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Idio-synchro-sies
The decision to use timbres available from an external synthesizer instead of synthesizing the sound in real-time within the computer was primarily done for practical reasons. With both computers heavily tied up with the video analysis and algorithmic processes in Max, using MIDI to control outboard gear for sound generation was an efficient solution compared with adding a third computer to handle the signal processing tasks.
Within the external synthesizer (an Ensoniq TS-12) there were two sets of eight sounds each selected and programmed in advance, like a palette of colors that could be called up at will. One of the sets featured essentially familiar acoustic instruments, while the other was a hybrid of electronic and more obscure ethnic instruments. Each set produced distinctly different results, for example the electronic sounding set had sounds that would not decay automatically. This resulted in the occasional inadvertent pedal tone as the dancer tripped up the process before a note-off message could be sent to the synthesizer. The result turned out to be a desirable accident since it contrasted well with the more percussive quick-decaying acoustic sound set.
In order to create additional variety it was sometimes effective to switch one or the other cameras off. By doing so, the dancer was able to move in at least one trajectory where their movement would not trigger musical events, or would trigger them only minimally. This provided a satisfying thinning of the texture periodically, which had the effect of clearing the air.
The picture below shows the Max subpatch for toggling between cameras.
Another method for achieving variety was to transpose the zone index numbers for one of the grids by some degree in order to shift the pitch material up or down. With extreme transpositions, there were interesting artifacts which resulted from using notes at the peripheral extremes of the synthesizer’s sound sample map (eg., key noises were mapped to registeral extremes in some cases).
Ultimately, both these tools for variation were triggered automatically on cycles that were out of phase with each other. Computer B was given the task of toggling at random between one of the three permutations for the on/off status of Cameras A&B (1. A-on B-on, 2. A-on B-off, 3. A-off B-on) using the arbitrary time interval of 37 seconds. Computer A transposed the zone index numbers within a 128 note range at random every 51 seconds, and Computer B transposed its zone index numbers every 60 seconds. These automatic processes were allowed to run unhindered producing a gradually evolving kaleidoscope of endless possible combinations; except during the daily showings, where a manual override would be used to allow more direct control over the pacing of the performance.