Live notation at the Arnolfini

I was honoured to take part in the live notation unit’s event at the Arnolfini on Friday, and to perform with Alex McLean and Hester Reeve in the evening.

Live notation is a project exploring connections between Live Art and Live Coding, both art forms revolving around performance, but with very different cultures and backgrounds.

The day started with workshops. The first one by Yuen Fong Ling played with the power structures inherent in Life Drawing. We tried breaking some conventions, instead of everyone drawing the same model – one scenario involved arranging the easels in a line where one person drew the model and everyone else copied the previous person in line. This ‘drawing machine’ resulted in an intriguing pictorial version of “Chinese whispers”. The second workshop involved programming choreography live via drawing and an overhead projector, firstly with workshop leader Kate Sicchio as the dancer, and then more and more livecoders joining in until the roles were reversed.

The performances consisted of a mix of live art and livecoding, and also served to demonstrate the breadth of approaches that these art forms represent – Wrongheaded performed a spectacular livecoding invasion of religious ritual, while Kate Sicchio followed beautiful instructions she’d received a couple of hours before interpreting Nicholas Poussin’s painting ‘The Triumph of David’ using brightly coloured silks. Thor Magnusson unleashed a sub bass rumbling agent driven visual approach to livecoding with a very considered minimal performance. As an audience member, I think livecoding needs a dose of cross fertilisation with related areas, especially if they are outside of the computer music sphere – we can think more about our roles, the situation and less about the mechanics. As a performer, I’m still processing (and waiting for photos) and will write a bit more on our performance in a few days.

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