i n t e r r u p t r o u t i n e
Other services offered:
I am interested in the creation of broader experience and an extension of meaning through the application of
the computer technology that I have developed over the past 7 years and which continues to develop with more
recent performance work.
In particular, I am developing a generic system that will provide control, intentional or consequential, of multiple audio / video / data presentation to one or more performers either explicitly or covertly. I hope that some time soon it will start to take control of the performances itself with/without formulae and with/without intelligence.
The system builds on my interests in human-computer interaction, robotics and neural-prostheses (see research).
I am also developing agent-based simulations which I hope will throw light on the behaviour of the systems that underlie homo sapiens and maybe will become integrated into later performances.
The use of technology for its own sake really doesn't interest me. This can often cause a tension as it's what I'm best at. But if there's no meaning with it, why use it?
I have a great desire to see progress and development of all work in arts technology and am more than happy to share information about my work. If you require any further information, please contact me. Below I have included a biography of past technology, limited though it is.
For more information on other sites and artists, have a look at the performance technology database.
in situ: theatre company (Pete Arnold)
|in situ: theatre company (Pete Arnold)||
A performative installation that toured churches in East Anglia and comprised an audio and video installation consisting of 4x DVD players and TV's and one further VCR that was connected to all four TV's. Audio was available on TV's and on 3x audio amplifiers in separate locations feeding audio from the VCR, one CD player or three separate CD players (for which a composer, Robin Bunce, created a multi-source piece). A further 32 speakers played 8 tracks from 4 CD-players as whispers which were used to tell the story behind the installation.
We used a PC running a Java application to provide a mock airport display board, four TV's & VCR's under manual control from the stage and an audio mixer to route a MIC, the PC and VCR output to a HIFI system also on-stage. All tech. was controlled by a performer in role as a neo-freak-show master for a seance. Several video cameras and an ECG were used to monitor the seance actor.
WITHOUT HISTORY (2002)
Located in the University of Cambridge, Museum of Archaeology and Anthropology, nine actors travelled through the museum.
We used a PC with a MIDI interface and VJAMM software connected to a PIC processor interface to a set of chairs in a waiting room. A simple series of switches caused the PIC to issue various PLAY and STOP commands to display video on a series of TV monitors.
Live relay using battery operated cameras and 2.4GHz transmitters were also used to move video from floor to floor.
FATHER, CAN'T YOU SEE I'M BURNING (2000)
Live video in-camera edited with pre-recorded footage and replayed at several points in the performance.