Cracked Ray Tube is a collaborative hardware hacking project by artists Kyle Evans and James Connolly. The project creates a synchronized audio/video environment self-generated by the feeding back of communication networks between two obsolete technologies⎯analog televisions with their video transmitters and CRT computer monitors and their VGA video signals. The red, green, and blue video signals of the VGA cable are processed and fed back through a sound mixer simultaneously generating the audio and video information that is received, deciphered and displayed by multiple computer monitors. Additionally, transmitted video is distorted through physical contact with handmade circuitry utilizing the capacitance of the human body as a control interface, and by electromagnetic flexing and folding of high-powered electron beams within modified televisions. The collaborative performance is partially done while crossing systems, sending VGA outputs to television inputs and vice versa (as well as the performers physically switching instruments mid-way through), which increases the plurality of audio/video material and unpredictability of controls and results. Influenced by experimental media artists such as Nam June Paik, the project exploits the materiality of analog audio and video signals pronouncing the technology’s intrinsically hidden yet vastly complex spectrum of sound, image and color.

Elements of Cracked Ray Tube’s system will be adjusted in response to the dancers in Variations V:
-CRT’s system will be set up to run in its chaotic feedback loops as it does during live performances. Moments of controlled signal generated by the movements of dancers and the work of other performers will be sent through the system.
-Sine waves of 60 Hz and harmonics of 60 Hz sent to the electromagnets in the televisions and computer monitors will be triggered by dancers movements when they obstruct light from hitting various light-resistant photocells placed throughout the performance space.
-Dancers obstructing light from hitting certain light-resistant photocells will trigger square wave frequencies that generate vertical bars in the VGA computer monitors at certain parts of the performance.
-Dancers obstructing light from certain light-resistant photocells will trigger video that will be transmitted to the televisions at certain parts of the performance.
-Audio signals generated from other audio elements of the sound environment (synthesizers, tape recordings, contact microphones placed on various objects, etc.) could be sent to the VGA monitors to generate video and audio.
-Video of the dancers captured in real time during the performance could be sent to the televisions and computer monitors affecting their audio and video.

Printed on large-format inkjet transparency, “daisystar” will be enlarged and then trimmed and sized to fit on several CRTs/TVs.  The images on the monitors will be viewable through the transparency, and provide a score which will allow the monitors to be played with inductors by dancers.

Variations V (1965) took the pulse.  Conceptually, collaboratively, and technically it established a standard and continues to provide a touchstone in art & technology and multimedia performance.

Cage removed the individual ego from the traditional hierarchical structure of composition and established a process through physicality.  The intense group dynamic of the piece is focused in the dancer as the medium, in the sense of one who stores, transmits, channels or functions as a tool used to store and deliver information or data. The pure instinctual physicality of dance becomes the compositional tool for the piece, and the dancer also becomes the conduit;  a trigger of circuitry and a human antenna able to uncover the signals in the space and performance.  Concurrently, the audio visual artists are constantly adjusting and reacting, in feedback to their own exhaustive preparation.

Variations V is exceptionally demanding, in ways particular to Cage.  As a composer, he was willing to be humble, while managing to maintain a clear vision of an outcome for the work as a whole.  Cage understood that it was not possible for one person to direct or “produce” the work;  as such our Variations rests on a community of artists whose practices are influenced by the work of John Cage.

We are presenting Variations V  out of respect for the strong and vibrant community of experimental new media artists here in Chicago, and as a contribution to and reflection of that community.

a centennial celebration of the American composer John Cage (1912-1992)

a.pe.ri.od.ic presents a three-day festival, April 13-15, featuring repertoire spanning over 50 years of the composer’s output.  Across 5 concerts, the festival will showcase John Cage’s repertoire for toy piano, percussion ensemble, vocal ensemble, string quartet, duos, and solos.  Performances will include works which exhibit Cage’s micro-macro rhythmic structure, a smattering of indeterminacy, three of his late Number Pieces, and a lecture on the John Cage Collection delivered by head music librarian, D.J. Hoek, putting into context the pieces performed on the festival.  A highlight of the festival involves two back to back performances of Variations V, a rarely performed, large multimedia piece with live electronics, musicians, video projection, photo cell sensors, and dance.  As a preview to the festival, pianist Eliza Garth comes to Chicago on March 31st to perform the complete Sonatas and Interludes for prepared piano.

http://www.aperiodicchicago.com/John_Cage_%283_4%29.html

Formerly “VJ & Tech”, in future posts this page will be devoted to the documentation and production of “Variations V (John Cage)”.