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Suzanne Kite School of Music BFA-4, Composition 949.307.0852 suzannekite@alum.calarts.edu

Title

(omega)

Proposal
! Present Kites omega as a combined NWF and Digital Arts Expo show, possibly in a larger set of other music/tech performances by Digital Arts Expo .

Location

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ROD or Co"eehouse Theater, depending on availability for Thursday, May 8.

Date

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May 8, 2014

Time

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9pm - 3am

Presenters

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New Works Festival / Digital Arts Expo

Lineup

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live electronic sets including Kites omega Performance; including dance, digital art, lm, music composition, performance ! art

Type of Work
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Participants
Name Suzanne Kite James Hurwitz Jenica Anderson Devin Ronneberg Becca Green Eric Singleton Lyle Henning Joel Reeves Alexandria Rema Lewis Godowski Metier/School Composition/Music Music Technology/Music Percussion/Music Music Technology/Music Choreography/Dance Music Technology/Music Set Design/Theater Directing/Film Choreography/Dance Music Technology/Music Costume Design Role Artistic Director Producer, Tech Director Producer, Stage Director Sound Director Choreographer Programming Stage Design Film Director Dancer Programming Costume Designer

Hannah Lawton

Project Synopsis !
The most under represented peoples in the United States, and therefor CalArts, are the decimated populations of native peoples who populated what is now known as the United States. As a registered member of the Oglala Lakota tribe, I feel an obligation to acknowledge the extreme pain continually occurring as a result of the refusal of the American people to acknowledge the existence of the most impoverished ethnic population. My work seeks to create space within my audiences perception of the unending stream of othering within the human consciousness, while avoiding my bias to only represent my own peoples.

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Omega is an hour long exploration of that which cannot be accessed, and therefore cannot be sorted in our perception.! The human mind insists on categorizing, ling, and othering in order to make sense of reality. This piece seeks to identify perceptual boundaries through the use of di"erent methods of counting, utilizing physical, visual, and auditory phenomenon. The moment the brain forgets that counting has been occurring, the moment where perception breaks from conscious categorization, is the door to the inaccessible. By exposing these limits in perception, every realm of

categorization can be exposed, especially that which involves human interactions. ! ! My piece is an hour long set with 8 self-contained pieces that interact with each other.

1. While wearing an iPhone that is networked with Max for Live & Ableton Live, I will use the gyrOSC application and Max patch developed by Eric Singleton to control sound and video just by placing rocks in continuous circles on the oor. As I reach 80 rocks, the 80 pitch frequencies will reach stability and create the phenomenon of hearing white noise, a perceptual phenomenon where one feels they can hear every pitch possible at once, at an equal volume. Thus, the brain tips over into innity.

2. The second piece will begin with single impulses of sound, and slowly expand into tones and textures. Each stage of sonic development will be animated and projected onto the scrim mounted in the space. This form of counting will take the audience through a sonic/visual tour of 1 dimensional space, all the way to theoretical 6D space, through the use of theoretical shapes. Surround sound will be use to create the sonication of these dimensions.

3. Videos of hands counting will be projected and count the audience through the rising tones, hinting at the tritone paradox, a phenomenon where the brain cannot distinguish between higher and lower tones. The Shepherds Scale, an auditory phenomenon that creates an endlessly rising sound, will emerge, so the brain is tricked into thinking the sound never reaches any point, but continuously rises into innity. This will be controlled with a midi controller which will send OSC messages to

Ableton, and the visual program Resolume, at the same time. These phenomenon will be layered and re-organized with real instruments live, tying into the layering of the video simultaneously.

4. The fourth piece is an attempt to recreate the theory of Speed Up proposed by philosopher and mathematician Rudy Rucker in Infinity and the Mind. Animation will coincide with the auditory phenomenon, where evenly spaced impulses will be sped up until the rate of impulses turns into a pitch. These pitches will exist and mix at di"erent levels of acceleration, creating rhythmic content, and in turn be held out at di"erent intervals, creating harmonic content.

5. The fth section exposes how constructs of the mind reach beyond counting, such as the limits of body, self, voice, and identity. Taking a riddle called Woman from Infinity and the Mind and shape it into a piece dealing with violence against the self and violence against women, the ultimate Other in many societies. I will use voice and noise to sonically induce the chaos of existing within constructs. I will be working with MFA lm maker Soa Canales and lm maker Joel Reeves to create video clips that will be triggered live with OSC.

6. The sixth piece uses a mathematical model of an innity system, a Lindenmeyer system, to show how innite systems are used to grow plants in nature. This system will be used to digitally grow a plant. Sonically, its growth will be followed by live and recorded instruments. Finally, multiple plants will bloom into life, diverging from the system.

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7. The seventh section will take all previous sections that have been created and use each sonic palate to create and deconstruct a sonic and visual universe. Each previous part can be presented as a separate instrument in this piece. 8. The nal piece will deal with the string paradox: Every string which has one end also has another end; a paradox because of the possibility of innite systems. Using a more traditional electronic music style, the set will conclude by presenting a performance with three dancers where the projections will follow and trace the dancers bodies. They will use a 100 foot veil as a prop, nding no beginning, no end, and never being able to reach the other side, or each other.

This piece includes the use of new technologies developed at CalArts and by people closely tied to CalArts as well as common programs being pushed to their experimental limits. Programs such as GyrOSC, Processing, Resolume, Microsoft Kinect, Max for Live, and SuperCollider will be used to bring projection mapping, body mapping, and sound from the body into auditory and visual space. Through these programs the body can be used as a controller of electronic instruments.

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Technical Requirements
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Scenic: See attached ! Set consists of a 5x5x5 ft shell where a table is enclosed, with all the ! ! equipment inside. ! Scrim and rope are hung from the ceiling, resembling the innite curves ! ! on omega graph. ! Costume: See attached ! 1 costume for the music performer, and 2 costumes for the dancers Lighting: ! Lighting will come from 2 projectors. ! Sound: ! Sound & related equipment will, preferably, be provided by the music ! ! school. Budget: See attached

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Item Costumes Labor Fabric ! ! Stage Shell Scrim PVC scrim mounts Total Advertisement 40 posters Design Total Reception Alcohol Other Total TOTAL $130.00 $20.00 $150.00 $905.91 $40.00 $40.00 $80.00 Total Stage Design $200.00 $263.91 $12.00 $475.91 $100.00 $100.00 $200.00 Cost

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kite
- highly structured geometric top pencil skirt use of sheer fabric skirt should start from above waist must allow wearer to kneel and reach optional semi-structured vest

costume
needed: 1 kite costume 2 dancer costumes dancers
-light, semi- opaque fabric -hemline reaches to just past the knees -extra long sleeves -seams should have stretch for dancing