An Interview With Perry Cook by Nick Hwang on behalf of ElectroTap at the Symposium for Laptop Orchestras and Ensembles, Baton Rouge, Louisiana – April 2012 In April 2012, on behalf of Electrotap (Jesse Allison and Tim Place) I got to sit down and chat with Perry Cook, professor emeritus at Princeton University. We met while Louisiana [...]
LSU recently featured me on their Eye on a Tiger Series. I'm humbled and honored to be included with the other featured students.
[this post is still in progress] I've been working on my piece What the Pluck for solo cello and laptop ensemble, whereby the wii-mote performers borrow a cello-performance posture and playing motion. The goal physical goal is to have gestural similarities performed on by the wii-performers with similar sonic outcomes (at first). I'm going [...]
'What the Pluck' is the third piece in the What the What series. This piece features a solo cellist, laptop performers in four musical sections, and a conductor. All musicians read their parts on staff paper. More media on this project soon to come. -Nick
I just got back from the Electroacoustic Barn Dance in Fredericksburg, Virginia. The festival was October 27-29 at the University of Mary Washington school of music. I had my piece Wait performed and delivered a paper on GUA with J. Corey Knoll and Jeff Albert. There was a bunch of good music and a growing [...]
"The essential difference between an electroacoustic composition that uses pre-recorded environmental sound as its source material, and a work that can be called a soundscape composition, is that in the former, the sound loses all or most of its environmental context. In fact, even its original identity is frequently lost through the extensive manipulation it [...]
Wait (2011) for 4-channel diffusion. Program Notes This work explores the confluence of two disparate sounds cast in a field of space and dynamics. The form of Wait is 4 repetitions of a single thought. Each repetition is a slight expansion and elaboration of the previous. Wait - Stereo Mix Wait [...]
Are demonstrative musical controllers and adequately expression-capable controls at odds? (Gestural control can never be analogous control.)
With the rise of laptop orchestras, digital instruments, and human-interface-controlled music, the want for 1. obvious and demonstrative user-control devices and 2. an intuitive connection between performer and sound, 3. a visual stimulant for the audience's sake, has emerged. As digital instruments become more complex in their sonic capabilities and musical expression, the means to [...]
[ Construction no. 1 ] (interactive installation) addresses concepts of resonance, feedback, deconstruction, and inundation in the contexts of sound, music, and social media. The installation is a collection of position-aware resonant acrylic cubes, that, depending on their placement, respond with varying audio and projected visual. http://youtu.be/bWEzRxS7Oz8 http://youtu.be/zD6R4b679LI Social Structure [ Construction [...]
Social Structure [Construction no. 1] recently got accepted to perform at Pixelerations in Rhode Island in September 22- October 2, 2011 as both an installation, September 22-24, and performance, September 25. Stay up-to-date with the development of the in-progress work [ here ].