Simple Harmonic Motion #12 for 16 Percussionists at RNCM (2015)

Live at Royal Northern College of Music, FutureEverything, 25.02.2015.

Excerpts (04:00)

 

Full Performance (10:00)

 

Machine version (10:00)

 

Audio

 

Score

Horizontal version (open in new window and zoom in for best results):
SHM12_ScoreHorz

 

Vertical segmented version:
SHM12_ScoreVert

 

 

Photos

by Manox Media / FutureEverything

“The almost-sculptural drum patterns seemed to exist on a different, non-synchronous channel… The result was performance in which neither the sonic nor the visual was subordinated to the other, but rather combined to create something which held the two together in a kind of synaesthetic flux.”
Luke Healey. a-n

Other works from this series and more information on the series of work in general can be found here.

Simple Harmonic Motion #12 is a live performance for 16 percussionists and light. It is part of an on-going series of works investigating complexity from simplicity – specifically the emergence of complex behaviour through the interaction of simple multi-layered rhythms. It is inspired by natural and mathematical phenomena, as well as works by the likes of Norman Mclaren, John Whitney, Steve Reich, John Cage, Gyorgi Ligeti and Edgar Varèse.

This performance is a ritualistic ode to chaos and order, inspired by the collisions between man and machine; the harmonies, tensions and conflicts between science, technology, culture, tradition and religion.

The human performers are controlled by a central computer. Each performer receives individual cues via in-ear monitors, and they do the best they can to act out the commands they receive — when to step forward and become active, when to hit, when to step back and become inactive etc. The individual performers don’t need to be aware of the ‘bigger’ picture, i.e. the composition, the show. They individually execute their own cues, and perform very simple, tedious, monotonous tasks. Each performer hits his/her own drum at fixed time intervals producing a sound and triggering a light. However, collectively they are a complex creature, controlled by the machine, playing out the complex audio-visual composition, drifting in and out of sync, shifting between order and chaos and back.

The performance was preceded by a 3-day workshop with local musicians (in this case students at the Royal Northern College of Music) familiarizing them with the concept and inspirations of the piece and preparing them for the performance.

Background

(Also on medium)

We tend to think that we invent and create technology to serve our needs. But technology is not external to us, it is an extension of our physical body. And we do not invent it, it evolves along with us, socially and culturally. It is natural that we become dependent on the very technology that we create. Does our technology adapt to us, or do we adapt to our technology?

“We become what we behold. We shape our tools, and thereafter our tools shape us.”
— coined by John Culkin and popularized by Marshall McLuhan.

The same can be said about what we know; our scientific progress, which in turn influences — and is influenced by — our technological evolution. But both science and technology are evolving significantly faster than our culture, and are constantly out of sync. When we discover or invent something and put it out into the world, that knowledge or invention creates a new environment. We then have to socially and culturally evolve, to adapt to that new environment. Even though they’re driven by our culture, our scientific and technological evolution is dragging us along with it. Socially and culturally we are racing to keep up with our own discoveries and inventions, and often we fall behind.

We are always — by definition — at the ‘fringes’ of science and emerging technology, where we marvel at the amount of knowledge and capabilities that we have, yet we often don’t know what to do with those capabilities, or whether they are even ethically acceptable or abominable. We are always at conflict between our current ‘traditional’ values and ‘fringe’ knowledge and capabilities. With every new discovery or invention, we have to re-evaluate our understanding of the world and adjust our values to go along with it. Society constantly adapts and tries to reconcile previous schools of thought with new knowledge and emerging technology. This is not new and has been happening throughout the history of our civilization. E.g. the shift from geocentric to heliocentric model of ‘the heavens’, spiritualism or Cartesian dualism vs materialism in the age of neuroscience, Aristotelian motion vs Newtonian motion vs General Relativity, Darwinian evolution vs creationism, determinism vs indeterminism in the age of quantum mechanics, synthetic biology, stem cell research, embryonic cloning, artificial life and even more recently mass surveillance, online privacy, ethics of autonomous cars etc. There are countless more examples re-igniting and providing new perspectives on age old questions in the wake of new discoveries and inventions.

Just as we think we can reconcile the past with the present, and bring everything to order, into harmony, we learn more about the universe or invent something new that challenges our values yet again. Knowledge and tradition go out of sync once more. Science and culture fall into conflict, tension and disorder. Socially and culturally we try to adapt yet again. Nature, science, culture and tradition try to realign — though this can be very slow and painful, e.g. think of the many doubters of Darwinian evolution, especially significant when they affect national policies and school curriculum. But discovery never stops. We are constantly discovering, learning and inventing new things, and this balance is constantly disturbed.

It is a never-ending cycle of order, alignment, mis-alignment, chaos, disorder, realignment and order; as our knowledge and understanding of the universe, and inventions that we bring into the world augment our physical bodies and extend our reach, whether we like it or not.

Acknowledgements and credits

Commissioned by FutureEverything in partnership with the Royal Northern College of Music, with support from The Shed, MMU.

Producer: Mark Carlin
Assistant Producer: Sarah Unwin
Technical Assistant: Zach Snow
Costume: Mariel Osborn

Performers
Safira Antzus, Vykintas Civas, Mark Dyer, Richard Evans, Epa Fassianos, Emma Haughton, Lewis Knight, Daniel Lim, Luke Scott, Nick Seymour, Carmel Smickersgill, Alex Smith, Deane Smith, Harry Smith, Nathan Smyth, Jamie Stockbridge, Ollie Thomson.

Special thanks to:
Matt Whitham, Jose Luis de Vicente, Tom Higham, Drew Hemment, Paul Patrick, Mira Calix, Mick Grierson, Laura Pedroni, James Medcraft, Jenni Pystynen, Ersin Han Ersin.

Related Dates

2015 Feb 20,
Future Everything