Watch the above before reading on. I was naively (or not so) under a certain misapprehension: i thought that Daito Manabe, the star of the above video, was triggering sounds using his facial muscles. That is, the objects attached to his face were some sort of motion sensors (perhaps accelerometers would do the trick, my knowledge of complex sensors is lacking here) and thus the apparent blink of an eyelid or twitch of the upper lip would send out a digital signal and voila!: hook up a computer and these facial movements could easily be converted into midi (and/or osc) signals to trigger live audio and/or video using your music/video production application of choice.
I was shocked by how fascinating the correlation between sounds and movement were and the choices made as to which sounds to attach to each part of the face. Of course this all before it dawned upon me that this is not what is happening. In fact, quite the opposite. Each sounds sends out an electric signal which is evidently hardwired directly to our friend Daito’s face and, in essence, his muscular and nervous systems. An electric shock thus creates a small, highly visible spasm. This is potentially more shocking and less artistically interesting than what i originally thought was happening. But i’m not actually sure. I feel conflicted.
Now what if we had both systems just described working in conjunction: one person using their muscles to trigger sound and these very sounds then translated into electric pulses hardwired INTO SOMEONE ELSE’S NERVOUS SYSTEM. Is this potentially the future of puppetry? And if there were not necessarily a one-to-one identifiable correlation between the twitcher and the twitchees: a cheekflex could result in a flailing leg, a nodding head could create a breakdance.
Could this be the future of DJing? No longer spinning records or even beatmixing MP3s as seems to commonly occur these days, but a disc jockey making music with his entire body and also choreographing the audience’s dance, drum rolls necessarily accompanied by strained muscular pirrouettes each and every time they occur, horn stabs forcing folk to jump in the air, certain digital sounds heard and the whole floor does the robot. At the push of a button the DJ could make everyone applaud… Anyone?
October 29, 2008 at 10:06 am
Yes! Hugo! Yes.
Very interesting post!
….We can have illegal electric underground parties…
..everyone gets their live-wire hooked-up on entry, and finally you get to do the robot dance you’ve always wanted, no lessons, no training… you and everyone else are perfect little robot dancers…
I wondering if you could have twitcher and twitchee within the one body?
… so that you’d end up having a moving electric conversation with yourself and sound.
mm.
October 30, 2008 at 5:33 am
i think so. from certains aspects of… i can gather that chinese medicine views the foot as something which contains the entire body. for example, the bridge may correspond to one’s heart or lung or…
anyway, were you able to control the varying muscle tensions of your foot, perhaps you could actually move your entire body this way using simple circuite. perhaps you could breathe!
anyway, underground parties, yes; potentially you could hook yourself up to the city’s electricity grid and make entire suburbs dance along with you.
LASTLY, coincidentally i was reading a David Foster Wallace short entitled ‘The Suffering Channel’, in which we read
“in the morning, the reinvented high concept cable entrepreneur’s routine was invariant and always featured a [...] session of the 28 lead facial biofeedback in which microelectric sensors were affixed to individual muscle groups and exhaustive daily practice yielded the ability to form, at will, any of the 216 facial expressions common to all known cultures.”
October 31, 2008 at 1:46 am
yeah, umm, is it really that cool? i’m actually surprised they didn’t have motion sensors hooked up the measurements of which did other shit to the music. this would give you a real personalised performance, where everyone’s face would twitch slightly differently to the same type of impulses, and then this twitching becomes the actual mediating factor in the music. but imagine the consequences if this failed: does my pound of flesh not twitch the same as yours if I do not go hard enough and actually bleed during a performance (hugo’s toe not withstanding)?