recent work: agent technology is first introduced, a theoretical framework for its use in creating music/sound art works put forward, and an overview of common approaches then given. Identifying areas of neglect in recent research, a possible direction for further work is then briefly explored. Finally, a vision for a new hybrid model that integrates non-linear, generative, conversational and affective perspectives on interactivity is proposed.

scholarly journals The integrative model for the semantic space of music and a contemporary musical educational process

2020 ◽  
Vol 6 (Especial) ◽  
pp. 2-13
Author(s):  
Irina B. Gorbunova
Keyword(s):  
Computer Technology ◽  
Computer Music ◽  
Semantic Space ◽  
Musical Instruments ◽  
Educational Process ◽  
Integrative Model ◽  
Creative Work ◽  
Musical Education ◽  
Educational Trends ◽  
The Creation

The advent of computer technology has led to the creation and development of new forms of teaching musical art. The emergence of music computer technologies (MCT) was the basis for creating both new forms in the educational process and new subjects, the appearance of new disciplines and new educational trends in the system of a contemporary musical education. These new subjects, such as “Musical Informatics,” “Computer Music Creative Work,” “Computer Arrangement and Composition, Sound and Timbre Programming,” “Electronic Musical Instruments” and many others, fully reflect the essence of the changes that have occurred in approaches to the study of music art. This article analyzes the possibility of including an integrative model for the semantic space of music, developed with the participation of the prominent cybernetics, scientist Mikhail Borisovich Ignatyev, in a contemporary musical educational process.

scholarly journals integrative model for the semantic space of music and a contemporary musical educational process

2020 ◽  
Vol 6 ◽  
pp. 2-13
Author(s):  
Irina Borisovna Gorbunova
Keyword(s):  
Computer Technology ◽  
Computer Music ◽  
Semantic Space ◽  
Musical Instruments ◽  
Educational Process ◽  
Integrative Model ◽  
Creative Work ◽  
Musical Education ◽  
Educational Trends ◽  
The Creation

The advent of computer technology has led to the creation and development of new forms of teaching musical art. The emergence of music computer technologies (MCT) was the basis for creating both new forms in the educational process and new subjects, the appearance of new disciplines and new educational trends in the system of a contemporary musical education. These new subjects, such as “Musical Informatics,” “Computer Music Creative Work,” “Computer Arrangement and Composition, Sound and Timbre Programming,” “Electronic Musical Instruments” and many others, fully reflect the essence of the changes that have occurred in approaches to the study of music art. This article analyzes the possibility of including an integrative model for the semantic space of music, developed with the participation of the prominent cybernetics, scientist Mikhail Borisovich Ignatyev, in a contemporary musical educational process.

Organization of the Creation Process of Creative Works by Students of Primary Grades on the Basis of an Educational Event

2018 ◽  
Vol 6 (5) ◽  
pp. 41-46
Author(s):  
Е. Бережных ◽  
E. Berezhnyh ◽  
Н. Пантюхина ◽  
N. Pantyuhina
Keyword(s):  
Primary School ◽  
Primary Grades ◽  
Creative Work ◽  
School Age ◽  
Creation Process ◽  
Verbal Creativity ◽  
Methodological Approaches ◽  
The Creation ◽  
Primary School Pupils ◽  
Primary School Age

The article reveals the experience of teachers of the Vyatka Humanitarian Gymnasium with enhanced education in English in the development of the verbal creativity of primary grades students on the basis of an educational event. It describes the methodological approaches to organizing the creative work of primary school pupils, analyzes the experience of the Vyatka humanitarian gymnasium on the formation of a system of educational events that are relevant for children of primary school age.

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