Copymake : installation
by Daniel Portelli (2015)
No products are available for this work
The Australian Music Centre's catalogue does not include any recordings or sheet music of this work. This entry is for information purposes only.
Materials for this work may be lodged in our collection in the future. Until then, any enquiries should be made directly to the composer/sound artist or their agent.
Copy-make is a demonstration video about the physicality of
sound and proposes new methodologies of working relationships
between composer and performers in an open and visually centred
collaborative approach. You can read further about this project
in a paper in Leonardo Music Journal, Volume 30, 2020.
This installation came about in a workshop where the premise was to explore notions of perception and music, musical preconditions, 'music without sound', and 'composition beyond music'. My response was to make visible the invisible world of music through a display of its gestural processes. This allowed for a transference of a diverse array of parameters involving; rotation, closing, expanding, roughening, smoothing, demarcation, recursion, inversion, punctuation, dynamic change, velocity, and duration.
Sound and movement are recorded on a glass surface to be used as a multi-screen video score for musicians to use with an instrument or sounding object. Text, numbers and symbols are written over videos containing gestural movements - a technique called digital annotation that has been used in the field of dance and anthropology. The emphasis is on the line-semantics of the performers movements. A gestural matrix allows for multiple points of focus for the performer to reiterate, interpret and retrace actions within a given frame (outlined here using yellow tape). This project was intended to be sound-based, but there is scope for it to be explored within a choreographical context. The video theorises potential uses of this way of working that could have multiple performance outcomes. It is a platform for experimentation and for realising a fixed work, and is open to anyone who wants to discover its possible uses.
Instrumentation: Solo performer, with an open instrumentation. Laptop running Max, camera, window, transparent paper, tape
First performance: Feb 15. Composition Beyond Music, Impuls Music Academy, Graz, Austria.
The composer notes the following styles, genres, influences, etc associated with this work:
Some composers that influenced this work include: Mauricio Kagel who produced a video score out of his film Ludwig van (1970), which consists of staged footage inside Beethoven’s music studio. The performers play musical fragments in the sequence as they appear on screen, sometimes with clefs missing and score fragments upside down. William Forsythe's Alien:a(c)tion (1992) used a process involving scenes taken from the film Aliens 2 (1986). Performers copied the actors in the film to influences the orientation of the dancers. Jennifer Walshe's Dirty White Fields (2002) uses videos, images, and text as a process for composition.
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