Some of my research has been selected for display in the Study Day on Computer Simulation of Musical Creativity at the University of Huddersfield in the form of an academic poster (see image below). This is not the first time I have presented on this topic, I discussed this particular subject at the PGR Symposium in 2013. I have also written about it on this website before.
In this presentation, I discuss my current composition Interstice, the ‘form’ of which relies on the participation of an interactive audience via the internet and an iPhone ‘app’. Due to a specific type of interactivity, Interstice’s timeline is complex, and its participatory element results in the roles of ‘performer’ and ‘audience’ being indistinguishable. Interstice treats the audience as additional compositional ‘objects’ amongst which perceived ‘meaning’ and ‘function’ interact within a ‘frame’ that is multidimensional and not definitive. As such, my composition allows the chain of stages in a typical compositional process to be radically rearranged.
Whilst demonstrating how Interstice works, I discuss that, for me, the nature of compositional ‘form’ is multidimensional and interstitial. It comprises a continuously shifting definition where each characterisation appears inherent regardless of this constantly transforming quality. A potential reason for this versatile behaviour is most likely due to the multidimensional nature of ‘time’ which I explain includes simultaneous linear and nonlinear characteristics.
Another reason is possibly because of the various perspectives applied by society. I elaborate on this theory by questioning the substance of compositional ‘form’ and demonstrating how answers to this query are governed by the perceivers’ viewpoints and the composition’s social context. I explain that compositional ‘form’ is a communal event that most likely relies on the formation of ‘meaning’ within the ‘space’ between a composition’s constituent ‘objects’ and its perceivers. In my opinion, this establishment of ‘meaning’ is governed by the way the compositional ‘form’, and its occupied ‘space’, is ‘framed’ within its social setting; however, in the case of Interstice, defining this ‘space’ and ‘frame’ is not straightforward.