Tuesday, April 27, 2010
Monday, April 12, 2010
The Lovebomb Duo: Son Of A Gun
STATEMENT:
The Lovebomb Duo consists of guitarist/vocalist Ricky Milan and drummer Joel Forbes. The following video was developed as a school project for an Interactive Wearables class. The concept draws from post-modernist methods of post-production, utilizing a projection that can be "worn" and interacted with by performers.
The goal was to develop a system in which musicians are able to control their own visuals while performing live shows. In this case, stock footage is developed prior to the performance, in which the duo is followed through a forest chasing one another, ending with the drummer (Joel) killing the guitarist (Ricky). The projections and other forms of lighting are then triggered by the performers through the use of foot pedals and drum triggers, giving them complete visual and audible control.
This last scene is shown at the end of the film, as Ricky watches himself meet his own fate. In this particular setting, the projection acts as a form of body extension, where the performers extend their bodies into the liquidity of technology and projection, enabling their own mechanical reproduction.
INFLUENCE:
The film borrows from earlier forms of performance projection. Sam Perry's psychedelic visuals which he produced for the Tripps Festival in Vancouver in 1966 provided a starting point form myself in terms of concept. Scott Watson's essay Urban Renewal, Ghost Traps, Collage, Condos and Squats elaborates on the influence that Sam Perry's projections had on the developing subculture of Vancouver in the 60s. The nature aspect of the projections borrows from the films of Doug Aitken, which he displays as projections. A central theme in Aitken's work is the juxtaposition of the natural in the manufactured world.
DOCUMENTATION:
The Lovebomb Duo consists of guitarist/vocalist Ricky Milan and drummer Joel Forbes. The following video was developed as a school project for an Interactive Wearables class. The concept draws from post-modernist methods of post-production, utilizing a projection that can be "worn" and interacted with by performers.
The goal was to develop a system in which musicians are able to control their own visuals while performing live shows. In this case, stock footage is developed prior to the performance, in which the duo is followed through a forest chasing one another, ending with the drummer (Joel) killing the guitarist (Ricky). The projections and other forms of lighting are then triggered by the performers through the use of foot pedals and drum triggers, giving them complete visual and audible control.
This last scene is shown at the end of the film, as Ricky watches himself meet his own fate. In this particular setting, the projection acts as a form of body extension, where the performers extend their bodies into the liquidity of technology and projection, enabling their own mechanical reproduction.
INFLUENCE:
The film borrows from earlier forms of performance projection. Sam Perry's psychedelic visuals which he produced for the Tripps Festival in Vancouver in 1966 provided a starting point form myself in terms of concept. Scott Watson's essay Urban Renewal, Ghost Traps, Collage, Condos and Squats elaborates on the influence that Sam Perry's projections had on the developing subculture of Vancouver in the 60s. The nature aspect of the projections borrows from the films of Doug Aitken, which he displays as projections. A central theme in Aitken's work is the juxtaposition of the natural in the manufactured world.
DOCUMENTATION:
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