refereed papers 2001-04
The Problem of Objectivity and the Artistic Conception of the Participant Observer
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| 2004vicproblemofobjectivity.pdf |
Interactive control of higher order
musical structures
Lindsay Vickery
ACMC 2004 Victoria Wellington
This paper examines the challenge of using interactive procedures to control higher order musical structures, such as formal elements and texture. It proposes as one solution to this problem, a performance paradigm involving a cybernetic arrangement, placing a human performer and a machine in collaboration in which neither is exclusively privileged as the control source. Such a system would exploit the potentialities of the human improviser as an interactive subject in a manner practiced by some non-electronic interactive musical works and present the possibility of an open symbiotic interactive performance model in which control commands pass both from and to the human and machine components. The development of such works is explored in the context of Game Theory and non-linear compositions involving live players by Xenakis, Pousseur and Zorn as well as interactive works by Teitelbaum, The Hub, and the author’s own compositions.
| 2004vichigherorder.pdf |
Nine Aspects of Appropriation
Lindsay Vickery
Cover or Remix 2004 ECU Perth
Quotation, Reference, Collage, Juxtaposition: the Post- modernist Era’s tools of the trade have a long history in Western Art Music. This paper will explore a range of functions and readings of appropriation illustrated through works by composers from Berlioz through to Einstürzende Neubauten. The examples, including Ives, Berg, Berio, Zorn, Public Enemy and the author’s own work, will demonstrate a complex interplay in the relationship between the music and its changing contexts, ranging from horror, to reverence and revenge.
| 2004vic9aspects.pdf |
Non-linear structures for real-time
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| 2003vicnonlinstruct.pdf |
The RoboSax Project (1991-2001): forms of performer/machine interaction
Lindsay Vickery
ACMC 2002 RMIT Melbourne
Since 1990 Jonathan Mustard and I have been creating a body of work for solo wind instrument (acoustic or electronic) and interactive electronics. This paper gives an overview of these works and their exploration of interaction and control issues between the performer and machine. It discusses the evolution of the continuing project through the use of software and hardware from the Yamaha TX81z, through MAX to MAX/MSP.
| 2002vicrobosax.pdf |
The Yamaha MIBURI MIDI jump suit as a controller for STEIM's Interactive Video software Image/ine
Lindsay Vickery
ACMC 2002 RMIT Melbourne
The desire on the part of composers to extend the scope of interactive electronics into the visual domain has resulted in the development of a number of systems that use gestural information as a means for controlling video. This paper will discuss the combination of two of these technologies - the Yamaha MIBURI MIDI jump suit and STEIM's Interactive Video software Image/ine - to provide real-time control of images via a performer.
The paper includes an introduction to the Yamaha MIBURI MIDI jump suit and an overview of STEIM's Interactive Video software Image/ine. A number of different MIBURI/Image/ine interface paradigms developed by the author at STEIM are examined in light of the advantages and limitations of the two systems.
The paper includes an introduction to the Yamaha MIBURI MIDI jump suit and an overview of STEIM's Interactive Video software Image/ine. A number of different MIBURI/Image/ine interface paradigms developed by the author at STEIM are examined in light of the advantages and limitations of the two systems.
| 2002vicmiburi.pdf |
The Western Edge: some recent electronic music from Western Australia
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An Analysis of Karlheinz Stockhausen's
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| lvtraumformelparti.pdf |
An Analysis of Karlheinz Stockhausen's
Traum-Formel
Lindsay Vickery
(Unpublished MMus Dissertation) University of Western AustraliaSchool of Music 2000
An analysis of Traum-Formel (Dream- Formula 1981) a short work by Karlheinz Stockhausen for solo basset-horn. Part II analyses Traum-Formel limb by limb.
Chapter 5. An Analysis of Traum-Formel
Chapter 5. An Analysis of Traum-Formel
| lvtraumformelpartii.pdf |
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Representations of recombinant memory in interactive performance works
Jon Burtt and Katie Lavers and Lindsay Vickery Consciousness Reframed 2004 Beijing 
Modelling of human memory provides a potent framework for examining the complex and enigmatic nature of human perception. This paper examines three varied explorations of images of mind and memory in works involving live performers and technology by the multi-artform circus company skadada and composer Lindsay Vickery. It discusses the positioning of cognitive structures and their representations within a continuum of technological and human agents. Namely, elements and nodes with ‘mind-like’ characteristics situated within the human and machine interactions of a cybernetic performance. Three works are discussed: Red Yo-Yo (1995) by skadada, <as viewed from above> (2000) by Vickery and The Quick (2004) a collaborative work by the authors.
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