New technology-mediated models of composition and performance practice

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My artistic practice lies in mixed-media music composition. In recent years I have composed and performed works utilising real-time computer-based performance technologies for and with various groups of musicians. I have also been involved in many collaborations: I have designed interactive performance environments that utilise technology with choreographers and dance-theatre companies; I have made installation and performance works with visual artists, some of whom have also used live performance technology. My approach to instrumental music composition has been directly affected by these collaborations, and also by my solo laptop performances and free improvisation (on laptop and saxophone). In my instrumental music I have begun to compose for individuals with well-matched aesthetic values and collaboration skills, rather than writing 'blindly' for abstract instruments.Real-time performance technologies (such as Max/MSP/Jitter, PD/GEM, SuperCollider, EyeCon and live analogue techniques) are common to a range of contemporary art practices, particularly music, dance, time-based visual art and theatre. Professional performers generally have non-technology based training, which creates a mismatch of understanding between composer and performers of the role of the technology in the final creative output. A shared creative language and understanding would lead to more efficient artistic processes. Furthermore, in collaborative situations, such technologies can act as a bridge between art-forms; this proposed shared language could extend effectively across media.Music works that involve instruments and performance technologies are often presented in a way that is not conducive to experiencing this sort of work, for example, the 'classical' performance ritual. It is vital to have a performance environment designed for the type of music work, rather than the work 'shoe-horned' into existing rituals of experiencing music. Finding appropriate strategies of audience presentation will be a key feature of the research.My ambition is to bring together multi-faceted elements of music creation, cross-arts disciplines and audience-building principles, under the umbrella of technology-mediated models of composition and performance practice.Throughout the fellowship small-scale compositions will culminate in the creation of a large-scale mixed-media theatre-based work that deals precisely with technology-led collaboration processes, and finding appropriate strategies of presentation that enable the audience to gain a full understanding of the works and the environment in which these performances take place. The compositions that permeate the fellowship period will exploit electronic, instrumental, compositional and improvisational practices, through workshops and performances, so as to fully explore diverse facets of performative, interpretative and collaborative creative processes.The fellowship outputs and outcomes will be made publicly available through performances, recordings, informative writing and other appropriate means of documentation. A new body of compositions and performances exploring the above themes will be created, as well as a greater understanding of performance realisation issues for practitioners and audiences alike, which will continue to develop beyond the fellowship period.