In 2020 the book will finally get together, I have mapped out my year of writing! I’m looking forward to an intensive year of researching, writing and editing - and collaboration with SuperPosition for the graphical side of the work. In addition I will go to Norway (Oslo, Trondheim, Bergen) to give presentations about the research and work with artists there on the topic of mapping. Since I will be traveling by train (great place to be writing!), I will also make a stop in Copenhagen and Malmö. Two further work sessions are planned in the Netherlands at V2_ (Rotterdam) in April and at Splendor (Amsterdam) in August. For a full overview of the events, see the agenda page. Links to detailed information will be linked there. People have asked me whether it still makes sense to fill in the expression of interest form or the survey - and yes it does! The information from the forms will help me to inform you when pre-orders can be made or to tell you about how you can otherwise (financially) support the book.
In the first worksession, that took place at iii on October 28, 29 and 30, we took an in-depth look at the work of four artists: Dan Gibson, Erfan Abdi, Stelios Manousakis and Solomiya Moroz. Over the course of three days, we delved deeper and deeper into these works. For the participants it was a good way to look at their own work again, and be able to describe and discuss their works in detail with the other participants.
The works we looked at were:
- Dan Gibson’s Modified Cello
- Erfan Abdi’s NoteSaaz
- Stelios Manousakis’ Wireless Information Retrieval system, that has been used in his Hertzian Field projects
- Solomiya Moroz’s Piano Hands and Extended Bow.
I also took the time to analyse my own work Wezen - Gewording.
Good news! I received the funding from the Creative Industry Fund NL to continue working on the book and towards publishing the book at the end of next year.
On September 28th, I presented a position paper about the topic of the book at the Conference for Interdisciplinary Musicology (CIM) in Graz.
To share the conclusion of my talk:
The process of mapping is an interdisciplinary effort and requires both engineering and artistic skills.
While common strategies, tools and elements are used, each instrument is highly individual and often changing over time. New strategies, tools and elements are continually invented, embraced and (in some cases) abandoned again.
The process is situated in time and relates to the available technical means and current artistic practices: it is connected to the music paradigms embedded in available software and hardware, and how artists adopt, change, break and transcend these paradigms.
As such it is an enactive process of codevelopment of artistic concepts and technology. Also the resulting instruments may be seen as embodiments of the artistic concepts and performative expression of the artist. Conversely, the instruments are physical objects that allow the exploration and development of these aesthetic concepts.
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