This is the archival repository of research reports from the period 2009-2012.
More updated versions of the research presentations depicted here constitute a large part of the body of my doctoral thesis available

MoSAMPLab Archive
MoSAMPlab (an acronym for ‘Mapping of Silent Aspects in Music Performance - lab
was an initiative conceived by the author and Kathleen Coessens as a platform to analyse the existing projects at the Orpheus Research Centre in Music (ORCiM) in order to gather salient commonalities between them. Focused on the non-sounding aspects of music performance that each research project could contain, Coessens developed a conceptual framework to identify these non-sounding aspects, gradually focusing on those elements which resonated with the existing work strands at ORCiM, specially those dealing with (musical) materials and embodied interactions.

The original work environment for MoSAMPlab was the virtual platform Posterous. After its acquisition by Twitter, and their further abandonment of the platform, MoSAMPlab has stopped with the public logs. The legacy logs of MoSAMPlab, recovered from the original site can be reviewed here

Archive 2012
MoSAMP session February 27, 2012

- Final materials for the "A day in my life project" are expected from composers Hans Roels and Bart Vanhecke and Ann Eysermans. Meanwhile, following the long presentation of MoSAMPlab at the ORCiM General Assembly of November 2011, we prepared an updated map of theNon sounding aspects in Music performance that we are aiming to identify and explore in the projects around the ORCiM table.
- Some of the upcoming projects we will be observing are: - "Rasch: A body without organs", by Paulo de Assis. - " Tracking physicality and embodied musicality in computer music performance", by Juan Parra and Henry Vega. - "Kagel's 'Tactile': a reconstruction", by Luk Vaes.

>> Parameters of non-sounding aspects in music performance

Archive 2011

September 12, 2011
MoSAMP session September 12, 2011

We continued the work on "A day in my life" by defining the role of the guitar and electronics played by Juan during the performance at the ORCiM - Pentacon Festival.

Given the nature of the text structure, Juan will create 5 different 'textures', using  a drone guitar system and modifying the timbre nature of the textures by means of electronic manipulation of the harmonic content (Ring modualtion/distortion). as well as mechanically :(re tuning between the parts).
The task for the upcoming days will be to work on/experiment with the different possibilities and come up with the settings for the 5 different textures (tuning + effect settings)

About the real time processing: 
The role of the real time processing (and use of the Phoenix Egg) during the performance will be as follow:
Juan will design a Soudn processing system in the computer that will take two incoming signals and will "morph" them together to create a new sound layer. this will be done by some mean of spectral manipulation like convolution or vocoding.
Using vocoding as the explanatory metaphor, the 'carrier' signal will always be the drone guitar system, and the modulating signal will shift between mixdowns of each one of the performers (or groups of performers).

Therefore, a preliminary set-up would have 3 different modulator signals (The McGill Expanded Trio, Vanessa Tomlinson & Kim Cunio and Catherine Laws, possibly with Damien Harron).
The resulting layer will be then processed and spatialised by Juan using the Egg.

In terms of time structure for the piece. We are planning to honor the +/- 24 minutes planned. This means that each 'drone' on the guitar will last about 4 minutes with transitions of about 1 minute (transition considers retuning adn resetting of the effects).

On a side note, there will be a time-compressed version of the drone system tested as stand-alone 'etude'.
This will be done for the U$ 100 Guitar project ( and will last 1' 30''.
This will be recorded on September 26, 2011 using  the specific instrument of that project.
August 18, 2011
MoSAMP session August 18, 2011

>> We began this session by creating a map of possibilities between the initial material of "A day in my life" (Text) and the expected goal: a Sound manifestation.
> Through the process of designing the map, we played with the idea of Structure as the agent between text and sound. This structure was defined by notions of Translation, interpretation and re-interpratation. Later, through discussion and revision of how these could be seen not as different processes but as the same process in different levels of depth (analytical, synesthetic, memory-related) we replaced "structure" with "transformation".

>>> the Second part of the session was centered around experimenting with one possible solution to the musical problem. A preliminary exploration of "A day in my life" using the electric guitar as sound material was devised. >

>>> Kathleen Coessens, Juan Parra > August 18th, 2011
Here is a video showing the process of J. Parra converting the text into feedback-guitar texture.
This first experiment was conducted together with K. Coessens on August 18, 2011
May 26, 2011

MoSAMP session May 26, 2011

A day in my life - score.
This text by K. Coessens will be used as starting material to explore the process of musicians entering their own artistic/aesthetic experience to sonify an evocative text.

- How Thoughts, feelings, actions, materials can be translated into:
- sounds, musical structures and performative actions?

- what are the limits of such translation?
- what comes out of it? (What is its aesthetic value?)
- how this score is read from different perspectives?

We will request a number of contributors to the Pentacon Festival to perform the following experiment:

- Take the text and create your own musical version of it.

First, find the musical output that suits your interpretation best (make a traditional, or non-traditional score, create a specific sound set-up for performance, develop a full piece out of it (recorded or to be performed).

- Document your choice and the process of elaboration of your musical output.

* Constrains: 
- The title of the text is not 'just' a title, but an invitation to explore the findings of an actual day in your life.

- The maximum duration of your musical output should be no longer than 24 minutes.
- If your choice leads towards performance , bear in mind that you will have to perform (so your setup should be mobile, and custom control-friendly).
- if your choice is to be (re)interpreted by a musician, consider yourself becoming that musician.
-If your choice is a fixed sound event (recording), attach multichannel versions when possible.

What will happen next?

Once we gather all musical outcomes, they will be treated as materials to create a single piece.
Juan Parra will take up the responsibility of recombine all the versions form the contributors and prepare a perform-able output.

Since the future outcomes of the project consider a larger scale exhibition, it is fundamental to document in text/sound and video (when possible) every step of the individual outcomes. 
Please do so!

K. Coessens, J. Parra
May 2011.

May, 19, 2011
MoSAMP session May 19, 2011

The Outline of a new (artistic-output oriented project) by K. Coessens

- We start from the end: 
Initial Deadline: September (October) 2012 ORCiM Festival # 4.

- Now, we jump to the beginning:
Multimedia Exhibition: Scores, projections, sound, manifesting:

- Theme: A look at the outcome of presenting musicians with 'verbal scores' (text of instructions) rather than traditional, music-notation scores.

What will the research be looking at:

* Collaborative interactions between the musicians based upon a common  instruction score.
* Use of
experiential knowledge in musicians. 
* The improvisational ways of coping with new knowledge.
* Synesthetic and associative processes of creativity.
* Translation between semiotic systems

How it will proceed.
- We will start by drawing experiential knowledge from the outputs of the
Calendar Variation Project, (*),  where a
number of visual artists where involved in the realization of  artistic creations based on a 'score' of visual artist
Allan Kaprow.

We will engage with the same experimental process, translating the experiences to the realm of music practitioners.

A first step is to define what the material will be.
- that will then determine whether we start with the experimentation process using existing material
(Lucier, Cardew, Cage, Garland, Byron) or if our starting point lies at the creation of the material itself.

Who will conduct the research:
K. Coessens, and A. Douglas, in collaboration with ORCiM researchers.

(*) for more on the Calendar variations Project visit:

April 14, 2011
MoSAMP session April 14, 2011

The prototype of Phoenix Egg's, built by Lex van den Broek ( arrives @ Orpheus Institute, to start the testing process at the MoSAMP lab ( Phase one: focus on various mapping tests for the control of spatialization parameters.
April 7, 2011

MoSAMP session April 7, 2011

We will list the current ORCiM research projects and will attempt to map elements of the conceptual framework of MoSAMP on each project.
We will also go the other way around: break down the conceptual mapping into elements, and actively search for these elements on the ORCiM research projects

* Dimensions (and Aspects and parameters of dimensions) (the things that are already there, with or without interaction).
- Time
- Space (Aspects: conceptual, technical, real, virtual. Parameters: localization, height , depth)
- Form
- Movement
- Sound (and Silence, waves)
- Object

* Perceptions
- Haptic
- Visual
- Auditive
- Taste
- Smell
- Synesthetic (Multimodal)

* Structures
- of material Physicality (construction of materials)
- of conceptual Physicality ((illusion of conditions/dimensions)
- of human physicality
- of Recognition/expectation (Optimal Innovation)
- of Imagination
- of Manipulation/transformation

- Independent
- Interrelated
- Interactional

Before conducting this mapping. We formulate a question to our General Approach:
How to fill the gap between what MoSAMP aims to research when dealing with mental and embodied schemata 
(case in point: the assumption of manipulation of audience's expectations)?

We rule out the 'scientific' approach of data retrieval and analysis of bio-motor information.
We also steer away of a justification by our own research of cultural and mental patterns.
WE opt for relating to these kind of research by contextualizing our own research with existing literature and research groups.
We aim for notifying to retrace research that has already been done, but  we can rely on this
(CIRMMT at Mc Gill is a possible partner/resource expert on Bio-physical information retrieval, and 
Johnson & Lakoff, among others are reliable sources of embodied schemata information).

What do we focus on? and How do we extract information?

We have as main focus to set up an Artistic-Experimental approach. 

Search for certain knowledge
inside an artistic setup:
 Projects should always have an
epistemic relevance (which knowledge and why) and an 
aesthetic relevance (which art project and why)

Artistic experimentation always implies both goals: Epistemic and Aesthetic.

Now, to the Mapping.

ORCiM Projects:

Interpretation versus experimentation: exploring new paths in music performance
 MoSAMPlab elements:
- What silent aspects will inform the elaboration of the tape part of his body without organs performance:
- Conceptual framework (aesthetic, historic, philosophical.
- Human, Conceptual and Material physicality's.

Sounded gestures and enacted sounds
MoSAMPlab elements:

Experinterpreting: valuating experimentation in the learning process
MoSAMPlab elements:

MoSAMPlab elements:
Improvisation as embodied knowledge in artistic practice
MoSAMPlab elements:

MoSAMPlab elements:

MoSAMPlab elements:
Explicit knowledge and artistic experiments 
MoSAMPlab elements:

MoSAMPlab elements:
Artistic Research and Experimental Systems 
MoSAMPlab elements:
Reconsidering the Luthéal-part in Ravel's Tzigane by way of a performance-technical re-arrangement 
MoSAMPlab elements:
Experiments in amotivic serial composition
MoSAMPlab elements:

March 31, 2011
MoSAMP session March 31, 2011

During the first joint Session of Mosamp Lab, K. Coessens and J. Parra, started implementing the social networking platform for collaboration and publishing of mosamp lab related projects within orcim.
the platform of choice is "Posterous", and will allow dynamic and collective creation and web publishing of documents and media. In addition to the implementation oft he mosamp lab page and group in the Posterous platform, a dedicated gmail address and youtube account (mosamplab) were created, as well as links to the orcimmusic twitter account and Juan Parra's personal facebook page.
This particular post is sent by email, serving as test for the posting protocol of Posterous.
As attachment, a picture of the spatial controller prototype, who will double as avatar for the mosamplab web accounts