This is the bunkai choreography run through… This section will be situated in between the kata performance and the ‘jiyu’ kumite. It will create a sort of bridge between the the basic movements performed individually by the karate-ka, by showing the audience the application of these movements into a combative situation. After the Bunkai is completed, the performers will put their gloves on and move into and the free sparring, which will show the ultimate application of techniques in a real fight.
Lucky week 13!
The hardware test went, less painfully than I anticipated.
Still a lot of sleepless nights ahead, but I think it will come together. The mapping is ongoing. The most important things that I want to achieve before leaving to go to Worlds on Friday are:
1. Pseudo code (Finished by Wednesday night)
2. Review the footage from hardware test on Tuesday (Wednesday night)
3. Record the ambient noise inside the studio – there is already a lot going on there… (Thursday morning)
4. Video of choreography (Thursday night) → email to sound designer before leaving
5. Dramatury – write the script to give to the performers to rehearse (by Wednesday night)
6. Contact Gary – Public performance (Wednesday)
7. Pick up the 2nd digitizer (thursday morning)
Notes from test in-situ:
Why doesn’t the current soundscape work?
The sketch itself uses vectors, the sound doesn’t build in intensity fast enough.
– Cut off?
– What other filters to use?
– Is an organ or held note the right solution for a sound that will be mapped to the performers?
– Need the sketch to have 2 ORIGINS
1a) Split probability → More splitProb = more vulnerability
1b) Stroke Weight → If splitProb is HIGH then strokeWeight is LOW
→ If splitProb is LOW then strokeWeight is HIGH
1c) Split Angle
2a) DistThresh – this is the distance that 2 points will join; higher the number, the larger distance will be connected (i.e. higher = more lines will be drawn), and the lower, the shorter
3a) frameCount %
4a) Length of PVector
Notes from the presentation to Simon and Tom:
– flow, opening
– less musical
– sound of a rolling wave could work much better.
– simple, natural with a tone to it (manipulation of frequencies) → opening/ closing filter
– does reyne know how to use abletonlive??
– email simon for samples of extended chords from Beethoven symphonies extended
– Darwinian evolution (the knife album from lachlan)
– granular effects like the cracking
– the speed of the vector will be very important
– how long is the delay between the action and response in the system??
– Look into getting a Perspex mirror instead of a glass on – lighter and less dangerous to move/ mount
– Fading in sketch should decrease as the intensity of the performance increases (as with the sound)
… ok. a lot to get cracking on!
Description of Work:
The work will be the digital video installation. There will be 2 projections in the space.
The first will be projected from the ceiling refracted to the floor (2.5mx2.5m).
The second will be projected to a single wall. The work will allow people to walk onto the floor projection to view the wall projection.
The sound scape will be amplified from four speakers positioned at the corners of the space.
The work is a digtial video installation. The performance will take place in a space 2.5mx2.5m and a wall.
DV Projector x 2
Mounting to the ceiling
Laptop x 2
Speakers x 4
I guess for the show, I’m thinking there is an underlying track that we spoke about, and yes i agree that a drum loop would hold it much nicer together, and be more musical, more performative etc. There is a good example of a “heart-beaty” sort of loop in the “LXD Teaser Choises HD” file at 0:37, also around 3:33 in “Mortal Engine by Chunky Move”.
The track should be muffled sounds, humming of electric generator, whales(?), sliding electric guitar strings, repeating cd, static, distortion, airplane flying(?)…
I really like the sound around 1:30 of “Mortal Engine”…
The work/ space should start ’empty’ sounding, because the karate-ka will be performing a kata first. After around 30-45 seconds, the intensity will start to grow, the room will start to ‘crack’ more, and it will be as though these cracks are allowing the space to fill with more sound…
As the performers fight each other, the intensity rises and falls – all of this can be pre-recorded in the underlying track.
Finally, at the end of the performance (around 5-6 minutes) the sound of the space will be similar to the start, almost as though the cracks have frozen over, or coalesce together, emptying the space of sound again, or perhaps blocking it off from intruding.
The sensors will affect sound ‘above’ the din of the room.. e.g. muffled horns(?), or strings… maybe you have a better idea?? –> i have to look more into the parameters I want to affect. A good example of the interference of the sounds that are connected to the performers is at 1:56 on “The LXD Teaser Choices”. “Cut-off” can that be a parameter?
Finally complete… this was not what I would call a labour of love, more like an explosion of emotion and I’m not entirely sure it will stand up for itself, but I think it has been… a journey.
A far call from the draft that I submitted to Andrew in week 4, and even in week 8… and thank goodness.
Sensibility and virtuality: Communicating kumite digitally
This paper discusses the work Jeu Kumite, a performative-interactive digital media work that investigates the digital representation of kumite (or sparring) within the martial art of karate. The work addresses the poetic narrative of pressure and control within kumite, attempting to create a feedback system that will visually and sonically illustrate in real-time the unseen dialogue of two performers during kumite. The work aims to investigate the subtleties within combative interaction.
My investigation will reflect on the use of technology as prosthesis in digital performance and ask what kind of rules might pertain in a landscape affected by the exchanges of pressure and control within karate. And how this poetic narrative of change and transformation between the performers could be interpreted through biosensor data into a new aesthetic within a digital landscape. The final performance strips bare the qualities of kumite, engaging the audience in a sensual experience of kumite from within. The paper will discuss and deconstruct the synthesis of this new visual and sonic expression.
“The sensors only carry voltage info and you need the digitizer software to convert that into a specific midi message. Once configured, other midi enabled software e.g. Protools, can read that information via the midi interface.”
— Thank. you. Reyne!