Some video documentation of our new, light-based, approach.
There are sensors inside mask which inform how the lights function.
Everything is being generated and controlled by a Max patch and the (wireless) sensors are built around the x-io x-OSC and x-IMU devices.
*all visuals happened in realtime. No effects/editing was used to create the banding/glitches. They are a happy accident manifestation of the refresh rate of the DMX lights and the camera not playing nice together.
The audio is recordings of the same artist during a previous performance. The nature of those performances where such that the canvas was turned it into an instrument. In this session (in the video), that is the audio that can be heard, but it was being processed live during this interaction between performers.
This is a video from our performance on the night.
Update June 9, 2012:
We’ve just gotten the video footage of our performance at the ICMC. I had originally felt bad about this performance (even though I thought, and still think, the painting turned out great) but after watching it back, I think even the performance was good. I barely remember any specifics from the performance itself. Watching this back is like watching someone else.
Originally post below – from August 3, 2011:
The painting is now owned by P.A. Tremblay and can been seen in his office at the University of Huddersfield.
You can listen to the performance here:
Sometimes I don’t want to think about the demise of humanity and how people are trying to poison me. Sometimes I don’t want to think about what ‘the painting’ means, or wrestle with programming and/or wires to do some cool things. Sometimes I just want to draw comics and read the good things other people have written. Currently on my list are: American Gods, Fierce Invalids Home From Hot Climates, The Singularity is Near–though this just borders on too serious–which I have paired, and like alternating with The Cyberiad. Then it becomes less heavy. That’s where I’m at right now.
Things that I do not see
when I close my eyes,
Evidence of touching to feel comfort,
things that I did not see
when my eyes were closed.
breath —> light : gesture —> voice.
draw to shape sound. The sound is the feedback from my voice. Three/four tension points
-physical visuals created (ie lines)
-physical gesture used to create lines/manipulated voice/feedback
Performance requires execution or criteria for execution.
How does gesture effect the voice without supplementary technology?
Will the voice still be [like] a line?
More interested in other people right now.
pgs. 78 – 83 are coved in an earlier post, Shower Thoughts
The animal in the machine
The human – the monkey
The machine – the animal – the sublime – the unknowable beyond
-The animal is at his best when the machine functions properly.
-A healthy mobile body
-The movement of the body to construct the mind
-The animal needs to maintain the machine, but sometimes doesn’t (probably causing psychotic behaviour on a large scale – society out of balance.)
-The animal as a seeking being — that imagines what is possible and tries to do it — is human. The animal in awe of the sublime is human.
-The seeking animal within a functional machine may know more/experience more of the unknowable — the beyond yourself.
-Between the animal and the sublime on that spectrum lives our best self
-The unknowable reveals itself to the seeking animal
-We gained the ability to see the unknowable at the symbolic revolution. An effect of which is also detachment by way of language.
-The ability to analyze the thing insulates us from the thing while in that “mode”.
-Aware of experiences I would normally not be aware of without language but the language creates a buffer around that first contact “feeling”
The machine isn’t just a healthy body. It is the processes of the mind–those that are in place for survival–also functioning properly. The machine also includes your instincts and automatic mental processes.
The animal appreciates the functions of the machine. All the joy of having a stupid monkey brain. Sometimes just the animal being.
I can’t experience everything
I am experiencing all I can
I need to be open, and learn how to be open to new experiences
I need to know/remember that other people may not be “I” but they are me out “there”, where I stick my arm out.
pg. 90 – 91
We make ourselves relevant by making each other relevant
Takahashi's Shellfish Concern merges sonic and visual information into a single transmission during improvised performances. I think we're all exploring consciousness, and I want to realize with every thought and expression that I am that through which the universe speaks. TSC helps me in trying to do this. We are based in Manchester, England.