New Work for Comissioned Performer Submission NIME 07 / NYU New York
Andreas Weixler / Se-Lien Chuang
audiovisual interactive improvisation for violin and computer system
© Chuang Se-Lien
Se-Lien Chuang, concept, interactive visuals, Max/msp/Jitter
Andreas Weixler, concept, multi channel granular synthesis, Max/msp/Jitter
1. Title of the work 3
2. Name (composer(s)/artist(s)) 3
3. Year of composition 3
4. Duration of performance 3
5. Description of the author(s) role, if any, in the performance 3
6. Narrative description of the work 4
7. Brief program note for inclusion in concert program / proceedings 5
8. Artist biographies 6
9. Set-up and rehearsal time required 8
10. Detailed technical requirements for the performer 8
11. Other technical requirements (sound, light,stage area, etc.) 8
12. Document of the technical set up (plans, drawing, sketch) 9
13. Images showing the work 11
14. Performer score or instructions 12
15. Links to additional audio-visual documentation 13
1. Title of the work
2. Name (composer(s)/artist(s))
Andreas Weixler and Se-Lien Chuang
3. Year of composition
4. Duration of performance
5. Description of the author(s) role, if any, in the performance
The authors role in the performance acts as coperformer.
Andeas Weixler performes audio realtime processes of a multi channel granular synthesis of the instrumental sound.
Se-Lien Chuang performs the interactive visuals processes controlled by the sound of the live instrument.
The authors describe a computer-system programmed by the composers for their audiovisual real-time performances.
It consists of an instrument played in the style of contemporary composition. The computer system consists of a pitch and dynamic detection, real-time visual processes and a live multi channel granular synthesis with advanced controlling and performing methods. All computing devices, the audio detection, the visual and the audio processing are linked via a wireless LAN to reciprocally influence each other
Andreas Weixler: multi channel granular synthesis
by processing the instrumental sound in realtime the
computer becomes a hyper instrument played in an improvisation along
with the violin, spreading its sound on a 8 channel sound system,
controlling flocks of grains, rearranging those in terms of pitch,
time, order and position in the acoustic environment.
Melodic lines in horizontal time ordering will be replayed in a vertical form of chords, which are determined by the original performed notes as well as by individual pitch shifting of 4 indepentend granular synthesis modules.
By its improvisation of music the data of the granular treatment also determines parts of the visual computing, so the progression of music and visuals appears in sync.
Se-Lien Chuang: interactive visuals
We developed a patch in Max Jitter called ModularFilter. It either takes a live video input, for example the performer, or some prepared pictures and movies as a source of visuals. Sophisticated video effects will be exchanged from part to part in the performance and their parameters are controlled simultaneously by the sound of the instrument and the linked parameter of the live granular synthesis as well.
6. Narrative description of the work
The sounds of live instruments serve as interface in an audiovisual interactive concert that merges a sophisticated instrumental sound and audiovisual real-time computing in an improvisation. While visual images and processes are being generated during the concert, a multi channel granular synthesis fits together minute tonal particles that make up the instrumental sounds into a constantly changing acoustic stream made up of different pitches, duration and positions in the electro-acoustic space. The musical and visual components interact and reciprocally influence each other in order to blend into a unique, synaesthetic, improvisational work of art.
The computer system and Max/Msp/Jitter
created by Andreas Weixler and Se-Lien Chuang
two Macintosh G4 Powerbooks are interacting with the
players, i.e. of the violin and of the electroacoustic hyper
instrument, analyzing the sounds, exchanging data between analysis,
audio and video computing to make an age-old dream of artists come
true: to make music visible and images audible. The visual and musical
components interact and exercise mutual influence thus leading to
unique synthesis of arts.
The goal of this project in computer music is to create an interface for visual and music computing for an associated audiovisual composition as well as to find technical and artistic solutions for the combination of traditional instruments with high technical computing in the terms of interactivtiy and realtime processing and last but not least to create pure computer music.
7. Brief program note for inclusion in concert program /
Fragments of memories (produced both by human beings
and by computer) generate a synthesis of sounds and visuals. The sounds
of live instruments serve as interface in an audiovisually interactive
concert that merges a sophisticated instrumental sound and realtime
computing in an amazing improvisation.
While visual images and processes are being generated during the concert, a multi channel granular synthesis fits together minute tonal particles that make up the instrumental sounds into a constantly changing acoustic stream made up of different pitches, durations and positions in the electro-acoustic space. The musical and visual components interact and reciprocally influence each other in order to blend into a unique, synaesthetic, improvisational work of art.
with kind support of The Austrian Cultrual Forum in New York
8. Artist biographies
Andreas Weixler & Se-Lien Chuang
born 1963 in Graz Austria, Composer for contemporary instrumental composition, computer music and media arts in audio visual interactivity.
study of composition and music theory at the
University of Music and Dramatic Arts in Graz, Austria. with Andrzej
Dobrowolski, Younghi Pagh-Paan, diploma with Beat Furrer 1995, master
of arts 1997 with Dr. Otto Kolleritsch, pre-studies in sound
engineering and physics.
specializing in computer music in workshops, studies, productions and artist in residence in Austria, Germany, Swiss, England, France und Japan 1993-2005
composer, lecturer and media artist. Numerous international projects of contemporary music, computer music, jazzrelated music, also in cooperation with modern dance, contemporary theatre, video and fine arts. Special emphasis in audio visual interactivity and algorithmic composition, as well as electronic sound processing.
concerts, performances and lectures in Austria,
Germany, Swiss, France, Belgium, Netherlands, Italy, CSFR, Russia,
Canada, Columbia, Brasil, China, Taiwan, Japan, South Korea and USA.
broadcastings in Austria, Germany, Swiss, Netherlands, Hungary, Finnland, Belgium a.o.
since 1981 running Atelier Avant Austria, Studio for contemporary composition, computer music & media arts since 1996 together with Se-Lien Chuang. http://avant.mur.at
since 2004 lecturer for interactive audiovisual projects / Max Msp Jitter at the University of Arts in Linz, Institute of Media, interface cultures
since 1997 lecturer at Bruckner-University Linz for music- & media technology and computer music
composer, pianist and media artist
1965 born in Taiwan, since 1991 residence in Austria
2003/04 lecturer in computer visual communication at Tainan National College of the Arts, Department of Applied Music /Taiwan;
2000/01 research project in computer music und audio-visual arts in Nagoya City Universiy/Japan;
diverse performances and study-stays in Europe, Asia, Russia, Canada, South- and North America.
2005 master of arts in composition (Beat Furrer) at the University for Music and Dramatic Arts in Graz/Austria;
1999 diploma with distinction in Music and Media Technology at Studio for Advanced Music and Media Technology (Adelhard Roidinger, Karlheinz Essl) at Bruckner-University Linz/Austria;
scholarship in Silicon Graphics Studio at WIFI/ Graz/ Styria;
1996 piano-diploma in IGP - Instrumental-Vocal Pedagogics (Walter Groppenberger) at the University of Music and Dramatic Arts in Graz/Austria;
study of electro-acoustic music at the Institute of Electroacoustic and Experimental Music (Tamas Ungvary, Wolfgang Musil) at the University of Music and Dramatic Arts in Vienna/Austria;
artistic activities (selection)
portrait concert Weixler-Chuang - Experimental Intermedia NYC '06, Goldsmiths College London/England '06; Wien Modern - Vienna/Austria '05; ars electronica 2005, Linz/Austria; realtime/nonrealtime 2005, Basel/Swiss; Ultraschall 2005 - Berlin/Germany; JSEM concert 2004 - Japanese Society of Electronic Music, Tokyo/Japan; 2003 Busan International Digital Technology Music Festival Busan/ South Korea; SICMF 2002/03 -Seoul International Computer Music Festival Seoul/South Korea; ISEA 2002 - the 11th International Symposium on Electronic Art Nagoya/Japan; artport 2001 - MEDIASELECT 2001 Nagoya/Japan; Laval, France _01; SIBGRAPI 2000 Video Festival/Gramado-RS, Brazil.
9. Set-up and rehearsal time required
1 hour set-up and rehearsal
During concert there will be an efficient change
10. Detailed technical requirements for the performer
description of electronics
The instrumentalist has microphones to input the instrumental sound in our audiovisual computer system. The piece is an improvistaion between contemporary instrumental sound, multi channel granularsythesis and interactive visuals. Every one communicates even the computers do.
2 TFT VGA Monitor: 1 for display of multi channel granular synthesis, 1 for display of interactive visulas
11. Other technical requirements (sound, light, stage area, etc.)
4-8 channel audio system
4 monitor speaker (optional)
2 data projector
2 condensor microphones for violin
2 contact microphones for violin
1 mixing console on stage (4 line in, stereo out)
1 main mixer (4 mics in, 4 aux out, 4-8 line in, 4-8 out to main speakers, 2 channel monitoring on 4 speakers)
1 DV Camcoder for visual input of violin
3 TFT VGA Monitor (2 for the violinist, 1 for the computer players)
2 desk ( one - width: about 160 cm, length: about 60 cm, hight: about 75 cm; another one - width: about 45 cm, length: about 55 cm, hight: as high as grand piano)
2 black table-cloth for covering the desks (optional)
3 white light spots (1 for violinist, 2 for computer player), careful not to disturb the projection !
dim blue lighting for stage area, not to disturb the projection
div. cables for the corresponding circumference
13. Images showing the work
© Chuang Se-Lien
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