[Stremes-l] Introductions

[Kenneth Fields]

Thanks Randall (former secretary of the U.S. dept of art and technology),
http://www.randallpacker.com/who-am-i/ <http://www.randallpacker.com/who-am-i/>

Randall and I are starting a collaborative project between 
Singapore/Beijing/Arizona State Univ.

Ken

My contact:

Kenneth Fields, Ph.D.
Professor Computer Music
CEMC - China Electronic Music Center
Central Conservatory of Music
43 BaoJia Street
Beijing 100031 China,

Email: ken at ccom.edu.cn
http://syneme.ccom.edu.cn




> On Dec 4, 2015, at 6:46 AM, Randall Packer <rpacker at zakros.com> wrote:
> 
> Ken, I love the idea of the network as a free and open and immediate space for musical improvisation. Of course I would say that the fluidity and creativity of your musical experience is possible because you have spent years refining the system, developing the techniques, and you clearly have solid collaborators. So bravo for making the network a quality social and artistic space for you and your colleagues. 
> 
> 
> 
> I am interested in knowing who else is on this list, and perhaps everyone can introduce themselves, and their ideas regarding networked performance. I suspect that everyone has a very different approach, objectives, and artistic rationale for engaging in performance in the networked third space. It would be fascinating to know how and why artists are reaching beyond the physical parameters of their local artistic and social space to create new work and experiences that dissolve geographical boundaries as well as engage new audiences. 
> 
> Best, Randall
> 
> On 12/2/15, 9:30 PM, "Kenneth Fields" <stremes-l-bounces at mailman.ucalgary.ca on behalf of kfields at ucalgary.ca> wrote:
> 
>> I (in Beijing) had a great Jam with Ethan Cayko at the university of calgary
>> yesterday. His master’s degree is concerned with rhythmic complexities/opportunities
>> of network music.
>> 
>> We tested the network for a bit, found some problems and ‘tuned’ our jacktrip connection.
>> There was a 215ms delay, which we determined amounted to about 140bps. 
>> however, when I started jacktrip in loop mode and Ethan played with the echo, 
>> we found the actual beat (ricochet) to be around 127bpm. Seems reasonable since 
>> a bit more delay is introduced by the software, hardware and actual-air in both studios.
>> 
>> Then we started jamming. It was a pleasure, just to sync into our particular 
>> beat profile based on our distance. The interesting part, is that we are hearing 
>> two different pieces - as I play off his beat and he plays off mine. We are, relatively
>> speaking, mutually one beat offset from each other's history.
>> 
>> We aim to add a third node, which will have its own unique delay time with each of us.
>> So with the addition of just one node, ethan will be playing in a complex rhythmic
>> mode and I will playing in another. While we will be hearing 3 different pieces as a result,
>> it will still be a unique composite - given the coupling/triangulating. We are playing 
>> simply and looking for emerging genre in this.
>> 
>> The main point in this for me, was that there was no intention but to jam. 
>> No theory, no crash rehearsal just before a performance. This is the way to develop a project.
>> When the music gets going, we can just open up the session, and start broadcasting to youtube.
>> Let the practice grow from a grounded, experiential reality.
>> 
>> We both commented afterwards, that we had been trying to get to that point
>> for a long time (years) - given all the complexities of (yes) organizing bandwidth, 
>> developing software, getting comfortable with the ‘multi-chronotopical space,’
>> starting courses and grad programs, writing grants, etc. Just play!
>> 
>> And it coincides with the impetus to get this list going.
>> 
>> AND I’m reading Bergson’s Creative Mind (intuition/time)…. 
>> 
>> Hmm, must be time.
>> Ken
>> 
>> 
>> 
>> 
>> 
>> 
>> 
>> 
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