Kelly Jones | The University of Manchester (original) (raw)
Kelly Jayne Jones is a Manchester based artist who works with sound in performance, improvisation and composition. She works with field recordings, tools, plants, rocks, found sounds, cassette and flute. She has a recent solo cassette release on the label Winebox Press in an edition of 63, hand made wooden boxes.
KJJ has a long standing project with Pascal Nichols part wild horses mane on both sides recently toured a multi-channel sound installation-performance piece called Conduit of the bottomless submundane supported by Sound and Music and Qujunktions.
KJJ has performed across Europe in various DIY venues and has been commissioned for works at dOCUMENTA13, Tate Modern, ICA London and CCA Glasgow, Colour Out of Space, Cafe Oto, Islington Mill Manchester, Trieze Gallery Paris, Borealis Festival & Kunsthalle Bergen Norway, Tectonics contemporary music festival, Hangar Bicocca gallery in Milan and Huddersfield Contemporary Music Festival
http://kellyjaynejones.tumblr.com/
Supervisors: Prof Ricardo Climent and Prof David Berezan
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In this paper I will look at improvisation as a process and situation that is a radically differe... more In this paper I will look at improvisation as a process and situation that is a radically different way of making music. I will also explore how and why improvisation could have transformative impacts on our psychological selves and the wider community. This is based on the belief that we are malleable social beings who can transform our relation to ourselves on a psychological level and interpersonal level, which can have an impact on our social interactions. Improvisation has not generally been a respected way of making music because it cannot be treated as an object in the same way that written or fixed music can be; it is unpredictable and challenges orthodox practices aesthetically and politically. I will argue that improvisation enables an alternative and non-hierarchical social structure drawing on Deleuze's concept of the 'rhizome' and explore how, for example, this is happening in underground music culture. The emphasis will be placed on improvised electroacoustic musics, understood as an electronic or amplified element used to manipulate sound, field recordings or synthesised sound. Improvised electroacoustic music is a very broad opening out of the Musique Concréte project of Pierre Schaeffer from 1948, however I would also like to argue that the roots of this music were radical and embraced disruption to the orthodox music practice at the time. The technological aspect of improvised electroacoustic music is used as a transformational sonic tool but I will argue that it is also an important aspect of societal and personal transformation.
In this paper I will look at improvisation as a process and situation that is a radically differe... more In this paper I will look at improvisation as a process and situation that is a radically different way of making music. I will also explore how and why improvisation could have transformative impacts on our psychological selves and the wider community. This is based on the belief that we are malleable social beings who can transform our relation to ourselves on a psychological level and interpersonal level, which can have an impact on our social interactions. Improvisation has not generally been a respected way of making music because it cannot be treated as an object in the same way that written or fixed music can be; it is unpredictable and challenges orthodox practices aesthetically and politically. I will argue that improvisation enables an alternative and non-hierarchical social structure drawing on Deleuze's concept of the 'rhizome' and explore how, for example, this is happening in underground music culture. The emphasis will be placed on improvised electroacoustic musics, understood as an electronic or amplified element used to manipulate sound, field recordings or synthesised sound. Improvised electroacoustic music is a very broad opening out of the Musique Concréte project of Pierre Schaeffer from 1948, however I would also like to argue that the roots of this music were radical and embraced disruption to the orthodox music practice at the time. The technological aspect of improvised electroacoustic music is used as a transformational sonic tool but I will argue that it is also an important aspect of societal and personal transformation.