The system used to generate the effects during the dream consisted of a body suit equipped with sensors that measured joint angles, custom analog to digital conversion hardware with serial data output (similar to an I-CubeX digitizer that I would develop a couple of years later), an Atari 1040-ST computer running custom signal processing and mapping software, a Lexicon LXP 5 effects processor and a voice mike, see the diagram below.
For the suit I used the same technology as in the glove that I made. There were 8 bend sensors from a PowerGlove (similar to I-CubeX BendShort sensors) that were attached to the wrists, elbows, knees and ankles. They controlled in real-time the Lexicon LXP 5 effects processor that processed Egmont's voice.
Rob Baaima helped out in mapping the joint angle values to the LXP 5 parameters. The LXP 5 was quite sophisticated in terms of real-time control, although certain parameter value combinations could choke it, so that clicks or other unwanted effects would arise.
Each of Egmont's joints was directly mapped to a parameter of the LXP 5. It was quite difficult to learn to "play" the system, since such a mapping doesn't allow the performer to conceive of the system using "natural interaction metaphors". Such natural interaction metaphors are hard to find when designing such a new form of musical instrument, since there is no proper precedent, in terms of behaviours that he already knew, for the performer to rely on.
Just before I came to Canada to do my PhD and further develop this concept of Virtual Musical Instruments I gave a party (.. what's new ..) and "performed" with the suit. I simply played a CD through the LXP 5, used the same setup as with Egmont and made some moves. Unfortunately, since there were so many people in a relatively small space, it was very humid and the sensors (since they are high-impedant) were bypassed by skin resistance, swet etc., i.e. the effects were rather uncontrolled (as it should be during a party ...).
After arriving in Canada I attended the SFU Computed Art Intensive, which is held every summer. I worked with Mari Kimura in a piece called "Axel's Length" (yes, I am tall - 6ft5 or 1m95) that involved her violin playing, me as a dancer and Anita Cheng as a dancer. We used only two sensors to control a Lexicon LXP 1 (slightly less capabilities than the LXP 5).
This page was created in 1995 and last updated on 17 Aug 2022.