If I understand you correctly, in that (1) is immediate and realtime
and (2) is not, then what I would be interested in doing is a live
version of (2). (And it's lot more than remixing in the conventional
> I do exactly the opposite. I record and play with effects live, sometimes
> very strong ones, and adjust my _performance_ to the effects. To me they
> are inseparable, as anyone who has sung with strong reverb will
> understand. The effect makes you sing differently. In the same way
> dancing with live output stringly effects the way you move. So I tend to
> (1) (live).
Fine. But then you've not answered my question. One can still regard
the control data generated by a performance (let me rephrase: DURING a
performance) as an abstraction which can generate (*in realtime*) one
of an infinite number of different outcomes.
(I'm thinking here of another possibility, where both the dancer and
the musician influence the score through a control system; perhaps the
musician performs to set up the control points for the score and the
dancer exercises them.)
-- Nick Rothwell, CASSIEL contemporary dance projects http://www.cassiel.com music synthesis and control
"...but you? You've got a monkey on your back: dedication."