Archive for the 'video' Category

22
Feb
11

Concert September 3, 2010

At the concert, Alexander Refsum Jensenius and I performed our piece Transformation, exploring improvisation in time and space during this concert that also featured pieces by Henrik Hellstenius, Thomas Dahl and an improvisation by Victoria Johnson and Peter Tornquist.

Alexander and I have been collaborating for several years on exploration of various types of technologies for musical expression. The piece currently presented is based on video analysis using modules from the Musical Gestures Toolbox in Jamoma and CataRT.

By moving inside a seemingly empty space, I have slowly explored a sonic landscape of thousands of short fragments of various violin sounds. The space thus becomes a musical entity in itself, a space that the violinist both controls and interacts with at the same time. What seemed to be an empty space at first, is left as a sonic space in our memory when the piece ends.

For Victoria Counting IV we used the new visual ideas from the workshop (see previous posts), and added a new direction, made mainly by Henrik Hellstenius. The new direction made me very busy on stage, at first sitting on a low stool, after a while started to run when playing, and looking for my lost photos when at the same time looking at all the photos from my life.

From the dress rehearsal, kneeling on the little stool.

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13
Aug
10

Workshop August 3-4. Motion capture

I’ve not been able to update this blog since March, due to troubles with my arm. I’m now back in business, planning a solo concert on September 3.

Due to the arm problems I’ve had to postpone my final performance, but I will still have a “work in progress” performance on Sep 3. For the first time in 3 years I had the possibility to practice over a long period in the concert hall in the Academy of Music. I had access to the hall for 5 whole working days, and did not have to rig down every evening. I have realized, during this project, that rigging and solving technical problems take – worst case – up to 80-90% of my time. Usually there is too little time for working musically with the right set-up in the right room. The fact that I seldom have access to a big space for more than one day, means that I always feel that I haven’ practised and experimented enough musically.

Alexander Jensenius stabilizes the camera before climbing to the ceiling

Alexander Jensenius stabilizes the camera before climbing to the ceiling

This was also the case the first day of the workshop; Alexander Refsum Jensenius and I used 5 hours to rig up the 8 speakers and the motion capture system (with video analysis) in the hall. On the first day we had only one hour of musical activities, and our brain capacity was rather poor (after removing two Steinways, repairing the door to get the pianos out, fighting with our mixer, placing the video camera 15 m up in the ceiling.) 😀  We decided to let the 4 inner speakers define the soundspace, forming a square. The size of the square was decided by the video camera that was mounted in the ceiling.  We tested some new pre-sets in CataRT and found that the pre-set silent segmentation made the sound stay for a long time and made it difficult to interact with the electronics, which is the goal for the whole project. We also experimented with an amount of reverb, because the concert hall in itself has a lot of it. To level equally the sound of the violin and the electronics was also an issue we worked on that day.

On August 4, with fresh brains, we started to work musically with our set-up. We used Alexander’s video analysis transition, so that video analysis could be used as a controller for CataRT. In earlier workshops we have gone through all the pre-sets in CataRT, testing various loudspeaker set-ups, and now we could concentrate on deciding what kind of violin sounds we wanted to use.

Strangely enough, some sounds that worked in an non-acoustical room, did not work in the concert hall. The most brutal sounds, like crush tones and strong pizzicati, sounded much too brutal in the hall. After an hour or two Sidsel Endresen (my superviser in improvisation) turned up to listen to our music. Her feedback was that I should think of the electronics as a musician, a person you play with and against. And to let this interaction guide my movements, and not vice versa. And the music which happens when I don’t play, only move, (ghost playing) is not a goal in itself, but rather a result of a musical process. And the curiosity and eagerness to explore the soundscape which emerges must be what drives you.

I’m so glad that we could go more into the musical issues!! Thanks to Sidsel for coming.

22
Jan
10

classical&video

On december 18th 2009 was in Oslo concert-hall listening/watching Leif Ove Andsnes and the south African visual artist Robin Rohde performance. Their aim has been to make the “impossible possible, and how put visuals to music in a way that the visuals builds up the musical material and gives unity”.

The program consisted of different classical pierces and one more modern by Lacher with prepared piano

Schumann : Kinderszenen
Mussorgskij: 3-4 pieces
Larcher: Short pieces
Mussorgskij: “Pictures at an Exibition”

I will look into the documentation of this project, and heard there should be a documentary at NRK.

Their methods of working might be interesting for my project.

It is great that such a fantastic pianist and musical communicator as Leif Ove Andsnes also does projects were he experiments with new ways of communicating with the audience.

19
Dec
09

video-analysis and spatialisation

December 9&10 I worked with Alexander Refsum Jensenius in video-analysis and Catart again. The theme for the workshop was spatialisation. Alexander had recently been to Denmark working with Dan Overholt on the same issue so we tired out a new patch called grid they had worked on together when he was i Denmark. We used spatialisation using V-bap and video-analysis tracking my position at the floor. And then we managed to let the sound follow me when I walked around in the space. We also did an experiment in Catatrt using homogeneous sounds like pizzicato  and instead of the preset chop we tried silence segmentation. That did nor work that well because the grain got a sot of delay (The patch s looking for silent zones) The evaluation of that preset is that I can  not control the sound with my movements.

We also tried to use 2 sound corpus’s in Catart and one grid-patch and reverb for maximum expression and sound in the room. That worked well. I think we are getting nearer what we want to achieve using the space. The next theme will be how to start with an empty space record sound  in Catart in realtime and then interact with the sound in the space.

30
Jul
09

telematic workshop in june

telematic-68

Victoria Johnson and Karianne Bjerkestrand inspired by sound and movement at the  concert

Workshop on Telematic issues June 3 – 6 with online rehearsals 10 – and Concert 11, 2009 Indianapolis – NMH, Oslo Scott Deal http://www.scottdeal.net/Home.html Deal currently resides in Indianapolis, Indiana where he is a Professor of Music and Director of the Donald Tavel Arts Technology Research Centre at Indiana University Purdue University Indianapolis. He started with a presentation about telematic art on June 3rd organised by and the NIME project of the Norwegian Academy of Music. The workshop consisted of, Kjell Tore Innervik, Ivar Froundberg, Alexander R Jensenius , Kari Anne Bjerkestrand and myself and Knut Vik with help from Charlotte Piene on video. We used the conference xp software for interactive learning. During the workshop we got experience performing on line. We performed two improvisations all together, “Shot and abandoned” all together, “Ester parade” in Indiana with Ivar Frounberg in Oslo, and three pieces in Oslo with Victoria Johnson, Kari Anne Bjerkestrand and Alexander Jensenius. It was very interesting to see how we could use video in motioncapture. Alexander Jensenius have some very stabile patches and we recorded some of my violinsound so when Kari Anne danced she dances my sound and I interacted. There are of course many issues which have to be solved technically and artisticly. Latency is a big issue and how we work with it and not against it. How to understand which sound is coming from whom is another challenge. Alexander Jensenius suggested that each person have their own sound source. At least the musical landscape will be more understandable for the audience. Conference xp have frames around the windows that is quit disturbing when you try to make an art piece.

Later the same week on June 6th I visited fourMs studio at University of Oslo to work some more with Alexander and see the new motioncapture studio.

From the concert, Victoria Johnson in action with Scott Deal in Indianapolis

telematic-48

01
Jun
09

audiovisual satelite

On May 7th Mattias Arvasstson and I had our performance at the Museum of contemporary Art in Oslo. We tried out the idea of using the movement, colours and pulsation of the video as a musical score, using Mattias,s object for projection. That meant that we did not have to have any walls for projection and did not have to interfere into the exhibition as such. Originally it had been the meaning that the concert installation should take place in the big exhibition room. It is very light in Norway during the summertime and i realised that during one of the visits to the museum that this room was much too light for projection.IMG_5222 We ended up to get a beautiful empty room at the second floor. Many thanks to Anna Lindblad at the the Museum of Contemporary Art who helped us to get this space and to arrange the concert.

On photo: The original space for the performance.

For the first time I played a concert without any soundperson there. I realised that the acoustics changed  a bit when the audience came, and I think I will bring a stage monitor for the next performance. I used 6 genelecs, one on the object and the one with pure violinsound behind  me, and the rest in in each corner. Again I used the a granulation process using 3 buffers with different lengths, pitching and grainlength. Thanks to Edvin Østvik for the beautiful and user-friendly maxpatch !We had to carry all the equipment ourself which was really hard!

After rigging up we got visitors from the Academy of music, the electroacoustic composition class came to see what we where doIMG_5253ing.

On photo: The performance space

Having 9 footpedals I got a very broad setup. I am looking forward to experiment more with some smaller controllers and setup.

I will also for the next performance have visual monitor in order to see the visuals better.

31
May
09

Satelite on the top of the opera

opera_snohetta

It has been a very busy but interesting process working and performing the two Satellite concerts. The first one taking place at the Roof of the Norwegian opera and Ballet April 28 and the second one in a beautiful big space at the Museum of contemporary Art. Being in charge of the planning of the operaroof I had to go into the topic of projection, choice of lenses, amount of ansilumens when the goal is to have the projection as clear and big as possible. The size of the wall we wanted to project on was 14.5x 32 meters, and sunset was around 9 pm. I decided to go for 10 pm and hoped for good weather. I also had a “bad weather plan” hiring party -tents, but fortunately I did not have to go for that. On the actual day it was some scary black cloud, but it never rained! A bit cold though about 10 degrees.

To rig up PA and projectors took more planning than I would have thought. It felt like having a concert on the top of a mountain except that we had access to electricity.  I got very good support and help from Knut Vik and lot of people from the Academy of Music helped to rig down after the concert. I had decided because of the wind not to use music but have it on a PDF on the computer. Ivar Frouberg had made me a beautiful little maxpatch that could turn pages. I worked very well and secure. I was practising with the patch for about a week, in order to be able to use the foot for turning the pages (Yamaha midi FC) as well as using other pedals (fuzz, octaver, delay) For Elektra I also had to follow the maxpatch (triggers and timing) on another computer. All this technical issues worked out very well, although I from time to time during Elektra was very busy!

ellen

To get the projection as big as we got it worked out well, surrounded by the city on the big marmoreal roof. The volcano in Elektra became huge, and I became very small, which I see as an interesting contrast. The fact that the size of the projection was so big made a better communication between the music and the video. At the most I think it was around 400 people at the roof, something I founded very good.

Thanks to Ellen Roed who took some photos!

I got a lot of press on the project, also at Østlandsendingen (TV)
For links (in Norwegian only see links)

hc

http://www1.nrk.no/nett-tv/distrikt/ostlandssendingen/verdi/98274
http://universitas.no/s0k/et%20samtidseventyr/
http://www.ballade.no/nmi.nsf/doc/art2009042413190695170061

On photo: The city of Oslo seen from the top of the opera photo Lena Nielsen Universitas

15_kult_victoriajohnson4_web_LN.jpg$C-1$W782$H400$pan1$Q




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