chapter  12
Collective Practice and Digital Mediation
ByAndrew Dubber
Pages 17

At Tou Scene, a former brewery turned cultural performance space in Stavanger, Norway, there are ten musicians on a stage. All are members of an improvised music collective known as Kitchen Orchestra. Nine of them hold or sit behind traditional jazz musical instruments. There are two drummers, a couple of saxophonists, a double bass player, trumpets and so on. However, they are also surrounded by electronic equipment. Their microphones are routed through a range of electronic effects units and pedals. The tenth musician-one of the two composers of the piece-stands at a podium waving a drumstick in front of a laptop. At the mixing desk on the far side of the room stand a producer and engineer. Beside them, two Japanese visual artists are responding to the music with drawings and collage that are projected on to the musicians as they play. The electronic effects that are shaping the sound of the music respond in turn to the interplay of the color and movement of the images. The room is otherwise empty.