Composition for BodySuit and Interactive Video
The sound for the original composition was generated from
April until July in 1997 at IRCAM for instruments and computer.
Some of the sections were modified later, and then adapted
for use with BodySuit, creating this new version.
First the Max with ISPW on NeXT was mainly used to generate
computer sound. The sound synthesis methods which are programmed
for this composition are based upon additive Synthesis, FM
synthesis and Granular Synthesis. These are now ported to
Max/MSP. The algorithm is based on the idea to create mechanical
texture which gradually transforms as time progresses. The
parameters are decided with controlled random data which are
sent through many levels of hierarchy. The Granular Synthesis
was especially programmed to interpolate sound constantly.
This composition is based on the density of texture and the
alternation between the dynamical and the statistical aspect
of the movement. The ideas of the composition are summarized
in the title of which the initials mean : o.m=Onomatopoeia
and montage, both of them can be heard clearly in this composition,
2=second version, g=granular, i=interpolation ; p.p=poly-phase.
The mechanical textures are superimposed one onto another.
At the same time this creates poly tempo. In each section
the texture starts in one shape then gradually transforms
into another. Not only in the sections, but also within the
whole piece, the overall phase gradually transforms and intensifies.
The form is intentionally simplified, like the succession
of "block type" sections. The static sections anticipate
with the kinetic sections always following. These are abruptly
alternated in this piece. This idea of form was originally
experimented with in a previous composition. In this composition
it is evolved to further possibilities.
Playing this composition, a performer wears BodySuit, on which
12 sensors are attached on each joint of the body. BodySuit
functions as an interface of gesture. Depending on a movement,
sound and video images are changed in real time. This differs
from a traditional instrument and a controller. A player performs
with larger movements, such as stretching and bending joints,
twisting arms and so on. This gesture does not function like
dance or theater. It contains, however, an element of "performance"
within the live musical context. The gesture is not previously
decided in a strict sense. An audience may observe an obvious
difference of intensity of movement between a static section
and a kinetic section in the composition.
BodySuit does not produce any sound by itself at all. Sound
can be generated with a program, "Max/MSP". Therefore,
thist can be widely changed according to the method of programming.
In the same manner, a similar gesture may derive a very different
result on other sections in the piece.
This BodySuit was developed by the engineer, Patrice Pierrot
The interactive video part was done with Max/Jitter. This
allows modification of a movie file which was previously prepared
and a picture file in real time. These can effect each other
by juxtaposing as foreground, background and displacement.
In this composition, the effects are especially controlled