Line (Portfolio) : A 'performance/installation' by Simon Waters (2018)
- Submitting institution
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Queen's University of Belfast
- Unit of assessment
- 33 - Music, Drama, Dance, Performing Arts, Film and Screen Studies
- Output identifier
- 177881321
- Type
- T - Other
- DOI
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- Location
- Ghent
- Brief description of type
- Orpheus Instituut, Gent
- Open access status
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- Month
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- Year
- 2019
- URL
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- Supplementary information
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- Request cross-referral to
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- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
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- Forensic science
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- Criminology
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- Interdisciplinary
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- Number of additional authors
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0
- Research group(s)
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- Proposed double-weighted
- No
- Reserve for an output with double weighting
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- Additional information
- The performance-installation Line, premiered at Turner Contemporary (2018) and shown at Orpheus Instituut Ghent, lies at the interstices of two long-term ongoing research concerns:
The first is that of installation-oriented performances which together instantiate a critique of notions of immersivity which place the listener in an idealised (‘privileged’) central relationship within a multi-speaker sound diffusion system (e.g. BEAST, Soundfield, Dolby Atmos). Documented on the website (https://orpheusinstituut.be/en/projects/line ‘related research’) these include my 2007 installation Proxemics: The world is a deaf machine in which audience members moved wearing iPods which individually interacted with loudspeaker-based material and standing-wave phenomena – premiered at Sainsbury Centre for Visual Arts, and a 2019 installation for the Robinson Library, Armagh based on the recorded voices of the city’s current inhabitants reflecting on the data from a 1770 city census.
The second trajectory is the development of instruments which deploy feedback in a variety of ways (Virtual/Physical Feedback Flute – REF 2007 - feedback at every level from acoustic to ‘totality of world networked audio’; ‘Line’ REF 2020 – alto flute/loudspeaker system deploying feedback at each level from acoustic to ‘historical musical activity’; Feedback Cello – enhanced acoustic feedback between all components e.g. instrument & bow – ongoing, future REF)
Line also develops my ongoing concern with musical proxemics (from the intimate ‘outwards’ to the global/historical) and performance ecosystems featured in Waters 2007, 2013, developed by e.g. Green (2008, 2011, 2014), Haworth (2014, 2017). The concept of performance ecosystems (which stress the interdependences and contiguities between performer, instrument and environment) developed by Waters and ex-research student Bowers is widely cited (e.g. Oxford Handbook of Computer Music) in the discourse around technologised musics, sharing characteristics with the work of research colleague Nicolas Collins (Orpheus/SAIC) and Agostino di Scipio, while exploring both more explicitly improvisatory, and more explicitly ‘composerly’ tendencies.
- Author contribution statement
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- Non-English
- No
- English abstract
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