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omega

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K I T E !!!

!Contributors

Suzanne Kite James Vortex Hurwitz- Technical Director Jenica Anderson- Producer Devin Ronneberg- Sound Director Becca Green- Choreographer/Dancer Lyle Henning- Stage Design Eben Zboch- Animator Joel Reaves- Film Director Alexandria Rema- Dancer/Choreographer Lewis Godowski- Programming for Kinect Hannah Athena Lawton- Costume Designer Eric Singleton- Programming for Gyroscopes David Howe- Live performance Kelsey Lanceta - Dance performance Jackie Urlik- Harp Marilu Donovan- Harp Matthew Allen- Vibraphone Margie Pratt- Photography/Video Alex Zarth Photography/Video Mario Luna- Sound Hil Jaeger- Sound !!!!!!!!!!!!!!!

Project Synopsis Omega is an hour long exploration of that which cannot be accessed, and therefore cannot be sorted in our perception. !

The human mind insists on categorizing, filing, and “othering” in order to make sense of reality. This piece seeks to identify perceptual boundaries through the use of different methods of counting, utilizing physical, visual, and auditory phenomenon. The moment the brain forgets that counting has been occurring, the moment where perception breaks from conscious categorization, is the door to the inaccessible. By exposing these limits in perception, every realm of categorization can be exposed, especially that which involves human interactions. !

My piece is an hour long set with 8 self-contained pieces that interact with each other. !1. While wearing an iPhone that is networked with Max for Live & Ableton Live, I will use the gyrOSC application and Max patch developed by Eric Singleton to control sound and video just by placing rocks in continuous circles on the floor. As I reach 80 rocks, the 80 pitch frequencies will reach stability and create the phenomenon of hearing white noise, a perceptual phenomenon where one feels they can hear every pitch possible at once, at an equal volume. Thus, the brain tips over into infinity. !2. The second piece will begin with single impulses of sound, and slowly expand into tones and textures. Each stage of sonic development will be animated and projected onto the scrim mounted in the space. This form of counting will take the audience through a sonic/visual tour of 1 dimensional space, all the way to theoretical 6D space, through the use of theoretical shapes. Surround sound will be use to create the sonification of these dimensions. !3. Videos of hands counting will be projected and count the audience through the rising tones, hinting at the ‘tritone paradox’, a phenomenon where the brain cannot distinguish between higher and lower tones. The ‘Shepherd’s Scale’, an auditory phenomenon that creates an endlessly rising sound, will emerge, so the brain is tricked into thinking the sound never reaches any point, but continuously rises into infinity. This will be controlled with a midi controller which will send OSC messages to Ableton, and the visual program Resolume, at the same time. These phenomenon will be layered and re-organized with real instruments live, tying into the layering of the video simultaneously. !

4. The fourth piece is an attempt to recreate the theory of “Speed Up” proposed by philosopher and mathematician Rudy Rucker in Infinity and the Mind. Animation will coincide with the auditory phenomenon, where evenly spaced impulses will be sped up until the rate of impulses turns into a pitch. These pitches will exist and mix at different levels of acceleration, creating rhythmic content, and in turn be held out at different intervals, creating harmonic content. !5. The fifth section exposes how constructs of the mind reach beyond counting, such as the limits of body, self, voice, and identity. Taking a riddle called “Woman” from Infinity and the Mind and shape it into a piece dealing with violence against the self and violence against women, the ultimate Other in many societies. I will use voice and noise to sonically induce the chaos of existing within constructs. I will be working with MFA film maker Sofia Canales and film maker Joel Reeves to create video clips that will be triggered live with OSC. !6. The sixth piece uses a mathematical model of an infinity system, a Lindenmeyer system, to show how infinite systems are used to grow plants in nature. This system will be used to digitally grow a plant. Sonically, its growth will be followed by live and recorded instruments. Finally, multiple plants will bloom into life, diverging from the system. !7. The final piece will deal with the ‘string paradox’: “Every string which has one end also has another end”; a paradox because of the possibility of infinite systems. Using a more traditional electronic music style, the set will conclude by presenting a performance with three dancers where the projections will follow and trace the dancers’ bodies. They will use a 100 foot veil as a prop, finding no beginning, no end, and never being able to reach the other side, or each other. !!!!!!!!!!!!!

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