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Triggering/ Sensor Environment

The performance space is equipped with Max/Msp/Jitter as well as David Rokeby's Very Nervous System [VNS]. The Very Nervous System is explained a bit more below -- but essentially in this context it is being used both to sense motion in the space -- translating this into a form of computer data -- and also to process videoforo display in real time. It is possible to send this computer data, referred to as movement data to the other computers ini theperformance space controlling sound, video and lighting. (see Working with Software for more information).

Questions and Answers:

Question #13: What is MAX/MSP and what is softVNS - and how and why are we using these two technologies here in this workshop?

Answer #1: MAX/MSP in an object oriented programming environment that allows a user to create applications that control audio, music and multimedia. VNS soft allows a user to process video in real-time. We used these technologies to transform the traditional performance space into a highly mediated space in which interaction triggered performance events. We also expanded the physical limits of performance space by using video input to project remote human and animated dance bodies on stage.(Tracy Yorke)

Answer #2: As mentioned before, Max/MSP is a very interesting modular based interface for both audio and visual control and manipulation. During the workshop we spent a good amount of time getting familiar with the program from basic introductory concepts (or configurations) to more intricate modular designs. By recreating preconceived modular schematics we not only began to develop a vocabulary in the program, but also steadily taught ourselves fully functioning patches which we later incorporated into our projects in the dance space. (Ricky Alvarez)

Question #15: What do you expect the audience to feel, get, understand, read or interpret from an event where triggers are setting off random elements in the program?

Answer #1:Ultimately, for the audience to be immersed in an environment, so that are actually participants in an event. (Apryl Seech)

Answer #2:I think whenever you are dealing with triggers you are first forced to ask yourself if it really is important that the audience is aware or not. I think generally that it would be appreciated and informative that an audience be aware of the technological support, but ultimately if it serves no greater purpose than a fact then perhaps it’s best left as a mystery. Sometimes when you explain the secrets behind a magic trick you lose some of the charm and enchantment. Same with triggers I think.
But, having said that if there is more to the use of triggers in a conceptual, codependent way than clarity is of the importance. I would not expect an audience to innately know the significance of the technology simply because of the different levels of proficiency we all have in computers. Therefore, I only expect an audience to feel, get, understand, read, and interpret only that which is clearly explained or presented to them. I think as artists there is a certain degree of clarity we are obliged to provide for our public in order to give true justice to whatever message we are attempting to say through our art.(Rickey Alvarez)

Answer #3:When triggers set up random elements, I think that featuring the technology rather than some underlying artistic vision becomes primary. One could argue that perhaps the performances becomes more unique and that physical performer could be creating an interesting sub dialogue---unplanned and dynamic. However, when we actually did this in performance I witnessed the dancers searching to "get" a particular sound. It seemed a little frustrating. I think the audience was a little confused as well as to why this sound vs. the other. I think when we design random elements we choose to highlight the dynamics of the technology more. (Tracy Yorke)

Question #17:Write about the gap or lack of one you feel might exist between the dancers/choreographers, media or technical artists and some of the reasons for this. Write about the gap or lack of one you feel might exist between the dancers/choreographers, media or technical artists and some of the reasons for this. Write about the gap or lack of one you feel might exist between the dancers/choreographers, media or technical artists and some of the reasons for this.

Answer #1: I think language might be a considerable hurdle to jump. Those I believe in creative process, choreographers, new media artists and technician have similar goals; the creation of an art object. However, each discipline has its own lingo associated with its creative process. In order for work to occur across disciplines, one must be able to transcend her/his disciplinary limitation and be able to explain her/his process in laymen terms. Another possibility is that as collaborators, these artists develop their own language for the particular project and its creative process. This language will be temporary in this sense. (Apryl Seech)

Answer #2: The strongest gap I would anticipate that would form amongst dancer, choreographer, media, and technician would be in communication and vision. As it is prone to occur in any collaborative investment, heads bunt and can even miss seeing eye to eye. With so many variables going on I think it is important that in any collaborative project that all participants be aware of each other’s work and efforts so that not only are all talents being effectively involved equally but also efficiently too. (Ricky Alvarez)

Answer #3: I think this gap may result from long standing traditions of distancing the arts and sciences. Often times, people in our seminar referred to themselves as either dancers or technologists. Then as we started to include the technologists in dance works, they became "movers." For me, the terminology was quite artificial. Working
in ethnic dance forms, I often found more liberal definitions of what being an artists was. I found myself easily moving between the space as a mover and tweaking my patch. I think this was challenge for others who tended to choose a "camp" and stick within it. Many times, I think there was some tension---a lack of understanding about they very difficult work done of both ends of the spectrum. However, I think it had to with long standing cultural distinctions rather than anything that was really happening in the space. (Tracy Yorke)




Rehearsal in Triggering/Sensor Environment





Rehearsal in Triggering/Sensor Environment





Rehearsal in Triggering/Sensor Environmen