Augmentation: past, futures, possibilities and pathways
University of Tasmania (UTAS)
Key Note Speakers:
Professor David Borgo (UC San Diego)
Professor Roger Dean (Western Sydney University)
Call for papers and performances:
The 2020 Australasian Jazz and Improvisation Research Network will be convened by the University of Tasmania (UTAS)
Conference Date: 8th - 10th June 2020
We are inviting proposals for academic papers, research performances and panel discussions. The state-of-the-art venue has the technological capacity and purpose-designed performance/presentation spaces for enabling a wide range of presentations.
The 2020 theme of Augmentation: past, futures, possibilities and pathways can mean many things, including but not limited to:
Augmentation through technology
New and repurposed technology as resources for improvisation
How can new technologies coexist with the ‘jazz tradition’
How can augmentation develop jazz/improvisation
Apps, platforms and websites, developing as a musician in a global online context
Augmentation through space and place
The influence of performance spaces on improvisation, interpretation and composition
Engaging with the natural environment as a performer and composer
Online environments as performance spaces
The future of augmentation and places, scenes and spaces
Augmentation through Language, Identity & Place
The influence of community on composition and improvisation language
How arts infrastructure and large-scale events shape the artistic output
Identity in improvisation
Indigenous Australia and improvisation
Augmentation of the past to create the new
New approaches to performance as research
Multidisciplinary arts practice and its institutional prominence
Postgraduate study – the new record deal?
How has augmentation influenced the past historically
What is Augmentation?
What is augmentation?
There will be two formats offered:
Presentations/papers of 20 minutes followed by 10mins discussion.
Performances can be either 30 or 60 minutes
A proposal description (350 words max) that outlines your paper/performance
A link to work on a webpage or MP3 file (if proposing a performance)
Technical support needs
300-word abstracts/proposals and 150-word bios
Note: Abstracts and bios should be submitted as Word .doc or .docx files.
Current enrolled Post Graduate students are asked to note their degree type and the stage of their research at the time of their submission.
PROPOSALS ARE DUE: February 9th 11:59pm 2020
Applicants will be informed of their acceptance by 22nd February 2019.
Send proposals to:
More details on Conference Website: www.ajirn.com
Keynote Speaker: TBA
Special Guests TBA
Monday 8th - Wednesday 10th June 2020
9:30am – 5:00pm (Tues and Wed)
Costs: Full $250 + GST Student: $150 + GST (AUD)
Conference fee includes some catering.
A/Prof Robert Burke (President) - Monash University (Melbourne)
Dr Nick Haywood (Convenor) - UTAS (Tasmania)
Professor Roger Dean - University Western Sydney
Professor Bruce Johnson - University of Technology Sydney
Dr Chris Coady - Sydney University
Dr Aleisha Ward - New Zealand
Dr Louise Denson - Griffith University (Brisbane)
David Borgo is a saxophonist, ethnomusicologist and Professor of Music at UC San Diego. He teaches in the Integrative Studies and Jazz and Music of the African Diaspora programs. David earned a B.M. in Jazz Studies from Indiana University (1990) and M.A. and Ph.D. degrees in Ethnomusicology from UCLA (1996, 1999). Throughout his career, he has integrated his creative work with scholarly research focused on the social, cultural, historical and cognitive dimensions of music-making. His primary areas of interest include improvisation, creativity research, technocultural studies, chaos and complexity, actor-network theory, and embodied, situated and distributed cognition.
As a saxophonist, David won first prize at the 1994 International John Coltrane Festival and he has performed throughout the United States, Europe, Asia and Latin America. He has released seven CDs and one DVD as a leader, including With and Against (Resurgent Music, 1999), Massanetta Springs (Circumvention Music, 2003), Reverence for Uncertainty (Circumvention Music, 2004), Ubuntu (Cadence Jazz Records, 2005), Initial Conditions (Circumvention Music, 2008), Chance, Discovery and Design (Circumvention Music DVD, 2008), Harvesting Metadata (pfMentum, 2010) and Micro Temporal Infundibula (pfMentum, 2010). He is a featured collaborator on many others. David currently performs with his electro-acoustic duo KaiBorg (kaiborg.com), which explores the intersections between live audio and video processing and free improvisation, and with his sextet Kronomorfic (kronomorfic.com), which explores polymetric time.
David's book, Sync or Swarm: Improvising Music in a Complex Age (Continuum International Publishing Group, hardcover with CD 2005, paperback 2006) won the Alan P. Merriam Prize in 2006 from the Society for Ethnomusicology as the most distinguished English-language book published during the previous year. Sync or Swarm looks through the lens of contemporary science to illuminate the process of improvising music and explores the ability of improvisation to offer a visceral engagement with the emerging scientific notions of chaos and complexity. The book takes a systems approach, as individual chapters expand outward in scope: from the perspective of a solo improviser (English saxophonist Evan Parker); to that of a group interacting in performance and over time (the Sam Rivers Trio); to the network dynamics that bind together performers, listeners, educators and promoters, among others, into a musical community. Each chapter is paired with a different aspect of the emerging sciences, including embodied cognition, nonlinear dynamics, self-organization, social networks and situated and distributed learning.
David's other scholarly work appears in Jazz Perspectives, Black Music Research Journal, Journal of Popular Music Studies, American Music, Journal of American History, Journal of Consciousness Studies, Parallax, The Pacific Review of Ethnomusicology, The Society for American Music Bulletin, and Open Space. He has contributed chapters to the edited volumes Playing Changes: New Jazz Studies (Duke University Press), Algebra, Meaning, and Computation (Springer-Verlag), Music as Performance: New Perspectives Across the Disciplines (University of Michigan Press), Sound Musicianship: Understanding the Crafts of Music (Cambridge Scholars Publishing), The Oxford Handbook on Critical Improvisation Studies (Oxford University Press), and Jazz (Ashgate Publishing).
Roger Dean is a composer, improviser (piano, computers) and performer. He studied the piano, and double bass with Eugene Cruft and was principal bass in the National Youth Orchestra of Great Britain. As bassist, he performed solo at Wigmore Hall in London at age 15. Dean has worked with ensembles including the BBC Symphony Orchestra, the Berliner Band, London Sinfonietta, Music Projects/London, Spectrum and many other contemporary music ensembles in London prior his departure to Australia in 1988. In Australia, Dean has played with the Australian Chamber Orchestra and the Sydney Alpha Ensemble. He has premiered and recorded works for solo double bass and many have been written for him.
As keyboardist, Dean has been an accompanist for trumpeter John Wallace and violinist Hazel Smith, and performed around the world in Smith's ensemble Sonant. He has also accompanied and performed with Marion Montgomery (vocalist) and Sue Tomes (piano) and her former ensemble Domus. As jazz keyboards player, Dean worked with Graham Collier Music, a leading European jazz group.
In Australia, Dean has played keyboards with the Sydney Alpha Ensemble, Watt, and the British tenor Gerald English. He has been active within the What is Music? festivals, playing piano and computers. He has also played vibraphone with Collier, and recorded on the instrument on the album Lysis Plus.
Dean formed the British group LYSIS in 1970, and it became austraLYSIS in 1990 in Australia. LYSIS always presented both improvised and composed music, and operated within jazz and free improvisation as well as contemporary classical music circles. LYSIS and austraLYSIS have continuously evolved, including presenting multimedia and electronic work. Currently austraLYSIS is primarily a creative ensemble which also presents electroacoustic work of others.
Dean's music has been presented live and broadcast around the world. His largest commission to date, SonoPetal, was from the Australian Chamber Orchestra. He has also written for Peter Jenkin, Rob Nairn, Chaconne Brass, Sydney Alpha Ensemble, the Wallace Collection, and for the Kinetic Energy Theatre Company in Sydney. With Hazel Smith, he has created many text and sound works, including Poet without Language, Nuraghic Echoes, The Erotics of Gossip, and The Afterlives of Betsy Scott, all commissioned by the Australian Broadcasting Corporation. He has produced real-time and performative algorithmic works involving interaction between sound and image components (soundAFFECTS, Time The Magician and many other works).
Dean's work appears on more than 50 commercial recordings on labels such as Audio Research Editions, Discus, Mosaic Records, Soma Quality Recordings, Future Music Records (FMR) (UK); Jade Music, Rufus and Tall Poppies Records (Australia); and Crayon, Cuneiform Records, and Frog Peak Music (US). He has worked with many improvisers, including Derek Bailey, Ashley Brown, Tony Oxley, Evan Parker, Barry Guy, the London Jazz Composers' Orchestra, Ted Curson, Terje Rypdal, John Surman, Tomasz Stańko, and Ken Wheeler. Dean has also worked with contemporary composers such as Mauricio Kagel, Krzysztof Penderecki, and Karlheinz Stockhausen.
Dean has written and edited several musicological books about jazz, improvisation, and electroacoustic music, his most recent being Sounds from the Corner: Australian Jazz on CD (Australian Music Centre, 2005); and the Oxford Handbook of Computer Music (Oxford University Press, 2009; Editor).