Re: Choreography vs. Composition (and environments)

Nick Rothwell (
8 Jan 1998 10:45:18 -0000

> Live work really requires someone controlling/mixing as others dance,

OK, and this is what I was driving at. (After all, in most rock
concerts, there's someone else doing the mix and technical support
during the performance as well.)

> [Which question ? I was just using your thread to start a new one.]

I can't remember now!

> Yes, this is exactly how one can regard the data. I would prefer to
> refer to this data as performance signal data; "control data" is perhaps
> better reserved for the settings of the control programme that generates
> output FROM the signal data, i.e. which determines the signal-to-sense
> mapping, the thing that achieves a desired performance idiom.

By "control data" I mean what you call "performance signal data".

> We're going to have to agree a bit more on terminology slowly. (Hopefully
> my long-promised CMJ paper will help there). Expand on what you mean by
> "control points".

For that, you'll probably have to read *my* long-promised CMJ paper...

> How does a dancer exercise control points ? There are
> ONLY signals and filters (with settings). That's all there is:
> Here are my suggestions:
> input signals = "performance data"
> (generated by d(r)ancers)
> filter settings = "signal-to-sense algorithm"
> (chosen by musical/lighting/stage composers/mixers)

OK, but I think the term "filter" is misleading - it suggests that
information is being removed or rarified, rather than used in a
generative manner. But if we stick with "filter": presumably a
composer/musician could be improvising with the filters' processing
algorithms at the same time as the dancer is producing the initial

> In DranceWare++ the signal-to-sense algorithm is saved as a configuration
> file that can be saved or loaded, which I'm sure is how most programmes
> work.

The signal-to-sense algorithm could also be regarded as dynamic,
generated or controlled by a musical collaborator during the dance
performance. This is the sort of interaction which interests me.

         Nick Rothwell, CASSIEL        contemporary dance projects        music synthesis and control

years, passing by, VCO, VCF, and again, and again