| ERHAN
OZE MURATGERMENTEOMAN
MADRA METE
SAKPINAR
Teoman Madra: As a photographer, I consider many disciplines of interactivities as very important and relevant to my immediate concerns. A complex and interwoven togetherness of varying activities like art today, architectural involvements, new music in continuity, but scarce popularity and the visualities in photography as a whole entity, in diversities will present us sorts of solidarizations. If you visualize ARMAS otherwise, then cyber forums are ready for suggestions. Possibly, we can all rephrase or contradict all of our statements. All quotations are also expected to be encouraged. Please, only be careful re: ponctuations somehow, though not in any absolute degree of perfectionism. Being open to ideas anytime, being free declaring the sources that you would decide to mentions us whenever you may want to until later: A link between creativity, dreams and mathematics, beauty and aesthetics is irrelevant (1) On theoretical levels, visual information and its processings present a profound challenge to computer science and mathematics. What is perhaps more important is that we are facing a chage of modus operandi of artists and of the visual mind of us all...However, we believe that the visual problem is la grande histoire of both art and technology. (2) A mathematician practices mathematics by intropsection, just like an artist (1) PHOTOGRAPHY also needs to be carried on experimental basis. light physics is essential to end up at various targets, with rhythmic possibilities, all the psychological sensitivities of what is being captured in to your camera and focusing on to your own counter subjective temparements. A wide space for intuition, imagination and emotion and while new technologies in your specific whereabouts. To foresee a lot beyond photography, architecture, music, art, dance and aesthetics at dimensions pragmatic and virtual varieties, within amongst them...Actually workshops get started somehow and when they continue few things may always happen. E ven single items workshops are expected to become very fruitful and when they are interactive and interdisciplinary much optimistically being really designed with ARMAS. ARCHITECTURAL SYSTEMS TO COMPREHEND NEW MUSIC ARTISTICALLY IN ALL SPACES EVEN IN CYBERSPACES Throughout such an above introduction of mine into ARMAS workshops in online communication formats, about which we seem to have decided to carry on ahead, my best sincere wishes are looking forward to your positive welcoming contributions re ARMAS for ideas on some interactivities, now temporarily in this url http://newmediakitchen.com
SYNERGY: This kind of thing happens in improvisation. Two things running concurrently in haphazard fashion suddenly synchronize autonomously and sling you forcibly into a new phase. – Cornelius Cardew (1971:xvii) Buckminster Fuller describes synergy as the behavior of whole systems unpredicted by the behavior of their parts taken separately. Adopting this general orientation, the theoretical physicist Hermann Haken (1987) has introduced the concept of synergetics to name a new unifying trend in science.1 The basic goal of synergetics is to explore the general ideas, laws, and principles of self-organization across various fields of human knowledge, from the natural sciences to the humanities. The world as we know it has seemingly come into being and developed through an endless chain of self-organizing processes, from the formation of galaxies and stars to the development of biological and social structures. A synergetic style of thinking and inquiry is beginning to infuse ever wider fields of human knowledge. Synergy is a common goal and a cherished activity of musical improvisers as well. The dynamic and synergetic qualities of improvisation, however, have proven slippery for many in the music academy.2 In the present work I will compare certain aspects of the modeling approaches to the natural world currently of interest in synergetics and chaos research to the process of performance, listening, and reflexive interpretation explored in musical free improvisation.3 My presentation is informed by my experience participating in regular free improvisation sessions with the Los Angeles-based group Surrealestate since late 1995 and includes an analysis of the synergetic qualities of an extended group improvisation (also heard on the accompanying compact disc)./// Surrealestate formed at UCLA in late 1995 as a number of interested musicians coalesced to form a varied, flexible, yet cohesive group. We maintain an egalitarian organization, although saxophonist Robert Reigle also an ethnicmusicologist has often emerged as the principal organizer, coordinator, motivator, and defacto leader of our playing sessions and performances. The personnel and the musical direction of the group have changed considerably over the years. Several players, including myself, came to the group from primarily jazz backgrounds, while others have experiences with western classical music and composition, American popular musics, and various nonwestern musics (particularly Hindustani, Latin American, East Asian, and Balkan musics).The individual musician works to establish, maintain, cadence, and begin anew musical “identities.” Identities include traditional notions of melodic and rhythmic motives, but more often involve gestural identities of shape, articulation, timbre, or a combination of these and other elements. Each improviser then aims for what Nunn calls “gestural continuity / integrity” by linking together successive identity gestures according to the ongoing implications of the moment (53).6 In the course of performance, the individual improviser must work to relate individual identities to the group, establishing what Nunn refers to as “relational functions.” Nunn describes seven primary relational functions (48-50):
(1) solo – a single or dominant voice (2) support – the active underlayment to support other higher profile voices (3) ground – the static underlayment to support other higher profile voices (4) dialog – immediate interaction between/among players (5) catalyst – an action to stimulate change in the musical character (6) sound mass – a collective complex sound made up of a number of voices that are roughly equal in contribution (7) interpolation – the insertion or overlaying of utterly foreign material upon existing material wherein two (or more) independent musical characters coexist without affecting one another - Robert Reigle participatesin istanbul 2006 to wetdog group sessions- >> All chaotic systems share certain dynamical traits. They are nonlinear in their organization and rely on a nonequilibrium state to maintain their chaotic behavior. In other words, they are open to continual disturbances and energy influxes from outside the system. Chaotic systems also demonstrate extreme sensitivity to initial condition Reissue of a very obscure free music document, recorded in Cambridge, MA, sometime in the mid-70s. Notable for it's Saturn-esque paste-on cover artwork (eloquently reconstructed here), and general cosmic vibe, this record harkens back to days when "out" was merely a place people went to buy a sandwich. A trio, led by drummer Ertunc, with Michael Cosmic (as, cl, fl, bcl, sop, piccolo, organ, perc.) & Phill Musra (ts, ss, fl, zurna, cl, perc.). The albums features long tracks: "The Creator Spaces", "More Beautiful Vibrations from the Creator" & "Space On Space". These guys recorded 1 more LP and then who knows what? Little else is known, but this trio's interface with consensus reality just creaked forward a whole notch. "...we are now blessed with the most striking document of the free jazz from the mid-70s...a most complete outsider document of the era, rendered intact and relevant, striking fear deep into the hear of the most puritan of music obscurities." -- Eric Aleph/The Lost Chord.s and are dependent on the arrow of time described in classical thermodynamics. >> this was an -mp3- of musiki (1984) >> and individualism involves interaction >>
teoman
madra: MULTIMEDIA
ARTS BEING INTERDISCIPLINARY PROVIDING INTERACTIVE APPLICATIONS BETWEEN
e.g. NEW MUSIC, MODERN DANCE AND PHOTOGRAPHY and MAYBE MINIMALLY DESIGNED
SPACES .... architectural creative designs for museums; dance platforms,
audio-visual performances do need creative designs both online and virtual
or also real as related communications items...NOW
Viktor Sklovski writes in his essay Art as Process (1916): The aim of
art is to convey a sense of the object, to make us see it, not to re-cognize
it. The process of art is the process of `estrangement' (ostranenie).
In art the process of perception is an end in itself and must be lengthened.
http://www.mediamatic.nl/magazine/8_1/Lovink=Ostranenie.html
http://adrienejenik.netexodushttp://crca.ucsd.edu/views.php?id=4OTHER
MINDS johncage
autobiographical statement http://distributedcreativity.org/http://digitalcultures.org...
http://sfciviccenter.blogspot.com/
emanuel dimas de melo pimenta >> * Experiments in Art and Technology (E.A.T.)
ABOUT MODERN DANCE 2006 in TURKEY A CRCA is CENTER for RESEARCH in COMPUTING and ARTS (ORU) of UCSD is ORGANIZED REAERCH UNIT to foster advanced research and production at the crossroads between digital technology and new art forms. Current areas of interest include interactive networked multimedia, virtual reality, computer-spatialized audio, and live performance techniques for computer music and graphics. SOME LINKS 4U LIKE IRCAM AND OTHERS >> "working on music" -phd- >>>>>>a DVJTJ >>a research assistant >>>> |
ACTUALLY
THE WORKSHOP CONTRIBUTIONS DO NOT NEED TO BE MOST RADICAL AND EXACTLY WITHIN
STRICT TRACKS OF MIND... ALL INPUTS FOR INTERACTIVE POSSIBILITIES OF INTERDISCIPLINARY
NEW MEDIA ART WORKS WILL ALSO BE FREELY WELCOME... RESPONDING WITH CREATIVE
CONTRIBUTIONS WILL NEVER BE MISJUDGED WHILE IT WILL SMOOTHLY BE SUBJECTIVELY
FALLING IN LINE WITH THE OTHER IN SITU STATEMENTS AND ART WORKS INDEED
AND WILL FALL IN LINEARITY IN THE OVERALL PERSPECTIVE OF ARMAS"architecture
music art space"