Play it again, Duke: jazz performance, improvisation, and the construction of spontaneity

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The Translocal Event and the Polyrhythmic Diagram

This thesis identifies and analyses the key creative protocols in translocal performance practice, and ends with suggestions for new forms of transversal live and mediated performance practice, informed by theory. It argues that ontologies of emergence in dynamic systems nourish contemporary practice in the digital arts. Feedback in self-organised, recursive systems and organisms elicit change, and change transforms. The arguments trace concepts from chaos and complexity theory to virtual multiplicity, relationality, intuition and individuation (in the work of Bergson, Deleuze, Guattari, Simondon, Massumi, and other process theorists). It then examines the intersection of methodologies in philosophy, science and art and the radical contingencies implicit in the technicity of real-time, collaborative composition. Simultaneous forces or tendencies such as perception/memory, content/ expression and instinct/intellect produce composites (experience, meaning, and intuition- respectively) that affect the sensation of interplay. The translocal event is itself a diagram - an interstice between the forces of the local and the global, between the tendencies of the individual and the collective. The translocal is a point of reference for exploring the distribution of affect, parameters of control and emergent aesthetics. Translocal interplay, enabled by digital technologies and network protocols, is ontogenetic and autopoietic; diagrammatic and synaesthetic; intuitive and transductive. KeyWorx is a software application developed for realtime, distributed, multimodal media processing. As a technological tool created by artists, KeyWorx supports this intuitive type of creative experience: a real-time, translocal “jamming” that transduces the lived experience of a “biogram,” a synaesthetic hinge-dimension. The emerging aesthetics are processual – intuitive, diagrammatic and transversal

Graduate Catalog, 1967-1968

https://scholar.valpo.edu/gradcatalogs/1004/thumbnail.jp

Listening and remembering: networked off-line improvisation for four commuters

This paper analyses the experience of the networked off-line improvisation 'Listening and Remembering', a performance for four commuters using voices and sounds from the Mexico City and Paris metros. It addresses the question: how can an act of collective remembering, inspired by listening to metro soundscapes, lead to the creation of networked voice- and sound-based narratives about the urban commuting experience? The networked experience is seen here from the structural perspective (telematic setting), the sonic underground context, the ethnographic process that led to the performance, the narratives that are created in the electro-acoustic setting, the shared acoustic environments that those creations suggest, and the technical features and participants' responses that prevent or facilitate interaction. Emphasis is placed on the participants' status as non-performers, and on their familiarity with the sonic environment, as a context that allows the participation of non-musicians in the making of music through telematically shared interfaces, using soundscape and real-time voice. Participants re-enact their routine experience through a dialogical relation- ship with the sounds, the other participants, themselves, and the experience of sharing: a collective memory

Shopping for new glasses: looking beyond jazz in the study of organization improvisation

This article calls for research on organizational improvisation to go beyond the currently dominant jazz metaphor in theory development. We recognize the important contribution that jazz improvisation has made and will no doubt continue to make in understanding the nature and complexity of organizational improvisation. This article therefore presents some key lessons from the jazz metaphor and then proceeds to identify the possible dangers of building scientific inquiry upon a single metaphor. We then present three alternative metaphors Indian music, therapy and role theory. We explore the nature of these metaphors and seek to identify ways in which they differ from the jazz metaphor. This analysis leads us to identify not merely how these alternative metaphors fill the gaps left by the jazz metaphor but also how they complement the contribution from the jazz metaphor thus further strengthening theory-building in this genre. Ultimately, our understanding of organizational improvisation will be sharpened by more incisive theoretical analysis and empirical research.

Graduate Catalog, 1969-1970

https://scholar.valpo.edu/gradcatalogs/1005/thumbnail.jp

The Entanglement: Volumetric Music Performances in a Virtual Metaverse Environment

Telematic music performances are an established performance practice in contemporary music. Performing music pieces with geographically distributed musicians is both a technological challenge and an artistic one. These challenges and the resulting possibilities can lead to innovative aesthetic realizations. This paper presents the implementation and realization of “The Entanglement,” a telematic concert performance in a metaverse environment. The system is realized using web-based frameworks to implement a platform-independent online multi-user environment with volumetric, three- dimensional, streaming of audio and video. This allows live performance of this improvisation piece based on an algorithmic quantum computer composition within a freely explorational virtual environment. We describe the development and realization of the piece and metaverse environment, as well as its artistic and conceptual contextualization

Graduate Catalog, 1972-1973 & 1973-1974

https://scholar.valpo.edu/gradcatalogs/1007/thumbnail.jp

Graduate Catalog, 1970-1971

https://scholar.valpo.edu/gradcatalogs/1006/thumbnail.jp

Ambidexterity as practice : individual ambidexterity through paradoxical practices

Following the turn to practice in organization theory and the emerging interest in the microfoundations of ambidexterity, understanding the role of individuals in realizing ambidexterity approaches becomes crucial. Drawing insights from Greek philosophy on paradoxes, and practice theory on paradoxes and ambidexterity, we propose a view of individual ambidexterity grounded in paradoxical practices. Existing conceptualizations of ambidexterity are largely based on separation strategies. Contrary to this perspective, we argue that individual ambidexterity can be accomplished via paradoxical practices that renegotiate or transcend boundaries of exploration and exploitation. We identify three such paradoxical practices at the individual level that can advance understanding of ambidexterity: engaging in “hybrid tasks,” capitalizing cumulatively on previous learning, and adopting a mindset of seeking synergies between the competing demands of exploration and exploitation