Sawtooth

March 31st, 2010 | Filed under Abstracts

Sawtooth (2009) emphasizes multimedia and motion capture, integrating performance, sound, and animation into a unified experience. The musician’s physical gestures in space are captured by a video camera, and translated simultaneously into both music and animation.
As the action becomes more complex, the software underlying this process also begins to make autonomous contributions, adding new layers of audio-visual density, and creating new challenges for the improvising performer.

Sawtooth (2009) emphasizes multimedia and motion capture, integrating performance, sound, and animation into a unified experience. The musician’s physical gestures in space are captured by a video camera, and translated simultaneously into both music and animation.

As the action becomes more complex, the software underlying this process also begins to make autonomous contributions, adding new layers of audio-visual density, and creating new challenges for the improvising performer.

Bent Metal

March 30th, 2010 | Filed under Abstracts

Bent Metal explores an ambient soundscape of metallic sounds in a live-performance environment using performance software of his own design. Most of the source material comes from percussive improvisations on a bicycle, performed by adcbicycle via freesound.org.

Nostalgic Visions

March 30th, 2010 | Filed under Abstracts

Nostalgic Visions is a composition for piano and live, interactive electroacoustics inspired by a stanza of “Balada de la Placeta” (“Ballad of the Little Square”) from Libro de Poemas by Federico García-Lorca (English translation by Robert Bly):
Se ha llenado de luces mi corazón de seda, de campanas perdidas, de lirios y de abejas. Y yo me iré muy lejos, más allá de esas sierras, más allá de los mares, cerca de las estrellas, para perdirle a Cristo Señor que me devuelva mi alma Antigua de niño, madura de leyendas, con el gorro de plumas y el sable de madera.
My heart of silk is filled with lights, with lost bells, with lilies and bees.I will go very far, farther than those mountains, farther than the oceans, way up near the stars, to ask Christ the Lord to give back to me the soul I had as a child,matured by fairy tales, with its hat of feathers
and its wooden sword.
Garcia-Lorca’s text expresses the longing felt by one seeking a return to the innocence of youth. The poem’s dual time streams, the reality of pres- ent day and visions of the past, are expressed musically by the pianist who alternates between playing on the keys and inside the piano. At times present and past are clearly di- vided; other times the lines between them blur, and reminiscence becomes a hopeful yet impossible reality. Nostalgic Visions was commissioned by and is dedicated to pianist Thomas Rosenkranz.

Nostalgic Visions is a composition for piano and live, interactive electroacoustics inspired by a stanza of “Balada de la Placeta” (“Ballad of the Little Square”) from Libro de Poemas by Federico García-Lorca (English translation by Robert Bly):

Se ha llenado de luces mi corazón de seda, de campanas perdidas, de lirios y de abejas. Y yo me iré muy lejos, más allá de esas sierras, más allá de los mares, cerca de las estrellas, para perdirle a Cristo Señor que me devuelva mi alma Antigua de niño, madura de leyendas, con el gorro de plumas y el sable de madera.

My heart of silk is filled with lights, with lost bells, with lilies and bees.I will go very far, farther than those mountains, farther than the oceans, way up near the stars, to ask Christ the Lord to give back to me the soul I had as a child,matured by fairy tales, with its hat of feathers and its wooden sword.

Garcia-Lorca’s text expresses the longing felt by one seeking a return to the innocence of youth. The poem’s dual time streams, the reality of pres- ent day and visions of the past, are expressed musically by the pianist who alternates between playing on the keys and inside the piano. At times present and past are clearly di- vided; other times the lines between them blur, and reminiscence becomes a hopeful yet impossible reality. Nostalgic Visions was commissioned by and is dedicated to pianist Thomas Rosenkranz.

Usina Mekanica

March 26th, 2010 | Filed under Abstracts

Usina Mekanica Usina Mekanica (UM), is a conceptual new music/new media happening involving live musicians, kinetic objects and video generated in real time.  UM is performed by Fuse Ensemble in collaboration with Workingman Collective. Usina Mekanica uses live-action wind-up toys, their sound and images manipulated and reintegrated into the performance space via real-time video and audio to propose a psychological landscape for the audience.  UM is a multilayer performance that uses as source material the possible relations of man and machine while playing on childhood memories to trigger notions of nursery rhymes and the emotions provoked by the industrialized clanking of the metal wind up machines.  The soundscape created by live musicians and electronics evokes not a single memory but a mental landscape a context of the meanings held within childhood memories, real or invented.  The musicians of Fuse interact with the toys and the tactile sounds they create while the Toymaster directs. These wind-up machines move about on an elaborate kinetic table created by the Workingman Collective.  The table serves as a known communal space that bridges the two layers of invented psychological landscape and the mechanical devices themselves and follows the mechanical theme by being able to move on its own even becoming an instrument itself at one point.

Graffonic

March 26th, 2010 | Filed under Abstracts

Graffonic is a result from the technical process of production of an hyper-tool materialized under the form of an installation. This reactive work of art can be seen on a video projection, under the control of a video sign analysis system that cover all of the projection area. The user’s movement is quantified in numerical data which will be the intelligible  message for the machine. Accordingly, using its relative cognitive ability (supported by algorythmic processes), it will provide an audiovisual answer. The computer’s answer is grounded on a process of generative design in order to create an aesthetical reflex on a real time scale. Anyone, of any age can participate without effort in this generative audiovisual creative process. Graffonic interface don’t implies any kind of literacy, it functions simply as a common tin of “spray paint”. With the technology developed in Graffonic it is possible to practice graffiti, with no damage to the existing architecture. This installation pretends to be a space open to participation, leaving always the last decisions to the users before the final result of this work. Grafonic is an installation that results from a work presented by Rangel at Juliols summer course at Barcelona, July 2006. The content users/generators will be able to experience and explore the encounter with the machine in a human’s scale physical place. I intend that it should be used as a piece of urban furniture with entertaining purposes. Thus, the project might function as a kind of laboratory to the study of human behavior in the shape of a space free to the interaction with digital space.This is a performance in which users define the content and the variability of the control.

Auksalaq

March 12th, 2010 | Filed under Abstracts

Auksalaq, the Inupiaq Eskimo word for “melting snow”, is a telematic, multimedia work that explores global climate change from a northern geographic and cultural perspective. Using distance technology, live music, dance, movement, visual arts and commentary, the work creates a rich counterpoint of media linking great distances. Auksalaq will integrate artistic expression, scientific information and social/political commentary to present an interactive, multi-dimensional experience that embodies relevant complex cultural and empirical processes. The piece illuminates scientific analysis as well as cultural and political issues surrounding global climate change.

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