Author:

 

Suguru Goto

 

Performer:

 

Suguru Goto (Composer, Performance)

Julie N. Cruse (BodySuit Performance/Dance)

 

 

• This performance was funded by The Aesthetic Technologies Laboratory,

Ohio University. This version of works are realized during the New Media

Residency Program, The Aesthetic Technologies Laboratory, Ohio University.

Special thanks to Dr. Katherine Milton, and The Aesthetic Technologies

Laboratory, Ohio University.

http://www.ohiou.edu/atlab

 

. Curriculum

 

Suguru Goto

http://suguru.goto.free.fr

 

Suguru Goto is a composer/performer, an inventor and a multimedia artist

and he is considered one of the most innovative and the mouthpiece of a

new generation of Japanese artists. He is highly connected to technical

experimentation in the artistic field and to the extension of the existing

potentialities in the relation man-machine. In his works the new

technologies mix up in interactive installations and experimental

performances; he is the one who invented the so called virtual music

instruments, able to create an interface for the communication between

human movements and the computer, where sound and video image are

controlled by virtual music instruments in real-time through computers.

Lately, he has been creating the robots, which perform acoustic

instruments, and he is gradually constructing a robot orchestra.

 

He has been internationally active and has received numerous prizes and

fellowships, such as Koussevitzky Prize, BSO fellowships, the first prize

at the Marzena, Berliner Kompositionaufträge, a prize by the IMC

International Rostrum of Composers in UNESCO, Paris, DIRECAM, French

Cultural Minister, and so on. His works have been performed in major

festivals, such as Resonaces/IRCAM, Sonar, CICV-Les Nuits Savoueuses, ICC,

Electrofolie, Haus der Kultures der Welt - Haimat Kunst, ISEA2002, NIME

2004/2005/2006, Olhares-Outono, Ressonancias, Audiovisionen, Utopiales

Festival, AV Festival, and Mixed Media Festival etc.

 

In 1995, his first opera "NADA (Media Opera)" was performed in

Shauspielhaus, Berlin. At the same year, he moved to Paris in order to

realize a project at IRCAM, Paris. In 1996, his "VirtualAERI" was given

the first performance at Espace de projection, IRCAM. In 1998, he was

invited to perform at Sonar, Barcelona. In 1999, he was invited to perform

at ICC in Tokyo. In 2003, his concert was given at Pompidou Center, in

Paris. In 2006, his “RoboticMusic” was commissioned by AV Festival in

Newcastle, England and was enthusiastically received by the large public,

as well as the mass medias. He has been producing computer music and

researching at the group "Gestural Controller" in IRCAM, Paris since 1995.

Lately, he has been working for Brass instrument robots with Artificial

Mouth at IRCAM, as well.

 

Goto's works have been shown in Canada, England, Germany, France, Italy,

Portugal, Spain, Slovenia, Ukraine, Japan, and U.S.A. His works are

published by "Edition Wandelweiser GmbH"(Germany). His "Giseion to Gousei"

is recorded on CD, which is available from Akademie der Künste label

(Germany) and his "Temps tressé III" from ALM Records (Japan).

 

 

 

Julie N. Cruse

 

Julie N. Cruse will receive a B.F.A. in performance and choreography from

Ohio University in June of 2007. Julie began dance training at the age of

20. Her background in physics and music composition inform her

choreographic use of technology and interactive multimedia environments.

Julie was the first dance scholar to work with new forms at the OU

Aesthetic Technologies Lab. In spring of 2006, she received an OU College

of Fine Arts Talent Award and the following summer received a grant to

attend the International Symposium for Electronic Arts. She has been

selected twice to participate in the American College Dance Festival, and

in Fall of 2007 she will begin the M.F.A. in Dance and Technology at The

Ohio State University. Julie will work with motion capture and zero

gravity in summer of 2007, and is currently preparing to launch a

non-profit, charitable dance company dedicated to fostering the creativity

of underprivileged artists and children and raising money to aid domestic

abuse victims.

 

 

 

. Program

 

1. Continuum

2. CsO

3. o.m.2-g.i.-p.p.

 

(total about 50 min.)

 

 

. Program Notes

 

1. Continuum

(Composition for Interactive Video and Sound)

 

This work is related to my on-going project "Artificial body and Real

body". The texts used in this work are coming from Mille Plateaux of

Deleuze and Guattari and the radio piece of Antonin Artaud : Pour en finir

avec le jugement de Dieu. Especially, the texts that are utilized in this

work, are about “CsO” (Corps sans Organs = Body without Organs).

It's a visual and sound montage that eliminates the notion of sense and

history and where the language is treated as an icon. The text is

incorporated and modified in the image. The idea of this is to mix,

juxtapose and to weave different representation of the body between them.

The video image shows real bodies but the body of the performer is present

and can transform its images in real time. We are having now a puzzle

where it's a matter of differences and resemblances between real and

virtual body. Once the body doesn't have any consensual reality anymore,

one enters the labyrinth.

The title, Continuum” literally refers to the strategy of this work. The

sustain sounds continue from the beginning until the end, while slow

movements of bodies are gradually transformed from a scene to another in

the monotonous way. The overall form neither lead any direction, nor

increase and decrease in terms of the tension. However, this doesn’t bring

any impressions of drone or any ambient effects. Therefore, the time is

merely interweaved. Its concept comes from two key words, "labyrinth" and

"tautology". The rarefied materials are unceasingly taken back on

different contexts, but also transformed according different figures.

Those sound braids, like maze within once advances, braided time layers.

The video is performed with Interactive System in real time. This

projection is presented by a performer on a stage and on a live

performance context.

 

 

 

 

 

 

2. CsO

 

Composition for interactive video and sound

 

http://suguru.goto.free.fr/Contents/Works/CsO/CsO-e.html

 

Composition : Suguru Goto

Interactive video Jitter : Suguru Goto

Performance : Suguru Goto

Voice : Paco Leonarte et Antonin Artaud

 

This composition is related to the project "artificial body and real

body". The texts used in this work are coming from Mille Plateaux of

Deleuze and Guattari and the radio piece of Antonin Artaud : Pour en finir

avec le jugement de Dieu. It's a visual and sound montage that eliminates

the notion of sense and history and where the language is treated as an

icon. The text is told by human and artificial voices but also

incorporated and modified in the image. The idea of this composition is to

mix, juxtapose and to weave different representation of the body between

them. The video image shows real and 3D virtual bodies but the body of the

performer is present and can transform its images in real time. We are

having now a puzzle where it's a matter of differences and resemblances

between real and virtual body. Once the body doesn't have any consensual

reality anymore, one enters the labyrinth. One composes a body without

organs, a CsO.

 

 

 

 

 

 

3. o.m.2 - g.i. -p.p., 1997-2004

(Composition for BodySuit and Interactive Video)

 

URL for download

 

Video

http://suguru.goto.free.fr/Movie/o.m.2-g.i.-p.p.(small).mov

 

statement for work

 

http://suguru.goto.free.fr/Contents/Works/BodySuit/BodySuit-e.html

http://suguru.goto.free.fr/Contents/Works/o.m.2-g.i.-p.p./o.m.2-g.i.-p.p.-e.html

 

http://suguru.goto.free.fr/PDFfiles/om2-gi-ppBodySuit(E).pdf

 

 

This composition is based on the density of texture and the alternation

between the dynamical and the statistical aspect of the movement. The

ideas of the composition are summarized in the title of which the initials

mean : o.m=Onomatopoeia and montage, both of them can be heard clearly in

this composition, 2=second version, g=granular, i=interpolation ;

p.p=poly-phase.

 

The mechanical textures are superimposed one onto another. At the same

time this creates poly tempo. In each section the texture starts in one

shape then gradually transforms into another. Not only in the sections,

but also within the whole piece, the overall phase gradually transforms

and intensifies.

 

The form is intentionally simplified, like the succession of "block type"

sections. The static sections anticipate with the kinetic sections always

following. These are abruptly alternated in this piece. This idea of form

was originally experimented with in a previous composition. In this

composition it is evolved to further possibilities.

 

Playing this composition, a performer wears BodySuit, on which 12 sensors

are attached on each joint of the body. BodySuit functions as an interface

of gesture. Depending on a movement, sound and video images are changed in

real time. This differs from a traditional instrument and a controller. A

player performs with larger movements, such as stretching and bending

joints, twisting arms and so on. This gesture does not function like dance

or theater. It contains, however, an element of "performance" within the

live musical context. The gesture is not previously decided in a strict

sense. An audience may observe an obvious difference of intensity of

movement between a static section and a kinetic section in the

composition.

 

BodySuit does not produce any sound by itself at all. Sound can be

generated with a program, "Max/MSP". Therefore, thist can be widely

changed according to the method of programming. In the same manner, a

similar gesture may derive a very different result on other sections in

the piece.

This BodySuit was developed by the engineer, Patrice Pierrot at IRCAM.

 

The interactive video part was done with Max/Jitter. This allows

modification of a movie file which was previously prepared and a picture

file in real time. These can effect each other by juxtaposing as

foreground, background and displacement. In this composition, the effects

are especially controlled by BodySuit.