MULTI-REAL LOGICS
-"How constructed musical contexts demonstrate societal restraints as well as multiple viewpoints of a given context."-

As previous musical explorations of mine have demonstrated, it is a difficult musical process to explore one viewpoint most honestly and humanly, let alone multiple viewpoints. One of the biggest challenges facing Topographical Improvising and Kaufman Symmetry Musics is that the improviser is meant to express a rather broad yet precise image of a given topic, viewpoint, or situation. Musicians must learn when the restraints of a given composition are meant to be followed, or when they are meant to be broken. They must learn how to operate within a greater whole (musically) while still contributing a unique message in order to build a spatially-interesting musical dynamic with the rest of the performers (if such performers exist).

This is a very demanding thing to ask of the performers. The complexity of this teaching situation, as well as the desire to provide a more visually-pleasing experience to any musical onlookers, has inspired me to create a thought-provoking teaching method of this type of musical thinking, which in itself can be a fascinating multi-media experience of its own.

I have deemed this teaching method "Multi-Real Musics," which intends to provide a fun and musically-sophisticated experience for both the performers and the listeners. The setup is as follows:

1. Each musician must have either a DI or microphone running directly into a mixer
2. This mixer outputs to both a PA system (which then routes to the number of channels/speakers of the composer's choice) and a laptop computer.
3. The laptop computer is running a SuperCollider + Processing configuration. This configuration speaks back and forth between both applications.
4. SuperCollider handles the AudioIn and AudioOut functions. AudioIn investigates specific musical qualities (of the composer's choosing) and waits for the improviser to fulfill these qualities. For example, one quality may be not going beyond a certain amplitude, and another may be to not go beyond a certain pitch. Each composition will contain other rules that they must follow, for example, having to have such an amplitude of sound occur every 30 seconds... or never playing on the "and" of 3 in a measure... etc. If the rules are followed by all, then these restrictions become gradually more and more lenient, and they may be lifted altogether. The game's leader may get into "battles" with the computer, which consequentially judges three different sections: the computer, the one game leader, and the rest of the followers. Depending upon how these "battles" turn out, the rules may be modified. These modifications will also bring about "bonuses" to strong performers.
5. Each time one of these qualities is fulfilled, SuperCollider sends information to Processing. Processing displays a particle floating in free space on an application window, each particle representing a different input (DI/Mic) of a musician. This particle grows larger with every quality fulfilled.
6. Once the number of qualities has reached a point at which the particle can no longer expand, the particle explodes and sends off pieces of itself through space. The exploded particle then leaches on to any other non-exploded particles that it may hit on its journey. This then effects the non-exploded particle's sound, and modifies this sound which is sent through the PA system. The effect may or may not be affected by which kinds of qualities the non-exploded particle itself has fulfilled.
7. The game ends when there is only one particle (or one team of particles) standing.

The object of this game is multi-fold. First of all, there are clear restraints that the musicians must face (or suffer the consequences). This, in clear terms, helps develop a musician's improvisational context for my music systems. Second, the game itself molds a philosophical stance which I want to make clear in my music system: that the powers at will are no worse than the people who come to affect them negatively. If you don't follow the rules well, the "powers" will inflict consequences. If the powers become extremely restrictive and too many people let these powers become too powerful, then EVERYBODY will suffer (including the "power").

This is level 1.5 in my music system; above Sub-Reality Musics and beneath Topographical Improvising. Sub-Reality Musics may be used in parallel with Multi-Real Musics. The completion of this project will require many years of difficult and hard work, but this will in turn be the first interactive musical project to most fully explain my music system, as well as illustrate an objective standpoint on the world's societal and political traits which affect our everyday lives.