Good questions, Paul, and I enjoyed listening to the music Alan sent us, and also have figured out meanwhile what revrev is (and noted there's a way to possibly do it live with logic pro if you are running your concerts through condenser mics). But the questions for me also were raised by the spaces. The second one, AS220, seems to be a live performance space (with audiences), and yet your emphasis, Alan, seems to have been on your instruments (and voice) and reverberations in the physical/spatial environment, can you tell us more please (are you honoring Lucier and looking at reverberation's reverberation?). Now, these are sonic issues, and they seem, in my mind, to have next to nothing to do with a CAVE and the Cave's artificial density of (seemingly immersive, 3D graphic projections) swirls, most likely hard to see/perceive, and thus perhaps mostly or only a peripheral kinetic experience (your picture playing the alto seems quite dark)? but not affective or reactive sonically, or were Kathleen Ottinger's "Caveworks" intra-active, responding to your music? Well, actually, you must enjoy the CAVE space to want to play music there......I've never done it, nor it would have ever occured to me.....
respectfully Johannes Birringer ________________________________________ From: [email protected] [[email protected]] on behalf of Paul Hertz [[email protected]] Sent: Friday, March 20, 2015 3:50 PM To: NetBehaviour for networked distributed creativity Subject: Re: [NetBehaviour] sonic architectures I don't want to detract from the performance—I wish I could have seen it—but could you say something about the software you are running? Is it exclusive to the CAVE or does it run on other platforms? Is the CAVE integral to what you are doing? I worked with the CAVE for a while, even wrote a 3D sound module for it in Max/MSP, but its exclusivity always seemed a problem. Now that game engines and consumer-level 3D begin to be accessible to artists and mere mortals, immersive 3D at least seems to have possibilities. Not sure if in the form of a CAVE, but I did find the experience compelling. I like the notion that the technology may disappear if the [cultural|emotional] expression within it is powerful enough. I get this from your performance. salud, -- Paul On Mon, Mar 16, 2015 at 11:47 PM, Alan Sondheim <[email protected]<mailto:[email protected]>> wrote: sonic architectures http://www.alansondheim.org/irq3day51.jpg http://www.alansondheim.org/irkclar.mp4 http://www.alansondheim.org/irqclar.mp3 http://www.alansondheim.org/irq3day47.JPG with Cavework by Kathleen Ottinger, text by Alan Sondheim, Kathleen Ottinger alto clarinet, Alan Sondheim voice, Azure Carter revrev, Luke Damrosch how the sound moves anong the imaginary land of shadows, projects of Plato into the sound of ancient Greek or not how Plato's project projects Plato's sound philosophy how Plato's sound philosophy is sound 'He packed his pipe elaborately. "I once had a philosphy," he said. "But experience ruined it." He chuckled: "Next time I'll know better."' - Frederick Kohner, Gidget Goes New York, 1968 _______________________________________________ NetBehaviour mailing list [email protected]<mailto:[email protected]> http://www.netbehaviour.org/mailman/listinfo/netbehaviour -- ----- |(*,+,#,=)(#,=,*,+)(=,#,+,*)(+,*,=,#)| --- http://paulhertz.net/ _______________________________________________ NetBehaviour mailing list [email protected] http://www.netbehaviour.org/mailman/listinfo/netbehaviour
