Ecomprovisation: Project Markarian 335
L U Z I L E I A L I E L 1 , I V A N S I M U R R A 2, M A R C E L L O M E S S I N A 3
DAMIÁN KELLER4
and
1
University of São Paulo. Email: luzaliel@gmail.com
Federal University of Acre. Email: ivan.simurra@ufac.br
3
Southern Federal University. Email: messina@sfedu.ru
4
Federal University of Acre, Federal University of Paraíba. Email: dkeller@ccrma.stanford.edu
2
Through an ecological approach to creative practice
(henceforth ecomprovisation), this project deals with the
expansion of the creative strategies applicable to everyday
contexts. Within ubiquitous music (ubimus), we target the
convergence of sonification methods with the application of
ecological models within the context of comprovisation. These
conceptual frameworks inform the technological and aesthetic
approaches applied in the making of Markarian 335. We
describe the creative procedures and the implications of the
design choices involved in this artwork. The contributions and
shortcomings of our ecomprovisational approach are situated
within the context of the current efforts to foster expanded
creative possibilities in ubimus endeavours.
1. INTRODUCTION
Since the publication of the first volume on ubiquitous
music research (ubimus) (Keller, Lazzarini and
Pimenta 2014), several new perspectives within this
expanding field have widened the palette of possibilities
for artistic endeavours. One promising trend involves
the incorporation of improvisatory strategies to foster
the exploration of sonic resources. This practice-led
approach to music research was already present in
various ubimus projects, gaining a specific conceptual
and methodological foothold through the incorporation of ecological frameworks. How does ecological
thinking impact the creative practices that target
ubiquitous contexts? We tackle this question through
a discussion of proposals within ecologically grounded
creative practice, providing hands-on examples of the
design and deployment of an artistic project using
acoustic and computationally based sonic resources.
An aspect of ubimus research that received increased
attention during the last few years involves the
implementation of support for creative engagement by
both musicians and participants who have no technical
training. This is a particularly problematic issue because
the majority of the extant research on musical interaction
is limited to professional musicians and in some cases it
centres on the virtuosic performer as the ideal model for
interaction design (Wessel and Wright 2002). The undue
stress on a genre-based understanding of virtuosism and
on a culturally biased interpretation of expression1 has
erected serious barriers to the inclusion of untrained
participants in music-making. Rather than adopting
preconceived genres, while tailoring the design for the
needs of a particular niche of musicians, ubimus
approaches have strived to avoid the narrow focus of
previous musical-interaction proposals while highlighting the need to let the participants determine when and
how to deploy resources to attain their creative goals.
Furthermore, the concept of creative goal has been put
into question. When applied to artistic and educational
activities, the utilitarian view of interaction as a problemsolving activity has shown serious limitations (Lima,
Keller, Pimenta, Lazzarini and Miletto 2012). This is
why ubimus methods tackle both the exploratory aspects
of creative music-making and the demands of knowledge-sharing mechanisms in activities involving both
trained and untrained participants.
Ecological thinking2 has gained strength through
ubimus deployments. Since the pioneering proposals
dating from the late 1990s (Keller 1999, 2000), a healthy
diversity of ecologically grounded frameworks has been
applied to a wide range of artistic endeavours. Nance
(2007) introduced eco-based strategies to the realm
of acoustic-instrumental writing, hence expanding the
palette of sonic resources through the inclusion
of recorded instrumental sources. Connors (2015)
proposed the concept of ecological performativity,
adding another layer of techniques to eco-grounded
installation art. Through a series of performanceoriented artworks, Aliel, Keller and Costa (2015) furnish
the basis for a fusion between ecologically oriented
improvisation and compositional approaches. Labelled
ecomprovisation,3 this practice-based thread applies
ecological thinking to shape group behaviours targeting
1
See Gurevich and Treviño (2007) for a critical discussion of the use
of the label expression within the context of the conferences on New
Instruments for Musical Expression.
2
We use the terms ecological, eco, ecologically grounded, eco-based
and derivatives to refer to the creative practices that are inspired by
and engage with what has been termed the E4 perspective in
cognition (ecological, embodied, embedded and enactive).
3
Ecomprovisation features a fusion of comprovisational methods
within the context of ecologically grounded creative practices. We
acknowledge the possibility of exploring other forms of fusion of
ecologically inspired improvisatory approaches within ubimus, such
as exemplified by Connors (2015) and Stolfi, Milo and Barthet (2019).
Organised Sound 00(00): 1–10 © The Author(s), 2024. Published by Cambridge University Press.
https://doi.org/10.1017/S1355771823000651 Published online by Cambridge University Press
doi:10.1017/S1355771823000651
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Luzilei Aliel, Ivan Simurra, Marcello Messina and Damián Keller
both synchronous- and asynchronous-distributed musical activities.
Another thread of developments has emerged from
the application of ecological models to sound-making.
According to Braun (2017: 89), sound-making should
be studied in the context of and in relation to the other
senses and modalities. He characterises sound studies
as a field within the cultural and social sciences,
highlighting its historical aspects. This proposal
involves an interdisciplinary research agenda that
emphasises cross-cultural components. From this
perspective, Braun discusses the design and compositional projects of the late 1990s that have pushed the
field towards multimodality. Keller and Truax (1998)
implemented a set of techniques employing databases
of granular sounds extracted from environmental
sources and employed control functions modelled
after the behaviours of real-world events. Artistic
deployments of this approach can be heard in the
eight-channel pieces : : : soretes de punta (1998) and
touch’n’go (1999). As an example of a multimodal
perspective on sound-making, Braun discusses Tyler
Kinnear’s analysis of : : : soretes de punta. He states
that the compositional usage of synthesised water
sounds highlights the variety of manipulations and
interactions applicable to environmental sources in
creative endeavours. According to Kinnear’s analysis,
the use of ecologically based granular synthesis lets the
composer handle the identity of the sonic resources
through operations on the acoustical parameters of
water drops while targeting their interactions with
various surfaces. Sounds derived from this referential
identity serve as a creative palette for : : : soretes de
punta. Despite the restricted materials, the manipulation of phase-synchronicities and decorrelations
among streams expands the timbral profile of the
sonic events and textures, thus enriching the sonic
results (Rolfe and Keller 2000). Braun (2017: 85)
concludes that as a transformative agent, the water
stream functions as a thread between a baseline
timbral identity – established through the spectral
characteristic of the drop collisions – and the
environmental sounds utilised in the piece.4
Braun’s argument adds weight to the ecological
methods of Opie and Brown (2006) and Gomes et al.
(2014) that deal with the integration of perceptual
modalities. Other examples of this approach are featured
in Connors’s two audiovisual installations, From the
Edge and Currents, based on sounds collected through
field recordings made at Newfoundland’s East Coast in
Canada. Connors uses Barad and Morton’s ideas to
articulate a compositional perspective that questions
4
See also Basanta’s (2010) analysis of this work. An informal
discussion of the context of this piece can be found in Carson (2020).
More background can be found in (Keller 1999, 2000; Keller and
Berger 2001).
https://doi.org/10.1017/S1355771823000651 Published online by Cambridge University Press
representationalism, adopting a midway position on
how to deal with agency within a nature–culture
continuum. These installations deploy live-streamed
environmental datasets to re-enact various forms of
agency. The datasets function as co-creative devices to
explore the ecologically grounded performative dimensions of the artworks. The methods used by Opie, Gomes
and Connors rely on the extraction of data from
environmental phenomena. Rather than treating the
usage of data as culturally neutral, they reinterpret the
sources through situated sonification strategies.
Consequently, these proposals differ from the standard
usage of sonification as found in historical computermusic compositions such as Dodge’s Earth’s Magnetic
Field (Dodge 1970).5
In line with the preceding discussion of sonic-oriented
ecological perspectives, model-based sonification
involves the creation of acoustic models that generate
responses based on inputs from a user or from multiple
users. This technique requires a computational model
and complementary instructions to guide behaviours
towards a sonic outcome. In contrast with the historical
sonification approaches previously cited, ecological
models involve an active engagement from the stakeholders. Local interactions with the participants become
a crucial aspect of this artistic approach. The dynamics of
the models are not fixed or strictly dependent on the
initial conditions. They rely strongly on environmental
factors which are prone to change during deployments.
From an acoustic-instrumental perspective, this
approach could be interpreted as a virtual musical
instrument that can be played by the user to generate the
respective sound (Hunt and Hermann 2004).
Nevertheless, as entities dependent on mutual adaptations (which are very different from passive acoustic
instruments), ecological models tend to be shaped by
sonic ecologies (Keller 2012; O’Callaghan 2013). Given
this functional context, acoustic-instrumental interaction becomes irrelevant.6 To emulate real-world agentobject interactions that entail meaningful responses to
actuation (usually yielding sounds and involving several
temporal layers of events and featuring a range of
variations dependent on the chosen modality), the data
and the state of the ecosystem need to remain open to
emergent processes.
5
See an in-depth discussion of the constraints and potentials of
applying auditory-display methods in ubimus design in Lazzarini
and Keller (2021).
6
Examples of the acoustic-instrumental paradigm in musicology and
in the proposals for ‘new instruments for musical expression’ are: the
separation between the public, the composer and the performer;
mastery of specific knowledge as a requirement for making music;
the myth of the genius as a source of creativity incarnated by the
virtuoso, conductor or composer (usually male, white and from a
central country). See discussions in Bown, Eldridge and
McCormack (2009), Keller (2000) and Simurra, Messina, Aliel
and Keller (2023).
Ecomprovisation: Project Markarian 335
Furthermore, the application of ecological thinking
to the realm of sonification may extend the usage
of local resources in creative practice. The initial
proposals in this field during the late 1990s involved
the implementation of ecological models, the
emulation of everyday events and targeted artistic
experiences based on multimodality. More recently,
Opie and Brown (2006), Hermann (2011) and Connors
(2015) have independently developed techniques that
extract information from local events fostering the
explorations of sonic models based on human
decision-making. How to deploy these resources in
improvisation is an open issue partially addressed by
recent artistic initiatives.
In this article, we document the artistic project
Markarian 335 (henceforth M335). The article targets
interaction design and involves the implementation of
computational tools, highlighting the application of
sonification techniques aimed at improvisation. Based
on an ecological approach to comprovisation,
the M335 project explores alternatives to expand the
creative strategies applicable to everyday contexts.
The section 2 of the article engages with the
deployment of ecological frameworks within ubimus.
We highlight the use of ecologically grounded audioprocessing models and point to the potential impact of
this perspective on sonification. Then we address
the usage of auditory-display techniques as creative
strategies for ubimus, indicating crossovers with the
frameworks that target multimodal and behavioural
ecologies (Keller and Lazzarini 2017). The section 3 is
dedicated to the procedures employed in M335,
highlighting the design of creativity-support strategies
tailored for comprovisational practice. Finally, we
deal with the contributions and shortcomings of each
strategy to creative endeavours, situating the results
within the current ubimus expanded field for novices
and experts.
2. RELATED WORK: COMPROVISATIONAL
APPROACHES
Comprovisation is an emerging artistic strategy that
encompasses composition and musical improvisation.
The term comprovisation does not have a consensual
definition yet. Its origins go back to the improvisational proposals of the 1960s – including the output of
artistic groups such as the Scratch Orchestra and
Musica Elettronica Viva (Cardew 1969; Curran
and Teitelbaum 1989). Current comprovisational
approaches have also addressed aspects of interactive
musical representations (Hannan 2006; Dudas 2010;
Fujak 2011). Fujak (2011) argues that in the activities
done by living beings, some scenarios can only be
partially planned. A variety of uncontrolled factors
can impact the environmental conditions, shaping the
https://doi.org/10.1017/S1355771823000651 Published online by Cambridge University Press
3
behaviours of the stakeholders. Thus, he proposes
comprovisation as a metaphor for ways of living. In
ecological parlance, interaction units are defined as
events which occur in the context of habitats and
ecologies (Keller 2000; Keller and Capasso 2006).
When resources are deployed, the stakeholders engage
in both planned actions and unpredictable behaviours.
Plans are ways of projecting relationships between the
extant resources, encompassing both material and
cognitive activities, which may entail either teleological or exploratory strategies. In this article, we aim to
construct a conceptual framework bridging comprovisation and ecologically grounded creative practicality
within the ubimus context. To achieve this, we draw
parallels with a conceptual tool introduced by Aliel,
Keller and Ferraz (2018b) and Messina and Aliel
(2019, 2023), the Gelassenheit.
Gelassenheit is a term coined by Heidegger (1966).
Its literal translation is ‘serenity’ although Heidegger’s
formulation transcends the literal meaning of this
word in English. He proposes two forms of thought:
1) calculative thinking, understood as a scienceoriented artistic method involving measuring, collecting data and replicating results; and 2) its counterpart,
meditative thinking, entailing an attitude open to
unpredictable actions and unexpected outcomes, that
is, ‘an openness to mystery’ (Heidegger 1966: 55).
Heidegger proposes Gelassenheit as a stage to be
achieved through innovative ways of thinking. From
an ecologically oriented perspective and grounded on
arguments by Donald (2006), Aliel, Keller and Costa
(2018a) reframe this proposal as a process of
adaptation and modification of self-reflective strategies in artistic practice. The absence of control
encouraged by Gelassenheit factors tends to trigger
unexpected results, setting an atypical frame for
potential actions and forcing the stakeholders to
adapt their behaviours to unfamiliar conditions. Thus,
Gelassenheit may be viewed as a factor fostering
evolutionary processes within highly compressed time
frames.
Within the concept of Gelassenheit defined by
Heidegger, encompassing calculative thinking and
meditative thinking, we can hypothesise a method for
comprovisation that engages in a dialogue with the
ecological perspective through action plans (guideline
plan and contingency plan) (Aliel 2022). From an
ecological perspective, therefore, comprovisation may
be defined as a way to handle creative actions that
feature guideline plans (that constitute the core of
compositional activities – calculative thinking) and
contingency plans (involving elements of improvisation – meditative thinking), having a direct relation to
the local environment as source material and involving
experimentation within its sphere of practice.
A guideline plan establishes rules of interaction that
4
Luzilei Aliel, Ivan Simurra, Marcello Messina and Damián Keller
are persistent and depend on material factors such as
mass, form and the dynamic properties of materials,
acting upon specific structures and resources (such as
place and stakeholders). A contingency plan may deal
with the same targets as the guideline plans, though it
also encompasses volatile resources and processes that
lack predictability. A guideline plan includes rules,
planned actions, algorithms and resources often
obtained through asynchronous methods (and usually
linked to pre-compositional activities). A contingency
plan targets the unpredictable, the eventualities, the
chaotic (involving deterministic but highly complex
outcomes) and random events (encompassing either
environmental factors or computational strategies),
thus highlighting the creative role of both human and
non-human errors.
Depending on emerging musical and social needs,
comprovisational strategies can adapt. Given specific
conditions, guideline and contingency plans may offer
opportunities to level the collective access to the
creative processes, avoiding preconceived notions of
priority of one strategy over another, as suggested by
the critical discussions on the application of hierarchical and centralised compositional methods by
Bhagwati (2008), Keller (2000) and Lewis (2000).
This flexibility tends to add weight to contingencies.
Consequently, one of the challenges of ubimus design
is to provide comprovisational guidelines that are
effective both for persistent and volatile resources
(Keller 2014), while encouraging the exploration of the
creative potential of contingencies.
Some comprovisational plans may involve elements
of intentionality of the stakeholders. A guideline plan
may feature an explicit representation of expected
outcomes. Contingency plans usually entail a lack of
completeness and rest on implicit knowledge shared
through cultural traces (non-idiomatic improvisation
is a case in point). Sometimes, both plans may
converge. For instance, the absence of rules implies
a new rule that limits sharing explicit knowledge. This
suggests the usage of tacit or informal knowledge as a
way to establish criteria and order to the actions of the
agents. At the other extreme, disruptive tendencies in
comprovisation may involve an entity imposing a
contingent plan opposed to the shared concepts
obtained through previous interactions.
For the purpose of creating a new specific neologism related to comprovisation work aligned with
ecological practices (guideline plans and contingency
plans), we propose the inclusion of the letter ‘e’ into
the context of comprovisation, resulting in ‘ecomprovisation’. In this context, the ‘e’ combined with ‘co’
(eco) associates with ‘comp’ (composition) and
‘provisation’ (improvisation), thereby amalgamating
three words into a fusion that aims to encompass the
concept.
https://doi.org/10.1017/S1355771823000651 Published online by Cambridge University Press
3. M335 PROJECT
In this section, we tackle the analysis of an artistic
work, M335. Our focus is on the possibilities of using
action plans (guidelines and contingencies) for the
creation of an ecomprovisation. We approach
the discussion of M335 from the perspective of a
professional double bass player. Our analysis highlights technological advancements – involving the
Handy S prototype – and approaches centred on
musical aspects, such as the utilisation of extended
techniques and graphical notations.
M335 is a piece for acoustic or electric bass, inspired
by NASA’s discovery of an unidentified object. The
object was photographed while distancing from the
black hole M335. It has not been catalogued and
studies have not yet reached consensus on its
composition or nature.7 Einstein’s general theory of
relativity implies that nothing, not even light, can
escape a black hole. The event that took place in M335
pointed at a new phenomenon that remains unexplained. We employ this premise as an artistic
inspiration. Metaphorically, the double bass tries to
‘escape’ the sound mass generated by the machine.
However, the sonic materials are mostly controlled by
the actions exerted on the instrument. This struggle
between acoustic and electronic sources fosters a
process of sonic immersion involving cycles of
feedback between the gestures and the sounds.
3.1. Tools and materials
The computational prototype features two objects
from the Pure Data GEM8 library, namely [pix_video]
and [pix_data]. The [pix_video] object enables the use
of a webcam connected to a computer. The [pix_data]
object acquires the colour of a specified pixel in an
image. This capture is defined by the RGB standard
(red, green and blue). During the initial tests of a
webcam attached to the double bass, we observed that
colour-based capture does not necessarily yield a result
directly connected to the musician’s gestures. The
capture process and subsequently the sound production were imperfect, even in single-colour conditions.
In other words, it was not possible to repeat or refine
the capture. After several tests, we concluded that
colour-based capture did not contribute to the
generation of musically replicable material.
However, during the testing process we also noted
that the musician’s movements of the double bass
7
The news report can be seen at https://astronomynow.com/2015/10/
(accessed
12
28/black-hole-markarian335-has-major-flare/
January 2024).
8
GEM (Graphics Environment for Multimedia) is a set of externals
developed for multidimensional matrix processing on Linux,
Macintosh or Windows to create and manipulate video and
graphics in OpenGL.
Ecomprovisation: Project Markarian 335
5
produced sounds he considered more ‘musical’ despite
their random qualities. Based on this premise, we
proposed an indirect-capture process, allowing more
freedom to move along x, y and z axes. Rather than
emphasising mappings for each colour; the new
approach focused on the relationship between light
and darkness enabled by the movements. The
musician moved the double bass, the webcam
captured the light sources and sounds were produced.
Darkness or low illumination yielded no capture and
no sound. This approach provided a baseline control
of sound ‘on and off’.
Although we had a certain level of control, we
considered incorporating randomness under unexpected conditions. In this context, the musician
interacts with a sound (on or off) but has no control
over other sonic characteristics, forcing them to adapt
to the local conditions. Considering the object’s ability
to capture RGB, we altered the equation of the three
colours (multiplications in some objects) to generate
variations in duration, velocity and pitch.9
3.1.1. Graphics: target clear and accessible
indications for interpretations and actions by the
musicians/performers
We use spectrographic scores10 to support the process
of aesthetic decision-making (Figure 1). Our knowledge-sharing strategy features conceptual hints rather
than rigid procedures. We use two graphs to trigger
alternative sonic interpretations of data captured by
the satellites LIGO Livingston and LIGO Hanford.11
These sonic sources are colloquially termed ‘blackhole sounds’.
To establish a connection between the spectrogram
and instrumental actions, we subdivide each spectrum
in three regions. These subdivisions (indicated by
green, red and blue lines) are associated with the
regions of the double bass’s body and indicate where
the left hand should be placed to handle pitch-oriented
actions. To facilitate the comprehension by the
performer, we have related the increase in intensity
(displayed in the spectra) to dynamic references
applicable to each segment. The double bassist can
choose to play either the left side (LIGO Livingston)
or the right side (LIGO Hanford). She can also switch
sides at any time between LIGO Livingston or LIGO
Hanford, or she may repeat the material indefinitely.
9
The Pure Data patch can be viewed at https://drive.google.com/file/
d/1HxDqhikOs9IsPPtvi4pJkSoq8RN92kSZ/view?usp=sharing.
10
A spectrographic score is defined as a visual resource that features
spectral information to convey musical knowledge. This knowledgetransfer strategy has also been adopted by other ubimus projects, see
for instance Stolfi et al. (2019).
11
The original spectrum can be seen at www.youtube.com/watch?v=
dP6ZWew83_Q.
https://doi.org/10.1017/S1355771823000651 Published online by Cambridge University Press
Figure 1. Spectrographic scores used in M335.
The spectrographic scores are read from top to
bottom. Timbral variations are directly associated
with bow movements. Thus, if a parameter value is
large, the bow gesture will also be large. The wavy
notation represents the intensity of the right hand
(applied while bowing, pizzicato and so on). This
parameter can be read from top to bottom or from
bottom to top. Changes in the order during the
performance are left to the discretion of the instrumentalist. There is no time restriction for repetitions,
but there are restrictions on the dynamics and the
strings choices. For instance, on the left side (LIGO
Livingston), the strings E and A are indicated, while
on the right side (LIGO Hanford), the strings D and G
are indicated. As already mentioned, the choice of
sides is free.
From a total of eight, four pages are used for each
performance. Some pages permit a free choice of
pitches, while others have guidelines indicating the
pitches to be played or excluded. There are no time
indications for page turns. Hence, the instrumentalist
may choose to explore one or more pages before
handling the complete set.
3.1.2. Extended techniques: furnish accessible and
clear indications for interpretations and actions by the
performers
Extended techniques based on explicit instructions are
featured as part of the guidelines plan. Despite
adopting a limited set of instrumental techniques,
6
Luzilei Aliel, Ivan Simurra, Marcello Messina and Damián Keller
Figure 2. M335’s performance.
we tailored the design for: 1) adaptation of sonic
processing based on bow movements; and 2) adaptations tailored for the sonification model (more on this
later). The variability is governed by rules of action
and reaction that depend on the local context.
Consequently, small-scale decisions play a decisive
role. The implication is that a creative agent cannot
expect to replicate previous results because there is no
univocal relationship between the audio-processing
techniques and the parameters driven by this form of
performance.12
In the performance, we can observe the musician
utilizing some of the proposed features, placing
emphasis on the body movement gesture of the double
bass to activate the webcam feature, employing
extended techniques, and at times referring to the
score to guide certain actions (Figure 2; Video
Example 1).
some performers began to track the timing of the
webcam ‘errors’. Thus, they learned to anticipate
when the system generates an update and employed
these opportunities to try new behaviours leading to
new sounds.
Another strategy involved learning that small
changes of position in the x, y and z axes result in
greater control of the outcomes. Instead of using
manual gestures to trigger modifications (following
their standard instrumental training), the performers
tried moving the body of the instrument. Since the
webcam is attached to the instrument, the movements
of the double bass generated more precise sonic
outcomes. We can interpret these strategies as human
behaviours adapted to specific demands of the ubimus
ecosystem. We believe these features were discovered
because the musicians searched for apparent flaws in
the system that allowed certain materials to be
‘tamed’, becoming more predictable and controllable.
3.1.3. Usage of the Handy S prototype in M335
4. M335: SUMMARY OF FINDINGS
The prototype Handy S was used to explore adaptive
strategies (Keller, Aliel and Silva 2018): 1) parametrisation based on the capture of acousticinstrumental gestures – a webcam is coupled to the
instrument providing a gestural sonic interface that
bypasses the typical process of acoustic-instrumental
transduction; and 2) the generative sonic results are
recycled as material for improvisation.
We conducted preliminary studies that led to the
deployed version of M335, involving performers
accustomed to improvisation practices who were
familiar with contemporary musical repertoire.
These studies pointed to strategies to attain greater
control of the sonic outcomes: it was observed that
M335 features two forms of auditory-display: action
and feedback. The interaction model involves reading
and interpreting a score and capturing visual data to
transition from no sound to sound. The complete cycle
involves events initiated by the instrumentalist, visual
data captured by the webcam, and sonic outcomes
that are not fully determined by the state of the system.
While executing the score, the performer triggers
multimodal events (Figure 3).13 The spectrographic
scores are used as a guide for the improvisational
processes (see Opie and Brown 2006; Connors 2015 for
related techniques). These processes do not imply a
direct mapping between data and sonic outcome: they
12
13
This touches upon issues of replicability in creative practice that
have been a focus area of research in ubimus.
https://doi.org/10.1017/S1355771823000651 Published online by Cambridge University Press
In Figure 3, the items [pix_videos] and [pix_videos] refer to Pure
Data objects.
Ecomprovisation: Project Markarian 335
7
Figure 3. Diagram of the M335 interaction model.
yield a new sonic layer that diverges from the acousticinstrumental material. Furthermore, the player cannot
intentionally replicate the processed material because
the behaviours are shaped though sonic feedback.
Instead of using only the sound of the instrument or
applying extended techniques, our ecomprovisational
approach promotes the empirical exploration of
electroacoustic and acoustic sonic resources.
A second strategy aims to increase the creative
relevance of the sonic sources. A fairly entropic level is
fostered through a ‘reversal’ of roles. The musician
(although still triggering audio processes) relies on
events produced by the interactions with the Handy S
prototype that may not necessarily involve instrumental sound. The instrumental gestures are captured by
the webcam (Figure 4),14 triggering processes that may
diverge from what is expected by the instrumentalist.
Consequently, electronic sounds become central. The
outcomes are linked to the interactions between the
instrumental sound and the movement-tracking
14
We employed a Logitech webcam, Model C920, in our implementation. Its resolution capability extends up to 1920 ×1080 pixels with
H.264 video compression.
https://doi.org/10.1017/S1355771823000651 Published online by Cambridge University Press
system. Through this dual and synchronous interaction, the audioprocessing parameters introduce new
and divergent material based on the double bass
sounds.
As previously explained, the current prototype
retains a certain level of randomness due to the low
definition of the visual data and due to the automated
‘choices’ of data capture. These factors, rather than
being treated as limitations, constitute a target of
design for the M335 ecomprovisational project.
Although not planned as a design feature, during
the sessions the musician pointed out that the
projection of the hands of the performer influenced
the way they were playing. At a later stage, this third
strategy was integrated into the design (see Aliel 2017).
Through the projection of the movements of the
hands, the unintentional material is reframed, grounding the assessments of the contingencies on
multimodal information and enhancing the immersion
in the ecomprovisational experience.
From this perspective, we consider that the M335
prototype follows the proposal by Boden and
Edmonds (2009) to apply constraints to promote
complex and creative results. These constraints serve
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Luzilei Aliel, Ivan Simurra, Marcello Messina and Damián Keller
Figure 4. A consumer-level camera was attached to the double bass to enable data capture and parametric control in M335.
to frame the performance leaving room for ‘computational choices.’15 Furthermore, a connection arises
between Heidegger’s calculative and meditative thinking, as presented earlier. While calculative thinking
permeates the aesthetics and practice based on the
acoustic instrument, expanded through the option to
turn the electronic sounds on or off, meditative
thinking is encouraged by fostering openness to the
unexpected and adapting to the local conditions.
If we consider the application of Gelassenheit, we
can suggest that the occurrence of unexpected
conditions (almost with random characteristics) is
not actually a problem. In general, this kind of event is
common in ecological conditions (natural events that
cannot be controlled by humans or computers). Thus,
from this perspective, unexpected elements can bring
unique benefits to the process and can be understood
as events within the contingency plan. In other words,
even a technological parametrisation error will be
interpreted as a form of ‘improvisation’. We term
these conditions Gelassenheit events (Aliel 2022).
5. FINAL REMARKS AND FUTURE
DEVELOPMENTS IN ECOMPROVISATION
Does ecomprovisation provide a path to deal with the
demands of future ubimus initiatives? Let us take a
moment to reflect on the proposals laid out in Keller,
Messina and Oliveira, 2020a and Keller, Simurra and
Messina, 2020b targeting second-wave ubimus
endeavours. Second-wave ubimus may encompass
everyday creative musical activities and collective
asynchronous musical interaction. The constraints of
casual interaction encouraged by ubimus initiatives
include: 1) very limited time for preparations; 2) short15
For example, given a set of numbers from 1 to 10 and (A > B),
considering (B = 4) we have (A → 5, 6, 7, 8, 9, 10). The specific
choice is left to the machine.
https://doi.org/10.1017/S1355771823000651 Published online by Cambridge University Press
term engagements; 3) a wide diversity of stakeholder
profiles; 4) unreliable network connectivity; and
5) unrestricted public exposure. While some of these
caveats are addressed by the techniques discussed in
this article, others constitute targets of future research.
Despite envisaging professional-creativity support,
some of the strategies implemented in M335 could
be adapted to address the needs of casual participation
(Keller et al. 2018). In particular, the techniques
developed for the creation of the artwork M335
provide ways to extract knowledge from local
resources that can enhance improvisational
approaches. These approaches may potentially
include strategies for everyday musical creativity for
both trained and untrained participants in the future.
Potential future approaches include:
1. By using open graphic scores that present basic
instructions for actions, the gap between learning
and performing is reduced, allowing both groups to
employ similar resources (see Aliel 2022).
2. Since the support involves coupling a technological
object to an acoustic instrument, the process of
gestural and sonic experimentation could eventually unfold similarly for both novices and more
experienced participants, fostering knowledge
exchanges through mimicking or imitation.
3. As unpredictable factors are an important feature
of ecomprovisation, both groups need to deal with
emergent properties by finding solutions or incorporating new actions into their palette of creative
tools. This implies a pressure on the boundaries
between everyday musical creativity and professionally oriented approaches. Ecomprovisation
may furnish a bridge to explore both perspectives.
4. In line with the maker-oriented DIY ubimus
proposals (Lazzarini, Keller, Otero and Turchet
Ecomprovisation: Project Markarian 335
2020), everyday objects could be repurposed
through ecomprovisational strategies.16 These techniques could bypass several of the financial barriers
faced by potential participants in low-income
regions. Owing to the scarcity of professional
audiovisual equipment in peripheral countries, gear
such as high-resolution video-cameras may be
replaced by recycled consumer-level mobile telephones. Android systems, for example, offer a wide
range of free or open-source software17 that
support synchronous streaming of audiovisual data
to personal computers.
5. The incorporation of more refined movementtracking
algorithms
(as
exemplified
by
Chakraborty, Yaseen, Timoney, Lazzarini and
Keller 2022) also opens interesting possibilities to
release the interaction from the bounds of the
acoustic instruments. Mid-air interaction techniques involve triggering a multiplicity of sources
from a visual-tracking algorithm that supports
adaptations to diverse body shapes and positions.
No special-purpose equipment is necessary.
Finally, a note of caution is necessary regarding the
support for distributed activities. Collective asynchronous musical activities bypass co-located face-to-face
interactions. Consequently, they may reduce the
social-bonding aspects fostered by co-located musicmaking. While several comprovisational proposals
have targeted synchronous activities, open temporalities tend to be linked to non-hierarchical and
asynchronous techniques. Ubimus ecomprovisational
techniques could provide a way to deal with
asynchronicity and quasi-synchronicity in comprovisation. On the one hand, group music-making lets the
stakeholders build a shared knowledge pool that
grounds consensual decisions. Alternatively, it fosters
the coexistence of divergent worldviews. On the other
hand, the participants’ usage of the local resources
encourages aesthetic diversity. Diversity within consensus and coexistence of opposed views seem to be
attitudes encouraged by ubimus endeavours.
Ecomprovisational strategies – as exemplified in
M335 – feature forms of interaction aligned with
these goals.
SUPPLEMENTARY MATERIAL
To view supplementary material for this article, please
visit https://doi.org/10.1017/S1355771823000651
16
In some regions, even standard devices that are usually cheap and
accessible – such as high-resolution webcams or MIDI-enabled
gadgets – are prohibitively overpriced. For these contexts, DIY
replacements may furnish affordable solutions.
17
For instance, DroidCam.
https://doi.org/10.1017/S1355771823000651 Published online by Cambridge University Press
9
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