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:
>
> INPUT -> FILTERS -> OUTPUT
>
> 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
signals.
> 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
http://www.cassiel.com music synthesis and control
years, passing by, VCO, VCF, and again, and again