or: love is not a photograph / or: take me like a photograph
or: love is not a photograph / or: take me like a photograph is a collaborative project which was realised in three installments over the course of three months in 2011 in London. The material was arrived at through conversation with the artists involved and by using material each of the performers had used in the past. The project played around with ideas of experience, memory, time, repetition, and was of a cyclical nature, rather than linear.
1. or: love is not a photograph (4 Feb, 2011) – 20′
This first collaboration was between a string quartet (Jaga Klimazewska, Blanca Gonzalez, Rachel Lanskey, Artyom Romanoff), saxophone player (John Moore), live electronics (Chris Bartholomew), poet (Miguel Monteiro), two poetry readers (Matthew Lee Knowles, Laonikos) and three dancers (Angélina Jandolo, Sarah Rogers, Morwenna Truscott) and was presented at The Shunt.
2. or: take me like a photograph (25 Feb, 2011) – 25′
The second performance was presented at the ICA (Institute of Contemporary Arts) and involved a violin (Jaga Klimaszewska), viola (Jordan Sian), saxophone (John Moore), live electronics (Chris Bartholomew), two poetry readers (Matthew Lee Knowles, Laonikos) and two dancers (Angélina Jandolo and a friend whose name I don’t remember, I’m sorry!).
3. or: love is not a photograph / or: take me like a photograph (16 Apr, 2011) – 45′
The third and final performance also took place at The Shunt, where the project was first conceived and performed, thus bringing it full circle to an end. It involved a violin (Karina Deyanova), violoncello (Sophia Jagodzinska), sitar (Shama Rahman), live electronics (Laonikos), a poet (Miguel Monteiro Sena), two poetry readers (Matthew Lee Knowles, Tom) and three dancers (Elisabeth Schilling, Artémise Plogaerts, Marcella Piscitelli). This performance lasted significantly longer than the previous ones and it took place over three glass floors inside “The Machine” at The Shunt, with live visuals (using Vizzie) projected outside the performance space.
You can read an extensive commentary on the final performance, covering some philosophical, logistical, and creative aspects of the project.
Here is the Max/MSP patcher (model5) that was used to manipulate the saxophone and sitar sounds.
How was MAX used?
In the first installment a Max/MSP patcher was used to manipulate the sound of a saxophone with multiphonics. In the second installment Ableton was used mostly with some Max4Live patchers, manipulating soprano saxophone. In the third installment, a Max/MSP patcher was used for manipulating the sitar sound, and a Vizzie patcher in combination with the magic trackpad was used for controlling visuals, projected outside the performance space.