Collaborative work, films and interactivity.


Project Developments.

A new project has been developing over the last two months and is now taking shape with ongoing rehearsals taking place. The performance title for this major project is called log In. The work we’ve developed as seen above  is an interactive media & sound project that explores how  life works on, and off the internet. Each TV displays a person that I’ve interviewed asking questions about how they associate them selves to the online world at what it means for them.

Interview Questions

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What I’m looking to get out from this.

The ideas  that need to come out of this work is to portray how much people feel and believe  they need to associate their life styles online. By doing this i want to stress the impact in which human existence has come to be experienced on the web. Through my visual interpretations, I’m interested to pull weight to the idea of  how we’re developing socially through the technology we use. This project comes  with  it’s own political agendas. I’m interested in  how conscious people are around the  dependency to exist online  and how much they need it and the ways in which people tend to edit themselves because of the internet. The form and nature in which businesses and mass medias  have an impact on our cognitive and behavioral experiences, will take shape in the work and inform our practise. This can take shape  for us in a number of ways whilst considering the footage, devices, recordings we’ve gathered. We will think about

  • Planning and finding a structure that suits our own levels of interactivity with the Devices and TV’s
  • Thinking about how we’re communicating the ideas of self editing and the ideas of  depending on the internet. (this will be done buy revising the content we have)
  • Having discussions about the content we’re gathering that correlates to the ideas of self edit and internet decency.

Discussions and conversations within interviews.

Conversations such as jobs, progressing with businesses or careers  online and how important those goals are were talked about from some of the people above . Negative responses were discussed,  in which included people talking about how much they depend on it and how they feel this is a danger to becoming detached from reality and being dissatisfied.  The interviews had some discussion about how their life’s have been at a point in time when they did not use social media or the internet for a while the answers were sometimes vague and people can’t really remember what life was like without it. They talked about this experience and how it made them feel to be away from the needs and distractions of it.  People have commented on society using social media


. From the  interviews I’ve done displayed on the TV’s  we are looking to find a ways to make comparisons within each interview and look at manipulating the content to see how we will do this.

  • What kinds of comparisons can be explored between the interviews ?
  • How much interactivity between our selves and the Tv needs to be explored?
  • How are we going to control volume levels between each TV ?
  • How many TVs need to be on at once and when do they need to be?

. The ongoing performance work will explore ideas of interactivity with three televisions, VCR players, video tapes, and  a sensor i built to use in conjunction with Max Msp. In short, the sensor when activated will selected film content within my laptop and output it to the projector.

This project is broken down into few areas.

One, an interactive media performance were my self and the group will work and perform manually with the footage.  Rewinding tapes, pausing, finding perticurlly interesting conversation points .

Two sound Explain what the sound will be

MAX msp

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Scheduals, Venues & Audience, Marketing and promotion

Schedule for 2016/2017

Objective Date must be completed by
Your First  idea finalised & critically evaluated and planned.

Read your cinematography book.

Start filming your first ideas PD150, subjects, and locations.




Buy a smaller mini DV camcorder

Buy your TV’s or find a away borrow them from an artist studio.



Plan your official film production Idea  with a list of equipment.

Organise your film crew and talk to subjects about your  film idea ideas



Have all your footage filmed and all your work For performance. 10/02/2017
Learn how to  convert your Mini DV footage into Premiere Pro and then back onto VHS.

Burn your footage to VHS



Start working with the footage on the televisions 30/02/2017

Venues and Audiences.

This depends on the nature of my performance. I intend for my live work to be seen on stage and and off stage so that performance work can also reside in audience participation On stage i will work. With this in mind it means that i will look for my work to be performed in arts centres or buildings that have open floors so audiences members can participate.  Stage performances will begin at an array of smaller venues in Cardiff such as 10 feet tall, Gwdihw . Open floor performances will try to be aimed at Chapter Arts Centre, The Gate, and G39 Arts Centre . These stage performances  will be on my own. The open floor performances will be group led.  

Marketing and Promotion.

I will look into building a professional website / word press for my live work to be promoted on. The following information and promotional ideas will be listed below. As i am undergoing a new project Marketing and promotion is has not been finalised at this moment in time however i still have some ideas of how i should start professionalising my work for networking.

  • Learn skills in building a website or use a template from wordpress that you can pay for
  •  A performance at a venue filmed professionally by a film crew using a multi-cam set up launched on the website.
  •  Photos taken by a photographer for the website.
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Development, ideas, strategies and outcomes of Audio Visual work.

Idea One a choir of  televisions singing.

The method in which i will record them?

I will record my singing subjects with a vocal mic mounted above the camera. The mic will need to be roughly at the same distance each time depending on vocal dynamic range.  

The method in which conversion from the PD150 will take place.


 A firewire cable from the  PD150 will be put into the mac.I will need to convert the footage in real time from the camera into premier pro.

What kinds of shots will i use ?

  • I will use head shots for now of them singing
  • I might look at using a combination of 3 or 4 shots closer and further away
  • I might have some shots of other images and cut back to the singers.


Writing vocal parts.

Will i get   people  sing words or sing sounds?  This depends on if it’s i choose the singing to be in sync or not. For writing vocal parts i will consider the question below

If the answer is no then the vocals are acting as a sort of pad, It could sound chaotic, random, and playful. The vocals  of the television could be a use of sounds and words.

If it’s yes and i want it to be in time. I will write vocal parts and they will sing in time and it will have synchronicity

Does the singing and video need to be in sync by all participants ?

If Yes.. I will need to get them to hear the part they need to sing so they can stay in time. I will  need to get the videos all playing at the same time for the performance if the choir is in time.

If Yes.. I will need to wear headphones and conduct the singers.  ( chaotic and technically difficult ). For the performance i will rewind the tapes back to the beginning i will have to press play at same time on each television so they can be in sync.  

If No.. then the each individual will sing at their own discretion, their own speed which means it won’t have synchronicity. 

How i will get them to hear and learn  their parts.

Each individual  will rehearse one simple vocal part before filming them. I will send them a version of their vocal part (sang by me). Their vocal melody part will have a click track added so they can practise their part before I’m ready to film them. After they have learnt their part i will conduct them with my hands to the same tempo  track that I’m hearing in my headphones. This will allow the singers to be in time.

Where will the television’s be placed in the performance?

To place the TV’s around the room depends on the stage set up and size  of the stage. They could be placed around the room so they appear to be separate places. The TV’s could also be placed next to each other with the purpose of them being placed like a choir. My decision will impact the communication.  

  • Will i support the choir televisions with music, sound and accompaniment.   
  • How the TV”s will be mounted

Idea 2 a dialog, a conversation, of the televisions  between each other.  

Televisions on top of each other, in the purpose of showing human form. Legs, heads and torsos that change from multiple screens giving the AV work some kind of comical purpose, or political purpose.

Televisions around the room. Televisions are having a discussion around the room. They could be having a discussion about a particular topic to do with their lives at work for example.

How to do it.  I would film each subject with one camera and on one tape. Then In editing i would split the each subject (person) into three film tracks. I will be keeping the length of the edit the same for each subject , so that in performance they talk and communicate  at the same time. The tapes will rewind before the performance and they will have to be played at the same time so that the communication of the televisions works effectively.

To add to this conversation In the background  and for purposes of communication i could have a projection on a big screen showing images that relate to the discussion they are having.


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Time to make a change! Research project Interactive Media & Digital Performance

Interactive media & digital performance   

Current research has been made in order to progress and question ideas  of performance, digital performance, interactivity, and film. Performing music, songs or compositions on stage is an area i have have explored extensively over many years. Instead  the work that will unfold this year will critically challenge, evaluate and question how i already work. The focus  this year is to question the development of performance ideas, such as audience participation, the  interactivity of developed audio visual work . Emphasis and reflection on the works momentum and it’s ability to define meaning, whilst communicating the interpretation of ideas will be evaluated. Experience and feedback from viewers and audiences is integral to ongoing works and development of my work.

The final performance this year will showcase my own developed film work on televisions in the performance space.  The work will entail how my devices will be interacted with, what purpose it will have and what use it will have in a live performance. A development of ideas that look at how i can use television to communicate with me or how i can use the audience to interact with my film work will be mentioned. The concept idea of film work will be made in conjunction with a body of sound and music composition. It’s important to note that the film work will dictate how the sound ideas and music ideas are brought into the live space. Elements of improvisation will be explored though the technology, synthesis,  sound manipulation and acoustic instrumentation. I will work with other artist as the project develops, whilst questions of what performance spaces and what venues the performance will situate in will be discussed. For example i will talk about working on staged and working off stage. Exploring the work in open space which viewers can walk in between or interact  with the work will be looked at.  


Informed ideas, Artists works.


Developing a body of film work is central to the live work. In the run up to my ideas which will be explained later my work has been informed by a range of professionals who work with film, televisions, interactive digital works, digital storytelling.

Dana Atchley.   

On works of digital storytelling you can find some very interesting works online and through Youtube. Before going on to youtube i read up on some very interesting work. For my research work i read Digital Performance a History of New Media in Theater Dance Performance Art and Installation.


 In chapter 23 the book discusses works on Digital storytelling mentioning Dana Atchley performances “ he sits next to a video-projected campfire and creates a unique performance for every audience by selecting from seventy stories in his  digital suitcase”.  


It goes on to say  “ Atchley, an obsessive documenter who has kept every photographic image he has taken since the age of seven, stresses the positive impact of new technology on both documentation and the ancient art of storytelling”. On reading about his work i went to look on youtube to find out more about the area of work of digital storytelling. To keep it short the work focuses on the power of recorded voice stories over well shot images landscapes, angles, shots of interesting events and people.


As this work was developed in the 80s the quality of the image is very pixelated. Sometimes you get a great image and sometimes not. I’m not so concerned about this and whilst i looked into more of Dana Atchley’s work i began to like the quality of working with film tape and have decided to do my film work on Mini DV tape. More to the point the work that develops will not be filmed on digital cameras. I like the aesthetic and i like the restrictions. Understanding what I’m shooting and how i’m shooting it is my interest and working with older cameras will help me achieve my ideas.

I’ve found that digital story telling is still practised and taught around the world. They have a professional Digital Story Telling centre in  San Francisco. They have a board of directors and professionals all with master degrees and qualifications. The objective of the centre is to take digital story telling and film techniques to indigenous cultures around the world. The Board of Directors and teachers can be found here>>

Executive director Joe Lambert has been all over the world including coming to the uni of SouthWales in back in 2012 to do a talk on digital story telling. I also Listen in to his lecture.


Lynn Hershman


In my research for digital interactive media i explored the works of Lynn Hershman in which she was also included digital performance book chapter 23. In her installation Lorna 1978- 1984 she worked using a Laser Disk and had remote control pads so that viewers could interact with the film work and change the story by selecting specific  scenarios for the character.At this time in the early 80’s it was not normal to create interactive film work. (Dixon.S) “Her work was regarded as the first new media interactive fictional

p.g 568 Dixon. S explains

“Users are asked to help Lorna, the protagonist, who dares not leave her room because she has become increasingly frightened by TV news reports, and so sits isolated in her apartment watching television (a vicious circle). The user can affect the narrative as it unfolds, including its ending, where one can select between positive, negative, exciting, or ironic twists.”



The technology of the laser disks allowed for this kind of interactive installation to take place. It was created in 1978 it was not widely used and it was also costly. In terms of creating my own AV work and trying to have ideas of making film work interactive i found reading about Lynn Hershman’s working very interesting. Looking at interactive media and technology from the 80s has taught me how to think about working to limitations of older technologies. 


Ei Wada 



I’ve been taking a look at recent works by an artist from Tokyo called Ei Wada. Im particularly interested in his work with old technology and his work with TV VHS. Ei Wada is an interdisciplinary artist. He has made works in installation, performance and interactive performance.  His success has carried him to perform places around the globe. In the last few months he performed at Ars Electronica in Linz Austria.  Ei Wada’s work comprises of using older technologies, hardware and common devices that use to be used around the home but have gone out of fashion. Old extractor fans, TV’s, Telephones are common in his work. Im very interested in using older technologies in performance work. I will developing  performances with older technologies this year especially using TV’s



A neat description about his performance work from Ars Electronica Festival explains  

“One of the main roles in the project is The Kankisenthizer. This converts electromagnetic waves into sound by spinning ventilation fans (called kankisen in Japanese) and storing the light that flickers through the blades as power in a small solar battery. Changing the number of fan blades creates a musical scale. The performer holds the solar battery and moves between the fans, or directly touches the blades and changes the voltage to control the number of rotations while producing the music.”

The conversion of electromagnetic waves into sound is  common in his work. I can do work in a similar area by using inductive coils on electrical devices that interest me. Clearly the purpose here is about making sound or compositional work on devices that are not normally used in performance. Exploring tonal frequencies noise, and distortion is an area that will be implemented into creative work.

Below he explains in English  how his performance art  works. He touches the radio waves from the television. His body acts as an antenna.

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Ibex three Performances from 05/ 10/ 2016

Performance inception the beginning of the new year.  05/ 10 / 2016

Myself and Joseph have just started working on a Duo electronic project in the last couple of weeks and we decided to work together this year and perform some of the work to the class. We’ve been making studio bookings and recording on the SSL desk in 402. The electronic work is ongoing and i make some of the work at home. I bring it in and we adapt it and we play around with the ideas and make new ideas. We are both interested in developing more work for our duo project.

The context of this  work.

The context of our original work here is looking into the music works of bands from Mali but not too specifically. As there is an underlying influence in the “West African” performative style, there is also Funk, Soul, and Italo Disco ideas involved into structural frame work. I’m working with ableton as my performative electronic device. I have recorded and created my own electronic bass lines and pads from my synth. Ableton is used build layers and add textures to our performances so that we can work, improvise, and perform the song structures we’ve worked on. This work we’re developing is closely tide to and influenced by  the group Todd Terje & The Olsens

Concerns and disadvantages of our work

We are concerned that as much as it feels  useful to use Ableton, we are worried that it could take over the performance and we could lose out on our live performance skills if we rely on Ableton too heavily.  Challenging our Improvisation skills whilst performing is at the heart of this music work. We need a sense of freedom so we can entertain, whilst at the same time the Ableton work has to be structured  to keep us on track, in time, and so the songs have a narrative in place.

There are some concerns about the interactivity here. As I’m focus on playing supporting keyboard parts and triggering Ableton parts i need to find an efficient way of working better electronically with  Ableton. It sometimes  takes too long to come back to certain structures.

The disadvantage of this performance is that there is no current ongoing visual work supported for the music. Which means if we perform this to an audience it could lack  as a captivating or visually pleasing event. As its early days i think this is an exception although at the same time it would be an advantage to develop some AV work.  

Performance one 9 /11/2016

As the weeks go buy we continue to work on some new ideas and test them out in the class for a performance. We had been into the SSL studio to record and make ideas for this track the week before. This was a chance for us to test the new work to the class which allowed us to get feedback. Unfortunately at this time the performance did go as planned as the work was underdeveloped and not rehearsed effectively. There are some interesting live elements about three and half minutes in that last for a couple of minutes put then the performance slowly diminishes. Interactivity is not clear and it sounds and looks like the performance is falling apart and going on for too long.  


  • The structure in Ableton is not working with us and we are not able to stay in time with it.
  • We are playing the certain sections for too long in the beginning and towards the end.
  • The structure is lacking emphasis and it’s evolving and progressing too slowly
  • The Ableton structure does not progress effectively from one section to the other the parts to the song structure a rigid and there is nothing to cue us into to new sections


  • Im relying too much on Ableton
  • I’m not working with my DAW Effectively and i need to find a better way to interact with it.  


  • Rehearse the structure and use headphones and have a more effective monitoring system to stay in time and perform effectively together
  • Work on the Ableton set decide what to keep in and throw away and create better transitions between music sections

Performance two. 23/ 11/ 2016

For this second  performance we showcase a new piece of work again that we work on in the previous week on the SSL desk on the 4th floor.  This performance didn’t go so well and we encountered all the same problems in the previous class performance with timing and the performance going on for too long. This track was is the most unprepared track and needs attention. Our main current goal this week was to  develop a new song idea so that we have 3 in total. We need tracks and ideas so we can build on what we’ve made and then look at improve them. The essential building blocks for the song ideas was in place and then later to look at refinement.


  • Rehearse the structure and use headphones and have a more effective monitoring system to stay in time and perform effectively together.
  • Work on the Ableton set decide what to keep in and throw away and create better transitions between music sections.

Performance Three 01/12 /2016

This performance takes place at the Zen bar in the university. It’s a small event for us to showcase our current and ongoing work to a small audience.  It was a good time to throw ourselves into the deep end so early after 2 months when we’re still developing the tracks. The point of this performance was to try and perform to the best of our abilities with what we had. Whilst this was a good chance to showcase the current work its was also a good time to see what’s not working across the whole performance.


  • The Setup and placement of my equipment on  stage firstly was not suitable for me to perform my best at. Stretching over to use the launch pad and to use the computer whilst trying to play keyboard parts was a waste of energy and it was  messy.

Solve  problem by developing  a better stage plan

  • Timing of certain sections was off allowing the performance to fall over itself and go out off time. I recall the sections at 10:25 with the funk break down. It loses momentum and synchronicity and it just looks unprofessional.   
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Three artist perfomances

Tune yards Live at Pitchfork Festival 2014.  

What’s working in the performance?

The position of band members on stage facing the crowd with their drums in front of them gives them a sense of power on stage. The attitude that presents itself gives off a feeling of of lo-fi punk  group especially considering their political attitude which seems to be taking off well with the audience.  Being abrupt, loud, colourful is helping people to get moving. Their low fi sound  set up is supporting their image, their radical behaviour, and their Da Da chaotic sense of humour. They remain confident through their performance which resonates with the crowd. Getting the crowd involved in their songs is a classic trick, and at this festival it’s working.

What’s is not so good?


There are no visuals and their also no AV work that support the band or that works with the band. Closer to the stage this doesn’t matter as you can see the group interacting with each other. 100 meters back  the experience to see the group perform will become limited. Whilst  being a band that’s about people focusing on you and the way you perform you can not get this experience if you’re further away.

How does this performance relate to a wider field of practice / genre?

Bands such as Animal collective,  Dirty Projectors, and Zun Zun Egui, have strong similarities to Tune Yards field of practise. Back in the 80s Talking heads had a similar kind of explosion.    There are many groups like this that fall under the world, electronic, pop-punk genres that have a large amount of success. Band such as Tune Yards have a wide set of performance skills fluctuating between their polyrhythmic, groove, and funk  structures which opens the doors to being playful and having sense of variety.  Listeners will be able hear similarities  and place them in the same context  as of other bands. However  as well as this can be said, this group currently have a large amount of success allowing them to take the stage light for the style which makes them seem new and indifferent. The question is are they ?

How does this genre relate to its audience – what does this kind of music do for people?

As mentioned above  the group fluctuate between  polyrhythmic, groove, and funk  structures within the songs. As mentioned above briefly They evolve their set between pop punk and world genres. It is not necessarily just changing between performance styles and genres that makes them engaging. As also mentioned there’s a lot going on with their attitude on stage, the way they present themselves to the audience their loudness and abrupt behaviour works with the young crowd at pitchfork festival. 

Is it contemporary – is it using music as a way of communicating to people?

Their own music is contemporary.  It’s clear to hear that these artist have experiences working and understanding a wide range of music practises. The idea that this music is popular amounts certain crowds it is also polar opposite to chart  or hit singles In EDM culture.   Point being they portray themselves as intellectuals or as independent artist standing in their own field of practise. Their performance has a certain amount of randomness with irregular timings that are out of the ordinary with most crowds. Taking advantage of the idea of being different, playful, and random is working in their favour. It can also be said that because they have the power to exploit their act and look and sound different from mainstream music cultures they could be describe as a contemporary band. This is more of an experiential point of view from the listener rather than there being a direct answer for it being a contemporary performance.

Is this genre still capable of creating new audiences?

Much of this depends on if the music is influential as it is clear it has a lot of power. Followers  practitioners and artist  can turn towards ideas that  are already likeable in the media. As  this music is already likeable and popular it creates a sense of safeness. The music  has been made possible to do on stage it can be viewed as daring, which means people will find it influential which also means music in this particular style could become more popular.

Is this a current genre?

This performance is not just a one particular genre as there are many genres and stylistic changes in this performance.

Why is this genre and performance relevant to me.

This sort of band have a performing style that is quite similar to the work I’ve made  with my Glasgow band Woven Tents that are currently completing an Album for the summer of 2017. .  The collaborative work on stage and its overall feeling, attitude and communication, has strong ties to my band work in Glasgow and my work with Ibex in Cardiff. The sound work or composition does not currently correspond to the work I’m developing.

Todd Terje Live at Glastonbury Festival 2015.  


What’s working in the performance?

There are four strong elements to this performance that make it clear why this is working. It comprises of acoustic instrumentation with a mix of digital synths  both from the accordion and the Nord keyboard. The accordion’s audio  is going through digital synthesiser if you look exactly 1:00 minuet in or  at 6:45 in for their next track. They  have both been carefully balanced so they can swap between  lead and supporting harmonies. Their  live performance skills are exceptional pulling together strong styles of Latin, Brazilian, fusion and jazz into their framework for their first song at Glastonbury Festival

What’s is not so good?


The visuals on the stage are simple and suggest that it could be inspired  by Gino Severini or specifically the futurist movement. To also comment a lot of the artwork for the Todd Terje’s  albums has very distinctive features that suggest Gino Severini inspired the animation work for the stage.  This quirky and admirable animation work is subtle and slightly “pop arty”.  However i don’t believe it’s powerful enough  for the stage at Glastonbury festival in terms of criticising the impact the visuals and the size of the screen.

The only issue is that the visuals are on a small screen as they play in front of Approx 10000 people


It’s not the best visuals they’ve had at one of more larger performances.   If you look at Todd Terje  Live 2014 Oya Festival on youtube there’s a lot more work and preparation gone into their stage design lighting and visuals.

How does this performance relate to a wider field of practice / genre?

This performance undergoes many stylistic changes over the course of it’s live performance from Brazilian jazz fusion at the start moving swiftly through dance, house, to techno. As for its compositional and performative framework it relates  to a wider field of practice as mentioned above.  Whilst allowing itself to have its own take on the genres and styles  mentioned above, it becomes accessible to a wider demographic. The live format includes congas, a drum kit, digital synthesisers both from the Nord keyboard and the accordion.

How does this genre relate to its audience – what does this kind of music do for people?

Listeners and audiences are able to relate in may individual ways to this performance as the  electronic genres performed have been heard before by the wider audience. Dance house and techno are all common areas in which Todd Terje has used in his electronic work. As listeners tap into his own style which weaves between these energetic genres it invites people to listen because they can relate to the content.

Is this a current genre?

This music is not specifically a current genre. This although has its bonuses and negatives. On the one hand you can identify the genres involved but you can’t label it into one genre.   

Is it contemporary – is it using music as a way of communicating to people?

This performance is contemporary in few ways as you have a live band incorporated into electronic music work. Also that fact the band are on a big stage gives the impression it’s important it has an area of value or prestige. To exist on a stage just as a DJ is a challenge in itself, especially at a big stage in Glastonbury where there is a strong need  to remain entertaining, current and “contemporary”. On his own it would be a struggle as for him to be alone on that stage  would be placed in the wrong context. As there is a live band on stage that incorporate the elements of the compositional work, it evolves into a different kind of performance adding communication and interactivity that count a better experience and one that can be portrayed as entertaining and current.  

Is this genre still capable of creating new audiences?

This much depends on the scale of where they play and how many people they play to. As their live music develops and as different members are involved their performances and  audiences change. Todd Trje can perform solo at venues and clubs as a house and techno artist  if he wishes, and he can also work collaboratively with musicians as a respected artist giving him flexibility to perform at a range of events and at different live contexts.   

Why this genre and group is relevant  to me ?

In terms of creating or making music work to entertain people at music festival or at a music performance for stage, then yes this genre relates to my particular field of working practise. The electronic, jazz fusion, funk, and dance structures that make up the body of this band relate closely to my current creative interests with Ibex.   

Ei Wada at Ars Electronica in Austria.

What’s working in the performance?

Ei Wada has worked with  visual aesthetics and lighting from TV’s and  though about their placement on stage in relation to how he will use them as instruments. Ed Wada has interacted and explored manipulating sound from using the TV’s as electrical and rhythmic drum signifiers for his sound performance work. The Light from TV’s flickers and changes once he touches them which adds to overall visual perspective. As the performances progresses a few minutes in he starts to create polyrhythmic patterns and  beats banging on the TV’s which builds on the existing sounds work  created in the beginning. In using older technologies such as TV’s and video players he has found a way to make these older technologies have a different kind of purpose for communication. The purpose is to challenge the way in which society understands and interacts with objects and it teaches us the importance of not just making art or performance with brand new technologies that are designed and built for specific cultural markets.

What’s is not so good?

Perhaps what is not so good or what might be missing is, their is that the visual narrative on the TV’s remains fairly similar throughout the performance (black and white   “noise” on screen). If it was possible to distort faces on the televisions or any other images it could give the performance another visual medium to explore.     


How does this performance relate to a wider field of practice?

Performances, and performing arts that explore manipulating sound through the ideas of distortion, noise, and glitch are very influential. Artist such as Apex Twin ……

How does this genre relate to its audience – what does this kind of music do for people?

This performance in particular is taking place at  the Ars Electronica Festival in Austria which showcases international artistic works from around the world. From the website it says “Ars Electronica invites artists, scientists and researchers from all over the world to a conclave in Linz to confront a specific, interdisciplinary theme in the context of speeches, workshops, exhibitions and symposia”. People are expecting to see forward thinking, challenging and  interactive  work that focuses on a broad use of technology. At this type of event you would expect to see experiments within sound, performance and interactive works. Ei Wada is exploring an area of noise and distortion through his sounds.  This  means that audiences can  relates to his work in other cognitive experiences.

Is this a current genre?

This is a particularly tricky question to cover as this performances does not fall under a music shelf of one particular genre. Sound wise it could be easily said that this performance falls under the genre field of noise, distortion, and glitch.  To question a performances genre is to also question its market. This artist would probably not choose to describe his performance under a genre as it would narrow its focus.

Is it contemporary – is it using music as a way of communicating to people?

This performance is contemporary as It is challenging ideas of sound communication through the use of older technologies that are not commonly used in present time . Ei Wada is an artist who is working with older technologies and finding a different form of purpose for them. The idea to challenge our association with technology and our understanding of it or how we communicate with it makes it contemporary as the ideas presented on stage are not commonly used in performance.  

Is this genre still capable of creating new audiences?

The performance is influential and it is capable of creating new audiences. If artists can make interesting performances on ideas of interactivity and challenge the uses of technology which can be both old and new, then it will continue to feed the area of performance which it has grown from.

Why is this genre and performance relevant to me.

The work coincides both sound exploration of touch and interaction with TVs, and using the TV’s light to form part of the AV  work. They both work with each other as part of the interactive performance.  I’m currently developing my own film work which will be played back on videotape in my live performance on TV’s. I’m thinking about question of interactivity within my film work and how to use the the video tapes for communication with a body of music work.


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Device Completion and Max Msp Patch

Moving on with the project. I’m  building the  device  so that the inferred sensor will work in accordance with the teensy chip. The  sensor takes a positive reading, a  negative reading and also message reading so that it can ready body movement. These 3 readings are at the back of the sensor and need to be taken from the sensor into the teensy by using 3 different  wires.

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The teensy chip will not work as a core interface,  unless the correct coding procedures have been used by the Arduino software. I need to tell Arduino Software to turn on (// Serial.print) the sensor and to turn it off (false) when a hand movement is made above it.  If no coding is made then the sensor will remain on the entirety of the time thus the max patch will be in effective. A person will not be able to switch between random video Footage as they need . When the coding has been done the max patch will be able to work effectivley to interact with.

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 The Max Patch


The patcher below  is my final devised patch. Over to the top left the drop sample folder and the objects underneath read the my footage files which are in a folder. I can drag an drop my .mov files into this box from a folder off my laptop. This patcher at the moment is only working and loading  .mov files. Underneath it has a folder Object this outputs the files. I have  a umenue underneath (BATTLE FO) which shows a list of the .mov files that exists from the folder. The tosymbol object is converting the type message in this case .mov files so it can be passed on and be read by any existing  object in the patch that it has a specific format for.

The next area of my patch allows my video files to be loaded randomly. The urn object forms the starting process of the footage to load randomly. For it to load the videos randomly it needs the exact number of video files that exist in the sample folder which in this case is 15. Before this object is operational with the sample folder it needs a number box and an output cord so the patch can read the number between 0-15. This patch cord is dragged over to the inlet of the umenue (BATTLE FO) so it can select a random list of .mov files. To the left their is a Ctlin object  that reads Midi information. Im am using the teensy which is utilising midi information form my breadbords devices.  In this case i need to have a Ctlin object so that it can read the information from my devices. The Citlin object has 22 and 1 which is allowing way for almost all the  Teensy ‘s GND devices to have information read. It then needs a number box as we are concerned with the numbers at this point 22 – 1. Below we then have sel 127 object which allows it to read midi information.

The last section of this patch allows the video to be displayed in full screen. The video can not go into fullscreen unless we use an object or a button to activate it.  To start i have a the key object this can output a key code from the computers keyboard. To select the keyboard button   it needs the patcher needs a sel object.  As you can see in the picture below the sel object has 32. 32 is the keyboards button for the space bar. Underneath sel 32 we have a toggle object which will allow the the patcher to turn on the full screen mode and to turn it off. We then have a message box labeled Fullscreen $1 which is attached to the jit.window main. The fullscreen $1object will tell the jit.window main to open up in full screen mode. We are using jitter







This patch is designed for the individual to experience war time footage and to change it at their own discretion. Swiping their hand above the sensor allows this experience to unfold. In other situations the patch,  the hardware and the devices could be used to trigger footage for a live performance allowing a person to swipe their hand above the sensor as they perform through their material. At this stage my device and hardware does not have any protection to prevent it from being damaged. This means i can not yet use it for the purposes of public interaction. Although it can be demonstrated and it can also be evolved.


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