PRS 2- 2017


My research is situated within an evolving field of creative practice that draws together my previous separate practices as a drummer/ percussionist and an architect. During the course of my hundreds of live performances, I have often thought that improvised drumming is a design activity, where split second design decisions are made in real time, through the co-ordination of hands, feet, eyes and ears, and in response to intrinsic and extrinsic stimuli. This research explores this idea, and the resultant complexities of polyrhythmic digital drumming through the lens of spatial design.

I have initially sought to understand my own creative practice, and the practice of others through the exploration of the continuum of Performance to Notation to Representation. I have used a methodology of mass improvisation to reveal the subtle elements of micro-timing, rubato, ghosting, mathematical event-time overlays and relative velocities that define the drummers individual style.

By translating drum improvisations into 3D space through a series of parametric frameworks, the complexities of polyrhythmic drumming have been analysed using ‘3D Spatial Drum Notation’ (3D-SDN) and represented creatively and spatially in Virtual Reality, visualization, digital fabrication and through ‘Digital DrumScape’ soundscapes. Through iterative project development, a new creative practice has evolved that operates between and within the domains of music and architecture. ham_poster

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