Environments at all levels are being flooded with information, images and music. The proliferation of smart phones and communication networks has altered the manner in which people understand and experience space. One pressing question for architecture, art, music and theater is how to conceptualize this mixed environment, how to integrate the flow of information with the spatial settings in which it is received. User Agreement is a music composition that explores the manner in which interactivity and computation can transform music performance space.
Musicians: Scott Christian, percussion | Mira Frisch, cello | Lindsay Kesselman, soprano | Jessica Lindsey, clarinet | Jenny Topilow, violin
Research: Alireza Karduni, Noushin Radnia, Trevor Hess, Evan Danchenka, Eric Sauda | Digital Arts Center, UNC Charlotte
Information Technology/Smart Phone App Development: Iosif Yeremuk, Andrew Duncan
CagedSpace performance focuses on responsive architecture that provides an engaging, inclusive and unique atmosphere for both performers and audience.
We have created a prepared music field that will allow you to move through the space using your smartphone to engage both with live performers and digitally delivered augmented pieces of the composition. Each member of the audience will have a unique listening experience depending upon their position and movement during the performance.
Screenshots of the CagedSpace App that was developed by faculty at CCI Department at UNC Charlotte.
From Ian Diicke (The Composer) Website. https://www.iandicke.com/portfolio/user_agreement/
HISTORICAL CONSTELLATION - To better place our project in a historical context, we have created a model for interpreting experimental music works in the last 100 years, all of which vary in terms of historical merit, intention, performance, and use of technology. First, we distinguish between three basic understandings of experimental music: 1) Traditional Instrumentation, characterized by acoustic orchestration for conventional instruments; 2) Electronic/Manufactured Sounds, characterized by electronically generated and manipulated sounds that do not naturally occur; and 3) Natural/Found Sounds, characterized by observed or recorded sounds (noises) in their natural state.
The historical constellation of music engages the prepared music field by developing the range of instrumental, found, and manufactured sounds as media for the piece. This project fits within a tradition of innovation and inclusion that stretches back at least a century.
