Interactive music for enhanced body
(Xth Sense Biophysical Wearable Technology)
What you listen to are muscle sounds. They come from within the performer's body. They are amplified, and played back through loudspeakers. With the aid of a computer the performer samples the sound of his own flesh in real time.
This work is based on the Xth Sense biophysical technology developed by the author.
No pre-recorded sounds, MIDI, motion tracking system, Kinect, or other movement or light sensors are used in the piece.
Sonic Acts is a biannual festival at the intersection of arts, science, music & technology.
Bass player Kasper Toeplitz convinced the composer Eliane Radigue to write Elemental II for him. In this piece the bass is plugged directly into the computer, running a MaxMSP patch.
Kasper T Toeplitz (D) is a composer, electric bass player and musician who has developed his work in the no man’s land between academic composition (orchestra, ensembles, opera) and electronic new music or noise music. He has integrated the computer into the very heart of his work, as a tool of thought and composition, and as a live instrument, hybridising more traditional instruments if necessary, or working on sheer electronic noise.
Eliane Radigue (F) studied electro-acoustic music under Pierre Schaeffer and Pierre Henry. Around 1970, she created her first synthesizer-based music on a Buchla synthesizer. Her goal by that point was to create a slow, purposeful unfolding of sound, which she felt to be closer to the minimal composers of New York than to the French musique concrete composers. In 1975, Radigue became a disciple of Tibetan Buddhism, after which she composed a large-scale cycle of works based on the life of the Tibetan master Milarepa. She dedicated much of the 1980s to a three-hour work, the Trilogie de la Mort, which was as influenced by the Tibetan Book of the Dead. Notoriously slow and painstaking in her work, Radigue has produced in the last decades on average one major work every three years. Very recently, in response to the demands of musicians worldwide, she has begun creating works for specific performers and instruments together with electronics.
The performance took place as part of the 'Acousmonium' session on 24 February, 2008.