In this exposition I wish to point to a type of artistic research evolving around development of technology as artistic material, as an extension to the condition of possibility for an artistic expression. The well known distinction between research for and research in the arts, in my opinion becomes blurred in these type of works. Those tools developed to facilitate the artistic exploration constitute the base material for the artist, and the development of these tools are an intrinsic part of the artistic process. The examples are shown as recorded sound and video, and the technological material is thus still hidden from the reader. They can not see the material itself, just the traces it leaves. I would argue that the artistic process here starts with the investigation of potential, guiding the development of tools, and the tools will have certain affordances correlating with some aspects of the original artistic spark (desire). The artistic process of exploring said affordances will also in many cases lead to unexpected outcomes, in the interaction between human and machine, artist and tool.
Øyvind Brandtsegg is a composer and performer working in the fields of computer improvisation and sound installations. He has a deep interest in developing new audio processing methods for artistic purposes. Brandtsegg has participated on more than 25 music albums, and has written a large number of scientific/artistic/technical papers. Since 2010 he is a professor of music technology at NTNU, Trondheim, Norway.
Keywords (exposition): music performance, computer improvisation, algorithmic composition, feedback, generative art, convolution, granular synthesis
Visit the exposition in the database Research Catalogue.