The finale (part 3) of an improvised duet performed with FluxNoisations and circuit-bent radio
(for front on view of the complete performance visit: youtube.com/watch?v=8eBra9gd5QQ )
No recordings, audio samples, or videos are used.
All sounds and graphics are generated in the moment of performance.
Joshua Banks Mailman and Luke Thomas Taylor present an extended improvised performance of high-tech and low-fi pulsating spatialized noise. The event includes improvised live computer graphics, a colorful spectacle projected on a large screen, controlled by spontaneous body- and hand-movements of Mailman, through his FluxNoisations interactive-dance system. Through this system, Mailman simultaneously generates and steers a stream of percussive-noise sound. Interacting with this, Taylor performs on his own devised noise instrument: a circuit board he plays with wet hands. Through micro-fluctuations of the movement, pressure, and moisture of Taylor's hands, the circuit board displays its hidden potential—a sound world with chaotic connectivity of rich noises, clicks, and glissandos.
Joshua B. Mailman: FluxNoisations (sounds of wood, metal, water, sandpaper, sticks, etc. and live computer graphics controlled through infrared camera motion-capture and sensor gloves)
Luke T. Taylor: circuit-bend radio (dismantled analog radio played with wet hands)
FluxNoisations interactive system (sound and graphics): Designed and programmed by Joshua B. Mailman
Sensor gloves: Designed, programmed, and built by Sofia Paraskeva
Recorded at Lotte Lehmann Concert Hall, University of California, Santa Barbara, May 30, 2013
Sound recording: Fernando Rincon Estrada
Video Documentation: Joel Hunt and Laura Emmery
Mixing and editing: Joshua B. Mailman
An improvised audio-visual (interactive dance) performance by Joshua B. Mailman, employing the Fluxations interactive system developed by him and Sofia Paraskeva.
Movement around the stage (left vs. right and forward vs. backward) affects harmony and colors. Flex of the right wrist and body posture (upright vs. lowered) affect texture of the music and visuals. Flex of the left wrist affects rhythm of the music and visuals.
Recorded in Montreal in June 2012 at the conference of Improvisation Community and Social Practice (ICASP), hosted by McGill University.
Live algorithmic music and graphics designed and programmed by Joshua B. Mailman
Sensor gloves designed, built, and programmed by Sofia Paraskeva
Motion-capture interactive system developed by Joshua B. Mailman and Sofia Paraskeva
Video footage recorded by Stephanie Khoury
Other videos: soundsrite.uws.edu.au/soundsRiteContent/volume5/MailmanInfo.html youtu.be/8eBra9gd5QQ
joshuabanksmailman.com joshuabanksmailman.com/interactive/interactive_gallery.html joshuabanksmailman.com/interactive/FluxNoisations/
For partial documentation, see the following publication:
This article focuses on two particular workshops that were made by Gyorgy Kurtag (SCRIME) with the HandSonic instrument (Roland touch sensitive pads) and by Philippe Guillem (DOLABIP) with the Méta-Mallette (Joystick Orchestra developed by PUCE MUSE in Paris). During these works we have collected numbers of video observations and built the beginning of a new way for thinking musical pedagogy.
People's touch create the visuals & the music in this interactive installation & performance. A stretched sheet of spandex acts as a membrane interface sensitive to depth that people can push into and create visuals and expressively play music.