new media art collaborative network

Levántate Technical Information


– 2 computers:
> 1 computer processes digital VIDEO
> 1 computer processes digital SOUND
– 2 Midi interfaces
– 1 Microphone
– 1 Sound mixer
– 1 Amplifier and 4 loudspeakers
– 1 Video-projector


– Programming environment software: MAX/MSP
– Image processing software: Videodelic
– Real-time sound processing software: NI-Spektral Delay

The video computer processes in real-time the electronic image of the decomposing body. Pre-processed movies, still images and colour palettes provide the imaging source materials for Videodelic. The live audio input from the microphone is split into four frequency bands (bass, medium, medium high and high) whose amplitude is used to control effect parameters together with MIDI control values received from the sound processing computer.

The sound computer processes in real-time an algorithmic computer music composition created by Kent Clelland MAX that provides a constant stream of digitally decomposed voices in the installation space.
A palette of recorded materials are used in a stochastic composition comprising more than 1.5 million permutations based on a single theme, ensuring that the music composition is as devolving and as continually changing as the image processing.

“Levántate” is a computer music interactive composition fully rooted in the concept of resonance. The audio materials presented by the installation are re-recorded (recycled) into the system and will inherently bear acoustical signatures of all elements involved.

Firstly, the 3 physical structures which directly influence the acoustical resonance are the room acoustics and the technical acoustic signatures of both the input device (the microphone), and the output devices (the loudspeakers).

The second hierarchical level of resonance is that of the audience. By using the verbal resonances of the public and recycling them into the computer music composition as new source materials for audio-acoustical deterioration, we create not only a subtle and intuitive interactive system, we are also injecting the human emotional element into it.

Finally, the third hierarchy of resonance is ocurring inside of the computer program which is the sound heart of the “Levántate” system. This computer program is handling the recording and playback of the audio recycling feedback system. The Digital audio which is recorded onto the computer is analyzed in real-time for its resonant qualities and subjected to acoustical filters (frequency deteriorations). This ‘deterioration of resonance’ process is then inserted with a variable latency between the input and the output of the system.

Simultaneously, the sound computing program sends MIDI data to the video processing computer to provide different parameter controls as well as randomly triggering the imaging source materials that the video processing software uses to process the digital descomposition of the body in real-time together with the live input from the microphone.