As part of my summer to-do list, I have been revisiting how my softpots data behaves. When I had originally programmed them, the sensors naturally rest at 1023. I wanted them to be sitting at 0 when at rest. The solution was to reverse the values with a [scale] object, as well as to use a [line] object to bring the values back down to 0 smoothly when I released the sensor. However, there was a drawback because whenever I released the softpot, the values would quickly jump to 1023, then smoothly step back down to rest at 0. At the time, I could not see a way around this and the result was a kind of accent. Therefore I used it to my advantage in my pieces by purposefully making these "snap" accents in "Colour of the Birds' Cries" and in "Fire and Ice".
Now that I looked more closely at the [line] object for "Losing Touch", I felt like there really was a way to prevent the data from "snapping" when I released my softpots. I explain my solution in this video. Although, I don't know if I'll ever use the solution because the "snap" had become an integral part of my previous pieces, and I do not know if I want to continue using the "snap" for my future pieces, or not. At least I figured it out so the option is there.
"Losing Touch" was a collaborative work by Gemma and myself. Due to camera placement, the natural violin is kind of overpowering the recorded samples in this video. When viewed live, the sounds are panning in an 8 channel system and sound more evenly mixed.
Program Note: Distance takes a toll on relationships. This piece focus on the journey of two sisters and how their difference contrasts, yet, accompanies one another. It is an exploration of their diminishing relationship, which is represented through movement and negative space between the characters.
RUBS (Responsive User Bodysuit): originally developed by Kiran Bhumber and Bob Pritchard
WiRED: Jin Han, Esther Mutinda, Carol Fu, and Lily Shao.
Dancer: Gemma Tom.
No bows were harmed in the making of this video. I used my spare bow.
For the beginning sections Gemma's character was scrubbing samples of my voice. But for the last section of this piece, she was triggering them. Triggering sounds much more clear than scrubbing, so it represented how my character gave something up to hers. However, when I heard it performed by her in rehearsal, the triggered samples sounded too repetitive and needed a little something to spice it up. So, I added smooth, randomized pitch shifting to her samples. I achieved this through randomizing the [line] object. A demo video of how I did this is bellow. In the demo, I had all of the samples continuously playing on loop.
Welcome to the TRAVIS blog!
If you would like to see a summary of my work, please click here.