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Intersections

for flute, clarinet, piano, violin, cello, tom-tom, PAM (robotic string instrument), and robotic percussion

Fall 2014 – Spring 2015

commissioned by the Juventas New Music Ensemble

Machine expressivity is often thought of as involving precision, speed, rhythmic complexity, non-idiomatic (for human performers) pitch patterns and replication.  Human expressivity is often thought of involving groove, phrasing, affect, contour, variation, articulation, entrainment and communication.  While these attributes help shape our conceptions of what is human versus what is mechanical, they are not confined to one category or the other: humans can be precise and robots can groove.  Expressive identity is more analog than digital.  This does not preclude expressive spaces that are unique to humans and machines, rather, it suggests the areas between them are ambiguous and that the attributes that define them do not do so in a one-to-one fashion (instead, attribute-space relationships are a function of combination and context).  The music explores these areas of ambiguity and clarity.  Genre is treated in a similar way such that stylistic exemplars are presented authentically and in transformation.  The intersections in expressive identity and style illuminate what is exclusive and what is shared.

Rise of a City

2009

for guitar and robotic ensemble (PAM, MADI and CADI)

produced and recorded by Scott Barton, mixed by Marc Urselli and Scott Barton at East Side Sound Studios, NYC

Rise of a City introduces a human performer to the robotic creations of EMMI (Expressive Machines Musical Instruments, expressivemachines.com) for the first time. The piece features complementary string parts (one played by a human guitarist, one played by the robotic string instrument PAM) that are supported by a robotic percussion ensemble. The piece explores mechanical gestures, human expression, virtuosity and synchronicity by placing specific musical ideas in a variety of instrumental and temporal spaces. Material is soloed and shared between the parts, giving us a sense of the unique expressive characteristics of human versus robotic instrumentalists. From the perspective of narrative, the musical interactions between human and machine can be understood through the metaphor of how ideas develop. Sometimes multiple groups of people simultaneously cultivate ideas towards similar goals even though they don’t live in the same place. Sometimes the paths of this race are parallel. Sometimes they diverge. When they diverge, the separation can result in either an alternate route to the original goal or a new path(s) that clears the way to previously unimagined possibilities. This has become a familiar phenomenon to us via technological innovation, scientific discovery, stylistic innovation and the construction of physical communities (dwellings → cities). The construction of physical communities has particular metaphoric weight in the case of this piece. From small beginnings a city exudes reiterative processes in multiple directions. New neighborhoods spring up that incorporate and / or react to adjacent areas. The restatements are accumulative, so that the entirety of the city becomes perpetually more massive and complex. At the same time, the most recent individual additions, buildings in the case of a city, mirror the qualities of the whole in terms of grandeur and intricacy. This path is not purely linear of course, and the ability to start simply, small-ly, or differently is always preserved.

Human-Robot Improvisation

I have been developing software that allows humans to improvise with the robots built by EMMI and the Music, Perception and Robotics Lab at WPI.  The bots have interacted with some wonderful performers:

Performance at Clark 2o-21 with Matt Jaskot, Peter Sulski and CADI / modular percussion instruments, Oct 30, 2013

Performance excerpt 2 at the Urban Canyon with Chris Fisher-Lochhead and Jenna Lyle, July 2013

Performance excerpt 1 at the Urban Canyon with Chris Fisher-Lochhead and Jenna Lyle, July 2013

Rehearsal 3 with Chris Fisher-Lochhead, Matt Orenstein and Alex Temple at HCL Chicago, July 2013

Rehearsal 2 with Chris Fisher-Lochhead, Matt Orenstein and Alex Temple at HCL Chicago, July 2013

Rehearsal 1 with Ammie Brod and Matt Orenstein at HCL Chicago, July 2013

Drum Circle

composed with Steven Kemper, Winter-Spring 2010

for the robotic instruments MADI, CADI and assorted found percussion instruments

Drum Circle features the robotic instruments MADI and CADI playing a diverse percussion ensemble that includes beer bottles, woodblocks, metal bowls and traditional drums in the woods of Virginia. In some sense, the colocation of machine and nature strikes us as a juxtaposition of things that cannot coexist. Indeed, machine / nature interactions often result in dramatic transformations where nature is displaced to make way for some unlike object(s) of human will. This is not such a story: here, the robots tuck peacefully into the landscape. This contextualization allows us to see and hear robots not as imperialist amalgams of electromagnets and plastic, but rather as agents that are governed by the kinetic and acoustic characteristics of our physical world that can cooperatively interact and coexist with surrounding objects. The lines between nature and machine are made fuzzy. Compositionally, the piece integrates unpredictable physical systems, machine listening and algorithmic responses. Over the course of the work, musical ideas are stated, absorbed, re-interpreted and stated again to create a cyclic yet developing story.

A video of the work is featured on the eco sono DVD Agents Against Agency