Kate Sicchio and I were recently awarded a European ICT & Art Connect residency to develop ideas involving the combination of choreographic technique with software structuring: how does “thinking in code” influence “thinking in dance”? The result incorporates a Neville Brody-inspired animation system which transforms time-based Clojure DSL data structures into geometric textual designs projected onto the dance floor (and, sporadically, onto our dancer, Tara Baker). We are showing the performance work at FoAM in Brussels on Sunday, and presenting at the European Parliament on Monday.
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.
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.
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.
This video of my presentation at EuroClojure 2012 made its way online a year ago, yet I only recently discovered it. (Coming soon: not one but two video interviews from the first two MaxMSP UK festivals.)
Today’s iconic date marks performances of Senses Places in Second Life. We were responsible for transforming the feed from from the (physical) dancers’ wearable sensors into an interactive granular soundtrack, with network code written in Clojure driving a sound engine in MaxMSP.
Technology alphabet soup: audio from the nuns was routed into Ableton Live and Max for Live, tracked and converted into a stream of Open Sound Control messages, and routed into Field with custom Clojure code for projection.
(The backup plan was to project with an off-the-shelf laser display, but the only interface of any use at short notice was DMX, which really only provided recall and simple transformations of built-in clip art.)
This is the second time in two weeks that we’ve had the opportunity to project onto world-famous iconic man-made structures.
Lemur is a multitouch control application for iPhone and iPad, ported by Liine from the now-obsolete JazzMutant hardware device of the same name. The application comes with a rather quirky WYSIWYG editor, and while the editor’s irritating interface might not be enough to prompt efforts on a replacement, control interfaces tend to be heirarchical, highly structured and repetitive, so it makes sense to use some kind of dedicated high-level language to create them and lay them out. So: enter Sifaka.