All Of It

1 PROGRAM NOTES “All Of It” attempts to embrace everything all at once and re�ects a period of hypermobility and parallel re-understandings of notions of home and routine. It suggests that their is beauty in e�ort and futility, an important thought to keep in mind when building new things. Fig. 1. Stills from the second of three live performances of "All Of It," with four dancers, January 2024. 2 PROJECT DESCRIPTION "All Of It" is a continuously evolving work that explores themes of futility, the beauty of "wasted" e�ort, movement/mobility, group building/making, and �nding/creating home. It consists of a �xed audio component and live theatrical performance. The composed audio (mixed in �fth order ambisonics) embraces a wide variety of sonic and music-cultural aesthetics, ranging from collage (e.g. of �eld recordings of speech and nature) to minimalistic electronic Licensed under a Creative Commons Attribution 4.0 International License (CC BY 4.0). Copyright remains with the author(s). Music Proceedings of the International Conference on New Interfaces for Musical Expression NIME’24, 4–6 September, 2024, Utrecht, The Netherlands MIKE MULSHINE, CCRMA, Stanford University, USA MIKE MULSHINE, CCRMA, Stanford University, USA Additional Key Words and Phrases: Live performance, theater, ambisonics Mike Mulshine. 2024. Title: "All Of It". 1, 1 (September 2024), 2 pages. ACM Reference ormat: All Of It 2 Mulshine drone to vernacular musical practices like beat-making, jazz improvisation, and songwriting. The live theatrical performance consists of: 1) movement with suitcases, 2) unpacking of suitcases to reveal materials, 3) construction of a sculpture/structure, and 4) said structure’s fall/collapse/unfolding. The piece has been performed three times in di�erent performance contexts and using di�erent materials, fundamentally changing the construction segment of the work in content (although not in its overall message re: e�ort and futility). For NIME 2024, I would like to stage a 7-10 minute version of this performance with new materials related to more directly to the NIME community. In the suitcases will be sensors and microcontrollers (preor partially-programmed to make sound, but not assembled), speakers and transducers, small instrument bodies and other craft materials, all of which will be used to assemble a simple and quirky DMI / NIME as a semi-planned improvisation during the performance. This action replaces the construction of a sculpture/structure noted above. The performance of building a NIME at the NIME conference in a performance context will provide the audience a chance to re�ect on our practice as an unconventional methodology unfolds in real-time in front of them. I hope to express that there is value (and beauty) to be found in the process of design and creation that cannot be measured by assessments of a �nished product or functional artifact. 3 PERFORMANCE NOTES The performance requires playback of a �fth order ambisonics encoded audio �le and space enough for a bit of movement and live theater by two people, myself and a performer-collaborator. Simple stage lighting would be useful, but not required. 4 MEDIA LINKS •"All Of It" - Performance 1: https://youtu.be/OygWDAhcXu0 • "All Of It" - Performance 2: Work-in-progress collaboration with LEIMAY Ensemble (NYC) and Choreographers Ximena Garnica and Shige Moriya. Footage not yet available. •"All Of It" - Performance 3: https://youtu.be/BGyzlBk_B18 ACKNOWLEDGMENTS I would like to thank to thank CCRMA, faculty within the Stanford University Department of Music, Pamela Martínez, LEIMAY Ensemble, Ximena Garnica, Shige Moriya, the NIME 2024 reviewers, and the NIME 2024 organizers. This work was supported by CCRMA and Stanford University’s Department of Music.