Notations and Practice Systems
1. Go-Pro perspective of Improvising Ensemble- Ensemble
2. Postcards in Attention - Science/Sound
Postcards in Attention is a set of notations designed to provoke cognitive demand by removing or focusing basic components in task mastery. The performer wears electrodermal sensors, placed to measure psychophysiological changes during the interaction with the notational tasks. The work looks to understand how improvisation, memory, vision, and movement are effected by the role of the notate-er, often called the composer. Questioning the demand notations have on bodily, cognitive, and eventual performative decisions of players. Bioelectric equipment provided by Mindfield Biosystems.
Understanding the notational basis in many improvisational practices. A set of varied notations was devised by Maria mimicking the styles in which she has encountered most frequently when working with improvising ensembles. She then adapted and expanded these prompts with the advice from Claire on the variation in cognitive demands such forms of notations may produce. The work entitled Postcards in Attention (For skin and sound) became a score like material which put into experiment the physiological properties of notational cognitive demand. The work was premiered by Serge Vuille at Huddersifeld University on the 21stof January 2019.
Skin-conductive measurements where used in this study, hooked to the minefield skin conductance app.
Difficult or impossible to sync data accurately with current software, therefore the score, data, and video are roughly synced.
Physiological data analysis can not be accurately analysed without an exact sync with audio or video files.
4. ICEBERG Collective- Ensemble
5. "watching paint dry" by Brice Catherin and Maria Donohue
How can we use the medium of a score, or a prompt, similar to those used commonly in improvisational rehearsals, as a means for research? Can such documents, provide another method for answering common questions? The below experiment looks to use video score, and instruction as a means to get improvisers to share, and uncover their unique techniques. A question earlier developed with ideas of having improvisers, in an interview like manner, describe their practice. For videos on that project, please see-------Huddersfield based Ensembles. (Password Improv)
Watching Paint Dry is a piece in two movements for any solo performer. For each family of instruments, you will find a specific set of written and video instructions later in this score.
The two movements of Watching Paint Dry consist of one movement of painting, followed by one movement of playing a string instrument and singing a song.
Watching Paint Dry is not a graphic score. It is a temporal score. It describes density, stability, and questions techniques in a dynamic way. As the water and image sediment, these prompts can be seen as a practice towards impermanence.
Mining for possible ways to uncover unique technique based decisions in the creative process of improvisation, across artists of various instruments and backgrounds.
· Prompts which highlight the individualistic qualities of a performer
· Practice beyond sonic material, interdisciplinary motality (embodiment)
· Representation of mark, in both sonic and visual form
Watching Paint Dry was commissioned by Käthi Gohl Moser.
The composers wish to thank Laura Mateescu, Claire Elizabeth, Colin Frank, Sam Gillies, Bernat Giribet and David Velez.
The video examples were performed by Brice Catherin, Maria Sappho and Eva Stavrou.
Score (with video examples, selected video examples chosen below)