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# vimeo.com/69186535 Uploaded 198 Plays 2 Likes 0 Comments
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
For partial documentation, see the following publication:
Mailman, Joshua B. "Improvising Synesthesia: Comprovisation of Generative Graphics and Music" Leonardo Electronic Almanac v.19/3, 2013, special issue on Live Visuals
leoalmanac.org/wp-content/uploads/2013/07/LEAVol19No3-Mailman.pdf# vimeo.com/69205789 Uploaded 121 Plays 1 Like 0 Comments
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.# vimeo.com/29230754 Uploaded 74 Plays 1 Like 0 Comments
Full Color LED on custom-designed controller board with Integrated IR Sensor, Acrylic, Stainless Frame. 15(W)x235(H)x38(D)cm /
HYBE's Light Tree: Interactive Dan Flavin re-illuminates the minimalist fluorescent light tubes of Dan Flavin(1933-1996) from the 1960s, through digital technology. Experimenting with light and its effect, Flavin explored artistic meaning in relationships between light, situation, and environment. The readymade fluorescent light fixtures he used created space divided and adjusted by light and composition, offering a newly structured space with light. HYBE's work expands the logic of Flavin by reinforcing the physical property of light through interactive media. It presents an escape from traditional lighting, as light and color changes when touched by viewers. Lighting here is divided into front and back, and colors are programmed to maintain complementary colors. The front lighting constantly interacts with colors on a back wall through visual contrast and mixture. A random change and diffusion of light with the involvement of viewers provokes tension extending and segmenting space, turning space into a forum for emotional perceptual experience.
It is a selected and supported work of Da Vinci Idea Program(2011) by Seoul Art Space_Geumcheon, KOREA# vimeo.com/50200307 Uploaded 2,556 Plays 32 Likes 0 Comments
The Downwind installation is composed of twenty pods that sense human presence and respond by breathing smells on the audience.
Downwind explores our differences in olfactory sensitivity and selectivity due to the genetic basis of human olfactory variability and the perception of odiferous sequences in changed contexts.
The revolutionary wind of genetic discovery suggests that we may not all be perceiving the same reality.
Downwind questions whether a somatic understanding of the current atmosphere could be reached by initially finding out individual olfactory capabilities. To increase our ability to perceive the information of new technologies of chemical signals not just with the nose but with the gut it may be necessary to retrain one’s olfactory sense and to note the feelings and emotions that arise from olfactory materials, whether natural, synthetic or engineered.
It may become possible to perceive the human plume which trails downwind from each body carrying with it signature odours and olfactory architectures which are the fragrances of our civilisation and times. They are the olfactory cyphers of change, yet sensing them is defined by a combination of genetics and personal experiences.
We’re referring to scientific research in olfaction, specifically the behaviour-changing signals of smell using scientific olfactory discovery, processes and engineering, and beginning with fugitive smell compounds as well as ones known to elicit specific anosmias--the inability for some people to smell a particular odour that others can easily detect.
The pods sense human presence and respond by expressing controlled delivery of 20 specifically chosen smell compounds in calibrated amounts via a programmed mechanism that uses arduinos, servo motors, ultrasonic distance sensors.
Alongside the pods are devices that dispense grains of sugar. Sweetness has been suggested to assist perception of smells by amplifying the olfactory sense.
Thanks to Creative New Zealand Arts Board, Monell Chemical Senses Center, Philadelphia, USA, Fulbright NZ, Dr. Richard D. Newcomb, Plant & Food Research, NZ, Chris Davison, ISEA
Exhibited at ISEA2013 public program Resistance is Futile: Curatorial Theme: : Ecologies and Technologies, Sydney.
Over the past 2 years we’ve collaboratively created experiments around olfactory perception
We approached Downwind with a series of investigations and experiments which included looking into scientific practice in the labs, human/body sensation and the quantitative and qualitative analysis of data captured from sensors to create cross-sensory correspondences.
We use a range of materials which encompass odiferous materials, engineering, sensors, microprocessors and software, mechatronics and everyday objects to create instruments for our experiments.
Brian Harris has been devising computer controlled mechanisms and embedded devices most of his life. He studied science and electronics. An independent designer, he creates large scale finely tuned adaptive mechatronics and bespoke equipment. His inventions for motion control, stabilising camera mounts for aerial photography and robotic trajectories are used in local and international tv commercial and film productions.
Raewyn Turner’s interdisciplinary work is concerned with cross-sensory perception and the uncharted territories of the senses. Her works have been shown in numerous national and international exhibitions including Museum of Contemporary Art, LA, Parque de las Ciencias, Granada, Spain, 11th Prague Quadrennial of Scenography and Theatre Architecture 2007,Prumyslovy Palace, Prague, Argentina, Rencontres at Georges Pompidou Center, Te Papa Museum, and Academy of Fine Arts, New Zealand.
Her works include videos, interactive installations, performances, exhibitions and large scale international performance in theatres and stadiums, working as a concept and design artist and lighting designer in collaborations with musicians, orchestras and choreographers.
Raewyn Turner & Brian Harris 2013# vimeo.com/71244612 Uploaded 769 Plays 8 Likes 0 Comments