Acoustic, electric and virtual noise : the cultural identity of the guitar

Guitar technology underwent significant changes in the 20th century in the move from acoustic to electric instruments. In the first part of the 21st century, the guitar continues to develop through its interaction with digital technologies. Such changes in guitar technology are usually grounded in what we might call the "cultural identity" of the instrument: that is, the various ways that the guitar is used to enact, influence and challenge sociocultural and musical discourses. Often, these different uses of the guitar can be seen to reflect a conflict between the changing concepts of "noise" and "musical sound."

Amphibian

Amphibian is an 10’00’’ musical work which explores new musical interfaces and approaches to hybridising performance practices from the popular music, electronic dance music and computer music traditions. The work is designed to be presented in a range of contexts associated with the electro-acoustic, popular and classical music traditions. The work is for two performers using two synchronised laptops, an electric guitar and a custom designed gestural interface for vocal performers - the e-Mic (Extended Mic-stand Interface Controller). This interface was developed by one of the co-authors, Donna Hewitt. The e-Mic allows a vocal performer to manipulate the voice in real time through the capture of physical gestures via an array of sensors - pressure, distance, tilt - along with ribbon controllers and an X-Y joystick microphone mount. Performance data are then sent to a computer, running audio-processing software, which is used to transform the audio signal from the microphone. In this work, data is also exchanged between performers via a local wireless network, allowing performers to work with shared data streams. The duo employs the gestural conventions of guitarist and singer (i.e. 'a band' in a popular music context), but transform these sounds and gestures into new digital music. The gestural language of popular music is deliberately subverted and taken into a new context. The piece thus explores the nexus between the sonic and performative practices of electro acoustic music and intelligent electronic dance music (‘idm’). This work was situated in the research fields of new musical interfacing, interaction design, experimental music composition and performance. The contexts in which the research was conducted were live musical performance and studio music production. The work investigated new methods for musical interfacing, performance data mapping, hybrid performance and compositional practices in electronic music. The research methodology was practice-led. New insights were gained from the iterative experimental workshopping of gestural inputs, musical data mapping, inter-performer data exchange, software patch design, data and audio processing chains. In respect of interfacing, there were innovations in the design and implementation of a novel sensor-based gestural interface for singers, the e-Mic, one of the only existing gestural controllers for singers. This work explored the compositional potential of sharing real time performance data between performers and deployed novel methods for inter-performer data exchange and mapping. As regards stylistic and performance innovation, the work explored and demonstrated an approach to the hybridisation of the gestural and sonic language of popular music with recent ‘post-digital’ approaches to laptop based experimental music The development of the work was supported by an Australia Council Grant. Research findings have been disseminated via a range of international conference publications, recordings, radio interviews (ABC Classic FM), broadcasts, and performances at international events and festivals. The work was curated into the major Australian international festival, Liquid Architecture, and was selected by an international music jury (through blind peer review) for presentation at the International Computer Music Conference in Belfast, N. Ireland.

Defibrillator

Defibrillator is a 16’41” musical work for solo performer, laptop computer and electric guitar. The electric guitar is processed in real-time by digital signal processing network in software, with gestural control provided by a foot-operated pedal board. --------- The work is informed by a range of ideas from the genres of electroacoustic music, western art music, popular music and cinematic sound. It seeks to fluidly cross and hybridise musical practices from these diverse sonic traditions and to develop a compositional language that draws upon multiple genres, but at the same time resists the ability to be located within a singular genre. Musical structures and sonic markers which form genre are ruptured at strategic levels of the musical structure in order to allow for a cross flow of concepts between genres. The process of rupture is facilitated by the practical implementation of music and sound reception theories into the compositional process. -------- The piece exhibits the by-products of a composer born into a media saturated environment, drawing on a range of musical and sonic traditions, actively seeking to explore the liminal space in between these traditions. The project stems from the author's research interests in locating points of connection between traditions of experimentation in diverse musical and sonic traditions arising from the broad uptake of media technologies in the early 20th century.

Art of sleeping - "Like a Thief"

Research background Art of Sleeping’s “Like a Thief” is an EP of popular music produced at Airlock studios and released in 2012 by the record label Dew Process. “Like a Thief” contributes to studies in the field of music production, as well as furthering research into the role of of national radio play in the development of emerging musicians and artists. Using Australian bands such as Boy and Bear as a reference point, the EP showcases the vocal range of Caleb Hodges and investigates possibilities in extending the modes of musicality possible within the recording studio through use of multiple layering of processed keyboards and electric guitar. Scholars such as Ben Eltham and journalists such as Everett True have written about the importance of the support of Australia’s national youth broadcaster Triple J in the early stages of a band’s development. The approach of the production of the EP was conceived with this agenda in mind, and asked, what can we learn about the relationships between popular music production, distribution and consumption, and the role that national public radio has come to play in the Australian context? Research contribution This project has identified that certain avenues of the music industry continue to aligned with Triple J airplay, that these avenues play an important role in the level of success that artists are likely to achieve, and that targeted understanding of music production techniques and aesthetics may contribute to success in this regard. Research significance The EP’s two singles were both in the top 100 most frequently played tracks on Triple J in 2012, and the band were able to leverage this exposure in securing a record deal with Dew Process, along with being selected as part of the competitive peer review process for festival performances such as Splendour in the Grass. The work received positive peer reviews, with indieshuffle writing: “Brisbane's Art of Sleeping are a truly talented band. … the five-piece gained plenty of local attention earlier this year with their stunning single "Empty Hands.” This was the first single off their new EP, Like a Thief, which was produced by the renowned Yanto Browning (The Medics, The Jungle Giants) … The EP includes five tracks of incredible power and sentiment … Title track "Like a Thief” is … [a] standout, again a vast and expansive song which showcases the band's completeness”

Tristate

"This work forms part of a much larger collaborative album project in progress between Tim Bruniges, Julian Knowles and David Trumpmanis which explores the intersections between traditional rock instrumentation and analogue and digital media. All of the creative team are performers, composers and producers. The material for the album was thus generated by a series of in studio improvisations and performances with each collaborator assuming a range of different and alternating roles – guitars, electronics, drums, percussion, bass, keyboards production. Thematically the work explores the intersection of instrumental (post) rock, ambient music, and historical electro-acoustic tape composition traditions. Over the past 10 years, musical practice has become increasingly hybrid, with the traditional boundaries between genre becoming progressively eroded. At the same time, digital tools have replaced many of the major analogue technologies that dominated music production and performance in the 20th century. The disappearance of analogue media in mainstream musical practice has had a profound effect on the sonic characteristics of contemporary music and the gestural basis for its production. Despite the increasing power of digital technologies, a small but dedicated group of practitioners has continued to prize and use analogue technology for its unique sounds and the non-linearity of the media, aestheticising its inherent limitations and flaws. At the most radical end of this spectrum lie glitch and lo-fi musical forms, seen in part as reactions to the clinical nature of digital media and the perceived lack of character associated with its transparency. Such developments have also problematised the traditional relationships between media and genre, where specific techniques and their associated sounds have become genre markers. Tristate is an investigation into this emerging set of dialogues between analogue and digital media across composition, production and performance. It employs analogue tape loops in performance, where a tape machine ‘performer’ records and hand manipulates loops of an electric guitar performer on ‘destroyed’ tape stock (intentionally damaged tape), processing the output of this analogue system in the digital domain with contemporary sound processors. In doing so it investigates how the most extreme sonic signatures of analogue media – tape dropout and noise – can be employed alongside contemporary digital sound gestures in both compositional and performance contexts and how the extremes of the two media signatures can brought together both compositionally and performatively. In respect of genre, the work established strategies for merging compositional techniques from the early musique concrete tradition of the 1940s with late 60s popular music experimentalism and the laptop glitch electronica movement of the early 2000s. Lastly, the work explores how analogue recording studio technologies can be used as performance tools, thus illuminating and foregrounding the performative/gestural dimensions of traditional analogue studio tools in use."

Hypercapitalism:Political economy, electric identity, and authorial alienation

Hypercapitalism, with its "knowledge economy", is the form of capitalism under which thought itself is produced, commodified, and exchanged within the globally integrated system of communication technologies. As such, hypercapitalism may be seen as not so much a revolution, but rather an evolution: the progressively thorough, inexorable totalisation of social relations by Capital. The study on which this paper is based synthesises the sociological perspectives of Marx (1970, 1844/1975, 1846/1972, 1976, 1978, 1981) and Adorno (1951/1974, 1991; Horkheimer & Adorno, 1944/1998), and the Critical Discourse perspectives of Fairclough (1989, 1992) and Lemke (1995) to argue that alienated thought and language are the fundamental, irreducible commodity-forms of Cybersociety’s knowledge economy.

Do androids dream of electric chimera?

This paper describes the use of the Chimera Architecture as the basis for a generative rhythmic improvisation system that is intended for use in ensemble contexts. This interactive soft- ware system learns in real time based on an audio input from live performers. The paper describes the components of the Chimera Architecture including a novel analysis engine that uses prediction to robustly assess the rhythmic salience of the input stream. Analytical results are stored in a hierarchical structure that includes multiple scenarios which allow ab- stracted and alternate interpretations of the current metrical context. The system draws upon this Chimera Architecture when generating a musical response. The generated rhythms are intended to have a particular ambiguity in relation to the music performance by other members of the ensemble. Ambi- guity is controlled through alternate interpretations of the Chimera. We describe an implementation of the Chimera Ar- chitecture that focuses on rhythmic material, and present and discuss initial experimental results of the software system playing along with recordings of a live performance.

Temperature and electric field dependent mobility in poly„3-hexylthiophene diodes

Current-voltage (I-V) curves of Poly(3-hexyl-thiophene) (P3HT) diodes have been collected to investigate the polymer hole-dominated charge transport. At room temperature and at low electric fields the I-V characteristic is purely Ohmic whereas at medium-high electric fields, experimental data shows that the hole transport is Trap Dominated - Space Charge Limited Current (TD-SCLC). In this regime, it is possible to extract the I-V characteristic of the P3HT/Al junction showing the ideal Schottky diode behaviour over five orders of magnitude. At high-applied electric fields, holes’ transport is found to be in the trap free SCLC regime. We have measured and modelled in this regime the holes’ mobility to evaluate its dependence from the electric field applied and the temperature of the device.

On the optimal capacity expansion of electric power systems

The analysis of investment in the electric power has been the subject of intensive research for many years. The efficient generation and distribution of electrical energy is a difficult task involving the operation of a complex network of facilities, often located over very large geographical regions. Electric power utilities have made use of an enormous range of mathematical models. Some models address time spans which last for a fraction of a second, such as those that deal with lightning strikes on transmission lines while at the other end of the scale there are models which address time horizons consisting of ten or twenty years; these usually involve long range planning issues. This thesis addresses the optimal long term capacity expansion of an interconnected power system. The aim of this study has been to derive a new, long term planning model which recognises the regional differences which exist for energy demand and which are present in the construction and operation of power plant and transmission line equipment. Perhaps the most innovative feature of the new model is the direct inclusion of regional energy demand curves in the nonlinear form. This results in a nonlinear capacity expansion model. After review of the relevant literature, the thesis first develops a model for the optimal operation of a power grid. This model directly incorporates regional demand curves. The model is a nonlinear programming problem containing both integer and continuous variables. A solution algorithm is developed which is based upon a resource decomposition scheme that separates the integer variables from the continuous ones. The decompostion of the operating problem leads to an interactive scheme which employs a mixed integer programming problem, known as the master, to generate trial operating configurations. The optimum operating conditions of each trial configuration is found using a smooth nonlinear programming model. The dual vector recovered from this model is subsequently used by the master to generate the next trial configuration. The solution algorithm progresses until lower and upper bounds converge. A range of numerical experiments are conducted and these experiments are included in the discussion. Using the operating model as a basis, a regional capacity expansion model is then developed. It determines the type, location and capacity of additional power plants and transmission lines, which are required to meet predicted electicity demands. A generalised resource decompostion scheme, similar to that used to solve the operating problem, is employed. The solution algorithm is used to solve a range of test problems and the results of these numerical experiments are reported. Finally, the expansion problem is applied to the Queensland electricity grid in Australia.

On the optimal capacity expansion of electric power systems

The analysis of investment in the electric power has been the subject of intensive research for many years. The efficient generation and distribution of electrical energy is a difficult task involving the operation of a complex network of facilities, often located over very large geographical regions. Electric power utilities have made use of an enormous range of mathematical models. Some models address time spans which last for a fraction of a second, such as those that deal with lightning strikes on transmission lines while at the other end of the scale there are models which address time horizons consisting of ten or twenty years; these usually involve long range planning issues. This thesis addresses the optimal long term capacity expansion of an interconnected power system. The aim of this study has been to derive a new, long term planning model which recognises the regional differences which exist for energy demand and which are present in the construction and operation of power plant and transmission line equipment. Perhaps the most innovative feature of the new model is the direct inclusion of regional energy demand curves in the nonlinear form. This results in a nonlinear capacity expansion model. After review of the relevant literature, the thesis first develops a model for the optimal operation of a power grid. This model directly incorporates regional demand curves. The model is a nonlinear programming problem containing both integer and continuous variables. A solution algorithm is developed which is based upon a resource decomposition scheme that separates the integer variables from the continuous ones. The decompostion of the operating problem leads to an interactive scheme which employs a mixed integer programming problem, known as the master, to generate trial operating configurations. The optimum operating conditions of each trial configuration is found using a smooth nonlinear programming model. The dual vector recovered from this model is subsequently used by the master to generate the next trial configuration. The solution algorithm progresses until lower and upper bounds converge. A range of numerical experiments are conducted and these experiments are included in the discussion. Using the operating model as a basis, a regional capacity expansion model is then developed. It determines the type, location and capacity of additional power plants and transmission lines, which are required to meet predicted electicity demands. A generalised resource decompostion scheme, similar to that used to solve the operating problem, is employed. The solution algorithm is used to solve a range of test problems and the results of these numerical experiments are reported. Finally, the expansion problem is applied to the Queensland electricity grid in Australia

Application of reliability-centred maintenance technology on electric trains

This paper demonstrates the application of the reliability-centred maintenance (RCM) process to analyse and develop preventive maintenance tasks for electric multiple units (EMU) in the East Rail of the Kowloon-Canton Railway Corporation (KCRC). Two systems, the 25 kV electrical power supply and the air-conditioning system of the EMU, have been chosen for the study. RCM approach on the two systems is delineated step by step in the paper. This study confirms the feasibility and effectiveness of RCM applications on the maintenance of electric trains.