Ritualistic Performance System Research
Goal: To create a ritualistic performance system using spacialized audio signals and real-time video manipulation. Ritualistic performance system to consist of water-based video controller and gestural audio looper and controller.
Background:
Performance system development is part of continued research in creating an audio/visual experience combining spatialized field recordings, voice, sensors, video, and software. In its current iteration, water and conductive tape produce possibilities for proximity sensing as a way to incorporate real-time changes to video content. For the audio, I plan to use a series of natural and machine-made sounds alongside some other more musical components. I may also continue to develop a performance mask embedded microphone and sensors.
WK1 -- Brainstorming + Testing
Water sensor to control visual content Mask to control aural content
Performance Site -- Listening Room Okay to burn / use scents? Dry Ice? Max capacity in Listening Room?
To do:
Bare Conductive Touch Board + Water Sensor Testing in Max Arduino code + upload to Touch Board Max MSP/Jitter + Touch Board testing Add water sensor input to video mixer patch Collect Field Recordings Fire / Machines / Energy Facility / Electrical Drone Sounds
WK2 -- Testing + Collection
Water Sensor Testing in Max MSP/Jitter [1]
I managed to get data into Max from the Bare Conductive microcontroller. After a few minutes the microcontroller seems to get overloaded and freezes. If I reload the Arduino code onto the board data starts to work in Max temporarily. This issue seems fairly consistent. My laptop also seems to be having trouble processing video and receiving data at the same time. The latency of sensor data into Max is painfully slow while video is running. Sensor response is proficient with no video processing.
I will need a new laptop. This is not a surprise.
Readings:
Keywords in Sound, Chapter 17, Space, by Andrew J. Eisenberg
"As a phenonmenon that exists at once within and beyond perceiving sujects, sound cannot but reveal social space as an artifact of material practices complexly interwovenwith semiotic processes and the 'imaginations, fears, emotions, pychologies, fantasies, and dreams' that human beings bring to everything (Harvey 2006: 279; see also Lefebvre 1991)." (Eisenberg, pg 202)
Keywords in Sound, Chapter 15, Resonance, by Veit Erlmann
"...the concept of resonance, having been derived from core epistemological virtues such as intuition, observation, and experiment, names the natural mechanism governing the interaction of vibrating matter, such as strings, nerves, and air. As such, resonance is the "Other" of the self-constituting Cartesian ego as it discovers truth (of musical harmony, for instance) and reassures itself of its own existence as a thinking entity. On the other hand resonance names the very unity of body and mind that the cogitating ego must unthink before it uncovers truth" (Erlmann, page 177)
The Soundscape: Our Sonic Environment & the Tuning of the World, by R. Murray Schaffer, Chapter 12, Symbolism
To do:
Research options for new laptop (2015 Macbook Pro) + Stanford support Mask controller into Max MSP/Jitter Build simple looper w/ adc Test Teensy + MIDI Edit field recordings
WK3 -- More Testing + Collecting
Simple Audio Looper Interface for Testing | Max MSP/Jitter + MIDI Controller --
I built a simple looper patch in Max in order to start manipulating and listening to field recordings from my recent sound hunts. Lately, I've been interested in machine sounds that have similar qualities as sounds from nature... like how cars sound similar to the ocean, or certain electrical resonances sound like cicadas and crickets.
audio test -- [2]
Readings:
"...the wind began to funnel down from the high souther pass, gaining more forces with each passing moment... The effect wasn't a chord exactly, but rather a combination of tones, sighs, and midrange groans that played off each other, sometimes setting strange beats into resonance as they nearly matched one another in pitch... stranglely dissonant. While never unpleasant, the acoustic experience was disorienting." (Kraus, pg 37)
The Great Animal Orchestra: Finding the Origins of Music in the World's Wild Places, by Bernie Kraus
To do:
Purchase 2015 Macbook Pro Mask controller into Max MSP/Jitter Test Teensy + MIDI SLAC audio recordings Visit Listening Room Create composition map Source dry ice