Attention, Memory, Expectation Glasgow Improvisers Orchestra's 24 hour soundscape composed with broadcast for Resonant Futurs Festival #12 Apo33
Notice bibliographique
Résumé
The Glasgow Improvisers Orchestra Global telematic improvisation group have played on ZOOM every week since March 2020. \nFor this work we reveal the spontaneous distributed creativity amongst intergenerational, inter-disciplinary musicians from New York, California, Mexico, Wales, Scotland and Spain, as we co-create a response to you callout for submissions. \n \nWe collectively reviewed the callout and crowd-sourced ideas - but focused to record a 24 minute piece based on "attention, memory and expectation" which we used time stretch to extend this piece to 200% speed, 400%, 800%, 400%, 200%, and back to 100% (and variations on this sequence) for 24 hours, inspired by Douglas Gordon's 24 Hour Psycho. This work responds to Chris Parfitt and Jessica Argo's ideas about when we listen to music (or just when we exist in the world) we have attention on the present, expectation of the future and memory of the past (and the way we perceive the present is coloured by our memory of the past / and the impatience of our expectation of the future (based on musicology theory from Wilson Coker and David Huron) \n \nJessica Argo has assembled an edit of the conversational camaraderie, framing and construction of the piece which happens to weave in personal, national and global conflicts, tensions and alienation of capitalist exploitation of labour, that is often spontaneously reflected on as we console eachother and construct artistic responses, spontaneously in real-time. \n \nWe collectively reviewed the callout and crowd-sourced ideas including: \n- a minute long piece, repeat it for 24 hours (Chris) \n- there seems to be an expectation that the artist would set up generative system to run 24 hrs - what does it mean if its humans, durational.... (Jess) \n- we have 700 hours worth of archive recorded since 2020 - how to incorporate our musical past into our musical present? \n- interest of improv is elements coming from each individual, thinking up interesting original sounds come out of each individuals lifestyle - why not break down the improvisation into every performer's component and string them out over 24 hours - stop and then the next thing - cut up the stems - single ideas 20 ideas strung together (process - important - democratic (got the transcript) (Constance) \n- what is lost? (Jess) \n- breathe in and out sound inside - then you have the sound (Bernd) \n \nWhilst we played as Jessica shared screen with fragments our feature-length compilation of commissioned artists films recently screened at Glasgow CCA's Gallus Disruptors event, scrubbing through time and visually zooming in perhaps overlooked small details, to mimic the selective focus during attention to the present, and fragmentation of memory. \n \nThis work re-invents ideas from Jessica Argo's 2013 solo experimental animation and soundscape, Harmonising the Musical Present with the Musical Past (https://youtu.be/FaSKPuu_c84?si=zlqjGhU-GJRkiGB_), re-imagined as a collective. \n \nThe films that the group respond to on the ZOOM call are obscured in this audio-only format - but its important to know that the audio format captures brief audio snippets of these original outputs that were catalysed by animated graphic scores, hand painted prompts and directed virtual backgrounds in works composed by Robert Burke (Melbourne, Australia), Yasuko Kaneko (Okoyama Japan), Instant Places (Laura Kavanaugh and Ian Birse, Ottowa, Canada). Also featured are audio excerpts from site-specific pieces spontaneously arising from the travels of our regular performers, from welding workshops to hilltop sprints. Ideas that traverse domestic and performance spaces, and those that blur the boundaries of the virtual and physical space are at the heart of our creative practice (and this piece)"
Récupéré en direct depuis OpenAlex et désinversé. Les résumés ne sont pas conservés dans cette base de données : les index inversés représentent 8,6 Go des 9,3 Go de texte de la base, et le serveur dispose de 13 Go libres.
Comment cette classification a été obtenuedéplier
Prédiction distillée sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Apprise à partir de 10 348 étiquettes directes de Codex et de 10 348 étiquettes directes de Gemma. Le mode candidate est l'union des têtes enseignantes seuillées; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont ni des étiquettes humaines ni des étiquettes directes de modèles de pointe.
Scores Codex et Gemma par catégorie
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,001 | 0,000 |
| Méta-épidémiologie (sens strict) | 0,002 | 0,002 |
| Méta-épidémiologie (sens large) | 0,002 | 0,001 |
| Bibliométrie | 0,002 | 0,001 |
| Études des sciences et des technologies | 0,000 | 0,001 |
| Communication savante | 0,000 | 0,000 |
| Science ouverte | 0,001 | 0,000 |
| Intégrité de la recherche | 0,001 | 0,001 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,002 | 0,009 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découleClassification
machine, non validéePrédiction automatique; les deux têtes enseignantes s’accordent sur ce qui est montré ici.
Le détail, modèle par modèle et score par score, se trouve en fin de page sous « Comment cette classification a été obtenue ».