Michel Waisvisz: No Backup/Hyper Instruments

No Thumbnail Available
File version
Author(s)
Ferguson, John
Griffith University Author(s)
Primary Supervisor
Other Supervisors
Editor(s)

Emmerson S. and Landy L.

Date
2016
Size
File type(s)
Location
License
Abstract

Focusing on Michel Waisvisz’s No Backup (2004) and Hyper Instruments (ca. 1999), this chapter draws upon a range of examples relevant to a discussion around electroacoustic improvisation with new instruments and technologies. The approach to ‘analysis’ I shall take is in many ways a critique of some of the more traditional methods. The open-ended, interactive structures characteristic of digital media are not wholly compatible with conventional conceptualisations of music where ‘performers’ play ‘compositions’. Improvisation offers a distinctive mode of engagement, in that it not only challenges the separability of performance from composition, but also emphasises process over product, and is therefore more compatible with the interactive capabilities of new technologies. The impact of these issues on what we, as a culture, imagine musicians to be, and the interrogation of received notions of authorship and creativity, is an important undercurrent that shapes the discussion within this chapter.

Journal Title
Conference Title
Book Title

Expanding the Horizon of Electroacustic Music Analysis

Edition
Volume
Issue
Thesis Type
Degree Program
School
Publisher link
Patent number
Funder(s)
Grant identifier(s)
Rights Statement
Rights Statement
Item Access Status
Note
Access the data
Related item(s)
Subject

Performing Arts and Creative Writing not elsewhere classified

Technology not elsewhere classified

Persistent link to this record
Citation
Collections