The Festival has started! In addition to our daily music programs, we also have interactive installations, live papers, and live workshops throughout the week! Please refer to our updated program booklet for all of the latest information at https://nycemf.org.
To participate in our remote paper and workshop sessions please sign up via below links and thank you for those that have already signed up!
For papers sign up here.
For workshops sign up here.
Once you have signed up we will send you a session zoom link to the email you provided.
For fixed media concerts, please see the Program Book and play pieces from the hyperlinks in the book.
Papers scheduled for today include:
11:00 AM
Ian Guthrie
Understanding Organized Sound and Abstract Musical Narratives
Whether composers today aim to be more traditional or experimental with the populace, much of avant-garde electroacoustic music is perceived as offsetting and irrelevant. How do composers find ways to convert more people to understand this music? The answer lies in part with a better understanding of aesthetics, and making compromises and generalizations pertaining to the experiences of many demographics. Additionally, how did the composers themselves come to appreciate this music, and why? Unfortunately, misguidance — partially from music theorists — may cause the aesthetic confusion. Has music theory in some ways done a disservice to these more avant-garde approaches, broadening the term “moment form” to encapsulate almost anything with a new form? What do people — composers and audiences alike — actually perceive in their subconscious? Even before experiments have been completed, we can confidently theorize answers to these questions, which ought to be addressed regularly and critically.
11:30 AM
Candida Borges
Web Derive 01 – an online Art VR work by the Transeuntis Mundi Project
The Transeuntis Mundi (TM) Project explores the complexity of the millennial human journey and the resulting cultural diversity. It investigates how it can be approached through artistic research and be converted into a nomadic creative practice in transmedia arts, using emerging technologies to generate an archive of human legacy. Compositions are based on field recordings in public spaces of multiple cities around the world, using 3D technology for sound and image, following Careri’s (2002) methodology of Walkscapes. The power of interactivity and immersion through 360o image and ambisonic sounds are crucial to insert the visitor in a global cultural experience. This transmedia work is designed to happen as a non-fictional VR application. Here we present the two main compositions of the project: Derive 01 and Web Derive 01. In this short paper/demo presentation, we aim to present a study of the case of this project, including technical processes and reflections upon limitations and resources for current online installations of VR.