Sean Winters > Orpheus2010 > LiveCinema@STEIM

Main Entry:  3live
Pronunciation: \?l?v\
Function: adverb
Date: 1946

: at the actual time of occurrence : during, from, or at a live production <the program was broadcast live>

Main Entry: 2live
Pronunciation: \?l?v\
Function: adjective
Etymology: short for alive
Date: 1542

1 a : having life : living <a live lobster> b : existing in fact or reality : actual <spoke to a real live celebrity>
2 : exerting force or containing energy: as a : afire, glowing <live coals> b : connected to electric power c : charged with explosives and containing shot or a bullet <live ammunition>; also : armed but not exploded <a live bomb> d : imparting or driven by power <a live axle> e : being in operation <a live microphone>
3 : abounding with life : vivid
4 : being in a pure native state
5 : of bright vivid color
6 : of continuing or current interest <live issues>
7 a : not yet printed from or plated <live type> b : not yet typeset <live copy>
8 a : of or involving a presentation (as a play or concert) in which both the performers and an audience are physically present <a live record album> <a nightclub with live entertainment> b : broadcast directly at the time of production <a live radio program>
9 : being in play <a live ball>

Main Entry: cin·e·ma
Pronunciation: \?si-n?-m?, British also -?mä\
Function: noun
Etymology: short for cinematograph
Date: 1909

1 a : motion picture —usually used attributively b : a motion-picture theater
2 a : movies; especially : the film industry b : the art or technique of making motion pictures

live. (2010). In Merriam-Webster Online Dictionary.
Retrieved August 7, 2010, from
cinema. (2010). In Merriam-Webster Online Dictionary.
Retrieved August 7, 2010, from

SO… What exactly is a “Live Cinema” performance?

Thanks to STEIM (and an exquisite crew of supporting artists) I was able to produce Orpheus2010 during an intense five day residency at the end of June 2010.

The CONCEPTUALIZING was long, arduous and cluttered.
The SETUP was brutal;;;
quadrophonic sound re-inforcement, 2 beamers/1 screen, Kaspar’s drum set, Jos’ setup, Sander’s setup, Jilt’s setup, My rig… the list went on and on…
and on and on… another quad setup in the foyer, 2 additional imacs, a last minute nano controller from Taku, cables, cables, cables.
G-d bless the seemingly infinite supply of cables in what I’ve now officially dubbed the ‘STEIM closet of glory’
I originally ‘budgeted’ the first half of the first day to getting everything set up (in Studio3).
In retrospect, I probably ‘spent’ about 1/3 of my time continuously setting up for the performance.
Live Cinema REFLECTION ONE = Live Cinema pushes the boundries of what is technically possible. Innovation is requisite.
However, paradoxically, Live Cinema never becomes dependant on the technology. The artist/audience relationship can be maintained even without electricity. Any Live Cinema performance can be finished ‘in style’ acoustically.
Live Cinema LESSON ONE = Don’t under-estimate the time it will take to set up.
Live Cinema LESSON TWO = Lift with your legs!!
The REHEARSALS were enlightening;;;
Expressing ones ideas and telling people what you want them to do can be an extremely fragile procedure.
How does one make a solid work-able framework while also leaving enough space for individual expression/creativity?
Some Most of the collaborators wanted a black and white, step by step layout of exactly what was going to happen.
Handmade photocopies became necessary to facilitate the constant ‘updates’ being made after rehearsals…
Everybody’s schedules were simply too tight to wait until a photocopy could be made by machine.
The information contained on the hand-written pages seemed that important.
There’s one un-deniable truth that I’ve come to accept at this point…
just come to embrace this fact.
Live Cinema REFLECTION TWO = Psychological ‘curveballs’ are essential in Live Cinema. Too much information too early can overcook the stew; the vegetables will get mushy. But too little information too late can burn the beans; the meat won’t come off the bone. The difference between a Live Cinema rehearsal and a Live Cinema performance is the audience. ‘Rehearsing the un-expected’ has now officially become my favorite Zen koan.
Live Cinema LESSON THREE = Give everybody involved more information earlier.
Live Cinema LESSON FOUR = Give everybody involved less information earlier.
Live Cinema LESSON FIVE = Stop talking and get down to buisness.
The FOYER INSTALLATION was ultra last minute.
Originally there were also supposed to be program notes.
As soon as somebody steps through the doors the experience should begin.
A simple description of the original myth of Orpheus would surely be much appreciated by the un-initiated.
Knowing that you’re listening to Monteverdi, Gluck, Offenbach, Purcell… and enjoying it… would also be an interesting experience for many.
Unfortunately, there were no program notes and the MaxMSP patch had to be thrown together while eating a turkish pizza.
There was barely enough there to mangle the Orpheus sounds and apply (some admitedly arbitrary) quad spatializing.
Live Cinema REFLECTION THREE = The hierarchy of events is crucial to define as early as possible. When something must happen it must happen; no questions asked. Never take no for an answer unless the answer is actually no. In Live Cinema, sometimes seeds must be planted that will only be harvested in the distant future. You can’t have a farm if you don’t have a goat.
Live Cinema LESSON SIX = D.I.Y. stands for Do It Yourself.
Live Cinema LESSON SEVEN = Don’t give up.
(In my opionion) The PERFORMANCE was a success.
Other topics to be discussed/reflected on in the future:::
concepts vs. realities
run-throughs vs. discussions
tight vs. loose
popcorn vs. chewy candy
bouncing vs. real-time
Henke-style documentation
Scriabin’s Mysterium

Orpheus2010 from husc on Vimeo.

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