musician. Pressure, friction,
and manual manipulation of
the instrument emerge, then,
not only as actuating forces
but also as stylistic elements
of the piece.
Software. A small camera
mounted above the Distaff
sends a live video feed
into a Max (Cycling ’ 74)
software program. Because
this project is focused on
physicality, no additional
visual elements are
generated by the software.
Instead, the performer
uses a simple MIDI
controller to manipulate
basic parameters in the
domains of time and space.
Whereas traditionally we
might see controls mapped
to graphic effects, here the
image itself is captured and
drawn at varying speeds and
scales to maintain a direct
connection to the Distaff,
rather than leveraging
computational capabilities
to augment the imagery.
Together, the physical
interface and software
produce a unified visual
output that is dependent
on the knowledge and skill
of the performers and their
exploitation of limited
resources.
What for you is the most
important/interesting thing
about what you made?
While I’ve performed
successfully with a laptop-only system for many years,
having a physical instrument
has enabled me to feel more
expressive and collaborative
on the stage. Hyper-
Describe what you made.
As an artist who uses
video and other visual
media in performance, I’ve
sometimes found it difficult
to physically connect to my
interface (often contained in
a digital technology such as
a laptop) while also engaging
with my collaborators in
a shared space during a
performance. To address
this challenge, I designed
a custom instrument, the
Distaff, to explore ideas of
physicality and collaboration
in digital performance. I
collaborated with musician
and composer Anna Xambó
to write an audiovisual piece,
Beacon, which features the
instrument. The Distaff
itself is a physical object
designed to explore how
we might be able to take a
very simple stimulus—light
moving through space—
and probe the boundaries
of what is possible through
engagements with physical
materials in an improvised
performance.
Briefly describe the process
of how this was made.
Hardware. The Distaff is
primarily a repurposed
turntable in a custom
housing. A performer can
insert different lights into
the spinning platter and
control the rotational speed
with their hands and other
objects. The enclosure also
houses a microphone so that
the sounds of fingers, nails,
and objects on the spinning
platter can be amplified
and used by a collaborating
Beacon
Specs
Materials: Technics
SL-B2 Turntable
board, motor, strobe,
and pitch control,
LEDs, ply wood,
repurposed MIDI
controller
Tools: Laser cutter,
soldering iron, Web
camera, 3V batteries
→ Turntable electronics (strobe,
pitch control) mounted inside
custom housing.
→ Final build of Distaff hardware, including platter, speed controls,
MIDI controller, and toolbox for LEDs and other objects.
→ Build version 1 of Distaff
platter underside (batteries
for LEDs, Velcro attachments,
magnets).
→ Final build of Distaff platter
underside.
→ Base of Distaff housing, with
mount for motor.
HOW
WAS I T
MADE?