Open Form Festival of Indeterminate Music
March 10th – 13th March 2007
Realisation of Cornelius Cardew’s ‘Treatise’ (page 47)
By Adam Asnan & J_Milo Taylor
London College of Communication

At the time of writing Treatise, Cardew was also exploring the possibilities outlined by free improvisation as typified by the group AMM who were in the process of moving towards ‘sound’ rather than ‘music’. This double articulation of Cardew’s practice, spontaneous improvisation embodied in real-time human interaction, coupled with a rejection of this in favor of notation has informed our approach to the work.

My vector into Treatise is situated in our practices as a sound artists, rather than improvising musicians, although we both improvise regularly as part of David Toop’s Laptop Orchestra. An early concept to transform the score into a map for ‘prepared’ guitar was quickly rejected but the concept of transformation was kept, and carried through to this current iteration of our response. While we were developing our work, it quickly became clear that Adam’s strategy was to be a highly formalized deconstruction of Cardew’s graphic score. It was less an interpretation, more of an extreme re-mapping of the possibilities imagined by the composer.

This in turn, prompted me towards a more direct intervention, into the work, my own practice and into reality. I re-imagined my role and decided to embark upon a process of de/re-constructing the score, and transforming it into a sculptural sound object; this object would be definitively derived from the score, limit my choices in performance, whilst facilitating these choices. Score as object, or score as instrument, a kind of physical embodiment of an originally abstract intention.

P-47 Misery Box: Sample 1

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P-47 Misery Box: Sample 2

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P-47 Misery Box: Sample 3

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P-47 Misery Box: Sample 4

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It is my feeling, that although respectful of Cardew’s intentions, we are also aware of our own situatedness, and the possibilities of articulating an alternative discourse removed from the rarefied ambience of the music academy. Our work, while a radical de/construction of the score, would, we hope, sit well with Cardew’s broader social and political aims.

The piece was presented in the Royal Academy of Music, Oslo in a workshop led by Christian Wolff.






This work of dedicated to the Cardew’s memory, with the hope he would have enjoyed our response and to Siri, Lena, Else and everyone who have been so welcoming to us during our time in Oslo. Takk.






Year: 2005-2006
Location : Morocco
Worktype : Laptop Improvisation Group
Materials: Tape Machine, PureData, Electric Guitar, MaxMSP, Ableton, FX, Field Recordings
Info : Laptop Performances, Tour of Morocco

Work Details
For the summer months of 2005 and 2006 I took part in a number of interdisciplinary art festivals in Morocco. These recordings, made in Marrakech, are examples of context-responsive electro-acoustic improvisations made by an ensemble of 4 players assembled for the project. A strategy based upon genetic algorithms, that is to say, a collaborative process of selection and modification of sounds was developed, prior to performance, in order to create cohesion and a group identity in, at times, quite difficult circumstances.

7000dhs (2006) Step 1 Export

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7000dhs (2006) Flute ou Chien

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7000dhs (2006) Le vegetable le moins cher

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7000dhs (2006) Ritual

7000dhs (2006) Le vrai gnaui blues

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7000dhs (2006) Taforalght 1

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7000dhs (2006) Taforalght 2

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7000dhs (2006) Marrakash

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7000dhs (2006) Tous les Portes sont fermees

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Genetic Algorithms: Rules of Evolution

1 each directory represents the gene pool for that 15 min section of performance. contribute as many specimens as you see fit (15 max?) =a lot of genetic material to become familiar with

naming conventions: ritual001-01.wav

means ritual sound file 001 – first generation

after a generation of evolution it would become
ritual001-02.wav

a further evolutionary step would result in
ritual001-03.wav

and so on
ritual001-04.wav
ritual001-05.wav
….

3 it would be interesting for each dna strand (sound file) to go thru a minimum of 4 steps

i.e to pass thru each of the ‘fitness selectors’ following the original entry into the gene pool.

adam
cate
ed
joel
milo

4 process
once you have downloaded the all the material, have a listen and assess the sample’s fitness for selection or rejection.

material selected is to be subjected to one of two processess

genetic splicing – dna from two selected samples is exchanged
mutation – dna is subjected to audio processing, and mutated into the next generation

nb/ neither of these processes should be applied to the entire strand, only sections of the strand may be processed, leaving some of the previous generation’s dna intact.

upload the next generation, with their new tag – e.g ritual001-01.wav, after modification, will be renamed, ritual001-02.wav

kill the parents (we should leave the originals online, but they are now unfit, and should be rejected)

by the end of this first stage of the process we should end up with a number of files:

ritualxxx-05.wav
ritualxxx-05.wav
ritualxxx-05.wav
ritualxxx-05.wav
ritualxxx-05.wav
ritualxxx-05.wav
ritualxxx-05.wav

these will serve as our genetic base for the improvisations in marrakesh

http://www.myspace.com/7000dirhams

Year : 2006
Location : England
Worktype : Contemporary Improvising Trio
Info : with Adam Asnan, Ed Kelly

Data Membrane

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German Bight

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Polaris Redux

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Year: 2006
Location: Coldstorage Exhibition, Kühlhaus am Gleisdreieck, Luckenwalderstr. 3, Kreuzberg, Berlin, Germany
Worktype: Soundwork
Materials: ice, vinyl test tones, baritone guitar, misery box, granulation, voice

Material Investigation 7 – Part 1

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Material Investigation 7 – Part 2

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Material Investigation 7 – Part 3

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Material Investigation 7 – Part 4

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Material Investigation 7 – Part 5

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KVO





Year: 2005
Location: Shoeneweider, Berlin, Germany
Worktype: Electronic Improvisation / Sound Installation
Info: Collaboration with kawaii, Julian Ronsfeldt and Leo Konigsberg.
KVO – Ascent to Pi

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KVO – As Industrial Cold is Distant Female

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KVO – House Becomes Island

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KVO – Sticking Plastic to Finger

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Year:  2001-2005
Location:  England
Worktype:  Band Project
Materials:  electric guitars, guild bass, cello, violin, drum machine, electronics, voices

Titled (unreleased)

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Handheld Music for Freeway

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Hours of White Sheets (Sonic Supertonic) (unreleased)

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Bang!Bang! / smash the cymbal (unreleased)

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East Coast Drive

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I Like U when Yr Down

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Millenial popmusic we thought.

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Choka Honey Calamo (discordia)

run down the calamari / gun down the minibar
suck up an H of honey / fuck up and burn your money
your ink is disingenous / you’re pierced by the tower of genepool
calaboosh you cannot partir / she had no part of me

cephalopod intimation / puff clouds in the nation of
this is disinformation / bang the squares bash the squares
summer school confutatis / inkcloud rorschach you’re no artist
your puff it has no function / encased as you are in galveston

swing down on candelabra / tell the cloud that you can see her there
ink up your brand new print-press / take a breath, touch her breast, her fin
and she looks so funny / said arms, lines of honey-milk
impress no magazine-mould / magnetic, she has been sold out

the prioress asks of dias / if his trips could ever free us
baby calamo goes to ask him / if he ever knew the captain
set sail for africa / blown off course, of course, it’s par for
hold her tongue in vice for hours / stop flow … we should go and shower

get right back to the calamaro / years later at the alamo
check your body’s re-volution / check yr think of evolution
ingenue – she wished she flew / dias’ dearest wish to find her
kick about and blow out umbra / when he comes there … discordia.

Credits
Peter Lowis – bottom ended
Ross Diamond – production
Jason Gleeson – jazzmstr co-director
J Milo Taylor – mosrite co-director

Sad it had to end – cut my teeth here – paid some dues – made some musicksound – made some great friends

http://www.gertruderock.com/