Download - Performing Light and Sound in Space
Performing light and sound in space.
Chris Lunney
BFA Design & Technology
December 9, 2012
Thesis StatementI am investigating the performance of light and sound,
in order to design a space that dissolves the traditional structures for performing audio-visuals,
allowing the audience to become immersed in the frequencies that are delivered to them.
AbstractWhat has been achieved in light space art is an effective
way to activate the perceptual senses of an audience,
making them aware of the space around them. Through
the performance of electronic music a direct connection
with the audience is formed, enabling emotional response
through perception of sound. Although light space art and
live electronic music target similar experiential phenomena,
the two contexts often exist separate from one another.
There are cases in which light art and music are combined.
However through the combination of the two, much of the
experience is lost in translation. Traditions for performing
live music dictate the spatial representation of the experi-
ence, in turn dragging the light onto a stage. This voids the
purpose of light space art, because it no longer exists in the
environment of the viewer. The audience’s experience of
light and sound are now compressed to what is projected
through the fourth wall of a stage.
Respecting the individual potentials of light space art and
live electronic music, I aim to combine the two in a way
that is synergistic. By designing a performance of these
two mediums, I wish to create an experience that is greater
than the sum of its parts.
Precedents - Qualities of Light Performance1024 Architecture
This projection studio has capitalized on the effect a beam
of light can create. It holds volume and creates direction.
They created a stage lighting design to support the act of
Vitalic for his new tour this year. I particularly like the use
of mapping the lights in an array, so as to control their
position relative to one another. The lights’ movement
become perfectly in synch with the music.
Alva Noto
Using a program called Touch Designer Carsten Nicolai
performs his music linking it to visuals displayed behind
him. The visuals are linked in a dynamic relationship; each
auditory change is illustrated by a visual change. At times
he will zoom into the visual on a specific sound and its
paired visual. His version of an audiovisual performance
reveals the mystery of his control, and carefully articulates
the perception of his sounds.
Masato Tsutsui
Here is a live visual artist who performs using Max/MSP,
along side fellow musicians. The images are taken from
shows performed at a venue called SuperDelux in Tokyo.
These visuals are clean and accurate to the sound that they
are formed from. I particularly like the expression of form
and color that he is able to achieve.
KiNK
To see this producer play live is to watch an alchemist turn
synthesizer knobs into sonic gold. His music is charging
but remains soulful at its heart. At every moment of his set
you are waiting his next move. He knows how to
control anticipation, and is able to do it with the simplicity
of a snare drum.
Precedents - Qualities of Sound Performance
Modselektor
Two guys from Berlin who make your ears question what
is possible. Their music is always leans towards comedy.
Having seen them live, its apparent that they are
completely enthralled in the music at that moment, and can
sculpt it into any form at any time.
Totally Enormous Extinct Dinosaurs
Here is another musician versatile in his performance. At
moments slowing the crowd to the speed of a drifting
chorus, and then quickly amping up the energy until
everyone’s jumping in the room. His acute attention to
sound allows him to perform either end of he spectrum of
electronic music.
Precedents - Qualities of SpaceDarkmatters
Created for the Roskilde Festival Social Zone the
installation immerses atop a floor of light. This was
created as a place to relax between concerts while allowing
entertainment and participation in the event to continue.
People are allowed to roam and explore as the environment
changes around themselves.
Supermafia
Created for the mapping festival in Geneva Switzerland, the
inflatable dance floor enables a party to happen anywhere.
Part of the performance is simply inflating the space while
partiers gather around waiting to enter. This space has a
white roof panel, where projections are displayed. The
visuals not only describe the space architecturally but
illuminate the interior as well.
Nonotak Studio
Combining projections with planes of scrim, Nonotak was
able to create an architectural space of light. They describe
it as a place that is enticing to enter, but once inside hard
to leave. By creating four walls of light that are animated
the classic structure of a room changed dynamically each
moment.
This project aims to cross the borders between art and
technology and live performance. Because of this, the
social context can be spread between the performances
found in an exhibition to the kind that normally inhabits a
venue. I think the project could relate to both of these
contexts, in the same way a dj relates to the crowd they are
playing for. A certain spatial context asks for a certain kind
of media to be expressed.
Suggested events and spaces for this to take place include
Scopitone in Nantes France, Mapping Festival in Geneva
Swizerland, Ars Electronica in Linz Austria, and
Superdeluxe in Tokyo Japan.
Social Context
Prototype 1Tremors in Montreal
I traveled up to Montreal with friends to throw a party in
early November. We heard that the venue booked was a
large warehouse gallery space. Instantly we were excited
to use this space to the best of our abilities. This
provided the chance to come and design an experience
for the night. Using three projectors, theatre scrim, and a
weather balloon we created a space to map visual content
throughout the hall. Likewise this also gave us the
opportunity to test new video content and techniques to
mix visuals live.
Prototype 2Dimensional Light
I wanted to play with projected light in a way that would
spatialize it throughout an environment. These images
show the result of a projector displaying into a box with
slits at the top of it. Filled with smoke from a machine, the
light catches the particles in the air, allowing you to perceive
volumes of light. Finally I animated these to allow
movement of the light in space. Bands of light passed
horizontally through the space, superimposing their forms
on top of or behind other light bands. Not only could I
create optical effects such as moiré and mach bands, but
also blending of colors.
Evaluation Development and ScheduleDuring this semester I battled with the direction of my
concept. I could not see exactly what I was doing
objectively and became rather caught up in a flux between
art and performance. Creating a dichotomy between my
precedents caused part of this struggle. On one hand I
had artists like Robert Irwin and Olafur Eliason, and on the
other hand people like Ritchie Hawtin and AntiVJ. I was
being pulled in the direction of perceptual art, and
simultaneously wanting this to be high energy with flashing
lights. These two contradicted each other. Towards the
end of the semester I made a decision to do what I really
want. I admitted to the fact that I want to control the music
and light simultaneously, in a performance space that can
act as a canvas for the experience of these energies.
My prototypes had much more to do with my final decision
than the perceptual fields of art. Likewise, some of my time
this semester has been taken to produce music, or dj for
various parties. These activities display my true interests.
Acknowledging this I will go forth into semester two,
knowing path to venture.
Having declared my focus I am excited to begin work on
actualizing my ideas. There are several realms of
production that must take place to enable the final concept
to be successful.
Music: Producing a selection of tracks that can then be
performed live for an audience. These songs should be
diverse in their ability to entertain. Starting at an easy
beginning, then into high energy, and finally a resolution at
the end. I aim to have enough songs for a short
thirty-minute performance. I plan to have these songs
finished by the end of January. This way they are available
to work with for other aspects of the performance.
Lights: Through researching possibilities and testing
concepts I will design the lighting apparatus. I imagine this
to be a combination of lights and projected media; the key
here being the implementation of them in space. It is
necessary to have the lighting be spatial so as to involve
the audience in the performance space, where they collide
with the music and light. Research of these potential
technologies will be done in January. I will select the
technologies to be used by the end of that month.
Technology: I must find a comfortable way to perform the
music as well as the lights. Part of this is siphoning the
music to the lights so as to create a direct relationship
between image and sound. This must be efficient and
visually affective. Abstracting sound to light is relatively
simple; the true challenge will be making this beautiful.
During the devolopment of the music, I will be testing ways
of visualizing these sounds live. I aim to have a strategy for
this by the end of January. Allowing me to articulate the
look of it in the following months.
Venue: I would like to create a space for this to exist. This
is important to contain the experience and allow a space
for the lights and projection to exist. Finding a place for this
to exist is another consideration. It would be great to de-
velop a package of module pieces that could be installed in
different locations upon arrival. This way the performance
is not linked to specific dimensional requirements.
Depending on the decisions made about lighting
technology, the space needed for this to be fullfilled may
differ. It may result in no space made at all, but rather a
series of lighting fixtures or applicaitons that create visual
space. Regardless of the outcome I aim to be able to build
the “space” starting in February.
Strategy: The things that will inform the performance the
most are the connections between the technologies being
used. For the music I aim to use Ableton Live in
conjunction with Max for Live, and possibly Traktor. Lights
and visual programs to be used include VDMX, Mad
Mapper 1.3, Syphon, and Max/MSP. I would like to have
the strategy of getting music to visuals decided by the end
of January.
A dose of reasonability: I must admit that this is a lot of
work and exploration. To master the abilities I aim to de-
velop takes far more time than allotted in semester two.
This relates to the scale of the project as well as its fidel-
ity of execution. Although I would love to create an event
for hundreds of people, it is more likely to perform several
times after the completion of thesis, continuing to develop
the precision of my skills as an audiovisualist.
There is a history of work and analysis of the contexts I wish
to combine. It would be advantageous to my project to
align my work with the lineage that I wish to contribute to.
This will frame my work not only in a historical context but
better describe its goals for developing it further.
There must be a clearly defined purpose. It is not enough
to say that this is something I would like to do. This
purpose allows a clear critique of the project’s success.
Likewise, the project can then have a defined trajectory,
allowing myself to aim at achieving a specific goal.
Critique