MAX作为多学科安装艺术的整体装置控制机制外文翻译资料

MAX as an Overall Control Mechanism for Multidiscipline Installation Art

C. BESTOR Electronic and Computer Music Studios University of Massachusetts Amherst, MA 01003, U.S.A.

bestor~music, umass, edu Abstract--Installation art aims to establish a self-defining artistic universe, a landscape of the imagination, enclosed within a self-contained sculptural space which the audience enters, and by the act of entering, becomes, themselves, a part of it. This paper deals with the use of MAX as an overall control mechanism for the coordination of the various musical elements involved in an installation piece. Keywords--MAX, Electronic music, Installation art, MIDI, Computer music.1. INTRODUCTION Installation art can perhaps best be thought of as art that defines space; art that inhabits space, that appropriates space to its own artistic ends. The space itself, and the artifacts within it, become the work of art, a self-defining universe of the artists imagining which the viewer, by the act of entering, becomes a part of it. The physically defining elements of an installations space are typically sculptural, but frequently a musical score, often electronic, is included as a component of the work and occasionally a theatrical-type lighting plot is added to simulate an element of movement within the sculpture. The musical score and lighting plot often include aleatoric, chance elements in order to eliminate, or at least mitigate, the repetitiveness that is the inevitable result of the way in which art, including installation art, is typically exhibited to the public: eight hours a day, six days a week. Occasionally the entire artistic complex is designed to be to some extent responsive to the gestures and the movements of the audience within the structure. The essence of installation art is that, unlike a painting (a landscape painting, for instance) one not only looks at it but one actually enters it and becomes, oneself, a part of it. Like a painting, however, it is a landscape of the imagination, a landscape that exists only in the mind of the artist, or artists, who created it and, by the act of their making it art, in the experience of the viewer--who, in the case of multidiscipline installation art, may also be a listener. Every work of art, of course, creates its own reality. The artist, in the act of creating art, takes the realities of his or her own experience--the realities of the outside, so-called 'real' world, and the realities of his or her own internal, personal world--and manipulates these into a new vision of reality, a vision through which his or her audience experiences the reality, the artistic reality, that the artist has created. Art is in fact often spoken of as 'a different way of looking at reality,' and in the presence of great art ones entire way of looking at the world is changed; one never sees the world, or oneself--one never experiences reality again, in quite the same way. This is, of course, the nature of art in general. When dealing with installation art, however, a number of Typeset by A~-TEX 11 12 C. BESTOR special issues arise, issues that are unique to a multidiscipline, multidimensional art form. In the first place, the installation artist has to create a composite reality which, by its artistic intensity, becomes a genuine reality which the audience can share, a reality that it literally becomes a part of. In a sense, a very real sense, the viewer (and the listener), by his or her presence within the sculptural space, becomes a part of the sculpture itself. It is not so much that one suspends reality when one enters the landscape of an installation but that this landscape becomes, in fact, a reality of which one is a part. For the time one is within it, this is the world and the world is it. Installation art is, almost by definition, a composite art form, one in which the installation artist, unlike the artist in most other disciplines, is no longer alone with his or her own art. Like opera, for instance, there are all sorts of other artists involved in the creative enterprise, with equal claim to the attention of the audience, and with whom one must not only come to terms, but whose artistic ideas must be made central to ones own creative vision if the composite work is indeed to become a work of art. The musical score for a work of installation art must therefore satisfy a number of demands not normally met within a piece of concert music. For one thing, the music has to run continuously, hour after hour and day after day. Furthermore, since it is a part of a larger artistic complex, it has to conform to the program of the installation itself, or at least it has to try to find musical analogs for the visual symbols embodied in the physical structure. And while the musical score does not necessarily have to be spatially articulated, the fact of its being projected in a space through which the audience moves--and often these spaces are very large indeed--the temptation to provide for musical movement within the sculptural space, in counterpoint to the movement of the other sculptural elements and of the audience itself, is almost irresistible. 2. MAX AND INSTALLATION MUSIC It is in the nature of installation music that it does not have a beginning or an end. It begins, for the viewer, when he or she enters the installation and it ends when the viewer leaves. With tape, one does not have much alternative but to create a work that starts when it starts and repeats itself endlessly. With a computer-driven score, however, there is the possibility not only of writing a continuous, nonrepeating score, but one that can easily be moved in spatial counterpoint throughout the sculptural space. Figure 1 is a MAX patch from a recent installation piece entitled 'Cycles,' by the fibre sculptor Barbara Cornett, the lighting designer John Wade, and the author. In this patch, a series of six controlled-random sequences are generated in a sort of pseudocan

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MAX作为多学科安装艺术的整体装置控制机制

美国麻州大学阿姆赫斯特电子音乐与电脑音乐工作室

Buffor音乐，UMAS，EDU摘要-安装艺术的目的是建立一个自我定义的艺术宇宙，一个想象的风景，包围在一个自成一体的雕塑空间，观众进入，并通过进入的行为，成为自己，它的一部分。本文论述了使用MAX作为一个整体控制机制，协调在安装件中涉及的各种音乐元素。关键词-马克斯，电子音乐，安装艺术，MIDI，计算机音乐。1。介绍装置艺术也许最好被认为是定义空间的艺术；栖息于空间的艺术，将空间赋予它自己的艺术目的。空间本身，以及其中的人造物，成为艺术作品，一个艺术家想象的自我定义的宇宙，观众通过进入的行为成为它的一部分。安装空间的物理限定元素通常是雕刻的，但通常作为乐谱的组成部分包括乐谱，偶尔添加戏剧类型的照明情节以模拟雕塑内的运动元素。乐谱和照明图通常包括随机的、偶然的元素，以消除或至少减轻重复性，这是艺术，包括安装艺术，通常向公众展示的必然结果：一天八小时，一周六天。有时，整个艺术综合体的设计在一定程度上是响应于手势和观众的结构内的运动。装潢艺术的本质是，与绘画（例如，风景画）不同的是，一个人不仅看它，而且一个人实际上进入它，成为自己，它的一部分。然而，像一幅画，它是一个想象的风景，一个只存在于艺术家的头脑中的风景，或者艺术家，他们创造了它，并且通过他们的艺术行为，在观众的体验中——在多学科的安装艺术的情况下，他们也可能是一个听众。当然，每一件艺术品都创造了自己的现实。艺术家在创造艺术的过程中，把他或她自己的经历——现实的外部，所谓的“真实”的世界，以及他或她自己内在的、个人的世界的现实——操纵成一种新的现实视界，一种他或她的视听的视觉。体验艺术家创造的现实、艺术现实。事实上，艺术常常被称为“看待现实的另一种方式”，在伟大艺术的存在下，人们看待世界的整个方式都发生了变化；人们从来没有看到过世界，或者自己，从来没有经历过同样的现实。当然，这是艺术的本质。然而，在处理安装艺术时，A~-TEX 11 12 C的多个排版出现了特殊问题，这是多学科、多维度艺术形式所特有的问题。首先，安装艺术家必须创造一个综合的现实，通过它的艺术强度，成为一个真实的现实，观众可以分享，一个现实，它确实成为了一部分。在某种意义上，一个非常真实的感觉，观众（和听众），通过他或她在雕塑空间中的存在，成为雕塑本身的一部分。当一个人进入一个设施的景观中时，它就暂停了现实，但事实上，这个景观变成了一个真实的部分。因为时间在其中，这就是世界，世界就是它。安装艺术，几乎是定义，是一种复合艺术形式，一种安装艺术家，不像大多数其他学科的艺术家，不再是他或她自己的艺术。像歌剧一样，有各种各样的艺术家参与到创作事业中，同样地要求观众的注意，而他们不仅必须达成一致，而且如果复合作品是I，他们的艺术思想必须成为自己创作愿景的中心。我们决心成为一件艺术品。因此，安装艺术作品的乐谱必须满足一段音乐会音乐中通常不满足的要求。一方面，音乐必须连续运行，一个小时一个小时，一天又一天。此外，由于它是一个更大的艺术综合体的一部分，它必须符合安装本身的程序，或者至少它必须设法找到在物理结构中体现的视觉符号的音乐类似物。虽然乐谱不一定要在空间上铰接，但它被投射在观众移动的空间中——事实上这些空间实际上是非常大的——诱惑。虽然乐谱不一定要在空间上铰接，但事实上，它是在观众移动的空间投射的，而这些空间通常是非常大的——在雕塑空间中，在对位T中提供音乐运动的诱惑。o其他雕塑元素和观众本身的运动几乎是不可抗拒的。2。最大和安装音乐它是在安装音乐的性质，它没有一个开始或结束。对于观众来说，它开始时，当他或她进入安装，它结束时，观众离开。用磁带，一个人没有别的选择，而是创造一个工作，当它开始并不断地重复它时开始。然而，使用计算机驱动的分数，不仅有可能写连续的、非重复的分数，而且可以在整个雕塑空间中容易地在空间对位中移动。图1是最近的一个安装补丁，题为“周期”，由纤维雕塑家Barbara Cornett，照明设计师John Wade，和作者。在这个补丁中，一系列六个受控随机序列在一个伪随机序列中生成，第一个起始于0秒，第二个在5秒产生，等等。这个水平的贴片机制对于那些熟悉Max的人来说是相对不言而喻的：（1）“Metro（NOME）”每1000毫秒产生一个脉冲（Bang-Bs）。这些凸出物被（适当）A（2）“计数器”计数，其输出对应于它被撞击的次数的整数。自从“地铁”开始。（3）“选择”识别已经被编程的整数：当它接收到数字5，在这种情况下代表5秒时，它发出一个自己的爆炸声，开始“声音”，等等。当它接收到25号时，它发出一个响声，它关闭了所有的声音，7000毫秒之后，（4）所有的声音都关闭后，它关闭了整个机制。所有的六个声音看起来像图2，嵌套的补丁在下一个最低层级，除了每个语音发送在一个不同的MIDI信道，并且每个调用一个不同的合成器程序。（1）在这种情况下，“地铁”在1-12之间产生随机数，其中50增加，从而在51-62之间产生一个随机序列。这些对应于MIDI音调号码D2到D3；六个声音中的每一个都被编程为随机地在12个音调系列内在不同的范围内播放。（2）同时，“地铁”也在1-60之间产生随机数（实际上在添加了5之后5-65之间），这随机化了总体控制机制13班邦图1。话音（i）C.Prter嵴I R{4）A，hellip;地铁500号随机3 THM，~（2）随机12随机60随机投掷]随机化Ecth-MaKeOTE 60～LoNooDoT图2。每个音符的攻击速度。（3）同时，基本的“地铁”的节奏，整个机制的中心心跳，正在随机改变。每500毫秒，产生1～3之间的随机数，乘以100，得到100s、200秒和300秒的随机序列，这些序列被馈送到控制的“地铁”中，因为“地铁”的节奏脉冲Ach BUG将随机地为100, 200或300毫秒-从而随机化RH。整个音乐综合体。14 C.Bestor IB NGBA“G Lp＝Cel.C.J.LPPTCER DESCRESC”MOTROO 400随机化节奏随波逐流随机游走表J（4）随机游走60 i [醉酒45 II（5）随机化MaKeNoT 60 100图3。图3是完全相同的基本补丁，但具有更复杂的音调选择方法。音调本身是从一个（4）“表”中抽取的，它控制随机游走，在MAX中恰当地被称为（5）“醉”，每个连续音符都在前音符的正上方或下方。在这种情况下，术语“立即”实际上是一个范围或随机选择的间隔在0和8 VA之间，如表所定义的。顺便说一下，这些间隔对于六种声音中的每一种也是不同的。当演奏时，这个贴片产生一种免费的六声爵士即兴演奏。当六个声音中的每一个开始时，依次激活一个“CRESC”子贴图（图4）。（1）每20毫秒，这个“地铁”通过一个（2）“表”，从0到127增加值，这些值被发送为（3）控制器7，MIDI控制器的体积，从而产生一个渐强持续精确为2540毫秒（50times;127）。在音乐节结束时，激活一个“DECRESC”子补丁，它的工作方式完全相同，只是它发出的控制器值下降。图5是一个完全不同的补丁从相同的安装件。从一个完全不同的音乐劝说来看，这是一个很有节奏的自由交易，事实上，这很清楚地表明了马克斯风格的真实性。（1）在durations注1可以从500毫秒之间，或什么的，与每个语音呼叫是一个不同的音高上合成器（2）所有的分布式随机在一场六位置的扬声器（3）。结果是不可能有什么不同的weburn产生在截止日。控制机制的整体性C 15 127（2）（3）图4。随机jmetro 32＝＝＝300～500 h）随机变化的随机变化的渠道计划btlon音高变化newmakenoteout～图5。图6 16 C.贝斯特。整体结构的正式的音乐评分，这是预安装，作为主要的主题是7件。的任意部分，上面是一个类似的情况，发展出许多小的变化，在音乐部分，材料的预preceded他们即刻。图6是一个从下一个页的最高控制水平的评分为“圈”的安装。在最高的水平，这是A A地铁击败秒计数器计数，和一个第二，807，学院在840 TH TH和890和等等，是在事件触发。我的论文项目，（1）# RW C 2例如，已经和预存储在音序器，和一些人，（2）br5c是semialeatoric，类似于以前的研究。（3）在“重置”is a 990，这整个周期触发开始一遍。

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