David Linton will present 2 new works – one a solo audio visual work – the other a collaborative realtime improvisational AV duet with video artist Chiaki Watanabe: “Stroboscopy: GODBOX 101” is a solo AV performance investigating the perceptual effects triggered by the manipulation of the barest sonic and visual elements – across the stereo audio visual field in realtime:
A pair of sine tone generators coupled with a pair of stroboscopic lamps will be employed to demonstrate and perhaps unlock some of the secrets encoded in the residual bicameral structure of human physiology as it pertains to audio visual perception and resulting states of consciousness. With so much emphasis -in recent years -on the technological tools of reproductive media in the digital (and now perhaps ‘post’ digital) era – we offer the modest proposal that perhaps – in aesthetic/cultural terms – we may actually have explored relatively little new perceptual territory in the past 40 (400 or 4000?) years. So we think it might be worthwhile at this point in time to re consider some of the raw elements of audio visual perception itself. (don’t hate me ’cause I’m beautiful – this is the only job i have at the moment… :~) anyway : this exercise is being enacted as the result of having recently read: “Chapel of Extreme Experience – A Short History of Stroboscopic Light and the Dream Machine”(2003) by John Geiger – Soft Skull Press
“The Origin of Consciousness in the Breakdown of the Bicameral Mind” (1976) by Julian Jaynes – Houghton Mifflin Co.
Either of these works – particularly the Jaynes – if you’ve never read it – has a good deal more to offer on these subjects than this performance will – but we promise to make every effort not to waste your time.
This past February Chiaki Watanabe & David Linton began a series of collaborative realtime audio-visual performances around NYC venues which will continue through the spring & culminate in this performance @ Roulette Mixology ’05 in June.
While Chiaki’s and David’s respective sensibilities are born of very different developmental paths and ‘generational’ proclivities their collaborative process has settled upon a very solid commonality in relationship to the processes and ‘elemental’ materials of their relative respective foci – namely: sound modulated abstract graphic animation – and hand manipulated electronically regenerative sound – and the cross-talk between them. Both artists are presently committed to working from concentratedly curtailed pallets of basic material elements at the input stage to make the clearest common vocabulary available for extended fluid realtime conversations in abstract audio and visual expression.