Chasing after the mixer

Damien CHARRIERAS; Olaf HOCHHERZ

Chasing after the mixer

School of Creative Media

Research output: Chapters, Conference Papers, Creative and Literary Works › RGC 32 - Refereed conference paper (with host publication) › peer-review

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Abstract

The authors examine the No Input Mixing Board (NIMB) as a complex instrument that reconfigures the politics of composition, cognition, control and expression in the context of Electro-Acoustic Improvisation. The notion of performance is relocated within the entanglement of the modulatory body of the artist along with the sound producing devices. Rather than control, the posture of the artist is best described as a form of existential availability to the instrument. This view rejects virtuosity as the pure control of the artist’s mind over the instrument, as well as the delegation of performance to automated machines.

Original language	English
Title of host publication	R>EVOLUTION. Proceedings of the 22nd International Symposium on Electronic Arts
Pages	253-254
Publication status	Published - 16 May 2016
Event	The 22nd International Symposium on Electronic Arts - Hong Kong , Hong Kong, China Duration: 16 May 2016 → 22 May 2016

Conference

Conference	The 22nd International Symposium on Electronic Arts
Place	Hong Kong, China
City	Hong Kong
Period	16/05/16 → 22/05/16

Publisher's Copyright Statement

This full text is made available under CC-BY 4.0. https://creativecommons.org/licenses/by/4.0/

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https://www.isea-archives.org/?page_id=36462

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ECS: Game Engines as Technologies and Medium of Metacreation
CHARRIERAS, D. (Principal Investigator / Project Coordinator)
1/01/16 → 29/06/20
Project: Research

Cite this

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AB - The authors examine the No Input Mixing Board (NIMB) as a complex instrument that reconfigures the politics of composition, cognition, control and expression in the context of Electro-Acoustic Improvisation. The notion of performance is relocated within the entanglement of the modulatory body of the artist along with the sound producing devices. Rather than control, the posture of the artist is best described as a form of existential availability to the instrument. This view rejects virtuosity as the pure control of the artist’s mind over the instrument, as well as the delegation of performance to automated machines.

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Chasing after the mixer

Abstract

Conference

Publisher's Copyright Statement

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Projects

ECS: Game Engines as Technologies and Medium of Metacreation

Cite this