I was informed this morning that Blueprints of Eternity has been accepted for inclusion in 2013's International Computer Music Conference!
Acceptance message follows.
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Dear Kyle Vanderburg,
On behalf of the International Computer Music Conference 2013, I am pleased to inform you that your submission, titled
Blueprints of Eternity
has been accepted.
Please note that if you submission is an installation submission, this acceptance is dependent on the ICMC's ability to facilitate your work. We will be in touch shortly to discuss installation and equipment requirements.
We have included the reviewers' comments at the end of this message. If you log into our openconf site you should also be able to access these. Let me know if you have any questions or concerns.
Please note that you will need to confirm your intention to present or perform by the 31st of May, 2013.
Authors of all works and papers presented at ICMC 2013 require registration as a delegate. If possible please do this by the 30th of June, 2013. This can be done from our Eventbrite page: http://www.eventbrite.com.au/myevent?eid=5863360469
Visit our website for up to date information and news on ICMC 2013. A full program will be released next month.
http://icmc2013.com.au/
Congratulations,
Program Committee, ICMC2013
conference@tura.com.au
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Strictly limited source material can be hazardous because it demands so much of the composer’s manipulation skill just to keep things interesting. In this case, the composer did achieve interesting transformations of the limited source.
But as a whole, structurally, it was not a strong attention-holder. Seemed to need much more dynamic contrast, and more timbral diversity. Spatially flat as well – needs to be opened up – and I’m not convinced that active diffusion will help much, given the relative lack of interplay between L and R.
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Blueprints of eternity. This work is a study in time using a kitchen timer as the sole source sound. There is a good sense of space after the open monophonic passage and some very neat and precise manipulations which sustain the narrative. The work also has a tight form. The sound recording as it stands does not lend itself easily to transformation and as a consequence some of the transformations are a little harsh. This may be partly mastering but partly the unresponsive nature of a timer click.
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Engaging sound material and journey from recognisable sound source to more abstracted detail. There are some attractive spatial trajectories and placements of materials within the overall structure. The closing section is particularly well handled. Because of the soundworld's timbral uniformity (all appearing to originate from one source), more variation in contour, shaping and depth perspective could be welcomed.
