The Null Piece and Reality Check

Two frameworks are described, within the larger framework of Pure Data, that aim to facilitate the creation and preservation of electronic music that is performed live in real time. These are not part of Pd itself, because they are more directly tailored to a specific application space than Pd should be. They are nonetheless designed, like Pd, to minimize any unnecessary stylistic imposition on creators of electronic music. The Null Piece is a starting point for building live performance patches. It provides basic audio routing and parameter control while leaving other choices as free as possible. Reality Check is an attempt to aid in the long-term maintenance of a musical realization by verifying whether a piece still runs as intended despite the inevitable evolution of hardware and software.

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Hacking Choreography: Dance and Live Coding

Computer Music Journal ◽

10.1162/comj_a_00218 ◽

2014 ◽

Vol 38 (1) ◽

pp. 31-39 ◽

Cited By ~ 3

Author(s):

Kate Sicchio

Keyword(s):

Programming Languages ◽

Real Time ◽

Performance Practice ◽

Computer Music ◽

Computer Programming ◽

Live Performance ◽

Research Project ◽

Transdisciplinary Approach ◽

Performance Events ◽

The Creation

This article explores the intersection of live coding and choreography, discussing the “practice as research” project Hacking Choreography. It examines the use of computer programming languages within dance scores, the creation of scores in real time, and the transparency of these scores to the audience during performance. Four pieces created by the author are discussed in terms of these elements and compared to live-coding practices for computer music. Through this, not only does live coding emerge as a performance practice related to sound or visuals, but it also continues its trajectory as a transdisciplinary approach to live performance events.

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Interactive Real-time Concatenative Synthesis in Virtual Reality

Proceedings of the 25th International Conference on Auditory Display (ICAD 2019) ◽

10.21785/icad2019.068 ◽

2019 ◽

Author(s):

Carl Moore ◽

William Brent

Keyword(s):

Virtual Reality ◽

Real Time ◽

Live Performance ◽

Design And Implementation ◽

Concatenative Synthesis ◽

Pure Data ◽

Future Work ◽

Data Design ◽

Immersive Audio

This paper presents a new platform for interactive concatenative synthesis designed for virtual reality and proposes further applications for immersive audio tools and instruments. TimbreSpace VR is an extension of William Brent’s TimbreSpace software using the timbreID library for Pure Data. Design and implementation of the application are discussed, as well as its live performance aspects. Finally, future work is laid out for the project, proposing versatile audio manipulation software specifically for XR platforms.

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Anatomical constructions in the making of the nude moldovan sculpture. Approaches in the realm of realism

10.52603/9789975351379.07 ◽

2021 ◽

Author(s):

Ana Marian ◽

Keyword(s):

Human Body ◽

Anatomical Structures ◽

Starting Point ◽

Imperial Academy ◽

The Creation ◽

New Vision

In Moldovan sculpture, there are two types of the introduction of anatomical structures in the creation of sculptural nudity: based on realism and stylized ones. The pioneer in the study of sculptural nudity was Alexander Plamadeala. Although his studies at the Imperial Academy of Art, Sculpture and Architecture allowed him to comprehensively approach the depiction of sculptural nude, the sculptor still continued to experiment and seek new ways in the description of nude. “Nude” in Yuri Kanashin’s interpretation is an integral part of thematic compositions and has a separate logic, subordinated to the author’s sensitivity. Anatomical interpretation in Ion Zderciuk’s works is the starting point for realistic forms which transform into stylized ones, where metaphor takes the leading place and the solutions are innovative. Interpretations of sculptural nudity involve long-term training, knowledge of the anatomy of the skeleton and musculature, the proportions of the human body. Based on this, the sculptors practiced stylization, always different in artistic manners, but which represented a new vision of the interpretation of sculptural nudity in Moldovan plastic art.

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The Intersection of ‘Live’ and ‘Real-time’

Organised Sound ◽

10.1017/s1355771816000066 ◽

2016 ◽

Vol 21 (2) ◽

pp. 138-146

Author(s):

Kerry L. Hagan

Keyword(s):

Real Time ◽

Computer Music ◽

Electronic Music ◽

Live Performance ◽

Live Electronics ◽

Experimental Practice ◽

Live Electronic Music ◽

Time Work ◽

Compositional Method

Real-time computer music is now common and ubiquitous, no longer a new or experimental practice. In its infancy, it helped to solve perceived issues with the fixity of tape pieces, a natural continuation in the practice of live electronics. However, real-time computer music did not have the same consequences as live electronic music. This situation engendered many discussions about the liveness of real-time computer music performances at the time. It is now 20 years past those first conversations, and it is important to revisit what is ‘live’ and how it applies to real-time musics. Additionally, in some ways, the language surrounding descriptions of fixed medium works, mixed works, live electronics and real-time computer music has evolved and, perhaps, even settled into conventions distinguishing musical approach and philosophies. This article first defines the language, not to proselytise, but rather to ground the argument. The conclusion asserts that liveness is a spectrum despite the fact that ‘live’ is often used categorically. Though one may have an intuitive understanding of what constitutes a ‘live’ event, this article explicitly articulates the most significantly contributive factors. The nature of real-time computer music is explored in relation to these factors of liveness. Using musical examples, this article shows that ‘real-time’ music does not guarantee a ‘live’ performance, contrary to what is typically held to be true. Instead, ‘real-time’ simply becomes a descriptor of compositional method, and any real-time work can exist along a broad range of the liveness spectrum.

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Lifting the curse: Pearl Jam’s "Alive" and "Bushleaguer" and the marketplace of meanings

Transformative Works and Cultures ◽

10.3983/twc.2011.0254 ◽

2010 ◽

Vol 7 ◽

Author(s):

Kristine Weglarz

Keyword(s):

Political Orientation ◽

Live Performance ◽

Music And Politics ◽

Ideological Differences ◽

Participatory Politics ◽

The Creation ◽

The Relationship

In tracing how Pearl Jam consciously and unconsciously create their fans by their actions, I argue that work and fandom of the band are synonymous for fans who wish to become producers in a metaphorical marketplace of fandom. I use theories of fandom to examine and explain two important (and related) phenomena: first, the relationship between fans and musicians and the creation, adoption, and promotion of a sphere in which fans themselves can becomes producers as well as consumers; and second, the backlash of fans against musicians endorsing a particular political orientation through their compositions and performances. In particular, I focus on that group of Pearl Jam fans who took issue with the band's public disapproval of George W. Bush during their 2003 tour, but whose opposition to the band's position cannot be explained by ideological differences or a belief that music and politics are spheres that should not overlap. Instead, these fans oppose a shift they perceive in the band's attitude toward a democratic exchange of meanings, an important way for Pearl Jam fans to become producers rather than just consumers. As a result, the backlash from these fans, while sparked by Pearl Jam's anti-Bush live performance of "Bushleaguer," is due more to a disjunction between the band's long-term endorsement of democratic and participatory politics and what the fans saw a shift toward counterdemocratic prescriptive politics.

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