Separation anxiety: metaphoric transmutations from a paradoxical biological instrument, or: What is a cactus doing in our concert hall?

Abstract

In its original rendition, Degrees of Separation: “Grandchild of Tree” (1998) is performed with cactus, outboard digital effects, and CD playback, with simple lighting. The work is a metaphor which portrays subtle transformations (or transmutations) in human existence precipitated by pervasive new technology. A new version consists of a performance with a video component and all electronics fully automated in MAX/MSP on a Macintosh Powerbook. Development of this work, and subsequent versions, have proven invaluable for my own approach to the music I compose, and for the understanding of my position in the contemporary world of computers, technology and art. This paper attempts to describe these discoveries through outlining the levels of symbolism and metaphor in the work as realised through source abstraction (both visually and aurally), spatialisation and (re-)contextualisation. It begins with the question: What is a cactus doing in the concert hall?

Reflections on sound image design in electroacoustic music

“…… this is achieved by the juxtaposition of real (familiar) and unreal (unfamiliar) sounds to create surreal landscapes', 9 while Robert Normandeau claims 'esthetical criteria whereby he creates a ''cinema for the ear'' in which ''meaning'' as well as ''sound'' become elements that elaborate his works'. 7 As examples: Saariaho (1987), Keane (1989), Barrett (1999), Fischman (1999), Rudy (2001) and Westerkamp (2002). One side of the street has a sign saying 'rue Schaeffer' -here the preoccupation is with abstracting musical data from sound objects ('objets sonores'), without reference to their provenance in any anecdotal way… .…”

“…As examples: Saariaho (1987), Keane (1989), Barrett (1999), Fischman (1999), Rudy (2001) and Westerkamp (2002). 8 See, for example, DeLaurenti, http://www.delaurenti.net/writing.…”

Software intervention in the process of improvisation

“…Improvisation with plant material (cactus and seed pods in 'Child of Tree', and conch shell in 'Inlets') solved this dilemma through removing the familiarity of previously learned (and practiced) patterns, by introducing a completely unpredictable instrument into the performance. (Rudy 2001) There are, then, precedents for an interventionist approach to constructing performances based on improvisation. In the Downloaded by [University of California Santa Barbara] at 22:08 16 June 2016 case of the cactus in Cage's performance the nature of the interaction was obviously unidirectional or simplex as it is known in communication terminology.…”