sobralasolas ! episode 1
sobralasolas ! episode 2
sobralasolas ! episode 3

Aug 2009 - cd release episode 1
ohm avatar quebec qc —

18 Nov 2009 - sobralasolas! lecture by Björn Eriksson, Härnösand (SW) —

17 Jan 2010 - episode 2 premiere at deutschlandradio kultur berlin - ohrenstrand berlin (G) —

Dec 2010 - cd release episode 2 (excerpt)
EBU Acustica series - Art's Birthday 2005-2010 —

22 Jun 2012 - episode 3 premiere at grim marseille (F) —

a radiopera
Part 1: Opera ?
Part 2: Radiopera ?
Part 3: James Joyce ?
Part 4: Juventino Rosas ?
Part 5: John Cage ?
Part 6: Michel Waisvisz ?

Part 6: Michel Waisvisz ? Comprovisation

In memory of Michel Waisvisz


on engagement with sonic time through sensors, electronica, loudspeakers and ears

Composing electronic music beyond the illusion of control.
Composing electronic music on stage in the now, with prepared computers that contain sounds, algorithms hooked up with sensors and the presence of a dedicated audience.
Involved performative composing of music with new integrated composition and performance instruments.
Illusion of control versus rules of engagement.
Algorithmic machine composing nudged and steered by the performing composer.
Sound communication instead of sonification of communication.
Composing by ear.
Composing is meta steering of performance actions.
Preparing a performance is not the same as composing, neither is it studying the piece and/or rehearsing; rather it is designing behavior and providing sounds and sound processing tool set ups; it is like preparing an operation; a lot will be known in advance but most of it can be different at the theatre.
We will see composers who re-compose their work every time they perform and some who try repeat their performance every time.
We will see new performers that act and engage fully bionically merged with their instruments.
This is not unlike traditional music instrument practice in a metaphorical sense.

Ears: audience

Audience response is measurable in many senses
Traditional performers hear and include in their performance every move of an audience consciously or unconsciously. In the new performance halls with loud PA systems we could create instruments that augment the situational awareness of the performer. In other words amplify the presence of the audience to have their presence become more integrated in the performance. - Of course playing less loud will probably also be one of the new inventions of the near future.
These days I think about:
Also designing instruments that allow an engaged audience to participate in the performance.
Allowing the audience to seed and control algorithmic music entertainment machines.
Providing a circle of handheld gestural instruments so audience members play and play and become performers !

(Michel Waisvisz, 2006)
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Part 1: Opera ?