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EIS 2019 Proposal
Kieran Maraj Joel Ong
Department of Computational Arts Faculty of Arts, Media, Performance and Design York University Toronto, Ontario, Canada ON M3J 1P3
>>About
We are a laptop based electroacoustic duo from Toronto, Ontario exploring algorithmic, generative music across acoustic and electronic instruments. What interests us are the unpredictable nature of machine communication - the glitches and idiosyncrasies of composing through computational means, and the ways a spontaneous and serendipitous humanity can emerge.
>>The Performance
In today’s data saturated world, currents of information transfer are routinely processed through a computational framework that is ocular-centric and functionalist, largely neglecting the multimedia potential of design. Sound is in cases like these accessory to the visuals; and in the demand for utilitarian or easily comprehensible output, its basic attributes of location and propagation in space is often overlooked.
Our performance aims to develop non-linear narratives from computational processes thought to be part of a practice of everyday life. In this iteration, we use a custom software that visitors can access (via web hosting) that features a simple question and answer system. As the visitors submit their answers, key words from their responses will be used to download relevant sound clips from Freesound. At the same time, multiple technological sources are derived online and offline – databases of sound from Freesound are polled, as well as an algorithm that runs an infinitely regressive ‘wikipedia’ stream for a more meaningful presentation of information.
The sound is filtered with a mix of custom built software in Max MSP, as well as on-the-fly triggering and manipulating of sound samples through Ableton Live. Live improvisation is key with the artist playing engineer controlling and enhancing feedback, highlighting selected channels of audio and/or controlling the rate and parameters of specific filters. This configuration allows the proliferation of a narrative and scored performance, and even more interestingly, to allow discrepancies in the machine listening algorithms to dictate more (and less) coherent dialogues.
In these processes, we seek inspiration from Cage’s methodologies for indeterminacy in the I-Ching and scored variability in constructing a non-linear score for the piece that, like Cage’s Variations pieces, includes pre-determined and improvisational components.
>>Technical Requirements
2 pairs of stereo input channels (1/4′’ or XLR)
4 power outlets
Multichannel soundcard/mixer
Projector
Table
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