This is an intense, five-day workshop intended to expand the source materials for use by improvisers and composers to extend outside the normal range of approaches, lead by American multi-instrumentalist, composer, and performer, Elliott Sharp.
A central figure in the avant-garde and experimental music scene in New York City for over 30 years, Elliott has released over eighty-five recordings ranging from orchestral music to blues, jazz, noise, no wave rock, and techno. He leads the projects Carbon and Orchestra Carbon, Tectonics, and Terraplane and has pioneered ways of applying fractal geometry, chaos theory, and genetic metaphors to musical composition and interaction.
His collaborators have included Radio-Sinfonie Frankfurt; Debbie Harry; Ensemble Modern; Nusrat Fateh Ali Khan; Kronos String Quartet; Ensemble Resonanz; cello innovator Frances Marie Uitti; blues legends Hubert Sumlin and Pops Staples; pipa virtuoso Min-Xiao Feng; jazz greats Jack deJohnette, Oliver Lake, and Sonny Sharrock; multimedia artists Christian Marclay and Pierre Huyghe; and Bachir Attar, leader of the Master Musicians Of Jajouka.
Over the course of five days, working both at our facility and out in the landscape, the workshop will explore concepts including:
- Biomorphism and Natural Models As Compositional Inspiration and Strategy: Fireflies and flocking birds, RNA replication, Fibonacci numbers, fractals, and cellular automata and other natural forms and processes all present useful models for structure and development.
- Algorithmic and Self-Organizing Systems: Genesis and development of Sharp’s compositions ‘SyndaKit’ and ‘Flexagons’: music as permutational organism.
- New approaches to graphic notation: ‘Foliage’, ‘Mare Undarum’, and ‘Sylva Sylvarum’ represent current strategies in the synesthetic based on processing of modulation, filtering, layering and inverting the score itself to create work that is retinal art but also provides a score to the performers.
- Socio-Acoustics – Soundmaking in the Real World: A complex of equations with many hidden variables make up human interaction and the production and perception of music. This will be fodder for discussion of the process of improvisation.
Duration of residency
Five full days, six nights.
Peaceful, private rooms with mountain views.
Disciplines, work equipment and assistance
The workshop is based around musical composition, performance, improvisation and sound art; for full details of CAMP’s excellent facilities (which include extensive recording, performance and teaching facilities), see the website.
Studio / Workspace
We have a variety of spaces for shared or individual working
Fees and support
The cost of the workshop is €1299 – grants, bursaries and discounts are available, see www.campfr.com/funding
Expectations towards the artist
Optional performance, release and broadcast opportunities will follow the workshop