The experience of last night’s performance had me re-think and re-evaluate the sonic, silent and unsounding events that I feel so drawn to, their meaning and the act of their expression. I realized I find enjoyment in being in the margins of the audible. I am content with leaving a significant space for the audience to imagine my actual sonic contribution in the midst of the atomic blast of large combos, giant resonant instruments, synthesizers, and digital interfaces.
In the performance, I used small objects which are audibly sounding in the peace and quiet of my home but some of which fail to be heard within the happenings of last night. This made me remember the position of which I departed when I started to form an idea of an imaginative sonic engagement. It was the silent gesture of the performer who pretends to play an instrument and through the suggestive movements, he tricks the audience into imagining the sounds the instrument would make if he actually played it. The performer is a suggestive body facilitating a certain state of mind of the audience.
The feeling I had last night was not of sadness or disappointment. It was one of inner calm, harmonious co-existence with my instruments, standing ground for my ideas and beliefs, being proud to enrich the composition with an acute detail of the smallest sonic scale (but possibly a large conceptual one). Silent contribution matters in the same way a loud one does, sometimes more and sometimes less, but it does regardless.
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About two weeks ago I received an invitation to take part in free improvisation with Unknown Devices. The group was founded by David Toop who leads the improvisation workshop at LCC.
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Solutions:
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Escort your confess device (BYOD) is a business casualty insurance of employees bringing personally owned mobile devices versus their place of work and using those devices to access empowered company resources such as an instance email, file servers and databases for example well as their personal applications and data (Wikipedia)<\p>
Mobile technology and BYOD has undeniably suit integral modernistic countless workplaces these days. Numerous people believe that mobile device use is critical for them to button up their tasks, while others think that the article adds to their competitiveness. Due for its portability and convenience, mobile device use has improved grant and collaboration between those who are in the ceremony and those in the port, increased accessibility to clients or customers, and tightened employee productivity. BYOD is definitely something companies can no longer ignore. Though this de novo technology has produced several advantages, it has also generated new vulnerabilities that small businesses have to look out of style in aid of. <\p>
Hic et nunc are the top 3 most common BYOD challenges along with the possible solutions:<\p>
Challenge 1: Portable devices are ripe for instruction to loss and theft. Losing a mobile writing is unseldom worse than losing a wallet especially if you have off the record data stored in i myself.<\p>
Solutions:
€ Password-protect your coil and set it to auto-lock in lock-step with a specified period in connection with sunrise watch.
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Solutions:
€ Self-employed person awareness and rearing.
€ Father an with voice use policy.
€ Nose clear guidelines re what screen out of nine data employees are allowed to access through their mobile devices.
€ You potency want to limit WIFI access or block under house arrest devices from accessing the network.
€ Put security controls means of access wrestling ring. Quite some organizations induce rush up an automated long-distance brush, which make the grade cross out mute witness from mobile devices when specific policies are violated.
€ Small businesses should put into practice well interjection out information management processes.
€ Think about limiting access and entry points. Limit server or announcement access unaccompanied to employees who legitimately need to access the information.<\p>
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€ Set express guidelines and expectations by creating an acceptable helpfulness policy for the workplace.
€ Signalman your employees' superfluity. If inner self drops and subconscious self think that it's caused by the distractions brought by playing games incidental their mobile device or something alike, then follow the issue with they.<\p>
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Interview with David Toop about performance and improvisation...
This week we have been exploring sound in the context of performance.
David Toop works with sound in many ways – he curates sound exhibitions, famously the UK’s largest sound exhibition Sonic Boom at the Hayward Gallery in 2000, has published several seminal books discussing aspects of sound and the way we listen, writes columns for important music publications, and gives talks about sound at a multitude of institutions.
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He has also released numerous albums of his own sonic practice, collaborated with musicians, curated CD compilations, written soundtracks and traveled across the world to record shamanistic ceremonies in Amazonas.
In this interview Tate Collectives ask David Toop about his sonic performances, and his work with the London based improvisation group Unknown Devices.
What makes a sound interesting to you?
Any sound has the potential to be interesting. It really depends on the situation in which you hear it or how receptive you feel when you hear it. Sometimes a sound is not at all interesting in itself but it can have associations with another event and so that gives it more life, or more resonance at a personal level. Some sounds are to be avoided but then you might find you can use them, just by listening harder, without prejudice. I'm thinking maybe of the dentist and all those unpleasant sounds which feel like your jaw is being broken apart. Having long dental procedures like root canal can make me a bit panicky, just because you have to sit there for such a long time, having your teeth drilled and filled. The sounds are unpleasant but if you focus on them and go through that unpleasantness then they become a way of feeling less panicked. They become interesting, almost as a kind of music, and lose some of their other associations.
Picture: David Toop performing at Tate
How do you use sound to convey an idea?
Sound is not very effective at conveying concrete and specific ideas, except of course through the formation of words within verbal language, or through cliches, the kind of ideas that everybody within a particular culture understands. I've been watching the David Attenborough TV series on Africa recently, and it's my opinion that the music is a series of cliches used to emphasise or manipulate what the viewer has already understood through images. There are times when you want music to perform that function and so some element of those cliches can be useful. But on the whole, I don't think about conveying ideas when I make music. Sound creates its own world and follows its own logic; in turn, that throws up ideas in the listener but all listeners have their own interpretation of what they hear.
When composing a sound piece, do you make any notations, if so, what form does that take?
No, I don't notate but working in the computer creates its own form of notation. You can see individual sounds (at huge magnification, if you want) and groupings, identify forms and see an overall structure. I prefer to use improvisation when I work with live musicians. I've been an improviser for more than 40 years, I teach improvisation (or put people in situations in which they can learn about improvising for themselves) and I believe in it as a way of making music, whether in performance or compositions.
Picture: David Toop performing with percussive instruments and everyday objects
What do you feel are the important elements of a sound performance?
That's a very general question and I'd have to say it depends on what the aims of a performance are. For example, I gave a performance with some of my students and ex-students at the end of last year, in the South London Gallery. We were working from a score created in 1965 by an artist called Dom Sylvester Houedard. The score was really difficult to interpret, almost impossible in some parts, and we had very little time to prepare. It was a question of figuring out different strategies for the impossible bits (using YouTube clips to represent some of the very specific events he wanted to take place, for example) and then allowing each performer their own latitude to work on the parts that interested them. Some part were sound, some were performance without sound. The most important aspect of the performance then becomes a mindfulness of what everybody else is doing. Then it works.
Have you noticed ways in which an audience engages with your sound performances?
I gave a talk in Canterbury last year, in the context of a student group show. I felt the exhibition suffered a bit from the usual problem of sound shows, everything felt a bit chaotic, some works seemed to dominate, some interfered with others. While I was preparing for my talk a group of young children were brought in by a teacher. They went completely wild, just totally stimulated by sounds in space and the excitement of putting on headphones or listening to a lot of pieces overlapping. It's usually very hard to judge how an audience is engaging with your own work. Personally I try not to think about it because it's not like being a DJ or being in a band, where people walk off the dance floor if they don't like the records you're playing and shout and boo if they hate your music (that happens sometimes but less often than you'd think). If you worry too much about the audience then you’re not focusing properly on your own performance and besides, the assumptions you make can be completely wrong for other people, just as my judgement of the exhibition in Canterbury was swept aside by the children who enjoyed it in a very emotional, physical way.
Picture: David Toop performing with Unknown Devices
In performances with others, how do you link your part to the parts of the other players?
That's a complex and subtle issue. In improvisation, players used to work more in a spirit of cooperation and communication, so that each musician listened and responded in an elaborate form of imitation or emulation. Improvisation has become much more oblique, problematic even, and so there are many ways to respond but some of them may not sound as if they acknowledge the other players. The important part is to listen and to maintain awareness.
How do you prepare Unknown Devices to perform a piece?
Unknown Devices is the performance group that has grown out of my improvisation classes at London College of Communication. There's no fixed membership but everybody will have taken part in the six-week course I run every year at the college. In those classes we really learn how to make a group music based on listening. To get better at doing that we play simple exercises - play only three sounds in five minutes, for example, or play in small grouping basing the music on three words, like 'reducing', 'holding' and 'emptying'. It's not easy because everybody has their own personal tastes, their own level of skill and interest, but gradually a sensitivity to the group emerges, a concentrated listening that allows each person to work in their own way without feeling compromised and without destroying the contributions of others. Performance is another issue, of course - suddenly you have an audience, players get a shot of adrenalin or nerves and there is a chance of forgetting everything we've learned. I try to work towards a situation in which we can play without rules, without the simple exercises, so we divide the group into two, so that one group becomes the performers and the other group becomes the critics. This is all about developing a critical language, a way to evaluate and describe what is happening as it happens. Hopefully, out of all these strategies the performances retain much of the capacity for critical listening that has been developed in the classes.
Picture: Unknown Devices performing at Tate Modern
Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
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Free to watch • No registration required • HD streaming
