By the same authors

Real-time Plunderphonics: Appropriating Keyboard Performances as they Occur

Research output: Contribution to conference › Paper › peer-review

Standard

Real-time Plunderphonics: Appropriating Keyboard Performances as they Occur. / Reuben, Federico.

2012. Paper presented at Interactive Keyboard Symposium 2012, London, United Kingdom.

Research output: Contribution to conference › Paper › peer-review

Harvard

Reuben, F 2012, 'Real-time Plunderphonics: Appropriating Keyboard Performances as they Occur', Paper presented at Interactive Keyboard Symposium 2012, London, United Kingdom, 9/11/12 - 11/11/12.

APA

Reuben, F. (2012). Real-time Plunderphonics: Appropriating Keyboard Performances as they Occur. Paper presented at Interactive Keyboard Symposium 2012, London, United Kingdom.

Vancouver

Reuben F. Real-time Plunderphonics: Appropriating Keyboard Performances as they Occur. 2012. Paper presented at Interactive Keyboard Symposium 2012, London, United Kingdom.

Author

Reuben, Federico. / Real-time Plunderphonics: Appropriating Keyboard Performances as they Occur. Paper presented at Interactive Keyboard Symposium 2012, London, United Kingdom.

Bibtex - Download

@conference{84995bc3335646c9b7cc07aaa00cd9fb,
title = "Real-time Plunderphonics: Appropriating Keyboard Performances as they Occur",
abstract = "Following a long tradition of appropriation in art ('readymades' (Duchamp), d{\'e}tournement (Debord) and postproduction (Bourriaud)) and music (quotation, sampling, plunderphonics (Oswald) and DJing), this paper examines the notion of appropriating music within the immediacy of its performance. I will focus on the artistic and technological considerations behind the creation of E-tudes, a work that takes live keyboard performances as building blocks for a new composition and interactive environment. In E-tudes, six pianists playing keyboards simultaneously perform various compositions from the repertoire. I plunder, process and combine the MIDI and audio signals from the keyboards in real-time through an idiosyncratic algorithmic system. E-tudes is presented as an interactive installation/performance where the performers use headphones to monitor themselves in order not to reveal the original compositions that provide material for the computer processing. The audience instead chooses between listening to different headphones distributed through the performance space playing various possible outputs generated by the computer. E-tudes therefore attempts to challenge traditional notions of performance practice, audience participation and sound representation and causality by plundering keyboard performances as they occur.",
keywords = "Real-time, Plunderphonics, Keyboard, Performance, Appropriation",
author = "Federico Reuben",
year = "2012",
language = "English",
note = "Interactive Keyboard Symposium 2012 ; Conference date: 09-11-2012 Through 11-11-2012",

}

RIS (suitable for import to EndNote) - Download

TY - CONF

T1 - Real-time Plunderphonics: Appropriating Keyboard Performances as they Occur

AU - Reuben, Federico

PY - 2012

Y1 - 2012

N2 - Following a long tradition of appropriation in art ('readymades' (Duchamp), détournement (Debord) and postproduction (Bourriaud)) and music (quotation, sampling, plunderphonics (Oswald) and DJing), this paper examines the notion of appropriating music within the immediacy of its performance. I will focus on the artistic and technological considerations behind the creation of E-tudes, a work that takes live keyboard performances as building blocks for a new composition and interactive environment. In E-tudes, six pianists playing keyboards simultaneously perform various compositions from the repertoire. I plunder, process and combine the MIDI and audio signals from the keyboards in real-time through an idiosyncratic algorithmic system. E-tudes is presented as an interactive installation/performance where the performers use headphones to monitor themselves in order not to reveal the original compositions that provide material for the computer processing. The audience instead chooses between listening to different headphones distributed through the performance space playing various possible outputs generated by the computer. E-tudes therefore attempts to challenge traditional notions of performance practice, audience participation and sound representation and causality by plundering keyboard performances as they occur.

AB - Following a long tradition of appropriation in art ('readymades' (Duchamp), détournement (Debord) and postproduction (Bourriaud)) and music (quotation, sampling, plunderphonics (Oswald) and DJing), this paper examines the notion of appropriating music within the immediacy of its performance. I will focus on the artistic and technological considerations behind the creation of E-tudes, a work that takes live keyboard performances as building blocks for a new composition and interactive environment. In E-tudes, six pianists playing keyboards simultaneously perform various compositions from the repertoire. I plunder, process and combine the MIDI and audio signals from the keyboards in real-time through an idiosyncratic algorithmic system. E-tudes is presented as an interactive installation/performance where the performers use headphones to monitor themselves in order not to reveal the original compositions that provide material for the computer processing. The audience instead chooses between listening to different headphones distributed through the performance space playing various possible outputs generated by the computer. E-tudes therefore attempts to challenge traditional notions of performance practice, audience participation and sound representation and causality by plundering keyboard performances as they occur.

KW - Real-time

KW - Plunderphonics

KW - Keyboard

KW - Performance

KW - Appropriation

M3 - Paper

T2 - Interactive Keyboard Symposium 2012

Y2 - 9 November 2012 through 11 November 2012

ER -

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