The Cave has its own writing software, that Kathleen Ottinger programmed.
It's a cave-writing program designed for students and others who are
working at Brown. We tend to subvert it, using it also for its graphic
qualities, and some of the work we've done there has no text at all. The
Cave has its own sound amplifier and speakers; I sent audio into it from
Supercollider programs that Luke Damrosch wrote pretty much to my specs.
The sound really creates the architecture, taking the cave away from a
fundamentally textual display, and embedding it in the dwelling-place the
room becomes. At least that's my goal. The software creates buffers, and
I'll often run more than one programs simultaneously, so that the buffer
times can stagger in on themselves. The revrev is reverse reverb, a
theoretical impossibility of course - time can't go backwards - but with
voice and alto clarinet, I can play into that possibility, creating what I
see as a phemomenology of anticipation, as if the notes were come before
themselves.
The Cave's not integral to what I'm doing, although it seemed so at the
conference, since people haven't experienced its extreme 3d before, and
they could play with it. The other projections for me carry a semantic
weight based on text and symbols and architectural structures; the size of
the projections made them environmental. I was usually in two different
virtual worlds at the same time - Second Life would be one (because of the
ability to video texture), and either an Opensim localhost or the MacGrid
would be the other. All of these VWs had different content and physics, so
the whole was malleable, and can be run from just about any computer. I'm
not interested in the slightest in reproducing reality or its simulacrum,
or the usual fantasy/surrealist stuff I see in SL, but in working with new
and alien spaces (at least for me) that run at the edge of the game space
parameters; I can explore anew that way, and deal with content such as
ISIS, which I also see at the edge of the world for many cultures, at the
least.
In other words, the Cave writing program is integral to the Cave; the rest
of the stuff isn't. There are attempts to move the Cave pieces to the Net
using Oculus rift etc. etc. - I'm not sure how successful any of this will
be. One of the things that fascinates me about the Cave is that it's
physically inert, immobile, gawky, made even of canvas and rope and wood
in parts - on the other hand, it extends to a kind of end of virtual
spacing precisely because of that. In other words, it's part of the inert
and obdurate real on one hand, and the always disappearing indexical on
the other.
The sound by the way used two sound systems in the room plus the amp, and
all of this came from mics, Supercollider programs, instruments and
voices, echos and reverberations - all of which insinuated themselves into
the visual as well.
Hope this is useful - for me, the technology did disappear, I keep
thinking about music/text/visual 'in the zone,' and the zone itself as
malleable.
- Alan
On Fri, 20 Mar 2015, Paul Hertz wrote:
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]> 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
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