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Arts & Communication Push the ENVELOPE

oscillator building, instrument hacking, Max (Cycling ’74, program, with the intention to suggest how the tools can
https://cycling74.com/) programming, field recording, be applied as a combination for greater possibilities. For
improvising, and live performance through the use of instance, the participants are introduced to importing field
Ableton (https://www.ableton.com/) and sonic-kinetic recordings into a Digital Audio Workstation (Ableton)
constructions. The pedagogical approach was practice- for processing and live performance, and the oscillators
oriented, accompanied by concept as well as discussions are equipped to provide audio flow to interact with the
on sound art as experience and expression, ways of premade Max patches. In addition, Free, Liber, and Open
listening, and the manifold overlaps between sonic arts, Source Software were explored in the process of program
contemporary music, and media arts. As mentioned above, development, but were found to be less beginner-friendly
these concepts can be rather fluid. The language used in for the limited course time and online resources in Chinese.
the majority of the program was Cantonese, assisted with CMHK worked together with Ableton and Cycling ’74 to
resources in English. provide temporary licences for the applications and online
education materials in Chinese throughout the program
The Push the ENVELOPE program consisted of Pre- period. The implementation of Max patches in Ableton
courses leading into Camps. They targeted local and through Max for Live has proven to be an efficient way for
emerging artists, aged 15 and above, with or without the participants to build simple software instruments for
experience in musical and artistic practices. To attend a performances within the Camp period.
seven-day Camp, the participant had to have enrolled in an
8-h Pre-course, taking place over two weekends. In 2023, 3.3. Developing a pedagogy for sonic arts
over 120 participants attended the Pre-courses. Only 19% This initiative answers the call by Tse to improve performers’
of the participants had a background in music and sound full-scope handling of the stage – sound quality, rehearsal
design, while 32% of the participants had a background in techniques, lighting, smoke, etc., – without which even
fine arts, media arts, and film, and 27% of the participants the best concept cannot be communicated. Kampo
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did not have a background in any art-related mediums (e.g., Tse, a local expert in experimental music production,
finance students, working accountant, etc.). Moreover, 52% observed that “the undergraduate music composition
of the participants were secondary school or university and audio technology training is distinctly separated in
students, in which 13% of these student participants go to Hong Kong,” and stated that “the fundamentals of the
a secondary school. Out of those who attended the Pre- current experimental music practice undoubtedly rely on a
course, almost half followed through by attending a week- blend of showmanship, musicianship, musical knowledge,
long, intensive Camp. A total of 55 participants attended and digital audio concepts/techniques.” 8(p.89) Push The
one of the two Camps hosted in August 2023. ENVELOPE sought to provide the participants with a solid

3.2. Making resources accessible to the community foundation in music technology, through workshops with
DIY techniques, Max programming, field audio recordings,
Push the ENVELOPE recognizes the importance of the and the integration of the above-mentioned in live
creative process of making an instrument, or sound performance setting. This perspective highlights problems
object, is to open for invention and intervention in all and concerns with over-reliance on improvisation (to the
aspects. As a platform for the development of creativity, detriment of planning, composition, and control) and
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this concept falls within the context of ubiquitous music lack of practical sound technology training and cross-
(UbiMus), which is an important value to discuss in the disciplinary integration skills.
process of fostering the participants to create their own
tool, and/or medium that allows for creative expressions. However, locally active musician and curator Kung
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These tools and media do not have to be technologically Chi Shing says that he is “particularly interested in
free improvisation and embarking on a journey with
advanced, but should be accessible and functioning to an unknown destination. Improvisation is also a more
represent and demonstrate their creative process. While physical than intellectual exercise for me.” 9(p.60) He
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dependence on specific kinds of equipment is avoided, the emphasizes the need for music skills training, in particular
Push the ENVELOPE team has also worked together with listening, saying that “visual artists like to employ sound
software and hardware developing companies to make in their work. But… the artists think certain sounds can
their resources available during the program period and create a certain kind of result and impact they want, but
demonstrate how these existing resources may contribute in fact they don’t. [Their work might be] more effective if
inspirations for approaches to be pursued in the future.
they had some training in music/sound. Without proper
In regards to Push the ENVELOPE, the team of Artist training, our ears are very under-developed.” 9(p.60) In Push
Teachers devised courses for the different sections of the The ENVELOPE, we aimed to convey the importance of

Volume 3 Issue 3 (2025) 3 doi: 10.36922/ac.6236