Sound and Music Computing 2016 Conference Poster

I have written a paper and submitted a poster in Hamburg at the 2016 SMC Conference. Link here for the full paper on p197.

ABSTRACT: This research operates at the intersection of music and spatial design within the context of improvised digital drumming. We outline a creative design research project founded on the generation of a large body of improvised drum output with the intention of identifying a set of ‘referent (Pressing 1987)’ improvisations, patterns and phrases within the phenomenology of improvisation. We outline the development of a parametric computational framework using software from the spatial design industry to provide affordance (Gibson 1979) to understanding the complexities of drum improvisation.

The ‘ImprovSpace’ Grasshopper script, operating within Rhino3DTM enables the 3D spatialization of digital drum-based improvisations wherein the parameters of drum notes, duration and velocity all can be flexibly manipulated. Drum phrases and patterns can be compared individually and clusters of repeated elements can be found within a larger corpus of improvisations. The framework enables insights into the specific attributes that constitute individual style including playing behind and ahead of the beat, microtiming, rubato and other elements. It is proposed that, by bringing these improvisations into visual and spatial domain in plan, elevation and isometric projections, a theoretic musico-perspectival hinge may be deconstructed. This may provide insights for non-reading, visually and spatially dominant musicians within reflective, educational and other contexts.

SMC POSTER-final.jpg

eCAADe 2016 Presentation

In August 2016, I presented a paper at the Education in Computer Aided Architectural Design in Europe conference- on improvisation in music and architecture…Download paper here and presentation here.

Abstract: Musical improvisation is a complex field of the study of creativity wherein the musician – according to jazz pianist Herbie Hancock – improvises by ‘starting with nothing’ and ‘ending up with something’. We explore a ‘Musico-Spatial Design’ creative practice design research project that uses parametric spatial design tools to research musical improvisation, then takes knowledge gained from this process to illuminate aspects of improvisation within parametric spatial design processes. Our investigation of musical and parametric spatial design improvisation provides insights into how both novices and experts engage in improvisation and how they don’t really ‘start with nothing’ but bring into the design conversation a varying range of referents to inform designerly intent.

Screenshot 2016-08-29 00.39.21

 

 

PRS-1 2016 Abstract

Improvisation in Musico-Spatial Creative Practice

My research operates at the intersection of the domains of music and architecture through a merged ‘Musico-Spatial Design creative practice. Research is founded on the central question: What new insights into the ‘infinite art of improvisation (Berliner 2009)’ may be afforded through a merged ’Musico-spatial Design Practice’ wherein spatial design knowledge informs musical performance practice and musical knowledge informs spatial design practice?’ Improvisational performance practice is examined through project work in solo and group performance within an auto-ethnographic framework. This culminates in the development of a ‘Multi-Parameter Framework for Improvisation Research’ (MPFIRe) that integrates parametric modelling, consumer level BrainWare and cybernetics to understand the complexities, synergies, form and flow of musical improvisation. Thus, my creative practice design research is founded on an affordance of novel insights into a merged musico-spatial design creative practice.

PRS-2 2015 Abstract

ImprovScapes: Improvisation in Musico-Spatial Creative Practice

This research examines improvisation in musical and spatial creative practice. Current project work is focussed on understanding my own practice in drums and percussion in the context of ‘the infinite art’ (Berliner 2009) of musical improvisation, ‘tacit knowing in action’ (Schön 1987), my own ‘referents’ (Pressing 1987) and musical language across a variety of contexts. A multi-modal improvisational analytical framework is being developed that allows four-dimensional insights into musical improvisation using sound, MIDI output, visualisation, EEG tracking, reflection-on-action (Schön 1983) and creative vector (Fischer 2014) analysis. Future project work will be framed around using knowledge gained in this project in a generative context, in consideration of a merging of musical and spatial creative practices, within the context of my home and work environment- the Great Ocean Road.