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Crista klayman biography template

crista klayman biography template
Quoted, with images, in [ Spieler-Scheuermann ] p. See [ Leloup, ] pp.

But we are not yet capable of playing through the whole passage fast. So take 2 or 3 notes and play them as fast as possible. For example, in the Kreutzer 2cd etude, you could play the first 16th note very long and the next 3 as fast as possible, or the 1st 3 notes very fast and then the 4th note long. This gives the violinist the chance to play up to speed in manageable segments. This gives us a chance to feel what it's like to play up to speed; and perhaps it "stretches the brain" a little not a very scientific way of putting it.

As we develop, we can extend the number of notes we can play up to speed. I'm sure there are a lot of variations. For example, in a scale the player can start with two notes ONLY, played as fast as possible; then 3, then 4, etc. I hope this makes sense the way I have written it. In short, by using this device, a violinist can play up to speed for a few notes at a time knowing that there is a little island of repose coming. At first rhythm is not important. The long note can be played as long as necessary to give the player time to get ready for the next few notes.

It can become a vestige of the 'keep your fingers down' rule, but such excess pressure can make your fingers 'stick' when you want them to 'roll'. Whether it's a trill or a pattern likeyou want the lower stronger finger to release even lift slightly as the higher finger strikes, in other words, you want to develop finger independence. In the Csardas, e. The accents help time left with right.

After the accents, your goal is to 'let things roll', i. This exercise will help you play in groups of notes as Casey mentioned but will also help your finger action to be grouped so you don't hammer out every note both physically and mentally and musically. You're basically doing a Schradieck-like exercise applied to your rep. Once you're happy with slurred patterns, you can also play the same accented groupings with separate bows, and in a similar manner let the bows after the accent trail off i. Speaking of bowing, you might also want to make sure your elbow joint remains free and swinging as you get faster, or make sure it's not seizing in response to left fingers moving faster.

So 60 is kinda slow. Now just take one set of four and memorize them. Next use as short a bow on each note as you can - you want it to be barely audible and play all four notes slowly - say at 60 PER NOTE. It will sound like pop wait pop wait pop wait pop. Do that until it is totally comfortable - you can do it in your sleep.

Its very important to NOT fill the space inbetween with note - you have to control your bow to only make the very short sound. At this point check to see if the restriction is in your body. While playing the foursome check for ANY tension. Both your L and right hands and arms should be fully relaxed as should your back and body - if they are not you have a bigger issue that you have to fix before you stand a chance to play fast.

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Now play the sequence backwards doing the same thing. I've no idea why this works but it does for me; somehow it detaches the sequence from your memory - you want to get it so that you can play it forward while having a conversation - indeed, play it while watching television. NOW we start to speed it up. Go up 10 points on the metronome but be SURE that the notes are still the tiny pops. Keep doing this now and see how fast you can play. At the slightest feeling of body tension step back to the previous speed. This may take many days.

Its a lot of effort but its worth it to dedicate some time to your four notes until you can master them at speed. They should come off your bow as if they were a familar word - you don't read each letter you say the word as a unit. The other thing I recommend is to get Sevcik Op1 and play the first half of the very first study as described each note then each divided into two and then into four with gradually increasing metronome speed over time weeks, months - both legato and detache.

I've been doing that for 3 weeks now and its really improving my dexterity. The other excercise that works is Schraideck spelling? So thats my way - there are tons of terrific ideas above too that I am going to use that might work equally well and I'm going to try too. BTW I had the same problem but with lots and lots of practise I am up to 16th notes at on the Sevcik. Not superfast but 'adequate' - and sometimes it goes fast than that. A lot of good ideas out there already. I will probably end up repeating some, but maybe couch things a bit differently, here and there.

First of all, how fast is "fast"? What is "in tempo"? The Mozart "Rondo" in G is a great example, as are the very different interpretations ranging from Szerying to Heifetz.

Off-hand I'd guess that Szerying does it at a stately or so to the quarter, and Heifetz at a breakneck or so. Yet each is compelling in his own way, as there is so much more than speed going on. But let's limit ourselves mainly to speed and coordination for this discussion. The fact is that there is such a thing as inborn physical talent for certain things, whether athletics or playing the violin, sharpshooting, or drawing a gun from a holster.

That doesn't mean that there is no room for improvement. And we can't be sure what our potential is until we've worked hard for quite some time in certain ways. But different people are born with different nervous systems, musculatures and reactions. Who was the fastest gun in the old West and why?

Was it just practice? I don't think so. Annie Oakley, the legendary sharpshooter, was no myth. And she said that it just came to her from the time she was a young girl. That doesn't mean that he didn't work. But others have worked harder and with proper training, and have achieved great results - but not quite.

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This is not to demoralize you or anyone else. I'm still working to become a better me, and you can become a better you. OK - some tips. As some others have said, relaxation is extremely important.

And step-by-step metronome work. And no wasted movement. Limit any unnecessary degree of finger motion. Think of ice skaters when they do their fast rotations: For coordination, the Rondo is great, with its separate notes. In fact, when I practice my 3 octave scales every day, I include scales with separate notes. But for coordination, mixed bowings are great, too. In each group try tying notes, 2 and 2, 1 separate and 3 together, 3 together and last separate. Then do dotted and reverse dotted rhythms. I do that in my 3 octave scale practice as well. Try to analyze what and where the difficulties are.

In the Rondo, there are passages with position changes and string crossings. But for now, let's limit ourselves to the beginning: CDCD repeated 4 times. Once you've approached an at all plausible "concert tempo" but things go awry, just try DC-pause DC-pause.

June 3, at There are a number of factors that support or inhibit velocity. For a fourth year player you are doing very well from the sound of your repertoire. I am guessing you are right handed.

Without seeing you play, I can only make general suggestions based on experience with students, so here they are in order of how often they occur:.

Many students have a finger rebound that makes the finger late for its next task. Many of us aren't really focused enough on the actual strike of finger to board, focusing rather on the original motion from the back of the finger. It ain't there til it's there, if you know what I mean. To improve speed, strength, evenness and agility the first things I like are Schradieck Bk. Make sure you hear the note exactly on time. Practice the passages until you can play them in one fluid motion, like a ballet: Then scales with mm 60 - 2,3,4,6,8,12,24 legato notes per beat. I thought that example brought up a very good point that I wanted to emphasise in case it was not understood, specifically that some motions that may seem incidental or just my word beneficial are actually the reason for the desired result.

In the skater case, the rotation is begun or prepared with limbs out stretched and then bringing them in actually causes the rotation automatically to accelerate by physics, conservation of angular momentum without any further effort.

Someone may be able to spin quite fast with limbs outstretched but always will be able to spin even faster by bringing them in. There must be some obvious analogies in violin. June 4, at I like Julie's list above but, with respect to wasteful finger movement, she might be interested in this virtuoso:. Advanced preparation of the thumb in piano is one thing that allows high speed scales etc. In fact, doing my warm-up finger exercises this morning I thought of this analogy: In fast tempo they must be drawn in more - like an ice-skater's arms.

One of my great teachers, Aaron Rosand, made an analogy to a millipede scurrying up and down, whose many legs you don't see. A somewhat unfelicitous image if you're an entophobe like me - but it makes its point. Re relaxation, he likes to say "don't play with the brakes on".

And less bow in fast separate notes - though not too little bow. And yes, preparation is most helpful in anticipating angle changes in position shifting and string crossing with both hands.

In the LH, if you're playing say in 1st position 2nd finger C on the A string, and if your next notes will be B 1st finger and A 4th finger on D string, then put the 1st and 4th down simultaneously.

Nadien and others have emphasized this. And in a rounded way the bow should anticipate the string crossing. Ysaye had great exercises for this that I got from Rosand. BTW Eric you made an analogy to piano playing. Are you a pianist as well as a violinist or one or both? I get curious about fellow posters and you don't say what you do.

Am I the only one who cannot play fast after 4 and a half years?

And everyone - am I the only one seeing some pink in the last couple of posts? I swear I haven't bee drinking! Did you look up that link Raphael? And watch how to keep your fingers close to the keyboard when playing fast? Unfortunately, circumstances prevented me from learning as a child G-rated version though I desperately wanted to learn piano once even tried to fix the broken hammers of a neighbour's upright with sticky tape! My higher qualifications in a science give me my perspective for good or bad and I try to observe as much as I can.

Actually, if you did what Vengerov is doing in that video, your teacher would smile and hand you a diploma. You need to leave the nest. For a strong action, there will usually be a relaxation that equals it. Vengerov is playing in a big hall, his fingers strongly striking the string, in a tempo that to him I'm guessing is quite slow and controllable from any distance.

He can figuratively 'take a break' between each note because his fingers are so strong, so developed, so fast, so practiced, that he is almost playing in slow motion. Slow motion for Vengerov is often top speed for the student, though. Therefore, they must approach the piece with that in mind, and make accommodation for the fact that they are at the top end of their current ability. This is so for many aspects of playing. Watch Perlman's bow pinkie knuckle collapse when it takes the bow weight.

But be aware that his hand, which was getting through Paganini Caprices at age 10, is the size of a Smithfield ham, and he very seldom even uses the pinkie to balance the bow. He doesn't need to! But that is not to say that small children with tiny fingers can eschew the pinkie without penalty LOL. What I think is this: They are wired a bit better than you. Their mental engines have hp. Their muscles, coordination, accuracy improve at blinding speed.

If you are one such, thank God. If you are not, remember the "rules" are there to help you PLAY better. They are the training wheels, not the bicycle. And that is a big problem. Because those 'training wheels' are SO challenging for the mere mortal that we forget they aren't the bicycle itself. We focus so hard, and work so long to accomplish the one task, that we sometimes forget why we started it.

I returned to violin 5 years ago this month. I was drecklich for the first couple of years, but got lessons and joined an orchestra. There have been good points here.

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Along the lines of Elise's recommendation of counting replies to your question, I will throw in some extra schtuff:. Sometimes it's easier to make a quantum jump to speed. If you miss notes at speed, work on filling in the blanks -- still at speed. Control your ear worm! When you have the piece go through your head, you may tend to slow it down to a comfortable practice speed.

That way, your mental concept of the piece will not drag down your playing. Be intentional is speeding up your practice sessions. You might want to play everything as fast as possible for one or two sessions. But don't make a habit of this: Largo from Xerxes would never be the same. Carefully pick apart runs and arpeggios. You just don't have time to read each individual note and run it through a mental filter, when playing fast. That's why precise slow practice will give you a boost for precise fast practice: Focus on the hardest bits of a piece first, and get those super-fast parts to come out when you hit a button.

In our last concert series, I was in a featured ensemble that played Fiddle Faddle at full bore. I never got truly comfortable with it, but I survived.

June 5, at But did they have any hot pink like us? I guess I'll have to find one of him playing Ernst or God Save The King and see if his fingers get anycloser to the keyboard I will persevere of course, even though I can only play Czardas and Rondo at half the speed for the moment: My teacher has me doing many of the Sevcik exercises.

Perhaps these are quite basic, but I find that Op. Whats special about 5? Long answer- One thing that hasn't been discussed is your left hand position. If you have busy fingers -that is fingers that don't stay down and fidget when they aren't being used- that will slow you down. If your hand is not in the proper position -for instance, if your fingers are not facing you- that will also slow you down. Fingers that aren't arched enough or too much tension also makes it slower. I can't see your hand, so who knows.

If your teacher says your left hand is good, then something else you could check out is the section on fast fingers in Simon Fischer's book. He gives several techniques for speed. I personally use Sevcik trill studies to speed up.

That's helped me a lot. It isolates the fast finger movements without making me worry about changing notes. Leave fingers down where he says to leave them down. Do not hammer the fingers like he says. Use the minimum pressure to stop the note. It might take some slow motion experimenting to find that minimum. I like using the metronome to speed up, but with the following caveat: It is possible to play passages slowly and with a bad position, but as you speed up, it gets more and more difficult, and eventually it becomes impossible. Correct hand position first.

No one can say you aren't! I like 5 because it's very basic, starts out with no flats, and then introduces a new flat on each measure, until you're doing all flats and then back up to no flats. I find that it requires you to really focus on good left hand technique at a very basic level. Once you get going really fast at least for me if you don't have really good left hand technique. If you don't learn how to really relax then it's very difficult to do. I'm not great at explaining myself, but try 5 slowly to start and then get going really fast.

Once you're going really fast it's difficult to keep every note in key if you don't have good left hand technique. June 6, at The first was to practice complete relaxation of the finger after the impulse needed to put it down -- the mental image is that of a lazy cat that catches a fly with his paw and immediately returns to laziness -- and the second, to practice successive doublings of tempo. First, each note a quarter, then an eighth, finally a sixteenth. June 8, at I went through each measure and:. The string crossings also can be problematic.

Changing the bow angle can help. Especially when playing on the A and E strings angle the bow to be closer to the bridge on the E and farther from the bridge on the A.

This decreases the distance between the 2 strings. I also found places I could play, for instance on the right side of the G string and the left side of the A string. Raising and lowering the violin is also a method of changing strings without changing the elbow level. This also means that more pressure is added which makes a cresc. In this manner those of us who are not naturally talented can play as fast as the lucky ones who don't even have to think about stuff, like the above methods.

June 22, at Well, I can now play it at 80 to 90 bpm, and I keep practicing each day, I hope in another 8 weeks I can play it at which is at 'allegretto' speed the slower side of allegretto LOOOL. I am finding this battle extremely hard I really hope it wont stay as hard forever: June 23, at And yes, there is definitely a general improvement in speed playing. As I see it, however, to be a bullet-proof speed player your fingers have to learn fast playing for every note change sequence on the violin.

A daunting task - and one of the many reasons why we older players are destined to never catch up. Most great players did etudes as kids - just look at the collected work of Sevcik - over and over until their fingers were familiar with not only every note but just about every note combination at least at first position.

Once you have the sequence nailed and you have learned how to move both your fingers and your bow rapidly - and most important coordinate these two - achieving speed really is not a a major problem. Of course, even the most experienced, well trained player is also going to find finger combinations that are novel to them - and, as Paul said, they will have to work on it just as you or I.

Parisian fair dealing with medias technologies and products. Multimedia, Trash and mash-up. Quoted, with images, in [ Spieler-Scheuermann ] p. Linguist, whose theories have been a deep impact of aesthetics and art theory.

Sechehaye, with the collaboration of A. Riedlinger, Lausanne and Paris: Fight between two Aibo dogs. With pleasing evocation of words like "harmony", "message to be transmitted", too rarely heard in computer graphics environments. Poems and geometrical forms. Maison des Ecrivains page. Perfomed during the Chercher le texte festival A blogstill opened in Has a commission dealing with digital art. They create immersive universes, mixing interactive digital art, music and architecture.

Looking for dreams and poetry, they play on the living, sensitive and even fragile nature of plants. Spectators are considered active "variables" giving life to dreamlike micrososms.

The majority of their works make use of plants and detect contacts by electrostatic sensors. This group goes very far into interaction.

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Lights Contactsfor instance, more than an interaction between the work and spectator, aims to interaction between spectators, which can even begin to play some music by reciprocal touches, kisses not excludes. It may lead also to choreography. Technicallly, something comparable to the Theremin or But with the a strong bio-human touch.

Interactive and psychological works. A sound system in the heart of a tree. An interactive sound tree. Dance and digital art with augmented tactile interactions.

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Created in collaboration with the K. The dancers bodies unveil in real time light and sound impulstions. Touch energies become perceptible, palpable, audible.

A sound and interactive plant, behaving like a wild animal kept in captivity.

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It answers by sounds to human contacts and may move, kept in leash, exploring its interaction space. It tries to escape approaching persons. A section of a tree trunk, carvec and used to generate music. Nature and machine hybridation. At the Accenture Headquarters. Used by two or more persons, they transform them in human sound instruments, according to their contacts. The real aim of this work is the contacts between humans. Complex scenography with plants, images, sound.

A professor of computational linguistics at the faculty of humanities and Institute for Logic, Language and Computation at the University of Amsterdam. Algorithmic images creating program. Web art with varied works, mainly about images. Use the program online. Difficult to say if this kind of programming can be really efficient.

See a journalist standpoint and some comments on Information sent to diccan by Michel Volle. Invents concrete music in Wienand Verlag, Berlin, Biography by the New York gallery Bitforms. A member of Genetic Moo. Analyzed by [ Kwastek ] pp. Vom Pointillismus zum Pixel. Kehrer, Ludwigshafen, Germany, Member of Future Farmers. His page at MIT. A disciple of John Maeda. Philosophical library, New York, A page in Fondation Langlois.

The Sensuality and Anarchy of Touch A chapter in [ Mc Cormack and d'Inverno ].

Schmidt Karsten aka Toxi. See Webpage and Galanter website. Base on Java and Processing. Digital artist and computer consultant. Pixels around a black square. Quoted with a picture by [ artpress ] and by [ Lieser ] At night, each computer connected to internet illuminates the window of its office or of the home, and blinks, pulsates, beats, fades in and out, each according to its own score, but in rhythm with all the others.

The smartphones in the street do the same. Anyone can participate at anytime: The whole city becomes the orchestra: It is a global city experience. Shows on spring Includes a drastic requirement: Projection on a sculpture. But quite an exception in an oeuvre polarized by abstract research. More recently, like other generative artists, Schmitt has combined his "pixels" with works by other artisis painters or sculptors.

Interview by Samuel Bianchini, six pages in [ Lartigaud ]. I demand that the work be presented as operational, and if possible that the public is able to interact with it". The system has been sold to Mindscape, the game publisher, by Fall Karotz is heir of Nabaztag, built in by the French company Violet. Quoted with illustration in ArtPress2, May-July Open air sound installation.

Artby Rachel Baker and Kass Schmitt. Award at Form Art, Graphic play on a logo. An experience in genetic typography. A member of Ipac Paros Island, Greece. Black and white prints. Several numbered works on this series. Images in the Recode project. Six pages in [ Youngblood ] with photos.

TV Camera, closed-circuit system, nine monitors, tapes, broadcasting. Neuchatel, Editions du Griffon, A forerunner of digital, but still not digital.

Three pages and photos in [ Youngblood ]. Rendering of a photography on a microfilm plotter. Quoted with a picture by [ artpress ].

Drawing according to systematic rules. Cited by [ Baudouin ]. An image in the Recode project. Bridging the Digital DivideFurther comments. A remake of Alien. Not appreciated by some critics.

Cultural center in Aix-en-Provence dedicated to artistic creation and cultural practices in the digital age. Concerts, expositions, performances, cinema, workshops. A member of Ludicart. The Lost Memories… Installation: Brain-computer interface, custom software, digital 3D sculptures. Journalist, specialized in computers, graphics, art, multimedia. Digital sound and light. Photographer of financial moves. These two works are part of the Vertical Blanking Interval.

Selfcontrolfreak visitors are prompted to act or react to situations, which may lead to an unexpected turn of events or surprising scenarios. Interactive creation on the Web, combining analog and digital means. Capture 31 c.

Difficult to understand exactly what it is after. Sellam seems to be exploring the digital and nor digital word in all and every direction. We shall learn more in the future. Video images stored on vinyl discs. Musician contrabass and creator of Usine software. Began in the 's. Sculpture with rapid prototyping. Game of screen reading. Presentation device in the Santa Monica museum. Four pages in [ Iwamoto ]. An interview in We make money not Art.

Description, examples and code. Cambridge University Press, Mass. Is not pointillism a form of pixelation? Animation film from comic books. Soho Gallery for Digital Art. Led by Susannanh Perlmann. The entrance, in the basement, is discrete, but well placed Sullivan Street in Greenwich village. It is fully dedicated to digital art, mainly on large screens. The first adverstisement film by Sogitec. Shaw JeffreyWorks before Quoted by [ Moulon ] p. Quoted by [ Lopes ]. I like to think of myself as being able to use technology in a creative way.

A note in Media Study. More a thinker and curator than properly an artist, but also a developer. Music and visual arts. A member of Deep Blue. History, not particularly digital. Review by Howard Rheingold. See Announcement in September In Video design and robotics Pierre Gufflet. P give flesh to two vital powers, two ways of being a woman, and two forms of fight, with unexpected descendents. At stake, a swarm of children, a brotherhoodd, a pack, a changing mankind, like a large spongy and visceral, ingests and transfigures signs and energy given by the elders.

Hence are borne new images, altered icons. Such mental projections resonate upon the bodies in a sensitive choreography, implemented by a digital system video archive, pixel art, robotics.

Manela de Barros, MCD First edition in Urban performance about surveillance. Three pages and photo in [ Youngblood ].

Using his Processig Chrominance Synthesizer. Cited by[ Parfait ], p. Si et seulement si. Art papers in Leonardo magazine. A 5 pages report by Jean Segura in Sonovision, Sept. Report in the Nick Lambert PhD thesis.

Sigma This show was held in Bordeaux and played an important avant-garde part. For instance, inthe composer Pierre Henry has all the hall armchairs removed, so that the public may choose freely his position. Digital as far as his works are strictly programmed: A member of Music2eye.

A generative tool, on the web as a game. Photographer and algorithmic generation of images. Aims to display every possible image. A Simplycube product for 3D creation.

Landscape, inkjet on metal. Painter, special effects, artistic leader. Co-leader of Locus Sonus laboratory.

Single Wing Turquoise Bird. Multimedia but not digital group. Three pages with photos in [ Youngblood ]. Multimedia, installations and performances.

Takes part in Capture but does not say it in his website A follower of Fractint, with a more modern interface. Quoted by [ Berger-Lioret ] p. A group of artists an designers: Caring for your own modeled skull Presentation in Laval Virtual. With Eduardo Souto de Moura. Quoted by [ Iwamoto ]. Four pages in [ Youngblood ]. Skullmapping is an artistic collective run by Filip Sterckx and Antoon Verbeeck. We conceptualize, produce and direct projects from start to finish.

We deal with art in an experimental, technology-related way. Inthe work is shown at Futur en Seine see our postwith the catalog. The Cyber-Portrait of Dorian Gray.

The firls all-digital computer-generated image sequence, according to [ Masson ]. Wikipedia A member of Oupeinpo.

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A short but not easy introduction to this central issue of the digital world. Photo assembly about the Berlin wall. Notice by Stanford University. Of key interest to this body of work are models exhibiting non-deterministic behaviour especially where this may present problems for evaluating outcomes.

The research looks at interpreting the spatial and temporal patterns from an aesthetic perspective hoping to gain insights at the intersection of artistic and scientific disciplines.

He gained international recognition for his groundbreaking art which was not limited by genre or materials as well as for his critical writings that challenged traditional categories of art between the years of His art and writings have had a profound impact on sculpture and art theory for over thirty years.

Painting and photography with digital editing. Computer graphics with glass effects. Interface for tablets in order to create music. A experimental film directed. The film uusing a robotic arm and consists entirely of preprogrammed movements. The robotic arm never moves in exactly the same way twice, so that each camera movement is slightly different. Cited by Parfait ] pp Quoted by Terracol with picture and geometric explanations, for use of Voronoi diagrams. Difficult to be read, and very "French school".

But a lot of interesting pages about Bernard Caillaud, a specialist in color. Research and prosective of the book and text. Polytechnic, it develops its production schemes through exhibitions, publications and conferences.

The Logos File Architectural patterns design software. Co-founder of the Workspace Unlimited group. A note in Random Magazine. Bowling Green Universiy page.

Sommerer Christa and Mignonneau Laurent.

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