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Simulacra Studies and Composition with Gesture

11 pagesPublished: January 24, 2019


In this paper I discuss my process in composition with physical gesture while demonstrating examples from Simulacra Studies and from my recent work. In Simulacra Studies, the pianist-performer is present on stage with touch sensors and accelerometers attached to his hands without a visible piano in front of him. In this piece, I explore the drama of a missing piano interface while embodying physically the act of playing. There is a video component to the piece which initially establishes real- time correlation with the performer, only to become amplified, disjointed and broken into other narratives as the piece progresses. Throughout the piece, the physical gestural behaviour becomes magnified with mediatized video experiences of the pianist as a person playing with images of himself on himself as one does with gender, sexuality, power, fragility, superficiality, banality, etc.

Keyphrases: embodiment, gestures, hyperreal, live electronics, live video, simulacra, virtual piano interface

In: Philipp Kessling and Thomas Görne (editors). KLG 2017. klingt gut! 2017 – international Symposium on Sound, vol 1, pages 31--41

BibTeX entry
  author    = {Solomiya Moroz},
  title     = {Simulacra Studies and Composition with Gesture},
  booktitle = {KLG 2017. klingt gut! 2017 -- international Symposium on Sound},
  editor    = {Philipp Kessling and Thomas G\textbackslash{}"orne},
  series    = {EPiC Series in Technology},
  volume    = {1},
  pages     = {31--41},
  year      = {2019},
  publisher = {EasyChair},
  bibsource = {EasyChair,},
  issn      = {2516-2322},
  url       = {},
  doi       = {10.29007/gqw9}}
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