A Manual Actions Expressive System (MAES)

Fischman, Rajmil

doi:10.1017/s1355771813000307

Cited by 3 publications

(1 citation statement)

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“…For example, Rajmil Fischman's 'manual actions expressive system' (MAES) provides a composition environment using a 'glove' in which programmable gestures derived from '... tracking and analysing hand motion and finger bend...' allow performers to use '... natural actions from our daily use of the hands (e.g. the physical movement associated with hitting and shaking)' to create musical gestures with subtle embedded meanings that parallel fine-grained motor skills (Fischman, 2013). Similarly, Imogen Heap's work using gloves, in live performance is '... an extension of her "no smoke and mirrors" approach when interacting with her audience.'…”

Section: Part 2: Motivations and The Importance Of "Biography"mentioning

confidence: 99%

Register, Dialect, Convolution, and ‘Crosstalk’: Reflections on ‘ … the Zones of Influence and Hybridity Between Electroacoustic, Acousmatique Music, Techno, and IDM’

Vaughan¹

2016

Contemporary Music Review

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Register, Dialect, Convolution and 'Crosstalk': reflections on '… the zones of influence and hybridity between electroacoustic, acousmatique music, techno and IDM' Mike Vaughan This paper explores the hybridisation of musical elements, particularly between those that foreground the use of technology across popular and art music. In its original form, the paper was presented to a conference Embracing rhythm…welcoming abstraction (…on the zones of influence and hybridity between electroacoustic, acousmatique music, techno and IDM) held at Salford University in November 2013, and was an intended overview of the topic. In this context, '... zones of influence and hybridity' between different repertoires that are generally understood to occupy different registral strata are viewed primarily as a form of environmental adaptation, expressed through the evolution of musical language. The paper also considers the motivations for attempting to reconcile, through creative practice, the conflicting meanings and aesthetic frameworks signified by different iconic musical materials and idiomatic compositional procedures. In examining these motivations and practices it draws on Barthes' essay musica practica, to explore the significance to the creative artist of the network of relationships that link the different musics we compose or produce to the music that we might listen to or perform, or have encountered during academic training.

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Section: Part 2: Motivations and The Importance Of "Biography"mentioning

confidence: 99%

Register, Dialect, Convolution, and ‘Crosstalk’: Reflections on ‘ … the Zones of Influence and Hybridity Between Electroacoustic, Acousmatique Music, Techno, and IDM’

Vaughan¹

2016

Contemporary Music Review

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What Do We Know that Varèse Didn’t?

Fischman

2015

Org. Sound

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This article reflects on significant technological, musical and cultural processes that took place since Varèse envisioned the concept oforganised sound: understanding these processes may provide a strategic vantage point from which to gain insight into our evolving attitude to modern aesthetic and technological development and thus formulate informed strategic decisions concerning our relationship with the latter. The discussion begins by focusing on technological processes, including accelerated change, cycles of enhancement, obsolescence, retrieval and reversal, and the non-neutrality of technology. This is followed by a focus on musical issues resulting from the decoupling of sound control from sound production, interactivity, the expansion towards time-based media and the possible active role of audiences in the realisation of music. Discussion is then posited within the wider cultural context of modernism and the postmodern era, the eroding popular/art divide and the obsolescence of music as a cultural artefact resulting from technological change. This leads to the conclusion, which identifies tentative learning outcomes that may be helpful in formulating future strategic decisions.

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A journey towards the development of a sound-led interdisciplinary performance:Agorá

Torre

2015

International Journal of Performance Arts and Digital Media

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A Manual Actions Expressive System (MAES)

Cited by 3 publications

References 22 publications

Register, Dialect, Convolution, and ‘Crosstalk’: Reflections on ‘ … the Zones of Influence and Hybridity Between Electroacoustic, Acousmatique Music, Techno, and IDM’

Register, Dialect, Convolution, and ‘Crosstalk’: Reflections on ‘ … the Zones of Influence and Hybridity Between Electroacoustic, Acousmatique Music, Techno, and IDM’

What Do We Know that Varèse Didn’t?

A journey towards the development of a sound-led interdisciplinary performance:Agorá

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