In the late 1970s, composer Iannis Xenakis developed UPIC (Unité Polyagogique Informatique de CEMAMu, Centre d'Études de Mathématique et Automatique Musicales), a computer program that digitally translates graphic notation into sound. Using the tablet interface, composers can draw the waveforms and envelopes directly on an electronic tablet and let the computer convert them into sound in real time. The revolution in graphic composition triggered by Xenakis and supported by other established computer musicians such as Jean-Claude Risset or Curtis Roads continued forty years later thanks to modern computer programs, such as the graphic open source sequencer Iannix.
From April 23 to July 1st, 2018 the ZKM | Center for Art and Media Karlsruhe released an open call for artists for new composition ideas and proposals for electroacoustic compositions resulting from the digital real-time interpretation of graphics and graphic notation. The artists applied for a one-month residency at the ZKM with the composition proposals.
Selected artists in residency:
Presentations of work:
09/11/2019, 17.30 | ZKM Cube | Free admission
"Bursty Exorbitance" (2018/2019, world premiere), electroacoustic composition
“Bursty Exorbitance” is an eight-channel computer generated composition developed at the ZKM | Center for Art and Media Karlsruhe in Germany as part of the graphic notation residency. It explores the eruptive sonic qualities which emerge from a far-from-equilibrium drive of a Generative Feedback Network, implemented with the Pure Data programming environment. Eight nodes with self-modulating mechanisms were soft-coupled as non-linear oscillators, which produced continuous sonic streams of explosive and recalcitrant character. Some crucial parameters of the self-modulating mechanisms were controlled by a four-dimensional chaotic attractor discovered in 2017 by M. Ababneh at the Department of Mechatronics Engineering of the Hashemite University in Zarqa Jordan. The visualizations of the attractor served as the “score”, providing proper parameter mappings for the macro development of the composition. Other important sets of parameters were randomized within composed limits while other parameters were manually adjusted during the unfolding of the composition.