Idea development resulting from the preparation for my preparation:
1. Explorations in creating sculptural and physical sound (Murder of crows)
2. How sound may physically construct a space in a sculptural way and how a viewer may choose a path through this physical yet virtual space? (40 part motet)
3. Center around the theme of physicality and human control/ discontrol in relation with technology (sensorband)
4. A 3-way conversation modulating sonic and luminous pulse and flow (SSS)
5. … To see if it is possible to transcribe this “struggle” between the performers – by interpreting the data from the proximity and heartbeat sensor (for now) and mapping the dramatic topology of physical and psychological relationships/ control/ pressure that occur during kumite (jeu kumite proposal)
A quick summary of the feedback from Tom and Ross from Monday afternoon’s presentation:
– Would it be beneficial to create a dictionary of symbols for me as well as for the audience?
– Beware of “double translation”
– Which is the most essential part of the model?
– Look into directional sound controlling devices used by marketing and at concerts. These are like beams of sound that can be accurately targeted so that an individual’s position will determine exactly what the system wishes them to hear.
– What is the set up of the performance space and where will be audience experience the performance?
– The idea of call and response – a dialogue between the players and sound from the environment
– Will this dialogue reveal what is “un-set” in the system – what is not pre-defined in the rules of kumite
– What is “un-said”?
– What way does the system need to be spatialised?
– What are the deliverables?
[a] real-time performance to take place at the end of year exhibition
[b] multimedia documentation of the process
[c] multimedia documentation of the final work
footage of kumite
footage of kata