<-- listen ====================================== 2012-02-01 Giorgio, Neil & Kedrick Giorgio Magnanensi Neil Biggin Kedrick James ====================================== 0:00:00 001 Fruitful limitation - Neil - from monophonic origin 0:00:44 002a Q: formal education dis- or advantage 0:00:55 002b Fruitful limitation - A: Neil - first time major studio 0:06:28 002c A: Giorgio - son of concert piano player 0:09:57 003a Q (by Neil): Can Giorgio still simply jam 0:10:11 003b A: Giorgio - yes 0:11:45 004a Fruitful limitation - Q: Does Giorgio use limitation technique 0:12:10 004b A: Giorgio on creativity without structure 0:13:47 005a Giorgio has enough of dumb questions from laymen 0:14:20 006 observations from Giorgio's father the engineer 0:15:34 007 kid Giorgio walks 6 hours to school 0:16:30 008 Giorgio's forest kids 0:16:54 009 Q (by Neil): So your kid listens to your music as is? 0:16:58 010 Giorgio's son looks at life as-is 0:17:15 011 Q to Kedrick: How do you apply this? Q (by Neil) How did you start? 0:17:22 012 Kedrick's youth, playing violin, beat up by kids 0:19:08 013 Q (by Neil): Not just British? Did you toss the violin? 0:19:28 014 Kedrick - being deviant was a bit cool I guess 0:19:45 015 Kedrfick - All we did was Baroque, if only there was Cage 0:20:33 016a Kedrick - I am still in my rebellion Phase 0:20:54 016b Kedrick - counter-baroque became monophonic became 808 became gaga 0:21:54 017 Kedrick - pros & cons of the symphony orchestra 0:22:25 018 Kedrick - I the maker becomes I the listener 0:24:08 019 Neil - Although I try to broaden, dammit my vocabulary is limited 0:24:36 020 Tris - But Kedrick is envying you! 0:24:42 021 Neil - I get industry-stuck. Soap opera music must stay average 0:25:13 022 Giorgio - we must distinguish industry driven art from rest 0:26:27 023 Fruitful limitation - Giorgio - little pockets precisely bloom because of the limitation, the simplicity 0:28:55 024 Fruitful limitation - Tris - But why does the modern Western cultural momentum not go there 0:29:29 025 Fruitful limitation - Neil - it is just upbringing and the culture you are in 0:30:43 026 Fruitful limitation - Q to Kedrick: Can we have this same discussion about poetry? 0:31:22 027 Fruitful limitation - Kedrick - sure, any medium 0:31:32 028 Kedrick - record deals. industry pressure, get you to stop listening or reading 0:33:45 029 Kedrick - I want my readers to be moved, not to click into place 0:34:19 030 Kedrick - the great dumbing down of art, stop listening 1 of 2 0:39:09 031 Kedrick - the great dumbing down of art, stop listening 2 of 2 0:41:06 032 Tris - (to Kedrick) You are only describing the 2 extremes 0:41:59 033 Neil - repetition is the great enemy of art 0:42:43 034 Fruitful limitation - Neil - I seek limitation to manoeuvre myself to create concepts 0:45:28 035 Fruitful limitation - Giorgio - seeking limitation composing for specific artists 0:47:57 036 Neil asks Giorgio - Do we listen differently than others do? 0:48:58 037 Giorgio - I am not composer, I play and I conduct 0:49:26 038 Giorgio - discovering conducting was great 0:50:03 039 Giorgio - Play remains so important, and preferably play with others 0:51:28 040 Kedrick & Giorgio about Giorgios vivid body movements of conducting 0:53:15 041 Neil asks Is that not that pure improvisation that jazz musicians do? 0:53:41 042 Giorgio - No, the musicians do not improvise, but beautifully do what I conduct them 0:54:22 043 Kedrick - Production 1 - we listen to production - well produced monoloythic crap 0:55:27 044 Kedrick - Production 2 - I find myself wanting precisely what conform norm is being removed 0:56:07 045 Kedrick -Production 3 - Compact Disk versus vinyl and hospital a place to die 0:57:52 046 neil interrupts saying it would have been Michael Jackson earlier, not Gaga 0:58:08 047 Kedrick - Production 4 0:58:30 048 Tris to Kedrick - Do you see impressive social engineering in advertising? 0:58:56 049 Kedrick - Yes, Advertising is doing interesting job 1:01:17 050 Kedrick - But I do not get William Blake-kind-of wisdom in advertising 1:02:08 051 Neil to K&G - Has satisfaction of extreme experimental stuff made you now hungry for non-conformity? 1:02:52 052 Giorgio's Raison d'etre 1:07:11 053 Giorgio just misses higher value in Gaga 1:08:03 054 Giorgio gives kids freedom - for himself it was Deep Purple 1:08:20 055 Giorgio's kids have intelligent ears. Son even enjoys feeling a sine wave 1:09:02 056 Neil - Gaga is crap, Deep Purple or Joy Division were a Gaga once 1:10:39 057 Tristan - brain most receptive to new styles between 15-25 years 1:11:12 058 Giorgio - and that is why I oppose censorship 1:11:33 059 Tris - but that does create hungry, never satisfied listeners 1:11:43 060 Giorgio - cites Mahler's all-embracing view on music ''The symphony is like the world'' 1:12:57 061 Giorgio - valuing differences is just important in human existence 1:13:39 062 Giorgio - sense of community suffers under our habit to alienate 1:14:34 063 Giorgio - revolution should happen and is happening 1:15:18 064 Kedrick likes hearing what Giorgio says 1:15:57 065 Kedrick - (commercial) homogeneity is strong and eats away unique culture 1:18:45 066 Tris - long tail concept should protect against homogeneity 1:19:30 067 Giorgio - Long tail implies recordings (never as great as being there). and distance (not intimate enough) 1:21:00 068 Giorgio - I advocate communal efforts, yet am no guru 1:22:10 069 Tris - You can surpass the inhumane parts of internet 1:22:20 070 Neil - It's as if both Kedrick & Giorgio are saying recording is enemy of music 1:22:46 071 Neil - band In The Nursery is good example of cannot-be-recorded 1:23:37 072 Sequencer Misery 1 - Neil - I am victim of sequencer - I never learned to improvise, and would not know what to do in Super Cabin 1:24:06 073 Sequencer Misery 2 - Giorgio - Nonsense, you will do fine 1:25:09 074 Sequencer Misery 3 - Neil - we modern studio musicians are really disabled - we use system to not sound like a system 1:26:47 075 Sequencer Misery 4 - Tris - thing hunger implies room for new tools in the market 1:27:07 076 Sequencer Misery 5 - Neil - introduction Ableton gave loose creativity on stage 1:28:13 077 Sequencer Misery 6 - Kedrick - analogue synths had too much random quirks 1:29:07 078 Sequencer Misery 7 - Neil - we put back the errors 1:29:12 079 Sequencer Misery 8 - Kedrick - Remember sequencer humaniser 1:29:27 080 Sequencer Misery 9 - Giorgio - disagrees - with the interactive technology (midi triggers) setup right, it is super humanising 1:31:47 081 Tris asks Giorgio - What do you do when you reach a creative wall 1:32:22 082 Giorgio - Oh well, sometimes there is just an unproductive path, who cares 1:33:19 083 Giorgio - illustrates his habit of multitasking and pondering (artistic) existential questions 1:35:14 084 Tris & Kedrick - ha ha - Opinions are free, bla bla, useless advice 1:35:33 085 Fruitful limitation (and damn limitation) - Neil - sometimes I feel like factory worker, always that damn keyboard -- but I learned methods to un-robot myself 1:37:39 086 Giorgio - the medium is the message - the material is the art 1:38:16 087 Giorgio - sounds is always there, and was always there 1:39:03 088 Giorgio - reasoning is so language based, sometimes I've had enough of it 1:40:13 089 Tris asks Kedrick - do you feel limited by alphabet? 1:40:19 090 Kedrick - argues not looser, but tighter - applying system within system native to language 1:41:55 091 Kedrick - from broadcast to multicast 1:45:53 092 Kedrick - turns political, ban on discussing class, occupy movement 1:47:32 093 Social Media misery - Kedrick - all great, but might flip and turn against you 1:48:33 094 Social Media misery - Kedrick - illustrated how social media can turn against you 1:49:25 095 Social Media misery & Copyright - some last remarks 1:49:59 096 Kedrick - unhappy about Harper 1:50:56 097 Copyright - Tristan proposes this recording copyright free 1:51:19 098 Copyright - Neil - copyright paradigm shift - became looser - Lady Gaga wont come after 100 bucks 1:55:32 099 Copyright - Giorgio - the old copyright system never worked for me, and the new one creates opportunities 1:58:06 100 Copyright - Neil - fun vs flattery vs restrictions & money 1:58:29 101 Copyright - Neil - It should be about release (publishing) and performing 1:59:07 102 Neil - valuing, about poetry, making up words 1:59:34 103 Tristan asks Neil - Do you write? 1:59:36 104 Neil - bio and lessons learned in script writing for video games 2:02:29 105 Fruitful Limitation - Tristan asks Kedrick - how do you apply fruitful limitations 2:02:48 106 Fruitful Limitation - gives several examples of fruitful Limitation used in poetry 2:10:30 107 Fruitful Limitation - Neil - studio technology being primitive, our job was to be inventive 2:13:22 108 Fruitful Limitation - Tris & Neil - born at the right time 2:14:31 109 Neil - Was not allowed to play piano at school, but became professional musician 2:17:20 110 Vancouver - Tris - Doing electro acoustic stuff is now almost the norm, in Vancouver 2:17:45 111 Vancouver - Neil - Is there a place where guys like we hang out, in Vancouver? 2:18:25 112 Tris & Neil - alternative artists are loners 2:18:51 113 Neil & Tris - never did drugs 2:20:05 114 Vancouver - Giorgio - (answering Neil's earlier question) Unsure where the hang outs are 2:21:02 115 Giorgio - I find myself seeking 'energy points' (meaning, interesting Vancouver artists), but what for? 2:21:43 116 Giorgio - (answering himself) the magic moment of bringing together a strange mix of musicians 2:23:12 117 Giorgio - but it is not something you should repeat 2:23:46 118 Giorgio - describes a bit more the beauty of small endeavours and it's antithesis 2:24:45 119 Giorgio - Canada, Natives, and the concept of injecting one culture into another 2:26:30 120 Giorgio - takes Neil's video game music as example to illustrate his habit to see opportunity for learning and cross-fertilisation 2:27:49 121 Niel & Giorgio fuss briefly over whether one can rank music 2:28:10 122 Kedrick - some say my own noise undertakings sound like video game music 2:28:42 123 Neil - my task is to make video game music sound like video game music, and the right genre too 2:29:44 124 Kedrick - yes, video game music has its genres, such as skateboarding video game music 2:30:17 125 Vancouver - Kedrick - In Vancouver, there used to be specific places for specific sub cultures. The Olympics changed that because rent went up 2:34:00 126 Vancouver - Tris - Nutziland is supposed to give some counterweight to these fading subculture scene in Vancouver 2:34:34 127 Vancouver - Giorgio - People in Safeway ask how I am doing, but it is mere hypocrisy 2:35:45 128 Vancouver - Tris - Is that not true for North America in toto? 2:35:49 129 Vancouver - Giorgio - Here people keep strangers at a distance. For example, touch is taboo. But mixing strangers I find especially interesting 2:37:21 130 Niel - agrees - that mix, as noticeable with jamming, give a high 2:37:30 131 Vancouver - Neil - Vancouverites do open up, if you make an effort. Such is noticeable at Jelena's Dance Divine 2:39:44 132 Vancouver - Giorgio - control from above is so noticeable in Vancouver. And, those damn cops. 2:41:33 133 Vancouver - Neil - whistling or singing is forbidden - you need a busking license 2:41:58 134 Tristan & Neil - Is there less red tape elsewhere in the world? 2:42:05 135 Neil - Sheffield first got red tape, then Red Tape Studio, an incubator for new bands, with interesting success 2:43:27 136 Vancouver - Giorgio - Vancouver is full of gums, but has far from enough places to work on our (creative) brains 2:44:12 137 W2 2:45:05 138 Giorgio - W2, and similar undertakings, are too institutionalised, almost fascistic 2:45:31 139 Vancouver - Neil - there is some lot underneath SkyTrain where musicians go (or went) 2:46:01 140 Vancouver - Wreck Beach 2:46:05 141 Vancouver - Giorgio - (starts a sentence but gets interrupted) - '' Except now the BC government put... '' 2:46:08 142 Vancouver - Kedrick - Ha ha, what a list - Wreck Beach, W2, ... - while others watch YouTube 2:46:42 143 Vancouver - Kedrick - It is a myth that such places revolve around people - it is vice versa 2:47:39 144 Vancouver & Exposure - Kedrick - Places could not advertise, but made flyers. Cops would come by space I ran to collect them 2:48:36 145 Vancouver - Kedrick - Fake Jazz Fridays (& Festival) 2:50:41 146 Vancouver - Kedrick - Vancouver has a festival for anything 2:51:10 147 Vancouver & Exposure - Kedrick - Local artists never get as much attention as those from elsewhere 2:51:43 148 Vancouver & Exposure - Kedrick - One needs to advertise. Then perhaps you get a review. 2:52:06 149 Exposure - Tristan & Kedrick - who needs advertising when there are internet media 2:52:18 150 Exposure -Kedrick - Real (entrepreneurial) effort is needed to trigger an artistic phenomenon to becoming something that gets attention 2:52:36 151 Exposure - Kedrick - For example, the noise scene in Oregon - today vanished from radar, but still viewable on YouTube 2:53:17 152 Exposure - Kedrick - On the other hand, vanishing makes room for reinventing yourself 2:53:26 153 Exposure - Neil - Social Media, and specifically Facebook, are a fertiliser for niche phenomena, such as Burlesque 2:55:23 154 Exposure - Neil - ...and similarly, Sin City 2:56:02 155 Exposure - Neil - ...and similarly, record labels and individual bands 2:56:36 156 Exposure - Kedrick, Tristan & Neil - underline once more how promotion flows through social networks 2:57:21 157 Giorgio lost enthusiasm about Italy 3:01:15 158 Tristan remarks Giorgio may not really know what interesting things are happening in Italy 3:01:33 159 Giorgio - Anyone seeking artistic inspiration should move to another part of the world 3:02:28 160 Artistic Intimacy & Vancouver - Giorgio - Vancouver is not great, but with the right perspective fun pockets can be found 3:02:56 161 Artistic Intimacy - Giorgio - Super Cabin 3:08:44 162 Artistic Intimacy - Kedrick - lack of attention may be good 3:09:00 163 Artistic Intimacy - Tristan encourages Giorgio to record and share Super Cabin 3:09:23 164 Tristan & Giorgio fuss over the audio quality of Super Cabin recordings 3:12:40 165 Kedrick - took lo-fi Super Cabin recording, used it in something, gave that recording back to play at Super Cabin 3:13:07 166 Neil - Aphex Twin re-samples his own old tapes 3:13:30 167 Kedrick - stuff is being released on cassettes 3:13:42 168 Neil - bands at Biltmore use cassettes and vinyl 3:13:56 169 Kedrick - my lo-fi recording of my Duo with Donald Klassen The Emetics, sometimes actually sounds better 3:16:37 170 Kedrick, Neil & Tristan about Tristan recording equipment 3:17:53 171 Neil - ping ponging with tape decks gave this splendid effect of band member mom's comment 3:19:06 172 Tris - Daniel Johnston 3:19:47 173 Kedrick - Jandek 3:20:07 174 Giorgio - one plays jolly with lo-fi circuits, with REAL glitches, and then you discover pseudo glitch means1 3:20:39 175 Neil & Giorgio describe the '' Glitch '' plugin 3:21:20 176 Giorgio - these comoditised pseudo glitches are but silly 3:21:50 177 Giorgio - When I record, I use a variety of mics. Often I go for raw. The real 'produced' stuff seems somewhat arrogant to me. 3:23:27 178 Neil - Walking in this very room made me worry about the to be recorded sound quality for this interview 3:24:06 179 Neil - Four people here have their own reality about how to attain audio beauty 3:24:18 180 Kedrick to Tristan - I noticed you first closed the door of this room, but then opened it again 3:24:28 181 Kedrick - small step from composed to compost 3:24:37 182 Neil - silly ways to avoid reverb 3:25:08 183 Tristan - Christ Duesterdiek mention the trick to record in a car 3:25:33 184 Neil - anecdote recording Paula Abdul for video game looked like a rape scene 3:28:43 185 Tristan & Neil discuss whether, in general, it is best to use headphones when recording vocals 3:29:32 186 Neil - some last remark about the Paula Abdul anecdote 3:29:48 187 Kedrick & Neil - irony of first making a recording as clean as possible, to then add reverb & background noise 3:30:12 188 Giorgio - lets close and go home ====================================== 2012-12-20 Alan Laurillard [GNK refers to topic in "2012-02-01 Giorgio, Neil & Kedrick"] ====================================== 0:00:14 formal training or not [GNK002] 0:08:23 intellectual jail [GNK003b] 0:11:17 just three guys with three views 0:12:51 fruitful boredom [GNK025] 0:14:42 choice [GNK028] 0:17:13 never out of ideas [GNK034] 0:19:31 Michael Fisher [GNK038] 0:20:32 conducting [GNK040] ====================================== 2012-12-26 Alan Laurillard [GNK refers to topic in "2012-02-01 Giorgio, Neil & Kedrick"] ====================================== 0:01:28 Alan on Alan 0:43:22 non-conformity - Neil Young, James Last & Miles Davis [GNK051] 0:46:35 sell soul to devil [GNK052] 0:49:58 iTunes and Wikipedia 0:55:51 Chicago & New Orleans 0:58:40 varying degrees of weirdness & complexity in music [GNK059] ====================================== 2013-01-13 Alan Laurillard [GNK refers to topic in "2012-02-01 Giorgio, Neil & Kedrick"] ====================================== 0:00:04 Willem Geerts [GNK106] 0:02:07 more on using constraints [GNK106] 0:04:36 (double trio setting of) Noodband 0:06:00 composing Mozart vs. Bach 0:09:35 samplers & sequencers 0:12:15 primitive becomes inventive [GNK107] 0:13:34 lonely artistic paths [GNK112] 0:14:18 craftsmanship versus being an inventor 0:15:21 I just cannot be the craftsman 0:16:05 tying shoes 0:16:41 let's not become fanatic about magic mixes of artists [GNK116] 0:18:04 more atypical places to apply creativity 0:20:23 new stuff not worse, just different [GNK053, 056, 057, 058] 0:22:36 not newer, but older music, and orchestra of the 18th century 0:25:11 other attributes to play with 0:32:30 not so great sponsored artistic endeavours in Vancouver [GNK145] 0:37:09 Mogadishu [GNK159] 0:38:22 not impressed by Kedrick's composed-compost remark [GNK181] 0:38:46 does not know Jandek [GNK173] 0:39:11 not sure what is meant by lack of attention [GNK162] 0:40:20 offering compositions to the public ====================================== 2013-12-13 Ole Juul ====================================== 0:00:00 01 note boredom 0:01:43 02 various meanings of creativity 0:02:36 03 digging a ditch 0:04:22 04 I just do what I do 0:05:08 05 my cat is creative 0:05:37 06 people say they have no creativity 0:06:58 07 timing is important & Picasso 0:08:13 08 native primitive art, this is not art 0:09:03 09 weaving basket - useful creativity 0:10:29 10 what to say to 'uncreative' people 0:11:04 11 phone rings 0:11:55 12 people who are not curious 0:13:10 13 religious neighbour is creative but would deny that 0:14:04 14 conformity & building a pyramid 0:14:22 15 practice 0:15:51 16 things need to become automatic - speaking English 0:18:37 17 Ole is writing a lot these days 0:19:32 18 schooling does the trick 0:20:02 19 people hope to do it without schooling 0:20:50 20 various types of musicians 0:22:04 21 what has Ole's recent writings manifested in 0:24:01 22 Coalmont 0:28:04 23 Human Voice 0:30:35 24 singing in Princeton region - oral tradition 0:31:50 25 traditional music festival 0:33:30 26 small town singing, I am a snob, creating community 0:36:14 27 locals not interested in traditional music 0:39:24 28 unplanned jazz vs. playing same over & over 0:40:23 29 inspiration, drawing on fridge, kid discovers something 0:41:13 30 communication, snob, valuing creativity 0:42:36 31 communicating a discovery, instant composing 0:43:24 32 cat brain, captured perspective, million dollar painting 0:44:07 33 evolutionary advantage of creativity 0:47:01 34 another product of practice - knowing you'll make it 0:47:55 35 Ole is creative, conservative, bad memory 0:48:43 36 Ole on boards, can stretch the discussion 0:50:20 37 constraints 0:51:12 38 constraints, language, Dylan Thomas 0:53:16 39 Ole in high school - left-over paper 0:54:16 40 sonnet is constraint - take a deliberate form 0:55:04 41 using resources efficiently is a good constraint 0:55:56 42 art & life - art is a model for things 0:56:11 43 Andy Warhol taught us something 0:56:46 44 art is about teaching, about having something to say 0:57:00 45 constraint needed to fit into something else ====================================== 2014-08-21 Kedrick James ====================================== 0:00:00 01 pre talk 0:03:48 02 time at the ranch 0:04:44 03 does time at ranch recharge your battery 0:05:00 04 I use my ranch space as giant canvas 0:05:43 05 I need to escape urban noise 0:06:22 06 my ranch is off-grid 0:06:59 07 time at ranch feels like 1960s commune 0:07:19 08 wildlife at the ranch 0:08:03 09 mankind destroys nature 0:08:42 10 ranch is retirement project, protect animals, fight hunters 0:09:29 11 changing environment, sensory deprivation 0:10:14 12 clutter & overload, create nothing unique, add to the existing 0:10:43 13 relating natural to artificial environment 0:10:59 14 parallels between natural and artificial environment 0:11:27 15 and that explains remix culture 0:12:13 16 the anti-environment - McLuhan and art reflects normal life 0:13:00 17 role of artistic practice in sustainability issues 0:13:48 18 environmental disciplines - learn how art processes info 0:14:39 19 sixties was about social revolution 0:14:57 20 but now we rather focus on our relationship with the environment 0:15:25 21 have you had opportunity to apply your creativity in a social issue 0:15:45 22 I address social issues in art, but go from issue to issue 0:17:10 23 my ranch is, although limited, an attempt to work on such an issue 0:17:38 24 is agitation helpful in the creative process 0:17:56 25 humanity cares little about humanity 0:18:13 26 the media agitate us to manipulate us 0:18:49 27 activism, today, appears to be pre-scripted 0:19:49 28 some examples of artists who took part in re-envisioning society 0:20:31 29 agitation is a drive, but helpful when designing a chair 0:21:04 30 sure, by being agitated by, and tossing, what we take for granted 0:22:36 31 the 'futurists' (mentioned earlier) tried to re-envision furniture 0:23:09 32 the art of manufacturing with minimal use of resources 0:24:13 33 does being one side of a twin somehow help with being an artist 0:24:44 34 Gideon and I are, kind of, opposites 0:25:46 35 pre-linguistic interaction - power & limits of communication 0:27:09 36 you mean the mystical presence of that other soul 0:27:27 37 no, just that I am not always aware of results of being a twin 0:28:12 38 looking at list of recipes for creativity 0:29:41 39 form hopping or genre bending 0:30:31 40 sonnets made from harlequin novels and engineering text books 0:33:06 41 aleatoricism 0:34:26 42 word painting 1 - example related to aleatoricism 0:35:47 43 wp 2 - what term to use for it 0:36:04 44 wp 3 - typesetting 0:36:31 45 wp 4 - handwritten letters, Bernhard Siegert, Jacques Derrida 0:37:33 46 wp 5 - American literature blossoms with wood pulp machine 0:38:23 47 wp 6 - the typewriter, the beat poets 0:40:28 48 wp 7 - concrete poetry, Steve McCaffery, Gary Geddes 0:41:27 49 wp 8 - personal computers, word processing 0:42:24 50 wp 9 - losing the constraint means losing grasp of genres 0:42:54 51 wp 10 - various aspects of computer assisted presentation 0:43:22 52 the medium is the message (McLuhan) 0:47:40 53 snow boots vs. sms message - why different text 0:47:50 54 formlessness is completely disorienting 0:48:15 55 an art piece carries its intent (Walter Benjamin) 0:49:20 56 much of our creativity is now automated 0:50:09 57 disorientation of info as result of absence of maker traces 0:50:26 58 the identity of handwritten notes versus computer files 0:50:44 59 modern media accumulate identity-less cause no decay 0:52:19 60 infant creates movies on iPad 0:53:22 61 absence of craft means we need other ways to enclose intention 0:53:52 62 typewriters were first a tool, not an instrument 0:54:46 63 transcending limitations of mechanism, liberating creativity 0:55:22 64 computers have hardly any limitations, and that could be bad 0:56:20 65 but we can develop new limitations, in stead of whatever exists 0:57:08 66 yes, but man is too unwilling to invent 0:57:29 67 Prezi went from spectacular to routine 0:58:54 68 tools mark eras, automation kills the soul, mistakes are good 1:00:27 69 all animoto looks like animoto 1:00:58 70 to practice - creation of procedures for where creativity is lacking 1:02:43 71 procedure for visual art and more about practice and discovery 1:05:57 72 my media pool of music, visual art and poetry 1:06:30 73 do you apply creativity when telling your spouse that you love her 1:07:04 74 yes, to crystallise all energy present 1:08:14 75 getting through mediation for connection to creative process 1:08:26 76 idea and language of love evolve simultaneously 1:09:14 77 how language in love fits in a temporal spectrum 1:09:36 78 I want un-earthy things, because industrialised earth agitates me 1:14:16 79 no, I feel no existential loneliness 1:15:01 80 I landed in the right place, but UBC can nonetheless be soulless 1:18:22 81 drugs are fuel for your travelling vessel 1:21:11 82 ranch aids with un-earthy things and other peripheral pursuit 1:23:38 83 sleep deprivation 1:23:59 84 education and procedural poetics to teach language in Denmark 1:25:18 85 spiritual journeys are hardly teachable and sometimes fail 1:26:04 86 discipline and being autodidact help in spiritual journeys 1:26:30 87 spiritual journeys can benefit - my goal to teach this if possible 1:27:22 88 break assumptions & breed confidence to create unique things 1:27:54 89 we use form hopping and translation work 1:28:07 90 constrained writing and some of its uses 1:28:40 91 allowing rapturous states is good, lets not be afraid 1:29:14 92 altered states of mind might solve big modern problems 1:30:55 93 lower levels of thinking 1:32:18 94 dullness does not kill my creativity, though do trigger me to flee 1:33:52 95 Thoreau as flip-side of LSD 1:34:27 96 ranch, like mushrooms, makes surrounding personal & engaging 1:36:12 97 Huxley, unnecessarily, put LSD aspirants in calm dark rooms 1:37:09 98 two types of LSD 1:37:36 99 a bit more about life in boring apartment 1:38:41 100 practice - artists and discipline - soul versus technical 1:41:05 101 post talk ====================================== 2014-08-26 Tony Overwater ====================================== 0:00:00 01 pre talk 0:03:31 02 new home, doorzonwoning, youth, comfy, safe, quiet 0:04:58 03 living in old factory vs mediocre place 0:05:47 04 note about background noises 0:06:08 05 both have advantages - inspiring chaos or quiet emptiness 0:07:23 06 Q - parallel playing bass in silence and decorating new home 0:07:31 07 A - relationship with Eva makes cosy home environment important 0:09:25 08 Q - parallel system at home vs on stage 0:09:54 09 A - different starting points & task constraint 0:11:08 10 the dance diagonal constraint 0:11:57 11 the assignment constraint, from scratch is not fun 0:12:38 12 is there a window open 0:12:52 13 the bass is nearly always accompaniment 0:13:21 14 my father the architect also practical functional design 0:14:07 15 abstract difference jazz as art or entertainment 0:14:54 16 last step in creative spiral - digestion 0:18:42 17 Italian and middle Eastern culture - relax after dinner 0:21:19 18 gender and relationships of the artist 0:24:50 19 difference heart-aching man and woman play the bass 0:26:02 20 constraints - we do not cover this topic 0:26:53 21 theft 0:31:06 22 inspiration is overvalued, functionality suffices 0:32:40 23 blank slate (no assignment) is not fun 0:33:29 24 just write a tune a day 0:34:07 25 environment - air balloon or pouring concrete in yard 0:34:44 26 music for travel documentary 0:35:19 27 bass players good at tuning into others 0:35:28 28 documentary music - producers selected what was made for them 0:37:06 29 focus on others, yet adding own stamp 0:37:57 30 finding phone charger 0:39:03 31 musician mood - background influences the music, or not 0:45:37 32 grabbing the self-made bass 0:47:40 33 playing on a bass that is not your own 0:50:13 34 musician mood 2, preparation & the comfort ritual 0:59:06 35 form hopping 1:02:13 36 aleatoricism - video game 1:04:41 37 dropped Skype call 1:05:51 38 changing rules of the game 1:08:11 39 The White Stripes - unusual setting 1:08:56 40 more unusual bands 1:09:16 41 Tony's trio chose different instruments 1:10:39 42 Tony's trio - half-way Bach, we'll go other way 1:11:20 43 form and rules 1:13:08 44 form, cultural rules - obvious ending and structure 1:15:41 45 if Arabs listen to Andre Hazes 1:16:29 46 form, cultural rules - obvious virtuosity and solo 1:17:27 47 decreasing tempo and lag in reggae 1:18:57 48 no more creative recipes to discuss 1:19:16 49 a music and visual show for toddlers 1:21:40 50 playing with Moroccans 1:22:16 51 how to play for toddlers ====================================== 2014-10-03 Pauline Le Bel ====================================== 0:00:00 01 I have no bag of tricks, or perhaps I do... 0:00:38 02 write a hundred titles 1 of 3 0:01:47 03 director theatre play chose very long title 0:02:40 04 write a hundred titles 2 of 3 0:02:52 05 constraint - column of 1 page, 12pt font, 1.5 line height 0:03:28 06 write a hundred titles 3 of 3 0:04:18 07 humour - musical about Bowen Island 0:05:22 08 the phone is ringing 0:06:44 09 constraint - Tristan reads voiceover 0:08:25 10 constraint - Tristan mentions constraints Alan uses 0:09:19 11 constraint - perform only with a cello 0:09:44 12 constraint - sing without a microphone 0:09:59 13 constraint - my first CD is only I and a cello 0:10:15 14 constraint - use voice to mimic instruments 0:10:57 15 constraint - use the available musicians (e.g. on Bowen Island) 0:11:08 16 constraint - my music sounds unique because of constraints 0:11:19 17 constraint - improvising acapella (Bobby McFerrin) 0:12:20 18 constraint - South American jazz in Edmonton - small tambourines 0:12:43 19 moving on 0:12:51 20 shape shifting - prose via poetry - a painful story 0:14:16 21 moving on 0:14:25 22 rules of game - unsure what to contribute 0:14:37 23 Tristan reads voiceover about rules of game 0:18:02 24 rules of game - Joni Mitchell changes guitar tuning 0:18:55 25 I play piano again 0:19:28 26 rules of game - garden 0:21:10 27 I am not mainstream and here is why 1 of 2 0:21:41 28 bacteria 0:23:05 29 I am not mainstream and here is why 2 of 2 0:24:08 30 I would never write mushy love songs 0:25:12 31 cat and closing window 0:25:39 32 shape shifting - christmas song via winter solstice 0:28:49 33 aleatoricism - spontaneous singing while doing household 0:29:55 34 aleatoricism - birds 0:30:20 35 nature inspires me 0:30:34 36 poetry inspired by friend's painting 0:33:39 37 story writing inspired by postcards 0:34:32 38 aleatoricsim - Tristan gives dice dictionary example 0:35:18 39 alternate craftsmanship - sitting in nature 1 of 2 0:37:39 40 the creator's state in life 0:37:56 41 alternate craftsmanship - sitting in nature 2 of 2 0:38:24 42 I am a professional breather 0:38:48 43 a lot of my songs come to me when I kayak 0:39:03 44 writing with pen vs. computer vs. typewriter 0:40:05 45 Song Spinner - media with which written 0:41:07 46 Song Spinner - story was changing as I was changing 1 of 2 0:41:16 47 Song Spinner - new forms, new me 0:41:38 48 Song Spinner - no standard protagonist & antagonist 0:42:29 49 Song Spinner - story was changing as I was changing 2 of 2 0:42:44 50 Song Spinner - not interested in a ballet version 0:42:52 51 alternate craftsmanship - singing in a corset 0:43:34 52 alternate craftsmanship - twirling helped singing high notes 0:44:51 53 alternate craftsmanship - sing while hanging upside down 0:46:11 54 alternate craftsmanship - inhale while singing 0:46:35 55 human voice has range of piano, says Richard Armstrong 0:48:16 56 uncommon inspiration - Yemaya & Rupert Sheldrake 0:51:19 57 theft - Kurt Weill 0:54:46 58 theft - everybody steals 0:55:21 59 theft - Tristan reads script 0:58:48 60 theft - normally I do not steal 0:58:57 61 changing time signature (duet with Marcus Mosely) 1:00:27 62 the bag of tricks - I do them spontaneously 1:00:42 63 unusual mental states - self forgetting 1:04:23 64 unusual mental states - sleep deprivation 1:05:31 65 uncommon inspiration - writing screenplay at Banff Centre 1:06:35 66 unusual mental states - taking a nap 1:07:12 67 unusual mental states - moving around 1:07:38 68 unusual mental states - sex 1:08:05 69 unusual mental states - drugs, coffee, yoga, tai chi 1:08:23 70 unusual mental states - de-cluttering the mind (Georgia O'Keeffe) 1:09:47 71 theft, mental state & inspiration - play music to inspire script 1:10:57 72 theft, mental state & inspiration - architecture of studio in Banff 1:11:39 73 aligning with a mentor 1:11:52 74 uncommon inspiration - reading or listening to other language 1:12:35 75 missing on my list - ritual 1:12:50 76 list will help me assist others with creativity 1:13:15 77 better name for documentary 1:14:08 78 laughter 1:14:24 79 practice and discipline 1:15:00 80 my life is not different from my creative work 1:15:53 81 everybody is creative 1:16:11 82 being artist means sacrificing 1:16:39 83 everybody has potential to be creative 1:16:48 84 cooking a meal the Zen way 1:17:22 85 creativity without making a product 1:17:41 86 looking at sleeping lady on the mountain 1:18:24 87 I (the troubling person) see possibility everywhere 1:19:08 88 depression 1 of 2 (and environmentalism) 1:22:44 89 story of universe and maintaining zest for life 1:25:11 90 mania 1:25:37 91 balance is overrated 1:26:28 92 depression 2 of 2 1:27:14 93 post talk - how to introduce Pauline ====================================== 2014-11-03 Neil Biggin ====================================== 0:00:00 001 pretalk 0:02:22 002 recording sound effects 0:10:13 003 what is this background noise 0:10:36 004 bare fridge sound 0:10:40 005 what is this background noise 0:11:05 006 constraint - vgm (video game music) was primitive 0:11:21 007 technical info about early vgm hardware 0:11:50 008 constraint - making primitive vgm was laborious but exciting 0:12:15 009 constraint - I came late, puzzled how others had accomplished things 0:12:23 010 form - people copy each other, the sega sound 0:12:46 011 Amiga needed no development kit 0:13:02 012 Amiga's four channels 0:13:25 013 constraint - It was still very restrictive 0:13:28 014 constraint - only 25k for sound available 0:13:50 015 constraint - it was restrictive and fun for that reason 0:13:57 016 kids at home had more resources 0:14:35 017 constraint - we had to be inventive 0:14:51 018 tricks to mimic reverb 0:15:27 019 constraint - lot of ingenuity 0:15:32 020 constraint - and then Amiga launched the CD32 0:16:18 021 constraint - suddenly I had endless resources 0:16:35 022 constraint - before CD32 I had so many limitations 0:16:56 023 constraint - suddenly I could use full studio 0:17:00 024 constraint - my previous studio was primitive 0:17:15 025 constraint - invest in new equipment 1 of 2 0:17:21 026 constraint - kids no longer competitors, but house music on CDs 0:17:31 027 constraint - Warp Records was around the corner 0:17:49 028 constraint - invest in new equipment 2 of 2 0:18:06 029 constraint - suddenly, I had a new profession 0:18:26 030 constraint - I leveraged earlier, simpler studio experience 0:18:41 031 early vgm, despite full studio, sounded basic and rushed 0:18:49 032 an engineering flaw caused all music to start with a click 0:19:20 033 did your work still sound authentic once in full studio 0:19:42 034 form - I had no reference, did not know how vgm should sound 0:20:52 035 this made my vgm original, and I still see fans on youtube 0:21:21 036 constraint - more about the fun of working with primitive tools 0:22:49 037 needing to generate a bell sound 0:23:05 038 constraint - being inventive in a vacuum 0:23:15 039 we are 20y later now, do you miss restrictions 0:23:20 040 constraint - Mark Barrott and I regularly reminisce 0:24:45 041 constraint - summing up the luxury-primitive dichotomy 0:25:17 042 I do have fun with modern luxury though 0:25:43 043 anticipating better equipment could be misleading 0:26:05 044 if only I had had today's tools as a kid... 0:26:47 045 so do kids now make better stuff 0:26:54 046 kids now have the potential, but do not use it 0:27:08 047 idiot on kickstarter asked 15k dollar to record album 0:27:41 048 I love my abilities with current equipment 0:28:02 049 my interview equipment is cheap and amazing as well 0:28:15 050 apparently we had to go through the primitive phase 0:28:35 051 one would expect more interesting music now 0:29:02 052 number of electronic musicians has increased 0:29:14 053 but quality has not gone up 0:29:26 054 do kids now find us old farts 0:29:31 055 constraint - summing up why effort makes you bloom 0:30:13 056 yes, I too am now spoiled, but kids now start spoiled 0:30:28 057 alt. craftsmanship - joy divisions cellar reverb 0:31:06 058 kids use presets, do not tweak 0:32:00 059 kids are overwhelmed 0:32:16 060 yes, some new is original, but overall more resulted not into better 0:32:29 061 in a new artfor, would you again want to start primitive 0:32:50 062 no, I would want it all, like the kids today 0:33:15 063 constraint - luxury kills creativity, plight flourishes it 0:34:41 064 imagine a future with even fewer limitations 0:35:01 065 brains, not computers make music 0:35:34 066 electronic musicians love twiddling knobs 0:35:42 067 bare sounds are always my starting point 0:36:22 068 could you internally imaging a sound you never heard before 0:36:34 069 no, all sounds I imagine are bland 1 of 2 0:36:49 070 Kraftwerk also had sounds as starting points 0:37:06 071 no, all sounds I imagine are bland 2 of 2 0:38:20 072 theft - so, how original are we then, as artists 0:38:35 073 theft - we all reuse previously observed things 0:39:14 074 discussing what to do with air vent noise 0:39:30 075 bare air vent noise 0:39:39 076 theft - our brain's repository of already analysed musical elements 0:41:35 077 does not knowing what to do not breed authentic ity 0:41:55 078 theft - we build on ideas of others 0:42:51 079 people still are original 0:43:14 080 theft - producers recycle current hits 0:43:52 081 collaboration helps to do something unique 0:44:07 082 working alone, so no benefit from collaboration collisions 0:44:52 083 creativity without repository vs. with 0:45:29 084 Squarepusher was original, but used jazz as inspiration 0:45:55 085 newborn would imagine ambient, though tribes did use drums 0:46:27 086 choosing next topic to discuss 0:47:44 087 inspiration for dark, aggressive and moody game 0:50:48 088 inspiration for soft & summery game 1 of 2 0:51:26 089 theft - sampling bare sounds from albums 0:53:27 090 theft - the homage 0:54:52 091 uncommon inspiration - dark cellar or spring butterflies 0:55:23 092 uncommon inspiration - dark room & horror sounds 0:56:46 093 uncommon inspiration - working environment 0:58:01 094 uncommon inspiration - kindergarten cartoon 0:58:45 095 uncommon inspiration - if Neil would have kids 0:59:02 096 uncommon inspiration - we suck up everything 0:59:09 097 classically trained composers, a curse or a bliss 1:02:24 098 reading script about Changing the rules of the game 1:05:04 099 changing rules of game - vgm sub-categories have their own rules 1:06:42 100 changing rules of game - Warp Records changed 'driving vgm' 1:07:15 101 changing rules of game - breaking rules is good 1:08:05 102 Lotus owner plays my deviant Lotus driving vgm 1:08:30 103 changing rules of game - you have to break rules to move on 1:08:50 104 atypical rumba or tango gets praise only from outsiders 1:09:14 105 rule breakers get shunned 1:09:59 106 breaking house tempo rule produced dubstep 1:10:30 107 others discouraged dubstep and rock & roll pioneers 1:11:06 108 make what -you- like 1:12:02 109 I nearly always rejected suggestions 1:12:44 110 do you get praise do being rebel or follower 1:13:03 111 few praised initially, but many youtube compliments now 1:13:40 112 non-conformists appeal to non-conformists 1:14:01 113 and then some others would like it after being educated 1:14:09 114 right, just like Beatles and Elvis became the norm 1:14:34 115 non- vs. conformists 1:14:51 116 vgm is a great place to pioneer new styles 1:15:17 117 theft - now I find covered versions of my music on youtube 1:15:40 118 theft - conformists get covers too 1:15:59 119 non- or conform music played in hair salons 1:17:18 120 some would appreciate the strange driving vgm 1:17:32 121 but I surely made some mistakes as well 1:17:45 122 lets pick next topic to talk about 1:18:26 123 unusual mental states - cannabis made me simple and slow 1:20:07 124 unusual mental states - yes, that is nature of cannabis 1:20:10 125 unusual mental states - never did LSD 1:20:16 126 unusual mental states - sure any such influence 1:20:31 127 unusual mental states - could not make album on cannabis 1:20:35 128 unusual mental states - sleep deprivation 1 of 2 1:20:38 129 unusual mental states - sleep deprivation 2 of 2 1:22:08 130 uncommon inspiration - record every song elsewhere 1:22:27 131 uncommon inspiration - album by Big Country sounds USA 1:22:55 132 unusual mental states - I need to be sober, awake & evening 1:23:13 133 constraint - I just sat there, no inspiration at all 1 of 2 1:23:47 134 when stuck, I just make anything, then layer and delete start 1:24:21 135 prelude to no inspiration jungle girls vgm 1:25:30 136 constraint - I just sat there, no inspiration at all 2 of 2 1:25:49 137 jungle girls vgm the sounds did not inspire me 1:26:42 138 what would you do with a symphony orchestra 1:27:09 139 this is what I would do 1 of 3 with symphony orchestra 1:28:26 140 such as 1:28:27 141 this is what I would do 2 of 3 with symphony orchestra 1:28:54 142 symphony orchestras do remakes of modern albums 1:29:31 143 this is what I would do 3 of 3 with symphony orchestra 1:30:00 144 making sounds on ferry 1 of 3 (continuation of 002) 1:30:16 145 Depeche Mode and their midi triggered odd sounds 1:31:11 146 I, and Kraftwerk, make own sounds all the time 1:31:29 147 making sounds on ferry 2 of 3 1:31:43 148 there are countless ways to make unique sounds 1:32:04 149 parallel with using only red, blue and yellow paint 1 of 2 1:32:26 150 making sounds on ferry 3 of 3 1:32:37 151 Zappa used a bicycle 1:33:07 152 Korg Little Bits 1 of 2 - remind me of being inventive myself 1:34:38 153 parallel with using only red, blue and yellow paint 2 of 2 1:35:05 154 bla bla about adobe audition 1:37:02 155 I wonder of vgm producers get different expectations 1:37:16 156 no old vgm producers still work 1:37:52 157 lets talk about aleatoricism 1:37:57 158 aleatoricism - i'd randomly place notes, then modify 1:40:58 159 aleatoricism - using random generators 1:42:12 160 morph sounds by moving the mouse 1:42:36 161 the prospect of computers making music 1:43:23 162 improvisation (jamming) 1:43:54 163 computers selecting sound 1:44:06 164 software in vgm already autonomously decided music structure 1:45:24 165 computers could generate simple things, with aid of selector 1:46:50 166 the selector - job of an A&R guy (artists & repertoire) 1:47:57 167 Korg Little Bits 2 of 2 1:48:41 168 working with software vs. with hardware 1:50:26 169 monophony 1:50:51 170 any other topic to discuss 1:51:19 171 digital vs. analogue 1:53:22 172 warmifying sterile digital sounds with tape or vinyl 1:55:37 173 the loudness wars (compression) 1:56:30 174 what makes vgm vgm 1:56:35 175 just references to previous vgm 1:56:47 176 I tried to avoid all vgm references 1:57:06 177 some more elements of what makes vgm vgm 1:58:48 178 what did they do right with super mario song - Q 1:59:02 179 what did they do right with super mario song - A - 1 of 3 1:59:53 180 sneeze 2:00:05 181 what did they do right with super mario song - A - 2 of 3 2:00:57 182 8-bit music 2:01:21 183 what did they do right with super mario song - A - 3 of 3 2:01:33 184 would super mario song have have been a normal top 40 hit 2:02:39 185 some parts of super mario song I do not like 2:03:17 186 post talk 2:04:28 187 theft - rocker stole from neil, found on youtube ====================================== 2014-11-26 Lisa Cay Miller ====================================== 0:00:00 001 pretalk 0:03:10 002 you wrote me you never get stuck 0:03:23 003 constraint - no time for angst, just have to get it done 0:04:23 004 constraint - novelist with cancer became more productive 0:05:11 005 constraint - students get 10m to compose something 0:05:45 006 constraint - how did things go without time pressure 0:05:57 007 several things changed simultaneously in my approach to music 0:06:22 008 procrastination, fear, lower level, forgiveness & location 0:07:16 009 I fucked up playing newly at NOW Orchestra 0:07:48 010 book helped with performance anxiety 0:08:45 011 was becoming forgiving broader than such performance mistakes 0:08:56 012 I stopped caring what other people thought 0:09:52 013 does audience even notice a mistake 0:09:56 014 this particular mistake was pretty obvious 0:10:09 015 recovery from mistakes & trust in oneself 0:11:10 016 is improvisational music not the most forgiving genre 0:11:26 017 sure, and especially if rest of band knows how to react 0:12:50 018 let's have a zip of water 0:13:50 019 are you able to use improvisation in other parts of life 0:14:00 020 yes, George Lewis is writing a book about improvisation in life 0:15:02 021 my paper about improvisers being fearless risk takers 0:15:39 022 my practical, can-do Mennonite upbringing appeared useful 0:17:28 023 I needed tiles for performance and improvised a solution 0:17:56 024 and so I saw that my upbringing had nurtured that 0:18:30 025 a creative life does not really stop 0:18:45 026 the raison d'être of an artist and why mistakes or praise not matter 0:20:46 027 commitment, discipline, decisiveness, are these masculine traits 0:21:00 028 no, it is more about... intention 0:21:28 029 no, it is more about... attitude and learned behaviour 0:22:33 030 are there feminine traits you find are helpful in your work 0:22:42 031 no... well... maybe empathy and working together 0:23:18 032 my new leadership position at NOW 0:24:00 033 democratic music - values of inclusivity and collaboration 0:25:29 034 should collaboration be my ninth technique 0:25:50 035 collaboration with Vancouver Intercultural Orchestra 0:26:34 036 composing for specific musicians 0:28:01 037 which technique shall we talk about first 0:28:46 038 pondering over what to say about constraint 0:29:36 039 constraint - some basic obvious 'containers' for any piece 0:30:05 040 constraint - when setting out to compose, I chose some such constraints 0:31:10 041 constraint - following your bliss, writing for what falls in your lap 0:32:18 042 constraint - musicians are limited by composition and the audience 0:33:44 043 constraint - by container you mean constraint 0:33:50 044 constraint - yes, a canvas, a system, some restriction 0:35:16 045 constraint - how about constraints with operating the piano 0:35:30 046 constraint - playing piano with broken arm 0:36:29 047 constraint - the piano might have some problem, but I don't make up one 0:36:53 048 lets talk about shape shifting 0:37:39 049 alternative craftsmanship - modifying (preparing) a piano 0:41:39 050 this is not shape shifting but alternate craftsmanship 0:42:05 051 shape shifting - ice cream truck melody becomes documentary music 0:42:43 052 shape shifting - playing a genre other than supposed to 0:43:40 053 shape shifting - Tristan gives the subject another swing 0:44:35 054 shape shifting - Stevie Wonder & composing for a cheap Casio keyboard 0:45:33 055 shape shifting - unknowingly writing for another instrument 0:46:48 056 shape shifting - genre mixing (a la Wreford Miller) 0:49:46 057 Kronos Quartet & their pre-concert final tune joke 0:50:27 058 some more water to drink 0:51:13 059 theft - do you steal ideas 0:51:17 060 theft - we must be aware of what is already out there 0:51:53 061 theft - but reclaiming someone else's success is stupid 0:52:45 062 theft - when limited, or modified, theft is okay 0:54:06 063 theft - respect for DJs & Mengelberg on good & bad music 0:54:31 064 what makes bad improvisational music 0:54:36 065 musicians not listening & playing without conviction 0:56:15 066 challenge to play with fish hands 0:57:26 067 playing with fish hands 0:57:57 068 post-talk about playing with fish hands 0:58:58 069 new subject - changing the rules of the game 1:00:31 070 NOW Society organises annual workshops on improvisation 1:02:50 071 nothing special - changing game rules is so normal to you 1:03:14 072 improvisers know they need to be quick adapters 1:03:31 073 I suppose it is true - nothing special, we are so used to adapting 1:04:54 074 blues musicians would be less flexible 1:05:11 075 some more examples of quick adaptations 1:06:08 076 not just adapting when playing, but also changing tasks 1:06:45 077 changing rules of game - are there attributes you have not played around with 1:07:23 078 changing rules of game - yes, location 1:09:04 079 changing rules of game - and drama 1:09:19 080 changing rules of game - and genre & musician backgrounds 1:09:42 081 changing rules of game - political message 1:09:58 082 police car siren - do you have any ideas for that 1:10:12 083 I tend to think emotionally & synaesthesia 1:10:59 084 ideas for a new police siren 1:11:59 085 have you gone through artistic depression 1:12:19 086 describing artistic depression before discovering courage 1:14:31 087 what do you tell students who say I am insecure 1:14:35 088 just do it - 1 of 2 1:15:06 089 imposed identity vs. doing what you want to do 1:16:59 090 just do it - 2 of 2 1:17:37 091 alternate craftsmanship - garden chair 1:18:11 092 alternate craftsmanship - sure, or squeaky chair, or other piano, or... 1:18:37 093 loud car driving by 1:18:50 094 playing in restaurant in Brazil 1:20:44 095 there was no piano, so I played percussion in stead 1:21:08 096 alternate craftsmanship - making keys extraordinarily heavy 1:21:17 097 alternate craftsmanship - heavy keys, light keys, loud keys, soft keys 1:22:33 098 alternate craftsmanship - how would you modify a craigslist piano 1:22:42 099 alternate craftsmanship - I would hang it or make furniture 1:23:12 100 alternate craftsmanship - use real hammers 1:23:16 101 alternate craftsmanship - destroying the piano 1:24:12 102 being Dutch & being Mennonite 1:26:59 103 unusual mental states - (false start) 1:27:26 104 unusual mental states - sleep deprivation 1:28:57 105 unusual mental states - intoxication 1:29:33 106 unusual mental states - mild mania 1:30:51 107 unusual mental states - cerebral hypoxia 1:31:32 108 unusual mental states - meditation 1:31:37 109 unusual mental states - retreats 1:32:16 110 Paul Plimley and Vicky Chow 1:32:43 111 did not hear from people you forwarded docu info to 1:32:52 112 unusual mental states - getting into a trance 1:32:58 113 unusual mental states - professional performers easily slide into their altered state 1:33:50 114 are you worried about youth growing up with video games 1:33:59 115 only as it may disturb emotional development 1:35:11 116 unusual mental states - LSD 1:36:56 117 unusual mental states - sure, personal experiences influence your art 1:38:05 118 unusual mental states - the artist at work reveals his core persona 1:38:51 119 uncommon inspiration - can you compose in Nanaimo or Surrey 1:39:52 120 uncommon inspiration - in space, atop a mountain, ... 1:40:09 121 uncommon inspiration - it also depends on where that piece will be performed 1:41:08 122 uncommon inspiration - do you get inspiration from unexpected things 1:41:41 123 uncommon inspiration - examples and how it becomes immaterial 1:44:05 124 uncommon inspiration - opening eyes to the world 1:45:04 125 uncommon inspiration - historical event 1:45:28 126 uncommon inspiration - colour (CMYK) 1:47:02 127 uncommon inspiration - how about being a mother 1:47:05 128 uncommon inspiration - thesis 1 of 3 - son's emergence of language 1:48:48 129 uncommon inspiration - thesis 2 of 3 - available 1:50:06 130 lets talk about aleatoricism 1:50:15 131 aleatoricism - Alea Jacta Est - 1 of 2 1:52:01 132 aleatoricism - how does a word become a chord 1:52:04 133 aleatoricism - Alea Jacta Est - 2 of 2 1:52:31 134 aleatoricism - any other aleatoric examples 1:52:37 135 aleatoricism - thesis 3 of 3 1:53:59 136 the piece Sinfonia Pneumatikos - 1 of 4 1:54:38 137 the piece Sinfonia Pneumatikos - 2 of 4 - looking at the book 1:58:45 138 the piece Sinfonia Pneumatikos - 3 of 4 2:00:05 139 the piece Sinfonia Pneumatikos - 4 of 4 2:01:56 140 post-talk - thank you Lisa