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Quoth

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NetJamming with Ominiscient Interpreter

Quoth is a dynamic interactive fiction system, in which authoring is done from a player’s perspective, from within the running work. Quoth draws upon the concepts of pervasive anthropomorphisation, executable natural language, and revisionist narrative. The major use of Quoth so far has been for musical livecoding.

In traditional interactive fiction, the player speaks to an ominiscient interpreter. There may be dialogue with “non-player characters”, but it is mediated by the interpreter. In Quoth the player is always speaking directly to some item in the universe. The traditional omniscient interpreter is represented by the universe itself. This allows for each item in the universe to have a different vocabulary, or even a different “interpreter” altogether. It also provides the player with more fluid interaction with each item…


Apr 25, 2006
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Becoming-Still:

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Perspectives in Musical Ontology after Deleuze and Guattari

“…In a recording, even more so than in a performance, the intensities of a performance requires more deterritorializing impetus. In a performance, our expectational intensities are more and more transformed by intensities of performance simply by the musical space in which we find ourselves, insofar as there is fullness-to-explosion. In a recording, however, intensities, even expectational ones, are increasingly rooted, as we have suggested, as we come to ‘learn’ the recording. In a performance, we are inevitably deterritorialized, at least initially, at whatever gradation our intensities of expectation at the onset. In a recording, however, we are inevitably handed a reterritorializing card. Recording is a recoding.
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Jul 8, 2005
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Virtual Musical Instruments:

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Technological Aspects and their Interactive Performance Issues

“ABSTRACT: I have been creating various Gestural Interfaces (*1) for use of my compositions in the project of Virtual Musical Instruments (*2). These Virtual Musical Instruments do not merely refer to the physical instruments, but also involves Sound Synthesis (*3) programming and Interactive Video (*4) to a great extent. Using the Virtual Musical Instruments, numerous compositions and performances were experimented. This paper is intended to report my experiences, as well as their development, instead of being merely abstract theory. This also contains the issues of performance and the problem of the notion of interactivity.” Read Virtual Musical Instruments: Technological Aspects and their Interactive Performance Issues by Suguru Goto at HZ Journal.


Jun 8, 2005
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Cut & Splice 2005: Dots and Lines

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The Gap Between Ideas and Experience

: Sonic Arts Network and BBC Radio 3 are proud to announce the programme for the most ambitious Cut and Splice to date. This year’s Cut and Splice presents DOTS AND LINES, a cluster of events that explore the idea of notation and the relationship between score, image, text and sound in electronic music and sound art.

Focusing on the gap between ideas and experience, between abstract concepts and their relation to the tangible, DOTS AND LINES considers the analytical, performative and documentary nature of music as written document and code. It throws into relief our very concept of what constitutes the musical experience and considers the complex dialogue between time based and static art forms. Continue reading


May 11, 2005
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Networked_Music_Review (NMR) is a research blog that focuses on emerging networked musical explorations.

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