The London/Berlin based Not Applicable Artists team is going to invade some of Berlin’s most notorious improv and experimental hotspots, in this series of events dealing with cinema, software quests and of course an abundance of adventurous, risky, razor-edged, cliff-hanging, live music.
Follow us during this nine day tour de force around town, which will finish with a big party at one of Berlin’s most historical underground landmarks, the Eschschloraque.
Isambard Khroustaliov, Lothar Ohlmeier, Ollie Bown and Tom Arthurs will be showing work at this years North Sea Jazz Festival in Rotterdam on Sunday 11th July 2010 courtesy of Juha at Non-Fiction. I say ‘showing work’ because, although Lothar and Tom will actually be performing at the event, Ollie and I will not be there … instead, we will be sending software to perform with Lothar and Tom, the aim being to have it run autonomously without any human intervention during the performance.
As Ollie muses on his blog, it’s a somewhat strange scenario, but not altogether without precedent. In many ways, I like to think of it as a kind of ‘v.2.0’ re-reading of traditional music notation, where the score has moved off the the page and into the world of code, when you think of it like this, sending a bunch of embedded ideas and concepts for someone else to realise as a performance has evidently been going on for centuries.
However, what is nice, is that it feels like the world of non-determinist scores and strategies (as cooked up by 20th Century composers such as Cardew and Cage) are finally finding what feels like a new home of sorts in the form of computer music, where these type of abstract strategies and procedures are the norm rather than the exception.
Above, you can find a video of Ollie explaining a similar concert we were both involved in along with a crack team of computer programmers as part of the Live Algorithms for Music Network last summer. Below are the details of our forthcoming performance at the North Sea Jazz Festival.
It was nice to go into Foyles here in London not so long ago and find a book I contributed a score to on display. I’ve still yet to receive a copy from the publisher myself, but it kept me enthralled for a good half an hour in the shop, I can really recommend it.
You can pick up a copy at Foyles or on Amazon and you can hear a realised version of the score published in the book, entitled ‘Aporia’ on ‘Ohka’.