The
excitement and expressive power of new interactive art is at the core
of Babilu Volati. When an artist performs, she engages her entire body,
and we want to reflect that by projecting her vocal efforts onto the
larger canvas of interactive visuals with realtime music. These visuals
and music share the same source for their coming into life, namely the
singer and her stage movements. Incorporating computer analysis and
synthesis techniques into the evocative vocabularies of a novel artwork
is one of the most significant proliferation of new practice and
application of ideas in present-day artforms. When the audience is
captured by the singer, it consequently happens on the much larger
canvas of interactive song, music, and visuals. This gives a much
larger impact, heightening both artistic magnitude and the audience's
appreciation.
Babilu Volati explores this to represent the ancient myth of the Tower
of Babel, in which all speech in the world was contained, as reflected
by its growing size. The resulting immensity of the Tower of Babel made
communication impossible, and as the speech becomes assimilated by our
Tower, the development of Babilu Volati shows how that leads to
incomprehension and lack of signification. Many languages are therefore
sung and spoken during the performance - Danish, English, French, etc.
- thus underlining the incomprehension. This inevitably reaches an
unstustainable degree, the performance moves towards its end.
The
underlying objective of this artistic experiment was then to
determine if speech could be transposed into a visual 3D
representation in an interactive, meaningful and creative way. By
“transposed”, we litteraly mean transferred from one modality to
another through an artificial conversion process.
Some physic theories rely on the
analogy with
elementary particles to explain complex phenomenons; there are
photons in theory of light and phonons in quantum mechanical
vibrations. We basically extended this idea to
'phonemons' in
language; the principle is that every phoneme could be represented by
a particle and that humans would emit '
phonemons' while
speaking.
Extending this analogy further, we propose to describe how these
“particles” evolve in space according to their initial energy
(amplitude, frequency) and how they interact between them according
to the prosodic and grammatical properties of the speech (attraction
and repulsion corresponding to the original linguistic structure).
The
transfert of voice into graphical representations offers the
possibility to give another interpretation of the linguistic and
thinking mechanisms. A deterministic but new (not aplhabetical)
representation of speech provides us with a total freedom of
translation and manipulation, which principles can be easily
understood, but for which the understanding of the
meaning becomes
impossible.
This phenomenon is illustrated in the mythology with
the story of the Babel tower, built to reach the heavens; in the
beginning "
...the
whole earth was of one language, and of one speech..."(Genesis
11:1-9),
but because of their disobedience, God confused their languages so that
the men could not work together anymore.
Babilu
Volati performance is structured in 3 phases to represent these
phenomenons: comprehension, construction, and deconstruction.
The
musical score
to Babilu Volati falls in three parts, resembling stages of
comprehension, construction, and disintegration (deconstruction). The
first two parts
are performed with the singer, the last part is electronics only. The
vocal score reflects very clearly the separation of the two
first
parts in that the first part is spoken, while the second is sung.
- The
text of the first part – ao. excerpts from the Genesis according to the
Vikings – is initially articulated with exaggeration, exploring the
sound characteristics of each vocal element. Gradually the articulation
becomes more natural and the meaning of words and phrases is detected,
yet a non-sense language does also prevail. Other languages appear, and
the babylonian process of language confusion begins. The electronic
accompaniment is closely tied to the voice. Exaggerated vocal sounds
are emphasized, spatialized and prolonged into suggestive, swirling
gestures. The degree of interactivity is high, with the voice’s
expressiveness affecting the strength and depth of the electronics.
- The
second part is initiated with emerging pulsations in the electronics
that gradually settles into a rhythm. The voice’s impact on this
accompaniment is less, as the musical focus is on forward movement and
rhythmic drive. The text is now fully discernible, yet the vocal
activity is restrained. But more energy is gradually put into the vocal
performance, and as the accompaniment moves into another key, the voice
moves into strong, melodic movements that push the music to new
heights. The text celebrates the emerging writing system –
alphabetization – of the vocal sounds as man’s powers begin to rival
those of the Gods’.
- The third part keeps building as if aiming
at still higher peeks, but a hardening begins to set in. As the
hardening become more pronounced, so does a certain paralyzation of the
musical development which eventually must lead to disaster.
Babilu
Volati is a work in progress.
The idea of voice transfert into particles was originaly developped by
Elisa Zurlo
and Bruno Herbelin for the project
Flying Cities
in 2003. At this time, the system was designed to be an interactive
installation and the visitors were generating particles by speaking
into microphones. The pleasing visual results and the good integration
with the electronic music (composed by Georg Hajdu) motivated us to
focus more specifically on these
aspects and to provide the public with the compelling experience
(always
renewed) of a stage performance.
The Flying Cities
project was funded by the European
Commission Culture 2000 programme for the year 2003. It was produced
and coordinated by the CICV pierre Schaeffer.