I’ll be co-teaching a workshop on New Music Controllers with Ed Berdahl at CCRMA, Stanford University from August 12-16. Places are still available!
As a part of the Videosónica festival held in conjunction with the Diseño+ conference, I performed in a telematic concert of electroacoustic music on October 26, 2012. The concert featured performers in Cali and at Stanford University in California, joined by Stephen Rush’s Digital Music Ensemble in Ann Arbor. Although separated geographically, the performers were able to play together, supported by experimental technologies to deliver high-quality digital audio at low latency over dedicated research networks. This 3-way telematic concert was a first for Colombia as well as the University of Michigan.
The following night, I closed the festival performing a new realization of John Cage’s Rozart Mix in honor of the composer’s centennial. My gracious host Daniel Gomez took me on an adventure to find junk boomboxes and old cassette tapes to use as material for the performance.
On October 25, 2012 I delivered the opening keynote address at the Diseño+ conference in Cali, Colombia. The conference was the 5th International Meeting of Research in Design, a South American gathering of researchers in diverse areas of design, with a particular emphasis on music technology. My keynote explored the co-evolution of experimental music practice and electronic musical instruments, highlighting his recent research into the development of skill and style with digital musical instruments.
On November 4, 2012, I led members of my PAT 101 class, and Prof. Tim James’s mycology lab — “The Mycotics” — on a mushroom foray in honor of John Cage’s 100th birthday. Cage was a friend of the late renowned UMich mycologist Alexander Smith and discussed foraging for mushrooms in the woods around Ann Arbor with Smith in his writings. What better way to honor him?
The Mycotics provided texts about mushrooms, which we used as the basis for musique concrète compositions. Fragments of these compositions were played on boomboxes and texts were read aloud according a score that used mushroom spore prints to generate event choices and timings.
I helped the students of the University of Michigan Digital Music Ensemble hack a rotary dial phone for their performance of Robert Ashley’s In Memoriam… Kit Carson. During one rehearsal, I heard Steve Rush say that he considered Ashley to be a minimalist like Reich and Riley. There was an extra phone lying around, and this gave me an idea.
I’ve been thinking about designing interfaces that are “bespoke” (to use a term I picked up in Ireland) to compositions. It made me consider whether we can embody a composition into an interface or instrument.
I will be running a workshop on Education in NIME at NIME 2011on May 29, 2011, along with my colleague Ben Knapp and Sergi Jorda from the Music Technology Group UPF in Barcelona. More information is available at: http://www.nime.org/2011/pre-nime/tutorials/index.html#A%20Workshop%20on%20NIME%20Education.
I was interviewed in December by Jill Rodgers from MIT Press Journals as a part of their podcast series to discuss Computer Music, HCI and the recent issue of Computer Music Journal that I guest edited. The podcast page is available here: http://www.mitpressjournals.org/page/podcasts, or else here is a direct link to the mp3 file: CMJ-Michael-Gurevich.mp3.
First test of my robotic, interactive string instrument, Stringtrees.
String Trees First Test from Michael Gurevich on Vimeo.
Computer Music Journal 34(4), Winter 2010, a special issue on Human-Computer Interaction that I guest-edited, is now online: http://www.mitpressjournals.org/toc/comj/34/4 or http://muse.jhu.edu/journals/computer_music_journal/toc/cmj.34.4.html.