Elemental Chaos (c. 6:00)
This is an experimental video inspired by the mathematics of Chaos theory. It has no linear scenario, but is a stream of consciousness experience that allows the viewer to glimpse the richness and complexity inherent in the ever-changing beauty of the world around us. In this piece, fractal graphics, created on an Amiga computer, are superimposed over camera footage of natural Chaotic phenomena, the shapes and rhythms of the cycling graphics echoing the images captured by the camera. The original music was composed using Chaotic procedures, realized on DX series synthesizers, and synchronized to the video track.
This piece won first prize in the AmiExpo Mixed media contest in 1992, and has been selected for presentation at several video festivals in the United States, including the Dallas Video Festival in November, 1992, at the New Orleans Video Festival in October, 1993, at the Fourth International Symposium on the Electronic Arts (FISEA) in November, 1993, and the Las Colinas Festival of Arts, April, 1994.
This work uses the Mandala software, which allows the image of a real-time performer to be translated into digital information and to become an active part of the program, thus, the audience see both the flesh-and-blood performer, and, at the same time, sees her image projected onto a large video screen. The image of the performer appears as a silhouette, stencilled from cycling graphics. Artistically, the goal is to represent the multiple personalities that reside within an individual, the apparent conflict between the yin and the yang, and the final resolution of all these apparently conflicting elements into a richly facted individual.
This work has been performed many times, including at the Fourth International Symposium on the Electronic Arts (FISEA) in November, 1993.
Alternate Spaces (5:10)
Concepts drawn from Physics often form the basis for my work, as in this piece, which was inspired by the concept of symmetry and super string theory. It transports the viewer from the subtle symmetry of nature into a muti-dimensional space where Escher-like images are found and the image of the performer is inverted and multiplied, presumably by being rotated through a hyperdimension. It was performed at the January,1999 meeting of the American Association of Physics Teachers in Anaheim, CA.
The software is CyberScape, which, while similar to Mandala, allows for multiple images of the performer, any of which may be presented reversed (X), flipped upside down (Y), or upside down and reversed (X,Y). The music is also composed using principles of symmetry in that it is constructed after the manner of a palindrome, the music proceeding up to a certain point, after which it is presented backwards. The sample comes from immediately after the turn around point, that is, when the music begins to go backwards.
Interface (c. 5:00 )
Composers dream of being able to think their music into existence, and, while this is still only science fiction, the Interactive Brainwave Visual Analyzer (IBVA) brings this dream one step closer to reality. The IBVA is a device worn on the forehead of the performer, reading her brain activity and sending it, via radio waves, to a receiver that is attached to one of the serial ports of a MacIntosh computer. Once inside the computer, these brainwaves are mapped onto MIDI functions, causing music to be created as a direct result of brain activity. The IBVA can also be interfaced with MAX, a compositional environment, which can create further interesting processing of the incoming MIDI messages. In addition, the same MIDI messages can be sent, at the same time, to an Amiga computer, where the Bars and Pipes software causes a different graphic to be displayed according to the incoming frequency. Performance is totally dependant upon the performerıs mental state, beginning with low delta and theta waves, creating a calm, meditative style of music, then moving into a more agitated, beta wave state to trigger the more percussive music of the second section. Finally, the performer must calm down again to return to the meditative musical style of the opening, causing the music to end in the same manner in which it began.
DarkPlaces (c. 7:00)
In this work the image of the performer appears as a silhouette, sometimes stencilled from graphics, and at other times from videotape images, conveying how all the horrors of the world are experienced, quite literally, within herself. It is a cry of anguish at the realization of all the dark places of the human soul, of hunger and hopelessness, of mans inhumanity to man, and of the relentless desire to control, whatever the cost. The protagonist finally escapes into the cosmos, where she becomes one with the infinite. The visual aspect of the piece is controlled by an Amiga 3000 computer running the Mandala software, which, as in Shadows, causes the image of the performer to become integrated into the program. The image processing also uses a genlock and an MX10 digital mixer. The performer must synchronize her movements with an independant videotape, and with the music, which is generated as a sequence in Performer running on a MacIntosh computer. The title appears as one word in deference to the DOS language in which the script is written.
This work was presented at the International Computer Music Conference (ICMC) held in Hong Kong in August, 1996, and at the Korean ElectroAcoustic Music Festival in Seoul, August, 1996.
Piper at the Gates of Dawn (c. 15:00)
Based on a short story by Richard Cowper (used with permission), this piece also uses the Mandala software, in this instance chromakeying the performer in front of previously created computer graphics. It is intended as a fantasy, a fairy tale, with an appeal for children, in which the three animal characters, a deer, a frog, and a bird, are transformed by the beautiful music of the Piper into their mythical equivalents: a unicorn, a dragon, and a firebird. Eventually the Piper is transported into outer space, where he and the mythical creatures romp among stars, planets, and galaxies.
Butterfly Effect (c.10:00)
In Chaos theory, a butterfly flaps its wings over Hong Kong, thus setting in motion a series of events that might culminate in a hurricane in the Gulf of Mexico, or an infinity of other possible events. In Butterfly Effect, video feedback is used with the Mandala software and computer graphics to trigger the succession of visual and musical events, thus introducing a chaotic element in which the flapping wings of digitized butterflies lead the audience down a totally unpredictable path. The performance instrument is a videocamera used with the Mandala software.
Chorale Prelude (c. 8:00)
Three MIDI triggers are sent according to color of the pixel touched by the mouse, enabling the performer to play a three part version of a Bach Chorale by moving the mouse across the screen. The Pixound software is used.
The Wizard of Id (c. 13:00)
A terrifying Wizard rises from the id to terrorize the "Good Side" of the unsuspecting protagonist. She gains control, however, and the two sides of her personality are united and mutually enriched. For two performers using the Mandala software.
The spiritual and physical aspects of the dancer battle to control her as she is torn between them. Finally she is able to resolve and unite both. For dancer with video, Choir, and Rock Band.
An opera based on a science fiction story by Richard Cowper (used with permission) in which a Medieval seer passes on to his successors the ability to see into the future, culminating in a vision of the destruction of the world by the dropping of a hydrogen bomb. The musical accompaniment to the singers is realized on synthesizers.
The Pi Man(c.45:00)
A ballet for dancers, chamber orchestra, string trio, solo violin, realtime tape manipulation, and laser projections.
Three Songs of Emily Dickinson(c.10:00), for Soprano and Piano.
String Quartet, 1971(c. 15:00)