In the Short Notice Department (again): I have a gig with choreographer / dancer Nina Kov at ICT & Art Connect this weekend. This is a short but completely new piece, and the paint is still a little wet on the software and control system. We’re using the usual technology mix: the animation system is built in Clojure and Field, and driven from Ableton Live via Max for Live. The live soundtrack is pretty much exclusively constructed from instruments and effects by Audio Damage. For music technology geeks, there will also be a rather rare piece of controller hardware on display.
We’re about to head to Frankfurt for a few days to participate in Live & OnLine 2013, an event organised as part of the Forsythe Company‘s Motion Bank project, which is researching and developing work in the area of digital choreographic scores. I’ll have some involvement in the “Community of Practice” sessions and possibly the Coding Lab. Looking forward to catching up with a lot of people in the dance/technology scene… There’s a good write-up on the dance-tech blog.
There’s a little over a week to catch the installation work Echo by Mark Boulos at FACT in Liverpool. The work combines neuroscientific research with a variety of video effects, including the Hitchcock-style contrazoom and the 19th century stage effect Pepper’s Ghost. We designed and implemented the media control software for the piece, working with the production company Forma.
We (myself and Glyn Lloyd-Jones) adopted the name Cassiel early in 1990 as a project name for live performance at the UK Electronica festival. I had no idea I’d still be using it as a professional company/project name nearly a quarter of a century later.
We created the multispeaker surround soundtrack for the piece, using recordings of the Tenebrae Responsories by James MacMillan. (Technically, MacMillan’s work was licensed for remixing, although the compositional process involved building a bespoke Max for Live instrument and improvising control changes to manipulate, phase-shift and spatialise short loops of the original material.)
Tickets are available here. Many of the performances are already sold out.
Becoming is currently being used in the studio in the making of Atomos, which premieres in October. Becoming will also be shown as part of the exhibit Thinking with the Body at the Wellcome Collection, opening September 19th.