This video will give you some ideas of the musical ideas you can create with WaveDrag. This particular version uses two channels, controlled by Wiimotes instead of the mouse and keyboard, and it’s meant to be one part in a 4-piece ensemble, so it’s a bit fuller than you’ll be able to achieve at a times and too sparse at other times, but you might still find some licks you can borrow for your assignment—I’m using one of the same sounds you are!
I was excited to return to greater Helsinki to present my work at the Sound and Music Computing conference at Aalto University. I also got to record with some more of the terrific improvisers in the area! I performed Shankcraft with Sergio Castrillón, presented Raveshift (installation), and a paper on Ferin Martino.
In fall 2010, German Cellist Ulrich Maiß collaborated with TAMU students to create a full concert of new works using technology and improvisation as part of his ZenMan touring program. (Click here to see that performance.)
In spring 2016, Maiß returned to TAMU on his ZenMan X tour. Inspired by the recent release of performance materials by cellist and performance artist Charlotte Moorman, and reflecting on the fact that her work can now be experienced only through its documentation, often scant and poor in quality, Maiß and TAMU’s students created works of “performance for video”—live performances that consider all aspects of the live moment, created with more than just pitches and rhythms, works that were necessarily written for cello (or cellist) in some way, and whose significant features can still be experienced through its video documentation.
The entire performance is below in program order. Click each composer’s name to read artistic statements and portfolios of research, development, and creative work leading up to the creation of this performance. Continue reading
An immersive audiovisual composed improvisational environment. The performance is structured to juxtapose horizontal and vertical gestures (e.g., for percussion, rubbing versus striking). All digital sound is sampled from the acoustic instrument live during the performance. All video is a live processed feed of the performer’s arms at work, exploded into full textures that immerse the audience in the sensation of the actions that are causing the sounds they hear.
Rehearsal with Sergio Castrillón, cello (https://sergiocastrillon.com/) at Korjaamo, Sound and Music Computing Conference, Helsinki, Finland
The voice of the machine / How our devices party when we’re away: Listen to the wide variety of timbres, rhythm, and textures that come out of a simple feedback loop and ONLY a 1 second delay—no other processing besides acoustic effects of the room and moving bodies around the speakers.
Developed while in residency at the Atlantic Center for the Arts, at I-Park, and at the Atlantic Center for the Arts again. Premiered in four channels at the Sound and Music Computing conference (SMC) in Greater Helsinki, Finland.
Here’s a demo of the four-channel version:
Or with video, using the new live video engine I created for Shankcraft with Joe Hertenstein:
At the Atlantic Center for the Arts
Recorded while in residence at the Atlantic Center for the Arts
Harald Kisiedu (alto sax) improvising with Jeff Morris (Texas A&M University) playing Baby, the 1980s vintage mixer turned into a feedback instrument.
The Collected Solo Piano Works of Ferin Martino, as Conjured by Your Presence in the new Moss Arts Center at Virginia Tech.