The final version of the audio-visual performance system used for this performance expanded upon the Lissajous Organ presented in submission1. I developed a second audio-visual instrument named Forbidden Motion. By running distorted, beat-based noise through a subtractive synthesis processes similar to Convolution Brother’s ‘forbidden-planet’ and finally through Audio Damage’s EOS reverb, a rich, interesting sound was generated.
The high frequency sounds in this clip are a result of this proces:
A simple ioscbank was also implemented to generate dense amounts of sine waves. Lastly, abilities to degrade the audio signal allowed for dirty, crunchy sonorities in the aesthetics of our cave theme.
I chose to use visuals typical of static on analog TVs for this part of my system.
By modulating brightness controls via audio input, these visuals responded to the audio output of this part of my system.
2 for 1 control
In developing a way to control my Lissajous Organ and Spectral Motion together, I stumbled upon a system of control in which I could control 16 systems or equal or greater size than the ones I used. By packaging the data coming out from a controller and routing this data in an efficient way, simple controls can be mapped to many levels of parameters.
Inside R1 Buffer routes- Gated Buffer routing:
An unexpected result of using a system structured in this fashion was the ability to combine both visual systems together on the fly.
An important feature that this system of control was freedom from my computer screen. This allowed for more gesture driven and intimate interactions with ensemble members like the ones seen here:
Unfortunately, my visuals projected into the audience during this clip were not captured, but are the analog TV type discussed earlier.
More detail about the structuring philosophies of this system can be found in my Submission3 blog post.
I chose to use a projector capable of movement so as to utilize the space in which we performed. Here you can see it projected onto the floor:
In addition to the audio spacialization, visual space was also planned out so as to accentuate the performance space and leave room for each others visuals to stand out.
Unresolved differences regarding simple work-place etiquette led to overwhelming, emotional stress and finally extreme verbal harassment the day before our final performance. Although this course appears structured in a hierarchical fashion, in order to consult supervisors when needed, no coherent plan for conflict resolution resulted from this structure. Even when approached multiple times with the same issue, repetitive advice received from my supervisor in regards to our issues of diversity was, “You cannot make anybody do anything.” This advice efficiently dissolved the fragile bonds that existed between individuals with different backgrounds. I lament not being able to overcome these issues and believe the paradigm of conflict-resolution in the DMSP course needs to be contemplated and restructured.