An interesting look at incorporating limitations into the creative process. This was a very useful and engaging video on the educational uses of the concept of limitation in experimental design. The author demonstrates through the use of a single oscillator within his modular system that it is possible to create complex output information, he refers to composer/synthesist Suzanne Ciani, and her early experiments with modular synthesis, which is a useful and relevant reference to lean on. (I believe this is who the author mentioned?) Concepts such as serialism, control and superimposition of figures that rely on probability factors were discussed well. I believe that the author in this instance can demonstrate the liberation that the composer can afford if they limit the tools with which they use to create a work, and as such enter, a state of ‘flow’ – this reminds me of psychologist Mihaly Csikszentmihalyi comments on creativity. This concept is fundamental in contemporary composition, particularly with software and its infinite possibilities of ending up down a rabbit hole. Toward the end of the video, quotes were included from Umberto Eco and Pierre Bourriand, concerning semiotics and sociology respectively, the rationale for the inclusion of these two philosophical strands would be worth discussing further.
This video addresses the theme of restriction and affordance within the context of modular synth in a fun and thought-provoking way. Working with a single oscillator, the artist embraces the constraints that are the built-in defaults of the system and seems to have formed a sort-of symbiotic relationship with the system, as a performer-composer, a relationship which afforded them complex operational and sonic possibilities. From the way the artist demonstrated the process in the video, it seems like there is a constant active confluence of power and control between the person and the modules, which is feeding to these creative situations the artist devises. I am curious to learn more about how the artist views the dynamics here, and why the artist seems unsatisfied with the “organic” metaphor.