Score: Mechanical Asynchronicity
- Submitting institution
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Nottingham Trent University
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- 46 - 1388870
- Type
- T - Other
- DOI
-
-
- Location
- -
- Brief description of type
- N/A
- Open access status
- Out of scope for open access requirements
- Month
- September
- Year
- 2019
- URL
-
-
- Supplementary information
-
-
- Request cross-referral to
- -
- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- Yes
- Number of additional authors
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1
- Research group(s)
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A - Artistic Research Centre
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- This twenty-month collaborative research project between visual artist Maier and composer Scheuregger, took lace patterns from the Nottingham Lace Archive as the starting point for drawings that can be ‘played’ live and are installation-based visual/musical performances. It extended Maier’s process in ‘Bummock’ into performative media and a cross-disciplinary collaboration. The work’s combination of performance and artefact is denoted by its relevance to contemporary art and music venues. The process drew on, and with, the computational dimension of machine lace focusing on punched cards in a cross-over with automatic music, mediated through Maier’s focus on drawn line. The iterative re-encoding process explored aesthetics of imperfection and glitch. ‘Naively’ transcribed into lines, the data in the lace patterns were converted to punch cards that could be played by musical box mechanisms. The work was further developed into graphic and traditional scores which in turn generated renditions that worked as both drawing, and score. This process relates to contemporary practice by Conlon Nancarrow, Morgan Feldman and David Littler, among others. The performers play a key part in continuing the collaborative process as they develop individual approaches to the scores – which include graphic and choice-based elements – presented to them in a live and public rehearsal process. By working together, the musicians are able to create a coherent approach to the work, forming interpretative strategies that create effective musical results yet are ‘imperfectly’ matched to the mechanical recordings. Supported by £13,835 from ACE, the drawn ‘notation’ that the process generated was developed in a series of engagements with the musicians, who performed the work through sculptural/durational sound pieces at Backlit, Nottingham (2018) Lincoln Performing Arts Centre (2019), and the Ruskin Gallery, Cambridge, (2019), reaching its fullest manifestation to date in the Bauhaus Imaginista international project at Nottingham Contemporary, 27th & 28th September 2019.
- Author contribution statement
- -
- Non-English
- No
- English abstract
- -