September 15th, 2010
Every single image from 10,000 items or less is now available as a torrent on the Pirate Bay. Quite a few people have grabbed it already so it has plenty of seeders…for now..so grab it quickly! It’s only 1gb, but it could be really fun to play around with if you’re into data visualization.
September 13th, 2010
Thanks to my friend Rob Ray, my video piece 10,000 items or less is now in Drunken Boat issue #12. For this I finally made a new render of the piece that is much higher resolution than the original. I wish I had a few more megapixels when i took the original pictures so that it could’ve been full HD or even 4K, but ah well…
I am going to release a torrent of all of the individual images soon so that people can use the image data in their own pieces, I just have to figure out the best way to do that.
September 12th, 2010
I have been sharing the code for my piece Color a Sound with whoever contacts me. Today I just got a message about someone who successfully made their own version of the patch and added an extra color! Check out Cedric’s awesome video below:
September 2nd, 2010
I will be performing at a few different festivals/shows during September. Here goes:
Show at EMPAC in Troy, NY on Wednesday, Sept 8th. Here is the press release:
North South Currents: Bogota/Troy/Guelph
September 8, 2010 5:30 PM – 6:30 PM
Featured together in a telematic performance accordion legend Pauline Oliveros performs live in Guelph (ON, Canada) with Anne Bourne (cello), Guelph’s own Ben Grossman (hurdy gurdy) and Jesse Stewart (percussion). They will be connected to two other sites, where they will be joined by Ricardo Arias on balloon (in Bogota, Colombia) and by Jonas Braasch on soprano sax, Curtis Bahn on dilruba/electronics, and Doug Van Nort on laptop, and Blair Neal on video (in Troy, NY). Following is a local performance of containment and dispersence by Curtis Bahn with Jonas Braasch and Doug Van Nort and Blair Neal.
For four decades Oliveros has explored sound through improvisation, electronic music, ritual, teaching and meditation. Oliveros has been honored with awards, grants and concerts internationally. Whether performing at the John F. Kennedy Center in Washington D.C., in an underground cavern, or in the studios of West German Radio, Oliveros’ commitment to interaction with the moment is unchanged.
Curtis Bahn has composed containment and dispersence especially for this performance. He performs his work internationally and is noted for his sensor based bow technology and electronic transformations of his instruments.
Presenting organizations: RPI Arts Department, Guelph Jazz Festival, and Universidad de los Andes Arts Department
For more information: http://www.guelphjazzfestival.com/ and http://www.uniandes.edu.co/
After that, I’ll be performing at the In/Out Fest at the Tank in NYC. The festival is on September 17th and 18th. I will be performing Saturday evening around 7pm. In/Out Fest needs your support if you’re interested in contributing, check out their Kickstarter.
Finally, I’ll be performing a couple visual sets at the very first VIA PGH festival alongside !!! (aka chk chk chk) and Gangwish on Oct. 2nd and 3rd. in Pittsburg, PA
The only stuff going on after that is a residency at the Experimental Television Center at the end of October…should be a good time…
September 1st, 2010
In preparation for my thesis show, I began developing a series of pieces involving different uses of live visuals in relation to music. I was particularly interested in the fact that in many cases the visuals were being led by the music, that is, they were representing the music without having the music react to them. This process seems broken to me, so I tried to think of an idea that was more of a feedback loop.
Trip[tych] treats the visualist as the conductor of the overall musical action. Three musicians sit behind see through scrims that are projected on. The musicians are only allowed to play while their particular screen is lit up in front of them. While the musicians are improvising off eachother, they are also supposed to be working off of visual cues being projected in front of them. The visualist is also reacting live to what they are playing, so dynamic changes are seen and heard very fluidly. The use of scrims also solved a problem I was having with projecting on a rectangular screen and how that disconnects the projection from the performers. By setting up the projection in this way, I was able to create a multilayered space with the musicians in between. The content of the projections was based on a late night cab ride I had back from a show in NYC.
The first performance of Trip[tych] was at the West Hall Auditorium at the Fall 2009 MFA show. It featured Kyle McDonald on drums, Will Rogers on saxophone, and David Rhoderick on guitar effects pedal. It was also performed at my thesis show, Overflow.
You can read more about Trip[tych] in my thesis.
September 1st, 2010
Spring 2007- Ongoing
This has been my longest running project, and has grown from a side curiosity into my primary artistic focus. It started as a way to just play with video live using different MIDI controllers. I started the same way every visualist seems to, by using clips of retro films and other footage I could find online. I would cut these up real-time with different Jitter effects and got a few easy gigs with some great local DJ’s running the monthly Troy Night Out Afterparty series. Gradually, my focus shifted into using the software and hardware as a real instrument. I became more interested in bringing the visualist into the position of performer and improviser.
As the years go on I’ve been adding more and more visual effects and physical interfaces. I stay away from more cliche effects if I can and try to dig up ones that feel more gestural or emotional. I can do a lot more with a bright flash than a cheesy posterize effect. I am constantly re-working how I’m mapping different effects to my physical interfaces. Currently the system uses the following MIDI devices:
-M-Audio Trigger Finger (a 4×4 drum trigger with pressure sensitivity, knobs, sliders)
-Akai MPD24 (another 4×4 drum trigger)
-3D Space Navigator (special mouse for navigating 3d environments…very sensitive)
-Wacom Bamboo tablet (for scrubbing video and drawing on top)
The software and hardware is discussed more extensively in my thesis available here. It has been used in every performance I’ve done, and for several different recorded videos as well, including all of the videos used for Phantogram’s 2010 tour. It is very modular and adaptable to different situations.
For some reason I have never placed a proper name on this project, and part of the reason for that is because I feel like I would’ve started confusing myself and wondering “Is this really the same thing as that project from 3 years ago?” So..it continues to be vaguely named for now…although most of the files are called “Trigmovies” or “Padmovies” as a mix of Trigger Finger, or Padkontrol, my main MIDI interfaces at the time.
Below are some images of the device from my thesis, but they are already pretty outdated..but it gives you a general idea of the setup.
September 1st, 2010
I’ve always been interested in using extended exposure photography, but I was always frustrated with the lack of real time feedback and the fact that it took so long to make a single frame. I wanted to develop a way to achieve something like the lightpainting effect seen in stop motion commercials and things like that, but make it more live and interactive. It also isn’t limited to being used in a totally dark room, and could be used in more normal lighting situations.
The code for the example and more detail on the process is available here.
September 1st, 2010
This is an unofficial music video I made for a song by Ramona Falls called “Clover” off their debut album Intuit. I was very interested in the fact that I had never seen a sideways video and was curious about what I could do with that kind of aspect ratio in terms of frame composition and movement. I’d like to revisit the idea eventually, I’d consider this more of an experiment than a truly successful sideways video.
September 1st, 2010
Unofficial video I made for Hammock‘s song The Backward Step off their album Chasing After shadows, Living with Ghosts. The footage is from a surreal thing that happens in Troy, NY every year around May. Thousands of cottonwood seeds start flying around the air for about a week, collecting in “snow drifts” and generally making it a magical part of town. I shot most of this footage on a peak day where there was a good amount of wind.
September 1st, 2010
Using a BASIC Stamp, three distance sensors, and a gutted Mac Classic, I developed an interface to use with my Max/MSP looping patch. The distance sensors on either side controlled a stereo delay time. The loops and type of delay were controlled by a midi footpedal. The BASIC stamp actually output MIDI data and could be hooked up to any MIDI controllable device.
Making this interface allowed me to experience working with musical elements in a new context and allowed for certain gestural controls not possible with other interfaces. As with any new instrument, this one required some practice to get a hold of, and I’m not sure I ever quite got it, because the distance sensors were very odd things to work with, due to the lack of force feedback (which I tried to remedy by using old vinyl records as controllers). Something to be revisited in the future though.