I apologise to all AV artists everywhere for letting the side down by accidentally nudging the mouse pointer onto the canvas a few times. In my defence, this was a complicated gig (improvised sound plus visuals plus dance) with minimal setup time, testing, tuning or rehearsal (in fact, in terms of Nina’s performance, no rehearsals at all – we just went on and played). I’ll remember the connect-desktops-by-corner trick next time.
This Wednesday we’re performing algorithmic visuals for IJAD Dance‘s showing of In-Finite Space as part of the AHRC Creative Economy showcase. Twitter messages are geometrically formatted in 3D and cast into a retro-aesthetic graphical fly-through sequence to be interpreted by the dancers. Technology: Field, hybrid Python/Clojure mix.
(Edited, 2014-03-15: clearer splash image.)
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.
(Image: Amin Weber.)
We’re in the process of doing the final software tweaks and test runs for Simeon Nelson’s Anarchy in the Organism, which embarks on a sporadic but select tour next week. Musical score is by Rob Godman, played by the Goldfield Ensemble.
More information on the Wellcome Trust web site.
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.