- James Herrington: trying out new ways for his interactive dubstep environment to interact with dancers. Kinect, miburu suit and reactavision controlled various parameters (subdivisions, synth pitch, drum feel). Jos pointed out to me that the Kinect could already do what the suit and reactavision were doing.
- Christa Martinez: wicked bass clarinetist here for the ICMC. Incredibly insightful and approachable. Talked about different music education styles overseas, interdisciplinary equality, improv without parametric thinking, disparity between performer and electronics and the skill of getting yourself out there as a musician.
Also talked about visuals at new music concerts and how they subdue the traditional visual relationship with the performer. Also talked about various extended techniques for bass clarinet and how different qualities of instrument will limit what is possible.
- Andy Scott: I despised this guy and later cut up one of his scores with a contact mic on the scissors for a Mr. Government performance. Petty, sure, but it was fun.
At any rate, Scott made me realise how spoilt WAAPA composition is in regards to international guests, because he was the first one I found really quite deeply underwhelming. His music has the air of "complexity" for people who can't stomach a piece of music without a key centre. When Josten asked in regards to his use of multiphonics for pitch purposes whether Scott had considered using multiphonics just for the timbral colour, Scott replied something in regards to needing a "real reason" to use them. I actively stopped listening to the guy after that point.
- Fortunately, the second half of this workshop was actually the most interesting one all year: Te (Kynan Tan and Andrew Brooks) played a "study in density". Brookes is doing his PhD on political, social etc contexts in sound, moving away from Cageian approaches towards examining what sounds "mean". This is, of course, a total simplification. But it had a significant impact on me and I've started to apply meaning to Mr. Government.
They also talked about their live performance practice and how capitalism has the ability to absorb that which criticises it.
- Hannah Sorenson: still doing her thing. Getting involved in a lot of stuff - collabs, working with the jazz department etc. Wish she'd push herself more because I know she can do some neat stuff.
- Matt Cole and Steve Paraskos: preview of their collab for "Ephemeral" with some dancers and artists and stuff. Pretty electroacoustic tryout of ideas. Came out about the same when they played it for real, but with the kinks ironed out. Good stuff. They also talked a little about the frustrating things about collaboration and how the musician's freedom is validated by the fact that the musician is highly capable of making the other party look like an idiot.
- Jos Chapman: Jos' ethos is basically that he wants to make synesthetic video games where music is integral to how the game is played. Unfortunately he just showed some influences. But I'll get to play his game one day.
- Micheal Bello: fat beats and synths and vocal samples. That's about all I remember.
- Micheal Dang: very pretty piano/flute thing and a spatial piece. Sounds like he has an ear for nice harmonies. I want to hear him do some freakier stuff or at the very least push himself to do something really outside his comfort zone.
- Timothy Bator: showed his spatial piece for samples of sax multiphonics. Had an interesting vibe that I ultimately disliked. It also seemed more informed by approach than sound.
- Leanne Puttick: piano+2 cello piece for a collaboration. Apparently she had been told not to write anything interesting lest it distract from the ?play? ?film? I don't remember. That about sums it up.
- Alex Hejleh (? not sure if I got his name right/remember it): attempt at a minimalist piece, seemed to need either more or less. Good vibes though.
- Tod Machover: this guy does a hell of a lot of high-concept stuff. Interactive musical environments, operas made with brainwaves, invented instruments, democratic access to simple composition tools and alternative reality games. Interestingly, he dislikes Max/MSP, finding it limiting compared to programming (he uses Python).