Row, row, row your boat gently down the stream.
Merrily, merrily, merrily, merrily,
Life is but a dream.
Some video documentation of the Takahashi, light-based, approach.
There are sensors inside mask which inform how the lights function.
Everything is being generated and controlled by a Max patch and the (wireless) sensors are built around the x-io x-OSC and x-IMU devices.
*all visuals happened in realtime. No effects/editing was used to create the banding/glitches. They are a happy accident manifestation of the refresh rate of the DMX lights and the camera not playing nice together.
The audio is recordings during a previous performance. The nature of those performances where such that the canvas was turned it into an instrument. In this session (in the video), that is the audio that can be heard, but it was being processed live during this interaction between performers.
Watching this now, it feels like this is who dreamt that past…
Here’s a little movie I made for the pop music course at the Royal Northern College of Music.
Click on the image to zoom in. I go in deep with this one.
Owned by Linda Jankowska
Testing out some new pens!
The skull is owned by Lina Martinez…and no man or woman may yet possess Man Dantana!
I am extremely proud of this documentary that I made about instrument designer/luthier Peter Blasser, of Ciat-Lonbarde and Shbobo. I really wanted to depict the person I got to know over those few days–his sense of humor, his intelligence, and of course I wanted to showcase the new instrument he’d just developed. That’s why he was in England, in fact: to lead a workshop at the University of Huddersfield where the participants built and programmed their own Shnths. Rod organized bringing Peter over with his school (and P.A. Tremblay specifically), and the rest is history. Peter Blasser came to England. Enjoy the documentary. I really enjoyed making it.
While drawing this one of the things I was thinking about was the relationship that sense and sense objects have–as it’s articulated in the Upanishads and specifically the Katha Upanishad……Good-bye horrrrrr-ses, I’m flying over youuuuuuuu….. Also I allowed the two-dimensional figures to not be fully visible, and allowed objects on the surface (foreground) to sneak behind other figures. In other drawings (like this one) this was a limitation I set on myself: that every figure live on the surface, and not curl back into that fake implied space. So that’s why this one has more a three-dimensional quality to it. I allowed myself to push in and pull out. I believe that’s why it feels like a dissection. Going forward I don’t want to be too permissive with myself though, since I’m not trying to make a thing that mimics existing in the space we exist in. We’ll see how it goes on though. I don’t want to over-think this stuff and snuff out the novelty of spontaneous characters/characteristics.
As reference, this is what a battle piece is: