Recsund: Interview with Clifford Sage

毒の洞窟から魚を救い出す、一人称視点のフィッシングゲーム・パフォーマンス作品「Tuner v1.0」

Text: Noriko Taguchi
Text: Noriko Taguchi

Recsundは、CGアーティストのClifford Sageによるサウンドビジュアルのプロジェクト。今回は、今月初旬に発表された最新作ライブ向けに作られた毒性のある洞窟ネットワークから魚を救うという一人称視点のフィッシングゲーム・パフォーマンス作品「Tuner v1.0」について紹介する。舞台はtoxic caveと呼ばれる、何とも不気味な洞窟。前作ProDance®は正面から舞台を眺める作品であるのに対して、Tuner v1.0は、オーディエンスがボートの後部に乗りながら魚を救い出しているような感覚にさせられるゲームのような作品だ。ここにある内容はまだ氷山の一角で、ライブパフォーマンスはまだまだ進化していくという。







1. member (by yourself or team?)
Recsund has primarily been my solo project for over last decade and a half and Tuner was made by myself. Making music for me has always been world building from the beginning and isn’t initially about music for music sake (although at times it has been) , I feel like now seriously the integration of both these mediums (3D & Sound design) is essential and that more of these tools are fluid like never before.

2. the motief (why you choose fish?)
I wanted to make a new live visual project that was from the first person point of view (compared to my previous recsund ProDance® videos) and where the audience are back seat drivers as we try to save fish from a toxic cave network.
It’s part of a grander idea of making work based on environmental topics and subjects on nature. This is just the tip of the iceberg and currently the live performance is rather frustrating as we’re mainly manoeuvring around junk that emits sound signals of past news broadcasts! The use of fish is also a direct inspiration we had from the singing fish ornament of the late 90’s that I also want to expand upon.

3. equipments for your live performance
Well as mentioned before this document is purely driven with MIDI interaction and has the ability to adapt to all sorts of devices. The idea of making custom physical controllers does excite me but currently I am keeping it just to my cute icon i-djx and i-dj ! The idea of exporting the document for anyone of course does inspire me and is really important, but at this point i’m enjoying it for it’s uniqueness with this interface. (sorry)

4. technique of CGI (how you made?)
Utilising the game engine, the piece is being controlled by midi interaction but in turn also drives midi back to my DAW applications from the animations, so there is a waltz between 3D animation triggering audio synthesis and audio signals effecting the 3D world (virtually).
For a long time the idea of external input beyond classic mouse, keyboard and joystick within a real-time 3D workstation has kept me up many a nights, thinking about what is possible,
Designed to evolve overtime both topically and technically I made all the assets modularly all communicating mainly with the biomechanical boat that we are. But in the future I plan on having the ProDance® on board or maybe even a secondary live member through a network!

Clifford Sage