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2022 ◽  
Author(s):  
Bernadette Cochrane ◽  
Frances Bonner

The plethora of paratextual materials such as digital programs, recorded interviews with artists and creative teams, behind-the-scenes videos, and curated playlists have been pressed into service to extend the reach of the core business of performance companies. Behind the scenes and ancillary activities have come to the fore, potentially altering the way Genette considered paratexts to work as thresholds to the core. Until the last year or so, paratextual elements such as the aforementioned existed primarily in the service of marketing and promotion. They were not themselves seen as separate or independently monetised ventures. They were tasters of the real thing or treats for loyal followers. Comparatively little attention in this field has been paid to live performances, although these too have similar panoplies of paratexts used to promote the core texts: advertisements, advance publicity and reviews for instance. Our concern here is with the way paratexts were used during the extended COVID lockdowns when live performance venues were closed, particularly instances where the usual relationship between core text and paratext, whereby the latter are shorter pieces supporting or promoting the former, is upset. There was a considerable range of sophistication in the paratexts operating as core texts during the pandemic. Most sophisticated ones, like those from the NT or Pinchgut’s The Loves of Dafne and Apollo did not call on audience members to produce the experience of liveness, even if the NT’s branding persisted. We have concentrated here on Dream because it was such a sophisticated piece with liveness at its very heart.


2022 ◽  
pp. 161-169
Author(s):  
Pierre Saurisse

In the 1990s, the question of the legacy of historical performance was posed with a particular sense of urgency. In the context of most pioneers of the art form having retired from live performance, reenactments not only reproduced past works but positioned artists within the genealogy of performance. The sense of the passage of a generation and the transmission of the memory of past performances were made explicit by Marina Abramović in The Biography (1992), a theatre piece in which she stages the very process of accounting for her past, as well as by Takashi Murakami and Oleg Kulik, who emerged on the art scene in the 1990s and mimicked live works from the past.


Author(s):  
Marco Antonio de la Ossa Martínez

In this paper we will focus on Morente-Lorca, the explicit recording that Enrique dedicated in 1998 to Fuente Vaqueros on the centenary of his birth. Produced by La Barbería del Sur under the artistic direction of the cantaor and arranged in two sections by Giorgi Petkov and Giorgi Krassimirov, it was structured in 14 tracks. In a good number of them, Morente started from different poems and fragments of Lorca dramas (So after five years, Doña Rosita la soltera, Yerma, Poeta en Nueva York, Poema del cante jondo and Diwán del Tamarit) that were put to music by Juan Manuel Cañizares, Juan Carlos Romero and by himself (he also took letters from San Juan de la Cruz and Francisco García Lorca). Among them, “Campanas por el poeta” stands out, a song recorded live by the engineer José Ángel Ruiz in the Plaza de la Catedral in Barcelona at the 1998 Mercè Festival. In addition to the live performance, they also added the sound of the bells of the city of Granada collected from the Plaza de San Nicolás del Albaicín at 5 in the morning. They also picked up other echoes of the dawn atmosphere of the city of the Alhambra. En este artículo nos centraremos en Morente-Lorca, la explícita grabación que el del Albaicín dedicó en 1998 al de Fuente Vaqueros en el centenario de su nacimiento. Producida por La Barbería del Sur bajo la dirección artística del cantaor y con arreglos en dos secciones de Giorgi Petkov y Giorgi Krassimirov, se estructuró en catorce cortes. En varios de ellos, Enrique partió de distintos poemas y fragmentos de dramas lorquianos (Así que pasen cinco años, Doña Rosita la soltera, Yerma, Poeta en Nueva York, Poema del cante jondo y Diwán del Tamarit) que fueron puestos en música por Juan Manuel Cañizares, Juan Carlos Romero y por él mismo (también tomó letras de san Juan de la Cruz y Francisco García Lorca).Entre ellos, sobresale “Campanas por el poeta”, tema grabado en vivo por el ingeniero José Ángel Ruiz en la plaza de la Catedral de Barcelona en las Fiestas de la Mercè de 1998. Además de la interpretación en vivo, también añadieron el sonido de las campanas de la ciudad de Granada recogido desde la plaza de san Nicolás del Albaicín a las cinco de la mañana. Del mismo modo, tomaron otros ecos del ambiente del amanecer de la ciudad de la Alhambra.


2021 ◽  
Vol 9 (2) ◽  
pp. 1-12
Author(s):  
Adrienne Kapstein

A project description of a sound art installation and interactive performance presented as part of the Up Close Festival in New York City in the winter of 2019/2020. The article is authored by the creator and director of the piece, Adrienne Kapstein. Created for an all-age audience, the piece was a unique, relational and socially engaged experience that merged sound art, live performance, illusion, technology, and audience participation. Designed to be completed in partnership with members of the community it sought to serve, the piece invited participation from every audience member through multiple and varied means of engagement.


2021 ◽  
Vol 9 (2) ◽  
pp. 1-15
Author(s):  
Miller Puckette

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.


2021 ◽  
Vol 4 (4) ◽  
pp. 6190-6201
Author(s):  
Joyce de Jesus Mangini Furlan ◽  
Lenise de Freitas Mueller ◽  
Adrielle Matias Ferrinho ◽  
Maísa de Lourdes do Nascimento Furlan ◽  
Mariana Zanata ◽  
...  

O objetivo deste estudo foi avaliar os efeitos de diferentes doses do aditivo acidificante (sulfato de alumínio) - [0, 200, 400 e 600 g/m2] no tratamento da cama aviária e da densidade de alojamento (8 e 9 aves/m2) sobre o desempenho zootécnico e características de carcaça de frangos de corte. Foram utilizados 532 pintos machos de um dia de idade, com peso inicial médio de 46 g ± 2,3. As aves foramdistribuídas em delineamento inteiramente casualizado e arranjo de tratamento em fatorial 4x2, com sete repetições. Além do desempenho também foram avaliadoso rendimento de carcaça edos cortes (peito, coxa e sobrecoxa), bem como a prevalência de lesão nos pés das aves. A análise dos dados foi realizada utilizando o procedimento MIXED do programa estatístico SAS® (versão 9.2). O uso doaditivo e a densidade de alojamento não interagiram sobre desempenho de frangos de corte. Em geral, o aumento da densidade afetou negativamente o ganho de peso e a conversão alimentar. A dose do aditivo e a densidade de alojamento interagiram para o rendimento de carcaça. O aumento da dose do aditivo diminuiu o rendimento de carcaça, quando a densidade foi de 9 aves/m2. Em conclusão com base na densidade de alojamento e usando derivações da equação de superfície, foi possível recomendar a adição de 193,22 g do aditivo acidificante por m2. Portanto, a dose ótima de inclusão de sulfato de alumínio que favoreceu aumento do rendimento de carcaça é igual a (Y = 78,013 + 0,0114x - 0,00002952x2).


2021 ◽  
Author(s):  
◽  
Marcus Jackson

<p>The gestural-sonorous object, as described by Rolf Inge Godøy, has experienced a gradual aesthetic splitting in New Music practices. The notion that physical gesture relates to sounding result in a linear, cause-and-effect fashion can no longer be taken as a pre-condition in the study of compositional thought, as New Complexity conceives of ever more diverse modes of instrumentally focussed sound production, while the New Discipline eschews musical tropes altogether. This thesis formulates a new model of information flow in performance, to facilitate an understanding of the role physical gesture plays in the interpretative processes involved in the creation of bodily and cultural meaning, as derived from musical experiences. This model, based on the concept of the ‘assemblage’, allows for an in-depth consideration of the abstract topologies of external references in music, and provides a foundation for a taxonomy of the modes of disruption of gestural-sonorous linearity. This is developed in the pursuit of a more dynamic and meaningful conception of the role physical gesture plays in the acquisition of knowledge and meaning in music.</p>


2021 ◽  
Author(s):  
◽  
Byron Mallett

<p>This thesis presents the design for a method of controlling music software for live performance by utilising virtual reality (VR) technologies. By analysing the performance methods of artists that use either physical or gestural methods for controlling music, it is apparent that physical limitations of musical input devices can hamper the creative process involved in authoring an interface for a performance. This thesis proposes the use of VR technologies as a central foundation for authoring a unique workspace where a performance interface can be both constructed and performed with. Through a number of design experiments using a variety of gestural input technologies, the relationship between a musical performer, interface, and audience was analysed. The final proposed design of a VR interface for musical performance focuses on providing the performer with objects that can be directly manipulated with physical gestures performed by touching virtual controls. By utilising the strengths provided by VR, a performer can learn how to effectively operate their performance environment through the use of spatial awareness provided by VR stereoscopic rendering and hand tracking, as well as allowing for the construction of unique interfaces that are not limited by physical hardware constraints. This thesis also presents a software framework for connecting together multiple musical devices within a single performance ecosystem that can all be directly controlled from a single VR space. The final outcome of this research is a shared musical environment that is designed to foster closer connections between an audience, a performer and a performance interface into a coherent and appealing experience for all.</p>


2021 ◽  
Author(s):  
◽  
Marcus Jackson

<p>The gestural-sonorous object, as described by Rolf Inge Godøy, has experienced a gradual aesthetic splitting in New Music practices. The notion that physical gesture relates to sounding result in a linear, cause-and-effect fashion can no longer be taken as a pre-condition in the study of compositional thought, as New Complexity conceives of ever more diverse modes of instrumentally focussed sound production, while the New Discipline eschews musical tropes altogether. This thesis formulates a new model of information flow in performance, to facilitate an understanding of the role physical gesture plays in the interpretative processes involved in the creation of bodily and cultural meaning, as derived from musical experiences. This model, based on the concept of the ‘assemblage’, allows for an in-depth consideration of the abstract topologies of external references in music, and provides a foundation for a taxonomy of the modes of disruption of gestural-sonorous linearity. This is developed in the pursuit of a more dynamic and meaningful conception of the role physical gesture plays in the acquisition of knowledge and meaning in music.</p>


2021 ◽  
Author(s):  
◽  
Byron Mallett

<p>This thesis presents the design for a method of controlling music software for live performance by utilising virtual reality (VR) technologies. By analysing the performance methods of artists that use either physical or gestural methods for controlling music, it is apparent that physical limitations of musical input devices can hamper the creative process involved in authoring an interface for a performance. This thesis proposes the use of VR technologies as a central foundation for authoring a unique workspace where a performance interface can be both constructed and performed with. Through a number of design experiments using a variety of gestural input technologies, the relationship between a musical performer, interface, and audience was analysed. The final proposed design of a VR interface for musical performance focuses on providing the performer with objects that can be directly manipulated with physical gestures performed by touching virtual controls. By utilising the strengths provided by VR, a performer can learn how to effectively operate their performance environment through the use of spatial awareness provided by VR stereoscopic rendering and hand tracking, as well as allowing for the construction of unique interfaces that are not limited by physical hardware constraints. This thesis also presents a software framework for connecting together multiple musical devices within a single performance ecosystem that can all be directly controlled from a single VR space. The final outcome of this research is a shared musical environment that is designed to foster closer connections between an audience, a performer and a performance interface into a coherent and appealing experience for all.</p>


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