(untitled live performance) for 4 improvisers, 4 video projections, and 4 channel recorded sound, to take place in a dark, rectangular room

this piece is an attempt to build an ecstatic sound/image environment in real time by combining live improvisers with a gradually intensifying electronic sound installation including pre-recorded sounds of the improvisers themselves, at first unprocessed and then eventually building into increasingly dense and interlocking drones. there will be 4 video projections (- this will almost certainly not be possible the way i imagined it - i need to talk to luke about whether jitter can do what i want/need, or whether i can simulate the very basic jitter effects iÍve been using (random xfade and playback speed) with another program that would allow me to record the results onto video, and then be able to use 4 projectors (or more likely, 4 monitors) running from 4 different tapes rather than using 4 jitter-controlled images). each of the 4 images is a composite of 2 shots of the same thing. for example, 2 shots of the same tree, one slow pan over the leaves and one fast pan over the same area, which looks more like abstract color blur. these two shots are overlayed (in jitter or some other program) to make a composite portrait of the tree which evolves in real time (or not, if i canÍt use jitter). it sounds very simple but its nice. the same sort of process is happening between the live and pre-recorded sounds. the 2 separate images of the tree combine to capture a more fully sensuous experience of the tree that neither of the individual images convey. similarly, the 2 separate sources of sound combine to form a more fully sensuous experience of the sounds of the instruments than either the live or recorded sounds convey. there is no physical or literal correlation between the sounds and images - the RGB information for the trees does not contain any information about what it feels like to see the video, so iÍm not using it to control any aspect of the sound. they complement each other better left as they are - simple, and repetitive. i am interested in working with simple and repetitive material to highlight the profound resonances present in the foreground and background of basic acoustic (and visual) material. both the video and sound call the observerÍs attention to his/her own perception as an ecstatic, creative act. iÍm thinking about steven feldÍs description of a kaluli drumming ritual, in which the sound of a drum is perceived as changing into the sound of a human voice. this reminds me of why i like music. youÍre listening to one sound and then it sounds like something else, and thatÍs what makes you cry.