Brief notes on the first public performance for augmented muscle sounds
Setting up for the performance | Suoni Sonori, Milan, Italy, January 2011 | Courtesy Ugo Dalla Porta
Here are some critical keypoints which arised from a joint analysis by my supervisor – Martin Parker – and myself regarding the first public performance of Music for Flesh I:
- to design intimacy;
- to create physical spaces with broader body movements;
- to change gesture patterns according to sound patterns;
- to reach a broader frequency spectrum, thus more interestingly exciting viewers’ listening;
- to not let die a single sound scene, but bring it somewhere, build more complex structures around it;
- to be able to switch in real time between different MMG signal functionalities (sonic source or control signal), while keeping safe the possibility to deploy both function of the signal at the same time.
Overall, what I need to focus the performance design on is a richness of color and a sofistication of form.
I look forward to using two sensors on both arms, as this could significantly enhance the richness of the sonic material, while providing the possibility of polyphonic structures.
On another hand, more exciting sonic forms may also be achieved by means of autonomous processes capable of reacting to the performer’s kinetic behaviour, adding machine state-dependent pattern changes, as also suggested by my friend Jaime Oliver during our last email exchange.