new to stock as of
december 15th, 2006
|recordings of sleaze art (france) #rosa 02 cd|
kasper t. toeplitz “capture” compact disc
|recordings of sleaze art press release...|
|kasper t. toeplitz_____ "capture"|
capture is a piece which is as much music as choregraphy as video, and whose interpreters interpret this piece in its globality (dance, music, images) and not by separating the different artistic fields . the final form is as much a concert than a dance piece or even a live video installation. all of it. of course the cd version gives you only the music - a long ascension whose only sound generator is a white noise - carefully sculpted by numerous filters, all activated in real-time by the movements of the 3 dancers
_ the three dancers are placed on a line, facing the public, each in front of a webcam, the field of vision of which is divided into zones (little squares), reacting to criteria such as levels of grey, change, movement. this informations are sent to a computer which
uses this data as controller of a program of sound synthesis and temporal management which plays the score. a second computer uses the same data to control the video, according to a synopsis. so the dancers interpret the score on three levels at the same
time – sound, visual and choregraphic.
the capture and the coding of the images of the dancers in data of control is made by the softvns software. the data is send (by way of the osc standard) to a second computer on which is running a program written in maxmsp (a graphical implementation of
the c programming language, oriented towards music production) - it is there that the sound creation is made. all of the musical part is generated in real time (synthesis) - as opposed to the use of " samples ", which always appears to me as a weakness of
thought. the last computer also uses softvns to articulate the mixes and the time management of the video images seen on the
music & sound
_ all of the music is created in real time, as i don't like to use samples, sound files nor pre-recorded sounds. the real-time synthesis is done in maxmsp software (on a macintosh) and spatialised in the audience on 6 different points: 2 front, 2 back (all full range) and 2 speakers (wedges) placed behind the screens. all the spatialisation work was done with the gmem (laurent pottier) developped software, "holophon"
_the only sound source used here, as in many of my recent pieces, is a (digital) white noise generator - which i see as a "raw" material in which i sculpt music by using very precise filtering. the filters i developped for capture are resonant filters which can be very narrow, but still which output the same (similar) energy whatever their "q" is. in narrowing this "q" i can obtain very precise pitches (whose precision is not expressed in notes, but in hz - which is way more precise). by doing this i can obtain very precise relationships between the chosen frequancies, just as one could by using pure sine waves, but the filtered noise retains a much more "chaotic" behaviour, because of it's inner structure.
by opening the q of the filter, the sound loses its borders, so to speak : the central frequency (the pitch) is still very clear, but the impression is that of a "larger" sound, not just a pitch, more or a "region" whose ambitus is not clear - similar to the uncertain moment between light and dark, or, in the field of colours the change from one colour to another. opening the q still a little further starts to lose the frequency information, which becomes a "region" - more or less heavy, dense etc etc. in this way i can have the perpection of a real sound continuum (in the vertical field of sound) but still retain the pitches and their
the recent continuation of this idea made me use noise generators of different colours (distribution), analog noise generators as well as data obtained from the "real world" (via the digital images of a video), instead of mathematical approximations of chaos.
_the score of capture was written before any sound was created, in the old fashioned way, sitting at a table, in silence. for most of the frequencies relations calculations the patchwork software (ircam) was used.