Next weekend, I’ve been invited to present at a panel session at the Live Coding and the Body symposium at the University of Sussex. The event kicks off on the 4th with an Algorave. Alternatively, if you find yourself somewhat further north on the 4th, Tara Baker is performing Hacking Choreography 2.0 at Unusual Connections, Yorkshire Dance. (For a taste, see the Live Coding poster above, featuring a still from our recent development residency.)
Gig announcement: Anarchy in the Organism, and Plenum (Simeon Nelson with Rob Godman and Nick Rothwell), at the Frome Festival, July 11th. This is the first time we’ve attempted a custom three-screen display for both pieces (the only non-projection version of Anarchy was the original installation at the Wellcome Trust, while Plenum has, so far, always been projected). We’re delighted to welcome back Kate Romano on clarinet.
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.
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.
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.