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Authors
Advisor(s)
Abstract(s)
A presente dissolução dos limites que tradicionalmente definem os papéis de
compositor, intérprete e ouvinte no processo de criação musical electroacústica, promovida
pela participação da computação interactiva, revelou a necessidade de uma análise mais
profunda das possibilidades que contém. Este interesse levou-nos à formulação de um quadro
conceptual para a performação e a composição de situações interactivas de música por
computador. Neste domínio, desenvolvemos um conjunto de experiências musicais
colaborativas em que procurámos integrar instrumentos da tradição musical, o que nos
permitiu ir tornando mais sólida a base teórica que fomos construindo. Por outro lado, a
constante reformulação de um Ambiente de Computação personalizado, a partir do qual
fomos desenvolvendo a nossa actividade artística, foi também reflectindo a acção dos factores
de mudança musical resultantes da reflexão estética. A identificação de duas redes principais
operantes na nossa prática musical - uma rede algorítmica articulada por nós enquanto
performadores-compositores integrada numa outra mais ampla que descreve o contexto
alargado de performação - permitiu-nos reconhecer o computador como o instrumento de
mediação da nossa participação no processo interactivo complexo.
A consciência da interdependência de todos os objectos directa ou indirectamente
implicados neste processo interactivo evidenciou a necessidade de prevermos uma atitude de
abertura generalizada que rapidamente revelou uma coincidência de meios e fins. Este facto
suscitou o questionamento radical das nossas motivações enquanto compositores o que nos
aproximou das principais questões levantadas pela arte contemporânea da segunda metade do
séc. XX. A aproximação de arte e vida enquanto exemplos de processos determinados pelo
factor de decisão subjectiva enunciou um certo eclipse de uma noção mais materialista de
obra de arte e criou o espaço necessário para assumirmos a improvisação como a modalidade
mediadora de uma prática performático-compositiva. A importância de uma actuação
espontânea em contexto situado, operada a partir da programação informática interactiva
elevou a escuta à função de elemento mediador entre os domínios do abstracto e do concreto,
originando perspectivas mais ambiciosas enquanto criadores de música electroacústica.
The present dissolution of the boundaries that traditionally define the roles of composer, performer and listener in the electroacoustic musical creation process, promoted by the involvement of interactive computation, revealed the need for a deeper analysis of the possibilities it contains. This interest led us to the formulation of a conceptual framework for both the composition and performance of interactive computer music situations. In this field, we have developed a set of collaborative musical experiences in which we have tried to integrate instruments from the musical tradition. This allowed the theoretical basis that we were building to become more solid. On the other hand, the constant reformulation of a personalized Computation Environment, from which we have been developing our artistic activity, mirrored the actions of musical change factors resulting from the aesthetic reflection. The identification of two main networks operating on our musical practice - an algorithmic network articulated by us as performers and composers integrated in a widest one that describes the extended performance context - enabled us to recognize the computer as the mediating instrument of our participation in the complex interactive process. The awareness of the interdependence of all objects directly or indirectly implicated in this interactive process showed us the need to predict an attitude of a broad generalized opening that quickly revealed the coincidence of means and ends. This fact gave rise to the radical questioning of our motivations as composers, approaching us to the main issues raised by contemporary art world in the second half of the 20th century. The blurring of art and life as exemplary processes determined by the subjective decision factor enunciated a certain eclipse of a more materialistic notion of a work of art and created the room required to assume the practice of improvisation as the mediation modality of a performatic-compositive practice. The importance of the spontaneous action in a situated context, operated from interactive computer programming, raised listening to the role of mediator between the abstract and the concrete domains, providing us with more ambitious prospects while creators of electroacoustic music.
The present dissolution of the boundaries that traditionally define the roles of composer, performer and listener in the electroacoustic musical creation process, promoted by the involvement of interactive computation, revealed the need for a deeper analysis of the possibilities it contains. This interest led us to the formulation of a conceptual framework for both the composition and performance of interactive computer music situations. In this field, we have developed a set of collaborative musical experiences in which we have tried to integrate instruments from the musical tradition. This allowed the theoretical basis that we were building to become more solid. On the other hand, the constant reformulation of a personalized Computation Environment, from which we have been developing our artistic activity, mirrored the actions of musical change factors resulting from the aesthetic reflection. The identification of two main networks operating on our musical practice - an algorithmic network articulated by us as performers and composers integrated in a widest one that describes the extended performance context - enabled us to recognize the computer as the mediating instrument of our participation in the complex interactive process. The awareness of the interdependence of all objects directly or indirectly implicated in this interactive process showed us the need to predict an attitude of a broad generalized opening that quickly revealed the coincidence of means and ends. This fact gave rise to the radical questioning of our motivations as composers, approaching us to the main issues raised by contemporary art world in the second half of the 20th century. The blurring of art and life as exemplary processes determined by the subjective decision factor enunciated a certain eclipse of a more materialistic notion of a work of art and created the room required to assume the practice of improvisation as the mediation modality of a performatic-compositive practice. The importance of the spontaneous action in a situated context, operated from interactive computer programming, raised listening to the role of mediator between the abstract and the concrete domains, providing us with more ambitious prospects while creators of electroacoustic music.
Description
Keywords
Música por computador Música electroacústica Composição Performação Computer music Electroacoustic music Composition Performance