Part 1 of Part I of the Inventions Suite by Toenjes, Marchant, and Smith. An interactive dance with motion tracking, custom instruments, and loop recording for making music on stage with video effects. Live performance at the Cleveland Ingenuity Festival.
I am currently suffering from a painful lower back that has sidelined me from golf, and from much of life. I haven’t had a lower back issue in many years, so I’m unsure why it is hurting so much now. It may just be a perfect storm of several causes, which started with a desire to increase my rotation speed to gain distance, and take my golf game to a new level. I think I’m suffering because 1) I suddenly began increasing the rotation speed of my hips with, probably, less-than-correct form, 2) I lifted something heavy with a twisting motion at the same time, and 3) I was experiencing the stress of producing our university dance department’s big fall concert (which involved lots of organization and many late nights in the theater).
I have suffered through some fairly major injuries, and when I look back on them, I realize that each one of them has been a window into my weaknesses, and overcoming them has been a path to knowledge and greater strength. So I am looking at this current injury from the other side right away, not freaking out about it, knowing that if I treat it correctly, it probably will go away as quickly as it came on, and I’ll be better off for it. Trying to identify the lessons I can learn from this injury now is helping me to remain calm and equanimous while in such pain.
I am not yet sure about the philosophical lessons I might learn, as I am only now just beginning to heal. But the physical lessons are clear: I have exposed a weakness in my anatomy that needs to be addressed before I can move to the next level of golf scoring (and probably, by extension, the next level of philosophical awareness). So not only am I seeing the chiropractor and body worker, but I also am searching the web for golf-specific strengthening and and stretching exercises to incorporate into my fitness routine. I’m excited that these will start to take me to that next level of distance and confidence, which are essential to low scoring golf rounds.
Winter has just arrived here, and it will be months before I am able to get out onto the course with any regularity. Winter is the time to heal, to consolidate, to let the lessons learned over the summer settle deeply into my mind-body subconscious. And so, an injury at season’s end is perfect timing, giving me a few months to work it out. I look back at this time to my most worrisome injury, the tendonitis I developed in college while practicing rigorously for a piano competition (again, probably with bad form). Both of my hands gradually stiffened as I practiced the dastardly difficult middle section of Chopin’s Nocturne in F major. Worried, I saw a doctor, who diagnosed severe tendonitis, and counseled me to stop playing piano. Luckily, the next semester I was scheduled to study abroad. So after a summer of weeping and worrying, I was able to distract my self-pity and “get out of myself” with a lengthy trip to see the wonders of Europe. In Vienna, where my semester abroad was spent, I went to many concerts and was able to absorb a lot of music without any of my performer’s ego involved. When I returned to the US, my hands were feeling a little better, so I tentatively took some piano lessons. My piano teacher asked how I’d managed to improve so much, where I’d been studying! That’s how I came to the knowledge that time off is actually a very good tool for bodily learning. The body-mind was able to filter all the information I’d been gathering through the process of practicing, becoming injured, opening myself to other experiences, and listening to all that music, and then percolate it back up into a more fully realized musician.
Nonetheless, with my hands still rather weak, I returned to college and began studying the harpsichord, which requires much less hand strength than the piano. I played my first note—and I was thunderstruck by the sound that rang in my ears! In magical wonder, I played that first note over and over again, listening, enchanted, as the world of music suddenly opened its secret knowledge to me. I had found my instrument! I’d always been a rather mediocre pianist, but this injury-instigated detour eventually led to a successful career as a harpsichordist. Thus, what had first begun as a rather tragic circumstance actually turned out to be a guidepost to a path leading to knowledge and success.
This profound experience has always since given me hope when faced with injury, and knowledge that injuries are actually forces for good. They are the windows into our weaknesses, and if you can only look through them to what is in store for you on the other side of healing, you can take comfort in the knowledge that something essential for your growth awaits you on the other side. I can’t wait to get started with my new exercises, and see what happens next season!
Went to hear Steven Mitchell play class at the National Ballet of Amsterdam today. He has a rich sound and strong touch--quite nice to listen to. Afterward I went to the Flea Market behind the opera house to pick up a few things, including a Hi-8 video cassette with case. I promptly threw away the tape, because I just wanted the plastic case for a portable wireless sensor prototype (more on that story below). Then this evening I saw a performance by the Netherlands Dance Theatre. What gorgeous dancers! And really nice choreography, very sophisticated high Euro-style. Back to the sensor...I want a wireless control button that I can put onto any instrument I'm playing anywhere in the space, for recording loops into my new Max/MSP looper patch. So after I came home from the flea market, I went into the STEIM workshop and put this little baby together. Jun here is so helpful—he uploaded a new sketch to the Funnel i/o (I don't know what I'm going to do when I get home, because this is custom code and I'm not sure I can get it from him) and gave me a switch for the gizmo. He then gave me a place to work, and a little while later, Violá!—I had the sensor finished. It works perfectly. I put velcro on the drum, and it's cool how I can just move it around, and stick it to instruments that I have at hand. It's not as full featured as a wii, but it's light weight (eventually I'll get it to be much smaller (Arduino minipro, xBee, smaller battery) and I will be able to quickly stick anywhere. I might just keep it to one switch only—just that, a one-purpose thing, bucking the trend of one thing doing everything. Top view of the completed prototype:
The case is great for prototyping because it has a nice door for accessing the electronics.
Yesterday everyone but me left STEIM, as the orientation was over. I got a computer, keyboards, and other gear from Nico and set up shop in Studio 2. It was a lovely sunny autumn afternoon, so after taking leave of the others, I walked to the Museum van Loon, right around the corner from me, which is an 18th century mansion on Kaisersgracht. Hanging there are portraits of the van Loons, the earliest dating back to 1616. They are in pristine condition (probably around 20 of them) and would be proud acquisitions of the Rijksmuseum if they could get their hands on them. Quite lovely. Then I walked around the canal to foam, a photography gallery and publishing house. There were two exhibits on, both really great. One was of the photos of a Russian, Alexander Gronsky. We had just been talking about abandoned cities in the world (google this and what you find is astounding), and one of the two series of photos by Gronsky was of Russian landscapes in places where the population density is less than 1 person per 20 sq. kilometers. These large photos were quite carefully balanced in composition, mainly white (snow) with striking bits of color that focused the eye and played like notes on a piano score. Each photo had a strong narrative element to it as well. He's won a big award for his photos from foam, and it is easy to see why.
The second exhibit was photos and a film by Johan van der Keuken. He'd worked in a format I have been thinking about a bit, that of the pictorial narrative: a series of photos from the same event from different points of view, sort of like a film with a very very slow frame rate, but edited with close-ups and from different angles. He has one very famous photo, called "île Saint-Louis" (1958) that was meta-documented in one room, but it was a good enough photo to deserve that one room to itself.
After a send-off dinner at Café de Jaren with Josh, I went back to the studio for the night, working on a setup for live looping, making music and writing Max patches and experimenting with LiSa looping software. I decided to really start very basic with LiSa, a good decision. While talking with Josh at dinner, I vowed to do an internet performance every two weeks at some time TBA, using whatever advances I'd made in a personal improv performance setup. While working on the beginnings of this idea, I ran into lots of difficulties, but some interesting accidents happened at the same time. One such accident is that I had created an 8-track simple looping patch in Max/MSP, and each track is successively triggered automatically by loud bursts of sound. Well, during the improv session, I inadvertently was making loud enough sounds to step through the tracks quite quickly at sort of random times, which started this ever-evolving loop of short sounds—evolving because the recording kept cycling around the track count and recording what it heard. Unfortunately this resulted in the end in a terrible feedback loop. But this is an interesting idea to be able to be switched on/off for a loop bed.
I also decided that one way of playing through looping live sample track that might distinguish me from others is the way I play it on the synth keyboard, making musical tones from the sample tracks as well as noise/loops. The type of samples taken is something to delve into, as words have their own distinctive character while playing back, as opposed to tones. This is worth experimenting with, using poetry and stories and observations, yet spoken/sung in a specific way?
Yesterday Frank Baldé gave a fairly in-depth look at junXion software, which is used for i/o purposes from sensors, wii, video, audio, into the computer. It is very clever and easy to use, and is quite nicely featured, serving the purpose not only of i/o, but also of routing i/o, and a unique feature of allowing a fairly deep level of interaction between and among sensors. This could be very useful in quickly experimenting with multiple-controller systems/instruments. By the end of my practice session I was able to play a software synth and do some fun control of other basic MIDI parameters with my wii controller.
It was a beautiful sunny day in Amsterdam. Most of the workshop participants went to eat a special Dutch lunch of kroket (which is some lamb rolled in mashed potato(?), breaded and fried, and served on a bun with mustard) and a cone of french fries slathered with mayonnaise. I must say my stomach didn't take to that lunch very well. But afterward I took a nice walk around the city, followed by an experimentation session in the studio. The day was capped off by dinner in our communal kitchen with Josh, Alex, and Nora, where we shared ideas and generally had a convivial time.
Yesterday we had our first couple of STEIM sessions. I met all the other workshop participants, who are: Josh, a PhD student from Sussex, in England, who is very bright and easy to be with. He and I went grocery shopping together and are sharing food; Alex, from Australia, who is more into art installation than music per se; Dave, from Ireland, who is figuring out what he wants to do; Nora, from Germany, who is a clarinetist and wants to get into electronic music more; Eric, who I don't know much about, other than that his accent is American and he's tall. First we had an orientation to the facilities, and then a presentation on the history and mission and artists at STEIM. Then followed a regular Tuesday lunch with all the STEIM people in their little common room. Afterwards we went back down to the main studio for a session on the software we will mainly be using this week, called "LiSa." What floored me is that it is almost just like what David Marchant, Roger Cheng, and I developed for our dance "Soundwave Surfing." LiSa is a program that records live input and then immediately starts playing it in loops and you can "surf" through it. It made me feel various things: 1) I've already done this sort of thing, 2) what we've been doing is of 'world class' caliber, 3) maybe this is a sign that this is the direction I'll be going in with custom instruments in general??
But I'm really putting some time into thinking about what an instrument would be like for me to grow with in personal electronic music making. After I finish this email I am going to start collecting all my thoughts and begin to hone in on what my personal electronic music aesthetic might be, and what direction I will want to take here in the next two weeks. After our LiSa session yesterday, most of us went out to a café and had a beer sitting outside in the sun by a canal. It was a nice time to get to share our backgrounds and just enjoy the sun for once. Afterwards Josh and Alex and I came back here to make dinner. Then I went down to the studio and got to work learning LiSa.