Spurt of Blood

Tom Roberts

Spurt of Blood is an interactive dance piece that utilises music, film and interactive technology to create an immersive live performance. Taking inspiration from contemporary dance companies, film makers and electronic composers, the work represents a complete synthesis of all mediums involved. Each output, wether it be visual or auditory, is inherently linked and all share a common creative aesthetic.

It is within this synthesis that the project finds its success. Using a compositional and filming process that focused on attributes rather than narrative, allowed the work to develop a conceptual foundation, based on Artaud’s desire to express unconscious emotions. Although at times abstract, each medium has a definite purpose, and act as a device with which to express the often bewildering script.

Following the project from its initial ideas, this accompanying book explores each stage of development and its relation to the final project. It documents not only the creative processes involved, but also its conceptual development and methodology. Offering an insight into all areas of the work, it is clear that the project’s innate connection in all mediums stems from one creative ideal. This proves that in fact creativity transpires practical knowledge and skill in favour of an idealistic vision.

Sound

The musical development of this project began with the creation of ten varying sound palettes, that were intended to be the basis of the future project. Of the original ten, only two sound palettes were used in the final project, due to the change in direction that lead the work to follow a far more minimalist style.

Sound palette 1 ‘Dense’:

The first sound palette takes its inspiration from the world of electronic post-punk music, particularly the work of TV on The Radio and St.Vincent. The work’s sequenced drum patterns and plucked strings resonate with a gritty undertone, matching the original style of modern ‘city decay’. Its production mirrors this style, with heavily compressed drums becoming the main aural focus, and continuous movement and convulsion from the harmonic instruments. Although a stand out work among the sound worlds its inclusion in the final work was abandoned as it contradicted the final understated style.

Sound Palette 2 ‘Alembic’:

This extract again relies on rhythmic movement as the key focus musically, and as in the previous sound palette, the production has been styled to enhance this. With the doubling of the Tom rhythms, panned hard left and right, the sense of urgency is heightened and evokes the effect of tribal drumming. The fusion of tribal drumming and ‘industrial’ rhythms was intended to reflect the play’s grit, and primal ferocity. Again with its large collection of timbres and styles, this extract was abandoned for the final production.

Sound Palette 3 ‘Knight’:

Inspired mainly by the work of Dakha Brakha and other Baltic folk music, the intention to fuse this moody timbre with sparse industrial percussion, was an important factor in the original design. Although this version does not appear in the final production, the lilting rhythms (played by an organ in both) can be heard at the end of the first section suggesting some folk roots within the score. This extract was created entirely with MIDI, however it was intended to have been replaced by live instrumentation if it were to make the final cut. The haunting space effect, created by the long reverb tail, is a feature that has made an appearance throughout every version also.

Sound Palette 4 ‘Swell’:

The longest of all the extracts, this continually evolving piece, makes use of simply two textures continually keeping the listener’s interest through subtle manipulations. There is a very evident tape delay placed upon the harmonic sounds, that has been set to oscillate and inevitably cause a chorus effect. This slow but continual movement, keeps the extract interesting yet offers the intended calming effect. One technique applied to this section that was kept in the final production, is the sudden disappearance of anonymous sound sources. Throughout the project I have built multi-timbral textures that have a portion, or in some cases the entirety of the texture, that disappear forcing the listener to give their full attention.

Sharing a similar sound world to the work of Brian Eno the extract’s meditative sound may not be directly evident in the final production, however its influence is still present.

Sound Palette 5 ‘Collide’:

Taking inspiration from musicians such as HEALTH and My Bloody Valentine, this wash of feedback and tribal drumming became the main influence for the initial direction of the play. Its frantic nature suggests violence and horror, however the beauty of the wall of noise suggests otherwise. This strange juxtaposition and lack of traditional musical structure adds to the unease, and it was intended to become the centre piece of the entire work. It however did not have any part in the final production, and its style was inevitably avoided once the decision was made to create a minimalist style.

Sound Palette 6 ‘Swiss’:

Inspired by the work of house artists such as Stimming and Jacques Greene; where minimal bass lines are accompanied by chords rooted in jazz harmony and obscure percussive hits, this extract was intended to invoke the feeling of the Berlin underground music scene. Although I was pleased with the outcome, particularly the off beat feel and the enveloping intensity, it did not fit with the first production’s overall sound, let alone the final production and was inevitably left out.

Sound Palette 7 ‘Bawd’:

The intensity and allusive nature of this extract was greatly manipulated in the final production, with the finale of an entire section sharing this style. Having an unpredictable bass line, doubled with the semi-tone above, strips the extract of any obvious tonal centre and therefore mood. A simple pulse is kept by a bass drum, however the chords seem to follow a separate pulse, amplifying the sense of unease. The production used for this track is designed to create a sense of pressure on the listener, a theme that runs through the entirety of the final project. This extract provided a large amount of influence for the final production, as the combination of textures and timbre created the sense of unknowing which became the driving force behind the entire project.

Sound Palette 8 and 9 ‘Spurt of Blood’ & ‘Orgasm’:

Using the iPad application Borderlands, a granular synthesis interface, the manipulation of both these extracts come from the desire to create an intriguing blend of beauty and grit. By having the fidelity of each sound file reduced with each manipulation, meant that the final sounds used felt particularly apt for the final production. The end product became a mix of sound that seemed heavily produced yet still containing a lo-fi edge, mimicked by the allusive visual stimulus. With both extracts contrasting greatly, their combination in the final scene, alongside a third example created with Borderlands, gives a sense of space and mystique appropriate for the omnipotent themes expressed.

Sound Palette 10 ‘Puppet’:

As a contrast from the previous extracts I experimented with the use of only voice in this extract. By using techniques such as reversal, convulsion and short sampling the extract has many contrasting layers that join together to create an unsettling sound world. However its timbre seemed too blatantly obscure that all suggestiveness and subtlety would be lost when paired with the video and dance. It was not included in either of the productions for this exact reason.

First Design The first true design for Spurt of Blood, both visually and musically, was vastly different from that of the final production. Its structure was based on the combination of songs (as if in a soundtrack) and atmospheric sound design encapsulating the hypothetical space surrounding the dancer. It includes the use of text, in the form of lyrics as part of the soundtrack.

Its desired intention was to outline directly, the imagery displayed in the text, rather than focus on the implied themes of the sub-text. Artaud’s writing is based almost entirely on creating absurd images designed to shock and confuse. His stage directions include guidelines for many sound effects, and the pitch and timbre at which certain lines should be recited.

“I love you and everything is beautiful”

Combining the work of such modern electronic artists such as James Blake and Badbadnotgood I aimed to combine a cappella vocals and a ‘wonky beat’ hip-hop feel to create a modern interpretation of a love song.

Using the lines recited by both of the characters who are present in the opening scene, I created a layered a cappella introduction that incorporated the use of a vocoder. Giving the vocals a manufactured, un-natural sound, the vocoder was emulating the shallow love that both characters share (the ‘young man’ abandons the ‘young girl’ shortly after this scene to be with a bawd). Its harmonic structure is similar to that of a chorale drawing comparisons with through sung songs, often written as poems to a lover.

With the end of the opening section the music develops into an instrumental section. This section is propelled by a drum beat moving in and out of time with a Wurlitzer electric piano, playing variations on the chords that appear in the previous section. Both drums and piano are sat upon a drone that is apparent throughout the entire section, and at its end morphs into a rising pink noise drone. These sounds refer to the line “We are intense.” and purposefully envelop all of the music, ready for the sudden ‘Silence’ that is scripted. This then leads straight into the following scene, described within the stage directions.

“There is a noise as if an immense wheel is turning…”

Recreating this sound effect was my initial starting point. Using a combination of pink noise, panned from hard right to left, and machinery drones, that underpinned the sound of chains and cogs, created the desired effect of the ‘wheel turning’. The rhythmic pattern of the cogs

and the pulsating bass frequencies provided a basis on which to build a rhythmic pattern executed by tribal drums and distorted bass guitar. The use of tribal drums was an effect that I had greatly explored in the previously completed sound worlds (see ‘Alembic’ and ‘Collide’). The final inclusion to the opening of this section were multiple electric guitars that were forced to feedback, creating high frequency drones, emulating the tearing of sky. The whole section builds, until the tribal drums break into semiquaver patterns, eventually leading into next section.

“two Stars are seen colliding and from them fall a series of legs of living flesh...”

Taking inspiration from both the ‘Dense’ and ‘Alembic’ sound worlds, the use of electronic drum kits to provide a high energy, destructive nature to the section was greatly explored. It takes a great deal of inspiration from the work of Trent Reznor and Atticus Ross particularly their work for David Fincher’s adaptation of ‘The Girl With The Dragon Tattoo’. As explained earlier, the desired effect was that of a modern, industrial sound world. This is further explained when considering the dissonant sequenced electronic samples, that can be heard in the far left and right of the stereo field. They move in and out of auditory focus, causing a sense of disorientation and movement that matches the imagery of items falling from the sky.

Continuing with the use of distorted, highly gated electric guitar; its use in this section became that of a solo instrument. Its stepwise movement reflected the relentless nature of the falling items described. It has an almost ‘Shepard Tone’ effect upon the music, which represents the ‘hurricane’ mentioned in the text. This effect is only enhanced by a similar continually rising synthesizer, which was doubled, allowing the two tracks to oscillate together through pitch bending.

Although harmonically simple, the section has a very thick texture with many different sound sources moving all at once in contrapuntal motion. As a stark representation of Artaud’s stage directions, the segment tries to encapsulate all of the movement and chaos that emanates from the script.

Although this first design has many positive factors, it is in its blatant and un-subjective nature that the music finds fault. By adhering almost entirely to the script’s directions and clearly expressed themes, the sound has no real space in which to develop and create something unexpected. By concentrating on making music that was striking and at times shocking, I was in fact achieving the complete opposite; banality. The project’s aim of combining video, sound and dance as a singular art-form would have been lost, had the score had continued in this style. Therefore after completing this first draft, the project developed to become far more subversive and idiosyncratic in both video and score.

Vision

Story Boards

With the re-direction in both music and visual ideas, I began creating a set of storyboards that would outline the play’s themes and underlying concepts. With the understanding of Artaud’s wish to demonstrate unconscious emotion through physical movement, I began to create a triptych of visual scenes that would capture this idea. The film would become the backdrop, much like a stage set, for the dancer to explore the depth of human movement, and fulfill Artaud’s concept.

Introduction

To set the mood and theatricality of the performance, the original story board intended a set of closed curtains, opening upon an ariel shot of a scale model of a multi-story car park (the set for the first act). The music was intended to build across the opening, relating to classical theatre with the use of an orchestra tuning. The camera would then zoom to a close up of the tarmac, and make a swift transition to a static shot of the inner floors. This quick transition would be replicated musically with a sudden change of texture.

Familiar Relations

The opening scene of the film, as with the play, tells the tale of a brother and sister who ,unaware of their relation, fall in love with one another. Using an entirely monochrome colour scheme the development of the scene would be reliant on the use of light, and contrast. The use of the car park represented feeling of unease or danger as an unconscious reaction. Drawing a comparison to Artaud’s situation; were the two characters unconsciously aware of their familial blood whilst falling in love?

Car Parks are fascinating due to people’s attitudes and mistrust when using them. By leaving a large number of meaningful and valuable items in one space increases their vulnerability, causing much friction in human interaction. The idea of cultivating a negative emotion in a physical space suggests that our own interaction with any room can change its connotations for anyone, even if they have no previous prejudice. This would therefore make car parks one of the key locations in which to exploit this technique. It would also allow a true exploration into the sonification of space, not only in its physical sense but also in its atmosphere.

Visually the scene would begin by showing a seemingly still image of one floor of the car park, facing the exit ramp column. Beginning with very little light, a white light would seem to increase as if down through the column at a slow speed. This would be achieved through filming at a much higher frame rate, and slowing the film drastically. The light would continue to grow across the space of 2 minutes, revealing more and more of the car park, ending in a strobing effect. The use of post production would be minimal in this scene, however some visual distortion would have been added. With the film growing in such a manner the music was also intended to have a great crescendo throughout this scene, which would have been most likely be realised using drones and phasing.

The transition from this scene to the next would take place using a crossfade from the car park visuals to a diamond tiled floor. Again another monochrome image, its overlay at first, would suggest hallucination. However once it would become the only image left in shot, it would be clear that it was a symbol of movement. The intended movement of the camera, from one end of the floor to the other would suggest walking and the scene would cut to black.

In the initial design the speed of this section was slow, however the imagery seemed to hold enough power to last across the duration that I had pre determined. Holding the audience’s interest would of course be helped by the music which was intended to propel the scene ahead.

As an entirely monochrome design, visual colour as a composition tool would not be achievable. This meant that close attention would be given to opacity, exposure and footage speed.

Tell Me

Following the interlude closing the previous section, the second act (‘Tell Me’) was to open with a dark brick-wall tunnel, with only one visible light source. The light source at first glance would appear to be coming from the lamp shade swinging from the ceiling. However on closer inspection, and as the scene would unfold, it would become obvious that the light source was in fact independent of the lamp shade. I wished to capitalize upon the idea of creating visually confusing scenery, that would make the audience question the integrity of the objects they were observing.

This part of the film deals with making the main characters becoming completely aware of the previously unconscious emotions. This is achieved in the play by having the outside world pass judgement and disgust upon them, and ultimately revealing the dark truth surrounding their relationship. Even when told the truth, the main characters take their time to accept it, relying on emotions perhaps hidden inside their subconscious. However, eventually the truth becomes clearer and reveals its devastation.

I took great care in choosing the correct symbolism that would match this unconscious knowing coming to the foreground so dramatically. The choice to use a lampshade, which projects no light, has two meanings. The lampshade represents the conscious mind of the main character as it swings back and forth, in and out of the light whilst also representing the approach of clarity, as the light becomes more intense until it fills the entire screen.

On top of this moving backdrop, the design consisted of blending multiple distorted faces creating barely recognisable shapes, that would align at certain hit points. These hit points would be matched not only with the music, but also with the choreography. The idea was to have the choreography emulating the morphing shapes that were created on screen, across the stage, enhancing the audience’s immersion and the three dimensional aspect of the performance. The use of distorted faces morphed together, represents the confusion of morals which both of the main characters are faced with in the second section of the play.

Fading to a completely white background, the sense of realisation of both character’s faults are represented, and the shot allows for the final act of the play to begin.

Spurt of Blood

The concluding section to the visual triptych deals with the themes of God and the omnipotent. The play features a scene in which God interacts with the characters, ending with one character consequently maiming him, releasing the ‘Spurt of Blood’. Both musically and visually I intended to explore artistically the idea of omnipotent pressure or interaction, when expressing unconscious emotions, and whether our inner thoughts are guided by a God like force.

Visually this section would see the only obvious piece of human interaction within the scenes take place. Again shot in monochrome and vertically, the camera would open on a blank canvas. The canvas would then be sporadically filled by ink, that would appear as a knife would flick it across the page. The knife wielder would not appear in the shot, however the knife itself would appear on occasion.

Ending the film’s monochrome colour scheme, the ‘Spurt of Blood’ would be seen as the bottle of ink being toppled onto the page, spilling its entire contents. This would be accompanied by a fade to colour revealing the red ink’s resemblance to blood. At this point the music would begin once more, after having been silent from the beginning of the third scene.

To further exploit the idea of an omnipotent force, the canvas was then intended to appear as if upon a fireplace, whilst it continued to move and play out. The camera was intended to pan out to revealing a wood panel wall, with a central fireplace. Resembling the image of a stately home, it was designed to appear as if the audience had witnessed the entirety of the previous video from within this room; using the canvas as a window into each section.

I felt it was important to have a sense mirror imaging when regarding the end and the start. Artaud’s play does not conclude the true drama at all, merely leaving it to audience interpretation as to what consequence actually occurred. Interpreting this as a sort of cycle, lead me to use the same imagery to open and close the video. Having a curtain drawn across the room and the fireplace, was intended to add to the mystery and the fragility of the quick look that was granted, into the omnipotent. The dancer at this point would be responsible for moving with the curtain, making it look as though she were herself bringing the play to a close.

These first story boards provided a strong structure, aesthetic and production design for the final film. All of the objects chosen in these sketches, were kept in the final film and were used in very similar ways to the first intentions. The edits and the scenery changed slightly to fit with availability and the sense of faux realism that was developing from the first draft films. However it is obvious that these story boards are the genesis to the final product, and contributed greatly.

The drastic change from literal interpretation to a more abstract interpretation was a vital factor contributing towards the success of the play. Acting as a graphic score for the music,

with these story boards it was possible to begin crafting sound worlds specifically for each scene and location. It was at this point in the project’s development that the concept of a synthesised artistic performance became possible.

Programming

In recent years with the development of technology that measures human movement and gestures becoming more affordable, its application across varying media has increased greatly. The availability of both the PrimeSense and XBOX Kinect cameras has offered not only established digital media companies the opportunity to experiment with work in multi-media platforms, but also A/V enthusiasts and DIY programmers. Forums such as Kinect Hacks have developed a community of designers and artists sharing work demonstrating a wide variety of outputs, ranging from 3D photography, software controllers and virtual musical instruments.

Taking inspiration from many of these projects and the work of dance and theatre companies such as Earthfall, my own production of the Artaud play ‘A Spurt of Blood’ incorporates the use of an Xbox Kinect as a performance tool. Tracking the movement of a dancer across three planes (the X, Y and Z axis) it has been possible to provide control of musical outcomes, not only through sound triggering but also its manipulation.

The technology developed in three stages, with the software becoming more sophisticated with each development. Beginning with triggering sound on one axis whilst manipulation was measured on another; the technology continued to develop this original idea, until each limb could be recognised and measured individually. It has meant that the dancer’s individual limbs have become instruments in their own right, rather than simply considering her body as one single instrument. This has added a great deal of flexibility and has opened many opportunities on which to develop the software for further use in productions.

Patch 1:

Having no prior experience within the world of Kinect, I began by researching the already existing software and patches, that would enable its control within Max MSP. Although the patch later incorporated the software Synapse, within this genesis patch, all camera recognition is handled by the TUIO client software.

Unlike Synapse, TUIO is not Kinect exclusive and determines movement within a Z axis threshold, rather than tracking skeletal points. This makes the possibilities of control limited, however in many ways more reliable. Its reliance on an Z axis threshold was one of the key attributes that persisted throughout the project, and became a feature within the final patch.

Measuring both the X and Y axis of any limb placed within the threshold, the patch developed initially as a sound file player and filter. When the participants hands are within the threshold, the sound will be triggered and the EQ will move its frequency in accordance to the X position and its Q (quality factor) with the Y axis (high=wide, low=narrow).

There were many issues concerning the unreliability of this patch, which would have inevitably been detrimental upon the performer’s ability to control sound. Often TUIO would fail to recognise any limb at all, and would often begin tracking inanimate objects. Any variation in light or exposure within the performance space would also cause unwanted reactions to the EQ and the playback of sound files.

However in places the patch does indeed resemble the version used for the final performance. The playback of sound files is similar (note the ‘change’ object), as is their triggering within a set threshold. The patch provided a suitable platform on which to make appropriate modifications, which would eventually offer more flexibility and diversity in manipulations.

Patch 2:

Using the Kinect recognition software ‘Synapse’, radically improved the control possible in isolating both sound triggering and sound manipulation. Using UDP data received from Synapse, it was possible to unpack the coordinates of each limb upon each axis. This meant the possibility of assigning each of these parameters to any sort of control including MIDI, opening more cross platform experimentation.

Within the Max patch it can be seen that the left and right hand are controlling individual sounds, as well as the torso controlling another set of effects. In order to easily examine the data received via UDP, I have assigned the data coming from the X and Y axis of each body part to an XY object. The Z axis, as can be seen, is then controlling the vertical slider of each sound file. In this example the sound files are being played on a loop, so it is simply the vertical slider that effects the gain level of each sound file.

Each limb then has all of its data sent via MIDI, to the program Audio Mulch, for processing. Audio Mulch is a program in which nearly all parameters are assignable, allowing a great deal of control, within the realms of MIDI. Both the left hand and right hand have individual sound files, and in both cases the Z axis measurement is controlling their gain. A combination of delays and granulators were then added to the sound files, and their individual parameters were controlled by the limb’s X and Y axis. For example by moving the right hand to the top right corner of the XY planes, the delay would become a very short snap back delay, as opposed to bottom left, where it was nearly 6 seconds long.

The torso was responsible for controlling the overall reverb of the sounds and this is shown clearly in the second section of the accompanying video. By moving towards the camera the reverb would increase. For this particular limb I had shortened the threshold of where Synapse would create data, making the need for movements to be very deliberate.

This patch showed a great deal of potential in creating a suitable technology with which to use in the performance. However there were still areas where improvements were needed. The main improvement required, was the synchronising of control and manipulation software, bringing both aspects within one Max patch. Through the use of the VST object, it was possible to accomplish the control and manipulation gained with Audio Mulch and also completely synchronise the patch.

Patch 3:

In order to create a more stable and ultimately simpler patch, I began by removing or re-organising elements of the second patch. Firstly, I removed the torso as a point of control. I found that its contribution was minimal, and more often than not, prohibitive. At the same

time the physical design that came from using it as a source of control was often strained and in great contrast to the rest of the choreography. Sound file triggering, was therefore re-assigned to the hands’ Z axis.

This gave each hand independent playback, that was accompanied by a gate, creating a distance threshold. Its design is simple; measuring the hands on a scale of 0 to 127 and then only triggering sound once the hands exceeded 50. To avoid continuous bangs and re-triggering, I included the ‘change’ object. With this design, the entire sound file will continue to play until complete, and would only re-trigger when the Z axis’ value changes. With more freedom for both hands, I began to design the VST manipulation.

Having never used VSTs or Audio Units within Max’s interface, the prospect of having an entirely homogenous patch became the ideal scenario. The VST object is simple in design and is very easy to implement in an affective manner. The object includes the ability to output any data to any of the listed parameters within the selected VST. I therefore translated the X and Y position of each hand to control a different parameter. This new design and allocation of axis, allowed for an improved compositional process. As the torso was no longer required to trigger sounds, the dancer’s hands were free to move in and out of the manipulation zone, creating a more tactile experience.

The change in both the dancer’s approach to creating sound and movement when introduced to this version was intriguing. Rather than focusing on increasing gain and each limb as an individual instrument, she began to use both hands as a single multi-timbral instrument. She was now using Complex Movement rather than simply the Isolated Movement that occurred before. This shows that with the refinement of the patch, the possibility for musical expansion and player expression grows. Often, similarly designed technology, attempts to create more complex musical or visual output by including many controllers. However in this case it has been the simplification of software that has allowed complexity to flourish. In fact the complexity that has worked best, certainly in the most musical sense, has come from the participant and not from the technology.

The Xbox Kinect as a form of creating musical output can be viewed in varying degrees of success. Often seen as a gimmick, its application can often result in the performer’s alienation due to over complication. However when simplified, the possibility for both musicians and non-musicians to create, is greatly expanded. The success of this patch comes not from the way in which it triggers and manipulates sound, but from the participant’s relationship with gestural composition. The patch enables, on its lowest degree of engagement, a musical outcome in an effortless manner. However once a participant reaches a high degree of engagement; self expression, improvisation and collaboration all become realistic possibilities.

Spurt Of Blood

Act 1: ‘Familiar Relations’

Audio

The entire project begins with an unsettling atmosphere as a multitude of frequencies build to create an overwhelming texture, eluding to the audience, a following discomfort. Rather than using any sounds or motifs that have been stereotyped as alarming and/or tense, the focus was to create a simple, flat, almost indescribable texture that creating subconscious discomfort.

One of the techniques used regularly within the score is the sudden disappearance of thick textures, and in their stead a new section is introduced. This gives the audience no time to settle aurally, causing further discomfort. This technique can be first seen at the end of the opening texture. What follows is a re-imagining of orchestral tuning, created using a mix of frequency generators and orchestra samples. The result can be seen as a slightly confusing twist upon a familiar sound. It uses the connotations of orchestral tuning in a distorted pantomime fashion, and signals the start of the work.

The next two sections elude to the characters’ confusion as they stand facing each other; they ‘love’ each other, but their environment and actions are causing their love to become jagged, and meander from the usual and expected course.

Opening the section is a sparse arrangement containing only one instrument. The effected harpsichord, never settles in any one single motif, playing phrases that are divided with lengthy gaps of varying sizes. The correlation between each phrase is often minimal and even though they share similar rhythmical ideas and modal harmony, their movement and resolution is often completely unexpected.

Following the close of the harpsichord’s final phrase, we are introduced to an organ motif similar to that found in circus or pantomime. Using classical influences (Shostakovich Jazz Suite and Orpheous in The Underworld) the aim of this section is to draw attention to a sense of classical theatre. The constant change in score, from clear phrases and recognisable motifs, to simply enharmonic sound design, is often surprising and in ways, alarming. The desired effect was to create unrest and unease, as the music sways from side to side in an unregimented fashion. This would be later mirrored by the dancer’s actions and ‘puppet-like’ movement across the stage.

Included in this section is the use of sampled springs, cogs and Scarlatti’s Piano Sonata K208. The inclusion of a classical piano sonata, was used again to draw attention to the sudden movements from classical ballet and imagery to more contemporary dance. A gentle and flowing piece, it worked as symbolism for the characters’ love, as it tenuously grows and falls. The score fades to silence and the final section of Act 1 begins.

Representing the collapsing of the sky, as described by Artaud within the play, this section takes a different approach to previous sound worlds, using a thinner texture of building frequencies and enharmonic percussive sounds. Increasing both the pressure and tension upon the audience with rising bass frequencies, their attention is drawn to the repeated

sound of a struck match. An expectancy is built with the audience as they await a climactic finish. Rather than overwhelming the audience with a barrage of noise, the music decreases in volume, allowing only the matches to continue.

Video

Beginning with a completely black screen, there is no visual change until the orchestral tuning is heard. Suggesting an emptiness and confusion, the lack of visual stimulus is key to setting the desired unease and tension. The first visuals that are evident, is the slow ascent of a staircase and a focus on its surrounding brick wall, which concludes in a 2 second loop. It focuses upon a staircase and moves to shoot downwards through the two levels. The image is distorted, for the majority, however becoming clearer as the harpsichord fades. The staircase is an important image to begin the work, with the audience ascending into the surreal world which Artaud creates.

The visuals commence again, however this time, inside the car park (as mentioned in the story boards). Rather than use a scaled model, the filming took place in a real car park where natural light was limited. The camera climes a slope from one floor to the next, moving at an incredibly slow pace. Experimenting with frame rates and movement speed was greatly important in this section, as the relatively static image changes from real time to slow motion on a regular basis. This can be quite disorientating for the audience, particularly when light covers the otherwise completely dark path. As the camera reaches the end of the incline, it pans to the left revealing the car park’s floor, bathed in light.

Moving with the music the camera swings back and forth, and due to the chosen light exposure, so does the fluorescent lighting that is in place. This light matches the rise in frequencies, increasing the sense of imminent explosion. Throughout this entire section the contrast of the film increases, leaving the majority of the floor invisible under the light.

As explained in the story boards, Act 1 finishes with the image of a tiled floor that cross fades on top of the image of the car park. The floor’s colour, as with the rest of the section, remains monochrome, however the occasional inversion of colour causes the eyes to blink often making it difficult to watch. It is here that the technique of cutting up sections of the film creating a blink effect is first introduced. It suggests that the projector or screen is in fact a set of eyes witnessing the events in real time. As an audience, viewers are almost seeing the events first hand as they become the omnipotent on-lookers. It helped greatly to fuse another element of three-dimensional immersion within the performance.

The film briefly cuts, along with the music, to a black screen before Act 2 begins.

Act 2: Tell Me

Audio

The interval between the two acts consists of simply a bass drone that merges into the opening of the second act. Its start is marked by the introduction of an industrial like loop, not dissimilar to the same sound created by an 8mm projector. This mechanical sound design is designed to hint at the object of which is unclear within the film. Also similar to the sound

found when initially starting a machine, it suggests that the public interference with such matters (as explained earlier) works in a precise, clinical and machine-like manner. This stops abruptly and the second section fades in.

Consisting of entirely percussion, having been processed with reverse, long reverbs and delays, the sounds dipping in and out express the nature of accusations. They build slowly but have a sharp punctuation, and eventually become a relentless mix of noise. The use of panning is incredibly important to this section also, as the audience is enveloped by sound appearing from all directions; similar to that of Artaud’s characters. The dancer’s interaction greatly effects this section, as her manipulation triggers the addition of a discordant cello feature. Her movements cause varying degrees of manipulation (see Kinect Patch 3), and represent the main characters attempt at justification against the waves of public criticism. This crossover of dance and sound, gives the cello figures the appearance of language, a very traditional technique used throughout the entirety of ballet’s history.

Concluding Act 2 is a far more structured section, which is mainly inspired by the work of Andy Stott and Raime. The texture heard is designed to be incredibly thick, with little or no movement at all. Simply punctuated by a bass drum, there appears to be a relentlessness even more apparent than in previous sections. Contextually this section shows the characters’ want for conformity within the public eye. They want to be accepted, even considering their faults, and therefore are swallowed by the ‘machine’. A running theme with sound in this project has been to create pressure, and this section’s dark ambience demonstrates the effect well.

Ending the section, and beginning the second interval, is a combination of low driving frequencies, and tuned pink noise. This allows a certain amount of the pressure built from the previous section to trickle through, and close the section appropriately.

Video

The desired effect of this section was to focus on one object that would cary the intensity of the Act and become an allusive representation of the themes expressed. The use of a light fixture, which has no bearing on the brightness of its surrounding was an idea that stemmed from the original story boards. However in exchange for a surrounding brick wall, a simple white backdrop was chosen. This had a great effect on the purpose of the object and ultimately its presentation within the film.

Beginning as a close-up shot, it is not evident what the object might be, and this disguise follows the confusion planned within the original design. As its momentum swings the lamp shade back and forth, it becomes more obvious in fact what the object is, however it is not totally revealed until the final section.

As the image is relatively still, a great deal of processing was required in order to fulfill the desired effect. The ‘blink’ effect is used in great detail in the first section, as is colour inversion and a noise effect. Distorting the perfectly white image, represents the sinister themes that underpin the Act. It is not until the second section however, that the lamp shade begins to exploit its physical presence.

Having two images overlaying each other, the lamp begins swinging seemingly of its own accord, matching the punctuation of the sound. By drastically slowing the one image, it acts as a shadow for the other real time footage. This ghosting effect mirrors the idea of human interaction, and its perpetual motion once an idea has been ingrained. With the camera moving in and out of focus the audience struggle to gain a tangible hold on the objects presence and ultimately importance. However its movement and its attention grabbing nature proceeds to suggest an idea of distortion upon a ‘ignorant’ white background.

In its third and final section, the audience are allowed to see the lamp shade in its entirety, representing the characters undenying exceptance of the public’s accusations. However the honesty of the image is greatly challenged with the inclusion of overlaid images and further colour and movement distortion.

The images that are placed on top of the footage are, due to their confusing nature, at times sinister. The sexualisation of women’s faces act as a visual reminder of the incestuous couple in Act 1. The ‘true memory’ of the Act can be seen to have disappeared however, as the faces have been colour inverted, stretched or had their dimensions morphed.

This section also sees the first introduction of colour in the play as more lampshades are added, with varying playback speeds. Some have been tinted with a green, orange or purple hues, and the mix of colours gives a very hazy effect. Matching the pressure and confinement of the audio, this ‘haze’ effect suggests the further immersion of the character within the public. The varying playback speeds also increase a sense of dizziness and the reality of the images becomes almost non existent.

For its finale this Act briefly cuts to a white background, which is created using a loop of one white wall, moving back and forth. Rather than use simply a static shot, the movement of the white wall is disorientating, as it is difficult to perceive the movement by distance or time. It is only through the slight change in shade or fragments of black that the audience notices the movement at all. This works as a symbol for the characters, total un-denying trust in the public’s bombardment.

Act 3: Spurt of Blood

Audio

A particularly important part of the third and final act is the tension that is created by the lack of audio stimuli as it begins. Simply using enharmonic sounds, working as foley for the blood being splattered on screen, allows the image’s power to completely control the opening section. As silence had proved itself as such an asset previously in this work, an extended section where there was no scored music provided a suitable contrast to increase a sense of tension and expectancy.

In order to complete the final section of music a different approach was applied in the composition process. Using the iPad app Borderlands (2012) it was possible to create multi-timbral, fully playable instruments using four sound files and the apps in-built granulator. Choosing previously recorded material from various sound worlds, the instruments were designed to have contrasting tonality, texture and movement which would be complimentary

to one another. The composition process consisted of recording each instrument live, using the video as the only influence. Having such a tactile interface, subconsciously the movements that were made (increasing volume, envelope, granulation), matched what appeared on screen.

The entire last section consists of only four separate tracks. They occupy varying frequency bands creating a wall of sound that is relentless until the very end. Unlike the majority of the previous music the score has a major tonality, and is far cleaner in production style. This was intentional, and mirrors the video’s move from monochrome to colour. Although each track has its own extended notes and drones, it is within the shorter more sporadic motifs that the work has real interest. Occasionally moving into focus, are bell like sounds, that rest above the underlying textures. Drastically different from the music within previous acts, the conclusion of the work relies on this contrast to create such a dramatic ending.

Video

As the most striking visual element of the entire film, the opening of Act 3 marks a change in style. An entirely monochrome video, the start of the act is in fact no different. However by the end of the opening shot, the stark black and white has given way to colour. The splattering of ink onto paper, appears as if from nowhere at first. Hinting at the idea of an omnipotent force, a knife moves into shot for a split second. The sinister nature of the symbolism therefore leads the audience to think of blood when they view the red liquid. Finishing the section the bottle of ink is forced to topple onto the page, engulfing the white paper totally in red. It is here that both colour and music begin to fade into the performance.

The following shot focuses on the ink moving across the page, while the fade is still taking place. Slowing down the shot, gives the liquid far more depth of movement and ultimately gives the liquid more life on screen. Appearing as though it moves independently of any external factors, it suggests the overwhelming feeling of an omnipotent force within the play. Already having so many strong connotations already, I used the blood to express the unconscious emotions coming to the foreground, and manifesting themselves as imagery of pain and hatred. This image disappears suddenly however to simply reveal a blank white wall.

Similar to the one shown in the previous act, the white wall represents the realisation of the unknown emotions in its entirety. The initial realisation would offer clarity and perhaps relief. However, as is expressed throughout the final section, the consequences of the newly discovered emotions and the events that ensued, tarnish the bliss and eventually shroud the ‘white wall’ entirely. Images of the ink and the empty pot, move in and out of focus upon the white wall, representing their previous actions.

As was explained in the initial story boards the final scene was designed with a fireplace as the closing shot. This was kept for the final film however it is far less stark than the original intended shot. Using close ups inside the fireplace provided very unusual footage, as the dust confuses the eye. The fireplace successfully finishes the play as its association with fire and destruction suggests a suitably conclusive ending. However it also represents the inevitability of the play’s themes. By engulfing the camera’s view entirely, it eludes to the influence of the omnipotent. However, rather than viewing it as a humanistic force, it suggests an emptiness.

It is this emptiness, expressed as monochrome throughout the entirety of the film, that refrences the un-spectacular and the mundane, offering an existential answer to the play.

Dance

As both film and music were designed simultaneously to represent Artaud’s themes, the choreography initially began as an 3D, physical extension of both mediums. Considering the performer’s speed of movement, body contours and placement onstage, it was possible to create isolated movements as well as entire routines that represented the accompanying work. However as the choreography developed, it took on the role of the primary source of narrative; either representing the characters themselves, or the ‘unconscious emotions’ that were the result of the play’s script. This form of narrative was further aided by a combination of dance styles, ranging from Ballet to Contemporary Dance.

Prior to the rehearsals a meeting between myself and the performer was scheduled, where my initial thoughts and designs were discussed. Although originally intending to give all responsibility to the performer, it was clear that due to the level of conceptual design, I would take an active role in the choreography.

Rehearsals

Act 1

The first act, representing self unawareness and confusion, demonstrates a collaboration of both contemporary dance and traditional Ballet. Beginning with an orchestra tuning, the performer was given a contextually similar brief; to use traditional warm ups found within the world of ballet. The use of ballet came to signify traditional elements of the score, as well as the naivety of the main characters.

Swiftly moving from the ballet warm ups, a routine was devised to accompany the fragmented harpsichord section. It signifies the character’s puppet like presence within the play as a whole, as the dancer moves only when music is playing. As each phrase varies in length, it would appear as if the dancer is a wind up toy under the control of a broken music box. The individual movements have been designed in a similar style, with the body ending each cycle in a rigid stance.

It was important to capture in the following section the illusion of two characters (named Young Man and Young Girl in the play). The dancer portrays both the Young Man as she leads a waltz, and the Young Girl as she performs solo ballet routines. Their routines answer each other as does the accompanying music, and its end signals the beginning of the “tearing [of] the sky”.

Moving from upright swaying to wildly swinging her arms, the dancer emulates the sheer power of the natural force upon the characters. The low body position refers to the pressure that is built by drones and mechanical noise within the music. The relentless affect of the music is shared with the choreography, creating a nauseating sensory experience. Closing the act the dancer assumes a position of submission, allowing the sound to wash over her frame and appear to in fact move it.

Act 2

As the second act represents the influence of surrounding people’s affect upon the guilt and realisation of consequence, the dancing intends to reflect both manipulation and a want for escape. Beginning with the sample of an 8mm film reel spinning, the dancer moves tentatively towards the front of the stage, looking blankly into the distance.

She becomes the public in the second section as her hand gestures and manipulations turn and twist the psyche of the main characters. This section uses the Xbox Kinect to trigger and manipulate samples of a cello. The added musical content suggests a sinister manipulation that is found within the play, and can be heard to grow across the entire section. Using simple associations of physical manipulation, it is possible for the audience to entirely relate to the narrative expressed within the play.

Abandoning her role as the public the dancer then continues to express the sense of confusion from the main characters. Moving from left to right in a repeating routine, the idea of an unescapable truth is revealed. Often using moves resembling falling or grasping, the emotion of struggle is evident. I felt it important to demonstrate tension in the dancer’s physical presence, mirroring my initial compositional concept. The section ends with another submission, as the dancer falls to the ground from the pressure of the music.

Act 3

As the third act begins, the dancer once again portrays a new role; that of the ‘Spurt of Blood’. Based on an omnipotent force’s presence in human action, the dance moves from relatively lifeless movement to uncontrollable spins and stretching.

Moving in a diagonal line, mirroring the start of the performance, the dancer gradually gets lower in stature until she is kneeling at the opposite end of the stage. This follows the movement of the ‘blood’ across the screen and her blank facial expression suggests a lack of human presence.

As the music begins to grow towards its end, her movements become more exaggerated, as if being thrown around by the omnipotent force that is the music. Again, as in the second act, she moves from right to left, however this time in a far less controlled manner. Resembling other areas of the play, these sequences show a development and indeed an increased pressure upon the characters.

Suddenly ending, the music almost entirely disappears, leaving the dancer static in the middle of the stage. Looking upwards, as if to the omnipotent force, she is flattened by the pressure into the same position that finishes Act 2. It is clear that the final push, from the unknown force has crushed the characters and indeed all sense of freedom.

By using such strong imagery and interpretive physical movement, it was possible to portray the narrative of the play, without the need to resort to stereotypical dance formats. Where the music and film set an ambience and an abstract sense of discomfort, the dance allows the audience to completely relate to Artaud’s characters and concepts. However it is also

responsible for enhancing the music and film’s potency. It is this complete synthesis of influence and reliance where the mediums have found success, both individually and collaboratively.

Having no previous experience working with dance, my knowledge of choreography was limited. However having clear desires when considering the visual aesthetic excused the lack of technical knowledge for a far more organic creative process. The creative design that had permeated both music and video, became the driving force for the choreography also. This experience proved once again, that real creativity is not inhibited by a skill set or technical knowledge, but is enhanced if allowed to combine and synthesise art forms.

Future

Capturing the live affect of all three mediums working in tandem, was a great pleasure. Unlike previous visual projects I have completed, the staging took place in a naturally light room, designed for dance performances and rehearsals. The video documents the performance well and enhances the desired immersive quality of the work.

As a performer, April Dalton worked fantastically well under time restraints and with unusual musical accompaniment. Her natural ability to memorise dance routines was outstanding and meant that when capturing the performance, there was little worry of mistake. Through this close collaboration, my work and ideas have been translated appropriately and to the highest standard.

The editing process was given equal importance as the initial filming, and what has resulted is a very clear and intriguing work of art. Until completing the editing, it had not been evident how important the dance element was to become. In hindsight I believe that its inclusion has completely re-defined the work making the music and film less independent. However, I do not consider this a failure on behalf of the music or film. Rather, it suggests that in fact the film, music and dance are all working correctly together and have had an equal share in enhancing the project.

I believe that this work marks the beginning of a creative move, in which I would explore material for live production and dance. With so many dance companies and theatre companies expanding into the world of interactive technology, the chance for collaboration has grown exponentially. Capitalising on this increase would allow me to explore many avenues which may have been closed to previous generations of artists.

However, its most lasting influence can be seen in my own creative processes. By leading all areas and mediums, I have found a passion for creating multi-sensory theatrical work. Music, film, acting and dance all have a great affect on human emotions, and their collaboration within an immersive environment greatly enhances this. In the coming future I would hope to expand my designs to incorporate live instrumentalists, actors and continue using film and dance.

Throughout its entirety, ‘Spurt of Blood’ has been a project that would test the ability of one idea to transpire through multiple art forms, and still be successful. It has revealed that an understanding of art in any form (in this case music), can be utilised across contrasting mediums. Revealing links between texture and visual mood, structure and design and pitch and colour, ‘Spurt of Blood’ has deconstructed my creative process to consider all mediums as one. This project has allowed me to abandon the constraints of expectation and pre-defined methods, and create in the most organic, synthesised manner. I believe this concept lies at the heart of the project’s success, and will continue to influence my work for years to come.

Appendix

Story Boards:

(1)

(2)

(3)

Max Patches :

(1)

(2)

(3)

Film Stills:

(1)

(2)

(3)

Rehearsals and Choreography:

(1)

(2)

(3)

(4)

Thank you to everyone who supported & helped make this project a success.

Music, Design, Choreography, Live video footage & Programming: Tom Roberts

FIlm footage: Thomas Williams

Performance & Choreography: April Dalton