blog (January, 2007)
ingenuity: progression, projection
Cleveland's 3rd annual Ingenuity Festival is already a week past, and I haven't yet squeaked about it here. I wrote half an entry the week prior, intending to promote the fest and my part in it, but I was too tangled and busy preparing, and left it undone.
In Ingenuity's first year, I walked through the festival a few times and paused for some music. I spent a lot of time at last year's 2.0, digging great music/dance (DJ Spooky and SAFMOD beat me up,) art installations, and goodfun (get-down in the rain,) and did a brief Capoeira performance with Shakthi and Taliesin on stage with Moises Borges and his band.
This year we made a somewhat bigger Capoeira roda for the festival's opening Samba of 1,000 Drums parade, but that was mostly just a break for me on Thursday evening before returning to my cube at CleveMed for a late night, prepping software and devices for the next day's Cavani/FES/CleveMed collaboration.
Friends from the Cleveland FES (Functional Electrical Stimulation) Center (Katie, Andy, Juan, and Dimitra) asked if CleveMed and I would like to work with them in a collaboration with the Cleveland Institute of Music's Cavani String Quartet. Over a number of months we experimented in acquiring EMG from the musician's muscles while they played (using CleveMed's BioCapture and Kinesia systems), and capturing motion data with FESC's equipment to generate model~animations.
Day-of-show -- at CleveMed in the morning and State Theatre in the afternoon -- was one of the most stressful I've known, but everything really just came together by evening performance-time, and both shows were about as good as I could've hoped. The members of Cavani are amazing musicians and people, and their delivery of Dvořák's "American" was beautiful. The devices and visualizations provided another (sometimes stunning) dimension to the music, as hoped. All of the projections, stage calls, queues, and speaking parts (probably the root of my greatest stress) went smoothly, as a result of focus, attention, and generosity from everyone involved.
Photo by Imagine24 (Some rights reserved.)
More pics: 1,
2,
3
I owe thanks in a lot of directions: FESC friends and colleagues, the Cavani musicians, the stage management and ops people at Playhouse Square, my supervisor, Craig, (both granting me this freedom and for life-saving pair-programming assistance in the final moments,) the rest of my conspirators at CleveMed for making top-notch tech, and Rich Weiss from Ingenuity for gluing us together with logistics and motivation.
I'm already looking forward to next year's festival, and forming vague plans for a project. The intersection of art & tech is one crossroads where I could set up shop, (or at least be happy just hanging out on the curb.)
following dreams on sweat equity
I’m positively stunned at the blowback from business regulars about that chap giving his music away for free. Oldsters can’t understand the economics!
I’ll clue you in, THERE ARE NONE!
This is your worst nightmare. People who can follow their dream on sweat equity. Who with their computer and the money from their day job or mommy and daddy can compete with you. It’s like the North Vietnamese, all our military might couldn’t defeat individuals who would fight to the death. Same deal in Iraq.
It’s an eye-opener. That your model is IRRELEVANT!
YOU need to pay the mortgage. YOU need to go on vacation to the Caribbean. But the new musicians? They’re willing to sleep on the floor and eat ramen. Hell, they’re in their twenties, they’re not on the corporate track, they’ve got different ambitions!
-- Bob Lefsetz, Giving It Away (the Lefsetz Letter)
Spot on, save for one thing... They're not the new musicians, they're just the real musicians, tooled up to take on the old-guard's shenanigans, and with a general public that's re-discovering quality.