BLOODLETTING

Elaine diFalco, Concept, Video, Text, Performer (Accordion) // Louise Fristensky, Concept, Video Granulator, Text, Sound Design Assistance, Technology Coordination Assistance, Performer (Voice) // Joshua Lambert, Concept, Text, Performer (Contrabass)  // Christopher Poovey, Concept, Sound Design, Technology Coordination (iScore), Text, Performer (Keyboard)

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Bloodletting is an installation combining video, sound, text, and live performance to explore the sense of self in the internet age as both physical and mental objects. 

In our pursuit of this topic we chose to explore the act of losing oneself in the technological environment, of specifically losing individuality of identity. Each performer brought texts relating to the physical body, self perception, societal perception, and the self within the body to create a selection of  texts which the computer uses to create composite texts which are spoken by the computerized voice and simultaneously displayed on the monitors adjacent to the performers. The text’s content and execution serve to shape the performance both through performer reaction and interpretation, and by serving as the trigger for other events within the technological aspect of the performance. 

Bloodletting es una instalación que combina video, sonido, texto y música en vivo que explora el sentido del individuo como un objeto físico y mental en la era del Internet. Cada miembro del proyecto trajo texto relacionado con el cuerpo físico, auto percepción y percepción societal que la computadora elige y muestra en los monitores junto a los músicos. El resultado del texto es una guía a la que los músicos reaccionan para dar forma a la obra. En Bloodletting, el audio es también generado al azar en su mayoría; en base a algoritmos generativos, el discurso es creado mezclando el texto en un estilo similar a la Poesía de imán. Las muestras de sonido se distribuyen en un espacio de 24 canales cuya posición individual es también determinada por la computadora. Durante la organización del proyecto, el equipo utilizó como elemento principal la plataforma i-score, un secuenciador OSC desarrollado por Rahpaël Marczak.

Bloodletting 是结合了视频,音频,文字,和现场表演的装置艺术。该演出主要探索了当代网络时代在生理和心理的层面上的个体意识。为了表达这一主题,表演者探索了个体在技术大时代下失去个人身份的表演行为。每一个表演者均提供了一些与现实身体,个人意识,社会认知有关联的文字载体,通过电脑声效处理过的文字信息同步展现在显示屏上,从而创造出与表演者同步进行的装置艺术。文字载体的表达形式以及其内容,都为演出者提供了互动和即时反应的场所,从来使该作品成为当晚整场演出的触发点,与其他的表演艺术有机得结合在一起。

In Bloodletting, much of the computer-generated audio is determined by guided chance.  The computer-generated audio is made up of two major parts, computer-speech, and segmented musical samples that relate to the computer-speech.  To create the musical samples, each group member recorded an improvisation in response to each line of text.  As mentioned above, the computer-generated speech is created by mashing together the different source texts in a method not unlike refrigerator magnet poetry. In response to the computer-generated speech, the sampler plays a pre-recorded improvisation that loosely corresponds with the sampled text, while also applying various effects on the samples.  Some of these effects are subtle, while others are gloriously obnoxious.  In addition to triggering events/samples, the software also spacializes the samples within a 24-channel space.  The spacialization of samples is determined based on the configuration of the video samples at the time the samples are triggered.  For instance, if all the faces in the videos are facing right, the spacialization will send samples from the left of the room to the right of the room.

One of the challenges in writing Bloodletting was figuring out how to schedule events in a flexible, yet detailed way.  After several failed attempts using other methods, i-score, an OSC driven sequencer written by Raphaël Marczak, became the obvious software to organize events in the piece.  i-score was an especially convenient tool because it allowed the group to start the piece at any given moment within the structure.