Text, including the two scores - Columbia University Department of ...

to each other when far. This exactly mirrors the method of stereoscopic imaging, in that close objects have more lateral separation than those farther away. I immediately headed to a party supply store to purchase a pair of 3D glasses, and then constructed a very simple Max patch that rendered two nearer
of a sphere next to one another, one tinted red and the other blue. It worked, and so began a long journey of development to add the third dimension to my video performance practice. I developed my first anaglyph patch quickly, and was soon invited to perform it at a festival (La Superette copies
an occasion which led to many other performance opportunities. Some of my preexisting video performance patches were aesthetically or 2007),
adaptable to 3D, while others were not (because they did not utilize virtual depth). I originally developed my idea in vector-based programming (specifically openGL, controlled from within Max); some of the limitations of vector-based video synthesis led to my exploration of raster- computationally
3D. These two methods have very different structures of definition and control; as I would eventually learn, they also have very noticeable properties and challenges inherent to each. A decision between the two is necessarily the starting point for devising any media performance system in 3D, and will based
the types of input parameters available with which to perform or compose. determine
I describe the workings of the two anaglyph graphic methods; before being incorporated into the two concert works (vector graphics in Cardinality Aleph Two, raster graphics in American Engineer), they both were used in solo performance patches to which I will refer (and include on the
Here,
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