Quantum improvisation: Sonic Consciousness and Pauline Oliveros
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Triple Point improvises with a machine. Topic include: definition and theory of improvisation. Pauline Oliveros. Creativity. Deep Listening. Triple Point. Performance Autoethnography. Complexity. Emergence. Sonic Consciousness.
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Quantum improvisation: Sonic Consciousness and Pauline Oliveros
- 1. QUANTUM IMPROVISATION: SONIC CONSCIOUSNESS AND PAULINE OLIVEROS Sae-Hoon Stan Chung Supervisor: Dr. Dulic. Committee: Dr. Arthur, Dr. Belton, Dr. Arthur, Dr. Magnat. External: Dr. DiPaola, SFU 1
- 2. OUTLINE 1. Introduction 2. Contribution to Knowledge 3. Research Questions 4. Overview of Improvisation 5. Methodology: Performance Autoethnography 6. Indigenous Research Methods 7. Triple Point and Filter 8. Conclusion 2
- 3. 3 CONTRIBUTION TO KNOWLEDGE DEFINITION Improvisation is the performance of agency. Oliveros (1999) Sawyer(2006), Butler(1999), Conquergood) 1995), Denzin (2002) THEORY Improvisation is enabled and constrained by “sociocultural referents.” Pressing(1988) and Sawyer(2006) RESEARCH CREATION The first study of Oliveros’ quantum improvisation. Quantum improvisation attempt to transcend its own referents. WHAT’S NEXT? 1. Perceptual activism of Oliveros. 2. Network theory of creativity. Creativity as a non- linear, self-transcending network.
- 4. RESEARCH QUESTIONS 4 What is improvisation? What does a cross field study of improvisation reveal? What is Oliveros improvising? What happens when musicians improvise with a listening and playing agent? Movement 1 Movement 2 Movement 3
- 5. 5 DEFINING IMPROVISATION AS COMPLEX --many fields/practices --parts larger than whole --many cultures --many connections/assumptions Question--Does performance studies offer a useful perspective?
- 6. Where is improvisation emerging? 6 Personal. Instinctive. Spontaneous. Freedom. Jazz metaphor. Emergent. Neuroscience. Systems. Algorithmic. Network metaphor. Social. Relational. Cultural. Emancipatory. Theatre metaphor. Systems. Agency. Ethics. Listening.
- 7. 7 1 2 3 4 critique the methodology study culture in the field examine knowledge deepen insight
- 8. PERFORMANCE AUTOETHNOGRAPHY Indigenous research methodologies strengthened my methodological insight into myself, my impact upon others, and the political ethics of my work/life/research. Ethics: How to conduct a life that is political, socially just and socially conscious. Thank you, Dr. Shawn Wilson, Dr. Mare Fulber, and Dr. Richard Atleo. 8
- 9. METHODOLOGY: WHAT IS AUTOETHNOGRAPHY? Autoethnography is an approach to research and writing that seeks to describe and systematically analyze personal experience in order to understand cultural experience. This approach challenges canonical ways of doing research and representing others and treats research as a political, socially-just and socially-conscious act. (Ellis, Adams, Bochner, 2011, 9
- 10. A THEORY OF IMPROVISA TION EXPLORES personal constraints EVOLVES social constraints TRANSCENDS ethical constraints Constrained by Sociocultural Referent IMPROVISATION 10 TYPE 1 Example: What personal constraints inform your creative performance? TYPE 2 Example: What social constraints limit our ideas about collective agency? TYPE 3 Example: What constrains human limitations?
- 11. NON-LINEAR SYSTEMS Characteristics Employs a system perspective to explain interconnected parts. Assumes non-linearity because whole is larger than sum of the parts. Considers emergence of order as a self-organizing property. Influenced by connectivism, quantum physics, neuroscience, and genetics. Questions Does improvising with machine augmentation produce valid theorizing on creativity? Can improvisation suggest a non-linear system model of creativity? Does quantum improvisation validate a network theory of non- linear creativity? 11
- 12. QUANTUM IMPROVISATION WITH TRIPLE POINT How do they sound? 12
- 13. 13 CONCLUDING THOUGHTS Deep Listening improvises perceptual activism. It may help us lead more political, socially just and socially conscious lives. Improvisation is the performance of agency. It allows the possibility of connection to networks that seem beyond our comprehension. Oliveros’ quantum improvisation raises the possibility of using machines to help us become more deeply conscious and aware of ourselves, each other, and the universe.
- 14. OLIVEROS “What is heard is changed by listening and it, in turn, changes the listener” (Oliveros, 2010, p. 74) 14
- 15. 15
- 16. FAQ questions 1. What do you mean by ethical? 2. What do you mean by co-emergent? 3. What do you mean by referent? 4. What is the core of quantum improv? 5. What is indigenous methodology? 6. Can machines help us be more conscious? 7. Are you suggesting improv is a political tool? 8. What is the main impact of this study? answers 1. Foucault’s definition—political emancipation from state and capitalism. 2. Combines Bakhtin and Bhahba as product of dialogical polyphony. 3. The ideological and aesthetic structure that liberates and constraints creative agency. 4. Ethical transcendence of self. 5. A critique of ways of knowing and being. 6. Yes, if we improvise together. 7. I am suggesting that knowledge is a political tool, so yes, improv can help make knowledge serve our emancipation. 8. Theoretical structure that builds on Sawyer and Pressing. 16
Editor's Notes
- I acknowledge unceeded Okanagan nations territory. I acknowledge my committee and external., dr Arthur. And dr dipaola. Very grateful for your presence. Thank you to Dr. treschow
- This is the order of my presentation. Approximately 14 slides.
- IMPROV is the performance of agency. Balance between structure and agency.
- In the beginning there were questions. Hundreds of them. Paralyzing questions. But there was always one question that was central. Never moving. It cannot be fully answered other. My contribution to knowledge is a perspective that builds on those before me and extends as much as I am what is happening …
- Duchamps fountain. Homage August Boal, the fonder of theatre of the oppressed. Neuroscience. Changed art from the mind of the artist to the mind of the perceiver.
- Balance between Structure and Agency.
- My process around methodology. Make connections and focus on indigenous.
- Place evoked in the story of Mahicans of Troy. Displaced twice and now living in Minnesota. Relationship evoked in that this is part of the the story of their music. My own cultural awareness of being a |Korean Canadian. Reciprocity is how I created trust and it how I co-evolved a shared sense of consciousness.
- It challenges you because authethnography invites you to ask questions of your own identity, values, and ethics. What did i learn about myself?
- Criqitues: capitalism. Objectivity. Western philosophy. Belief in mystery. Free democratic society. Disembodied thought.
- Ermergent provisional experimental tentative
- One example of transcendence. The tree. Listening.
- I would like to spend a few seconds playing some Triple Point improvising with Filter, an artificially intelligent agent that listens, selects, and plays backs
- As befitting someone who studies improv, this research has emerged throughout my creative, academic, teaching, and consulting life. The research has impacted i think many people in divergent and different audiences. I’ve been fortunate to have administrative leadership roles that allowed me write strategies, influence policies, and fund initiatives that have utilized this research. Two keynote talks o the emergent nature of bridging international and indigenous learners and academic communities have created pockets of change on a sociocultural front. My passionate respect for changing our approach to workin gwith indgenous people has led to many reports, talks, policies, guest speakers, especially in manitoba where i led red river college’s institutional strategy on aboriginal engagement, particularly in places such as the aerospace sector, workforce development, and educational policy development. I used my knowledge of improv and complexity to create manitoba’s first set of innovation metrics, a government direction that has impacted many lives. My research has impact the way that i think about creativity and the emergent properties of innovation that has led to my engagement with the corporate sector, research institutions, and aborginal communities. Here in bc, icurrently led a regional straegy on socioencomic development where i am engaging key sectors in social improvation and collaboration. I am reguarly consulted by software companies on product and process innovation. Even the way i listen and itneract and work with others has enormously hlepful.