Concert 6
Saturday, March 15, 2025
Bloomberg Center Theater
7:30pm
Improvisation by Sam Pluta and Bonnie Lander
Sam Pluta, electronics
Bonnie Lander, voice
Live for Life by Christophe Lengelé
Christophe Lengelé, electronics
Live Coding Performance by Eli Fieldsteel
Eli Fieldsteel, electronics
Program Notes
Improvisation by Sam Pluta and Bonnie Lander
Bonnie Lander and Sam Pluta have been performing in duo and other formations for the past 3 years. Their practice combines Lander’s virtuosic vocal technique with Pluta’s myriad synthesis and live-manipulation processes.
Live for Life
This project is an electronic improvisation using SuperCollider-based synthesis and recordings from various electronic machines, including modular synthesizers, analog and digital synthesizers, and drum machines. The primary sound source consists of over 2 gigabytes of samples, containing more than 5,500 sounds, organized into multiple folders for real-time manipulation. The improvisation focuses on creating evolving soundscapes by combining pre-recorded samples and live synthesis.
In addition to the Live For Life programme (https://github.com/Xon77/Live4Life), I will simultaneously use a new programme that I am currently developing, which integrates Tidal Cycles, SuperCollider, and various extensions quark, including SuperDirtMixer. This system features a GUI and controllers that execute command lines in Tidal Cycles and control multiple patterns and their variables (tempo, duration, synthesis, effects, or functions in patterns). It functions as a form of live coding DJing, where lines of code replace traditional samples or records. The interface is still in development, and the code will be released just before the symposium.
Live Coding Performance by Eli Fieldsteel
This submission proposes an improvised live coded performance, which is listed as a topic on the Call for Contributions. Ideally, this performance would occur at a late-night venue (e.g. a restaurant/bar or similar), which provides an atmosphere in which a relatively long and slow-evolving performance is more contextually appropriate. If this is not an option, a performance on the concert stage is also acceptable. Most rehearsals and performances in the past have lasted for about 30 minutes. If this is deemed too long for any reason, the duration can be shortened by leaning away from free improvisation and preparing more of the performance code in advance.