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01 Dec

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Composite: Feedback

December 1, 2012 | By | No Comments


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In October, myself and poet Nathan Jones presented the latest instalment of our collaborative experiments with live text and analogue video titlers, this time at the Cornerhouse, Manchester. Building on the Composite Video Lectures format, 3 speakers (Nathan Jones, Hannah Silva, and Steven Fowler) presented papers outlining perspectives on poetry, violence, composition and performance. Each paper was accompanied by live annotation from the analogue video titlers, creating a secondary text projected live behind the speaker.

This time we attempted to develop the role of the live video documentation, projecting the feed across three screens, each feed mediated by a combination of layered analogue video titlers, and digital text interfaces (including Mathew Lee’s isadora twitter scraper). The feed was also recorded to a database created  in isadora. for re-incorporation later. Following the 3 papers, each speaker performed a semi-improvised work in response to the collected annotations. The recorded footage was represented for the second part of the session, interrupting the living performances of the speakers, encouraging to improvise with their own material as it was re-played in random bursts.

The performances were re-documented using the isadora database, and a final ‘composite document’ – a version generated through random selection – created to mark the event.

26 Aug

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The Universe and Me

August 26, 2012 | By | No Comments

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In June / July I became reacquainted with the world of theatre thanks to an opportunity to work on a show with Liverpool-based theatre company 20 Stories High. Director Keith Saha is a keen collaborator, often working with other artists and integrating different practices into his shows, whether it be rap, puppetry, or in this case, interactive video.

The show was called Universe and Me, and had been developed with the 20SH youth theatre group. It was a great experience for me to work again in this context, not having done so properly since doing video design for A Different Tune. Keith was really keen to push what we could do with isadora, and I felt technically stretched by some of the ideas we had. We used live camera recordings, mobile projections, used multiple webcams for simulating Skype conversations (and no, actually using Skype is never a reliable solution, not even for Skype!).

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19 Aug

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‘Time back way back – Babel Fiche and the post-apocalytic archive’

August 19, 2012 | By | No Comments

“O what we ben! And what we come to …How cud any 1 not want to get that shining Power back from time back way back? How cud any 1 not want to be like them what had boats in the air and picters on the wind? How cud any 1 not want to see them shining weals terning?” – excerpt from Riddley Walker by Russell Hoban

The above lament is taken from Russell Hoban”s post-apocalyptic sci-fi novel, Riddley Walker – a story set in a future England, in which society is living through a new iron age. Fragments of the previous world are dug up from the dirt, or passed down the generations in broken english, to form the myths that underpin there current ”civilisation”. The main character, Riddley, is haunted by the evidence of a previous society that was far more technologically advanced, and yet sewed the seeds of its own destruction in the “1Big1”. A similar kind of post-apocalytic shamanism forms the basis for Dave Griffith”s Babel Fiche film, currently showing at the Castlefield Gallery, Manchester.

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