Vancouver Community College is having a celebration and I have been invited to present my workshop as part of the activities for students.

The theme of the Sustainability Fair, “Green 365 @VCC” fits in perfectly with the idea that we can live more lightly. I will be handing out my sheets with 50 things that “we each can do” on April 28th at the Broadway Campus (aka King Edward Campus) 1155 East Broadway and on April 29th at the Downtown Campus, 250 West Pender Street. Contact info and map here. Song performances will occur at noon and 12:45pm, so participants are welcome to come down and sing!

I am really excited about this opportunity and hope that many of the students will get involved.

Where the Hell is Matt?”

When my daughter told me about Matt, I didn’t get it. She invited me to come down to the beach and dance with this young man who was traveling all over the world dancing with people. No, he is not a great dancer. I didn’t get it — I didn’t go. That’s my daughter in the red skirt, front left, on the beach in Vancouver.

Where the Hell is Matt 2008

Matt brought the world together with his little dance. There is such joy in the act of Matt doing his dance from the heart that it refreshes my belief in humanity. I believe that behind the power struggles and the greed — we are all one people. When I saw the video — I got the message.

Playing for Change

Here is another group that is doing video of pop songs, like “Stand By Me” (Ben E. King) and “One Love” (Bob Marley) performed by musicians all over the world playing together through the wonders of technology. They all appear in their own country playing their instrument on the same song playing with the musicians that have already been recorded.

They have a great site and the passion to show that music can cross borders that have been created by the power structure to connect us.

Live More Lightly

The completed Live More Lightly song 6 minute video will show me singing, joined by one person, then by another, then by all the workshop participants that want to be in the video. As each workshop will be different, it probably won’t be as smooth in transition as the Playing for Change videos, but if I get some funding I can make better video. The first one will be a do-it -yourself demo, but I hope to have it ready for the start of the tour in 2009.

The documentary movie will be about the journey across the continent in 2009 to bring the diverse age groups, cultures, ethnic backgrounds and others (basically everybody I can get) together to Live More Lightly on the land one small action at a time. I want to show lots of great environmental footage of natural scenes so everyone will know why we should save the planet. I anticipate that 90 minutes of singing, workshop events, beautiful scenery and on-bike motorcycle riding should be about right.

The motorcycle tour is a small portion of this project, but it has been taking a lot to coordinate. I could just go in my van to do the workshops, but the motorcycle is much more environmentally friendly.

I also hope to be able to be the first person to stream live video from a moving motorcycle to a satellite without a truck. The Grand Prix racers have on-bike cameras that stream to a nearby truck that carries a satellite dish, like the one pictured below. This huge dish with signal amplification allows them to send a broadcast quality signal to the satellite. From the satellite the signal can be received at the television station for editing or routed into the broadcast signal as live coverage. A higher quality signal (broadcast television) takes more power, so a larger amplifier and more microwaves, than a low quality signal (webcam).

Due to microwave radiation from this type of dish, it is against Canadian law to mount it lower than 4ft off the ground. This dish, when fully extended is well above the heads of any concert goers and is considered safe. I don’t even like to carry my cell phone in my pocket, but for the sale of art, I plan to innundate myself with microwaves from a portable modem. Basic outline of streaming requirements here.

Many motorcyclists have mounted cameras on their bike and there are a lot of videos on the internet of intense riding. Depending on your area of interest there are many to choose from. One other Vancouver rider, Jeff has captured a lot of scenic footage from his Harley on VRide TV. I love the smoothness of his ride as it makes for great video as I already described here. I am on a more limited budget with my old Yamaha FJ1200, but I hope to be able to get some great nature footage for the documetary. Still working on the streaming aspect. I will keep you posted.

Most of the work I have done recently on my blog and the project is administrative tasks that are not too exciting. However, I am excited about the possibility of facilitating a workshop in Powell River soon and having my friend Judy capture the action on a video. Now I have updated WordPress, I can add video and podcasts. It is always a concern of parents when considering allowing their children to be in a video posted to the internet, but I hope that I will be able to form a community of environmental supporters. Everyone seems to be less concerned when there are hundreds of videos — I’ve seen countless children on Youtube.

I will be networking with more environmental education sites and I hope that many people will know “The Live More Lightly Song” by the end of the year.

Remember the WordPress motto when reading this: “Code is poetry.”

The last steps I took on activating the music recording capabilities of my ASUS notebook included installing the ffado drivers and (with help from Robin B. in Seattle) making sure the “raw1394″ kernel module is loaded on boot. This can be checked in terminal (sudo modprobe raw1394) and I did find that the Ubuntu Studio control that I installed was not a reliable indicator that the raw kernel module was in fact loaded. Even after checking the box in the GUI loaded from System>Administration>Ubuntu Studio, I still was asked for my password to activate the raw kernel in terminal.

There is a post on the ffado site that describes how to check if jackd is reading the ffado driver from terminal here. Unfortunately, I get the reading:

victoria@u-live:~$ jackd -R -d firewire -v4
jackd: unknown driver ‘firewire’

I think my problem might be with jackd rather than with the ffado driver itself. I was following the install instructions on the ffado trac site — Pieter writes encouragingly at the top “It’s very easy”, but forgets to add “…if you are a Linux programmer”. I have the latest RT (realtime) kernel installed and all of the dependencies except the python-qt.

victoria@u-live:~$ sudo apt-get install scons libiec61883-0 libiec61883-dev libavc1394-0 libavc1394-dev libxml++2.6c2a libxml++2.6-dev liblo0 liblo0-dev docbook-utils libexpat-dev libdbus-1-dev pyqt-tools python-dbus python-qt
Reading package lists… Done
Building dependency tree
Reading state information… Done
scons is already the newest version.
libiec61883-0 is already the newest version.
libiec61883-dev is already the newest version.
libavc1394-0 is already the newest version.
libavc1394-dev is already the newest version.
libxml++2.6c2a is already the newest version.
libxml++2.6-dev is already the newest version.
liblo0 is already the newest version.
liblo0-dev is already the newest version.
docbook-utils is already the newest version.
Note, selecting libexpat1-dev instead of libexpat-dev
libexpat1-dev is already the newest version.
libdbus-1-dev is already the newest version.
pyqt-tools is already the newest version.
python-dbus is already the newest version.
E: Couldn’t find package python-qt

Robin fixed this later and I have no idea what he did. I had already checked that I had python-qt3 installed and somehow he made Ubuntu see it. Next I downloaded the ffado sources and placed them in the directory and tried to compile using Scons. I had never tried to compile anything before so I did not realize that scons had to be run from inside the folder of the program that you wish to compile.

victoria@u-live:~$ scons DEBUG=yes

scons: *** No SConstruct file found.
File “/usr/lib/scons/SCons/Script/Main.py”, line 825, in _main
victoria@u-live:~$ scons install

Scons cannot find the SConstruct file unless it is run in the directory folder that the text file lives in. I figured this out and I was pleased to see a string of code scroll down the terminal screen.  I was less happy when the install terminated with the error message:

xdg-icon-resource install –size 64 –context apps support/xdg/hi64-apps-ffado.png
scons: *** DirNodeInfo instance has no attribute ‘csig’
scons: building terminated because of errors.

I tried to continue and received some help from the guide posted here. I decided not to try to hack the code in the SConstruct file as they suggest and looked for another method. There is now some new information posted by Pieter here, but at that time, after a bit of searching, I gave up and decided to continue with the install instructions. Later Robin came to my rescue and said something that contained the words “usr home folder”. I did not understand what he said and he types quickly into the terminal, but the result was positive and the driver is installed.

victoria@u-live:/usr/share/applications$ cd /usr/local
victoria@u-live:/usr/local$ ls
bin  etc  games  include  lib  man  sbin  share  src
victoria@u-live:/usr/local$ cd bin
victoria@u-live:/usr/local/bin$ ls
ffado-bridgeco-downloader  ffado-fireworks-downloader
ffado-dbus-server          ffadomixer
victoria@u-live:/usr/local/bin$ ffado
ffado-bridgeco-downloader   ffado-fireworks-downloader
ffado-dbus-server           ffadomixer
victoria@u-live:/usr/local/bin$ ffadomixer

——————————————————-

Another frustrating bit of business with the command:

$ sudo apt-get install subversion libtool automake

I could not get it to run, but I installed jack from the trunk in a separate folder and I think that is the source of my present problems. Jack installed very well, but now I think I am running two versions of Jacd and that is confusing to my OS. I do not have Robin B. to help me now, so I just tried running the above cmnd again. Surprised and pleased, I watched the install proceed:

victoria@u-live:~$ sudo apt-get install subversion libtool automake
[sudo] password for victoria:
Reading package lists… Done
Building dependency tree
Reading state information… Done
subversion is already the newest version.
libtool is already the newest version.
The following NEW packages will be installed:
automake
0 upgraded, 1 newly installed, 0 to remove and 0 not upgraded.
Need to get 519kB of archives.
After this operation, 1712kB of additional disk space will be used.
Get:1 http://ca.archive.ubuntu.com hardy/main automake 1:1.10.1-2 [519kB]
Fetched 519kB in 2s (182kB/s)
Selecting previously deselected package automake.
(Reading database … 245531 files and directories currently installed.)
Unpacking automake (from …/automake_1%3a1.10.1-2_all.deb) …
Setting up automake (1:1.10.1-2) …

Now I have the automake application installed jackd may work better or I might have to remove it from the system and reinstall. I plan to use this post to ask for help with my lack of success, but I feel I am making some progress because my terminal reads:

victoria@u-live:~$ cd libffado
victoria@u-live:~/libffado$ tests/test-ffado Discover
verbose level = 0
Using ffado library version: libffado 2.0.900-1319

06565751473: Debug (devicemanager.cpp)[ 555] discover: Discovery finished…
06565751641: Debug (devicemanager.cpp)[1045] showDeviceInfo: ===== Device Manager =====
06565751717: Debug (Element.cpp)[ 109] show: Element DeviceManager
06565751769: Debug (devicemanager.cpp)[1053] showDeviceInfo: — IEEE1394 Service  0 —
Iso handler info:
Dumping IsoHandlerManager Stream handler information…
State: 2
no message buffer overruns

————————————————————-

Thanks Robin B. for your hospitality and your help! Here are some flowers for you.

On one occasion, when Krishna was still a child, he revealed his true god-self to his mother by asking her to look in his mouth. When she complied, she was astonished to see the entire universe inside the mouth of her child. When I looked into that camera, I saw a glimpse of the infinite — I was astonished. The photographer who owned the magic box enthusiastically started informing me of the technical details in a language full of numbers that I did not understand. This machine may be described by numbers, as the universe can be modeled mathematically, but the impact of the revelation I had experienced created a bookmark in my mind that I return to in wonder.

My next reaction was more practical, as the Virgo reasserted her presence. If everyone had a camera like that, my opportunities for employment as a graphic artist would be seriously reduced. There was no noise in the image, it was balanced and in sharp focus. If the capture mechanism was as pristine as the view, the images would reflect a hyper-realism that would need few adjustments. My daughter later comforted me by pointing out that many of these cameras are owned by individuals who can cause them to malfunction and that composition skills are still required. Even the best images can benefit from layout, design and story, so my production skills will still be needed.

The term “multi-media artist” has often been applied to my skill sets in production. I know that if I am not being paid, I do music, music technology and saving the world. Some practical part of me knows that my time will not allow any more addictions. I am already being drawn away from my “Live More Lightly Project” too much by other musical entanglements. I have to complete a book prototype this month. Move on.

Then, I went to Seattle and I used Kyle Cassidy‘s camera to take photos of Kyle, Trillian and my daughter, Jhayne, together. This time, when I looked into the camera, the universe resolved and I saw my friend the computer lived there too. I immediately knew what to do and asked Kyle to set the controls to automatic. I can trust my computer abilities completely and I recognized that this was a computer that knew how to use the camera mechanisms. I could trust my intelligent friend and concentrate on steadiness and composition. I hope to see the results of this experiment [edit:one photo posted on Trillan's blog link here].

Now, I feel myself wanting to experience that clarity again, but another thought intrudes. Am I ready to take the responsibility of being able to capture the hyper-real visual universe? In music recording, I live in hyper-reality because I capture sounds that are usually very fleeting and preserve them so they can be examined, manipulated and controlled. I capture in very high resolution and my mixing and mastering work is essential to reconstruct or engineer the three-dimensional space of the recording. Another dimension of music technology is to edit lower resolution captures and enhance them to contemporary standards. I take the responsibility of revealing moments of time and translating a transient waveform into a repeatable experience. There is always some level of interpretation required and other ears can be consulted on an important project.

Image capture is decided quickly by the one person who has control of the mechanism. I had decided to pursue video because it is a relatively low resolution media and the editor shares the responsibility because there is so much material. Video is very similar to audio recording in that sense. Audio/video footage is a linear record, but photography is a much more selective process. A hyper-real photo will capture the essence of the moment and freeze the light-wave, the way I preserve audio samples. There is some truth to the idea that a photo will capture a piece of the soul of the subject as it is the reality of physical and spiritual presence that reflects the light.

The photos I take start out as relatively low-resolution and I compress them to make them load quickly. Despite my poor equipment, sometimes I capture the spirit of light and I do not post those images to the internet. If I had a camera with a brain, these occurrences would increase.The posts I write with images are more attractive to readers, so I take snapshots, but I am selective about posting ones that qualify as images.

I want to be a musician first and I need to improve my financial picture before I could make such an investment in camera technology. I think the experience of computer-guided image excellence will help me to push what I have and even the poorest new video cameras have superior image resolution to my Canon A80.

The higher resolution specification given for still image capture on a video camera can be misleading. The cameras take interpolated images to raise the resolution specifications, but I hope to find a dual-purpose that will allow me to disable that feature and use the native resolution of the CCD. Camera manufacturers believe that consumers will buy more mega-pixels regardless of how they obtain them. It is true that most individuals do not research a purchase the way I have, but I will live with this device for a long time if I pick the correct unit and my integration with the machine will improve the function.

If I ever have a camera like Kyle’s in my hands again, I will remember that I have my own memory SD card in my pocket. I usually have a memory stick/USB with removable media on my person at all times. Then I would feel free to move into the hyper-real universe because it is my memory media and I will control the results of my journey.

Festival Vancouver has a special place in my heart because I have met people who have become important in my life at past concerts and the music is always exceptional. The first announcement of the evening was a change of name to “Music Festival Vancouver”, apparently there has been some confusion about the festival focus . . .

This year Music Festival Vancouver held concerts in VanDusen Botanical Garden for the first time. It was a great choice for a venue and the large grassy field, where plant sales are usually held, was prepared by adding a large covered stage on the north end. The World at the Garden Series featured three great concerts and friends have told me that the guitar led Yamandu Costa Trio (Brazil), who played on Friday, Aug 15 was amazing. I chose to go to Salsa Dura, the “hard salsa” band conducted by Sal Ferreras on the following Sunday evening because of guest Ernán López-Nussa, piano.

I first encountered this accomplished Cuban pianist in 2003, when I heard him play at UBC, then later during in the week at the Commodore Ballroom. Ernán López-Nussa opened for John Kosrud’s “Orquestra Goma Dura”, one of Vancouver’s great big salsa bands. I had the opportunity to dance with Ernán after his set while the second band was playing. I had a great time that evening and looked forward to hearing him again.

It was an overcast evening after weeks of sunny summer weather and concert attendees knew there was a strong probability that we would be on the receiving end of some falling raindrops. I decided to go despite the rain and packed an umbrella on my motorcycle (closed).

The garden was beautiful and I had a few minutes to wander around before the music began. VanDusen Gardens is one of Vancouver’s treasures as it is watched over by a gardeners and offers an ever-changing pallet of colour, scent and form. I couldn’t linger too long, as Celso Machado was opening and I did not want to miss a moment of his show. Celso is one of the few solo performers who has packed the Ironworks during the Jazz Festival (2007) and he is a favourite of local audiences.

In addition to playing guitar and singing in the styles of his native Brasil, he has learned to play African kora and South Indian kanjira, a snakeskin covered tambourine. Celso is known for his mischievous attitude to displaying his virtuosity and this evening was no exception as he performed a percussion solo on his microphones and water bottle. He did bring out the kora and the exquisite timbre of African strings infused the garden.

The intermission was cut short as the rain began to fall and the original plan, of allowing the audience to wander the garden while the second group prepared to play, was shelved. After a speedy set-up, the main attraction was ready, with two female singers, a brassy horn section, piano and three percussionists.

The band had Lou Mastroianni as the regular piano player and featured guest spots with Ernán. It was pure rhythmic pleasure as Sal, Jack Duncan, Raphael Geronimo and Gilberto Moreaux meshed to form a shifting pattern of polyrhythmic texture. The band was Vancouver’s finest sofrito laced with authentic Cuban flavours in the form of Israel “Toto” Berriel, singer and Miguelito Valdes, trumpet. John Kosrud, Vince Mai and my school-mate Malcolm Aiken, also played trumpet with two trombonists, who I didn’t know. Pure brass punch and power, although there was some flugelhorn, no reeds. Authentic “hard salsa” with two female singers, mostly doing back-up, but one stood up and sang a lead. Al Johnston, who I have rarely seen, played bass very competently.

In the spirit of tradition, Sal Ferreras the band-leader, was introduced once everyone else was ready to start. As he bounded on stage with his usual energy, I noticed he has adopted a new style of eyeglasses that really suit him.

to be continued . . .

My particular widget, the “Live More Lightly Songbook and Workshop Guide” will be printed using the most environmentally friendly processes available. The included disk will have to be made from virgin plastic, so the choice will be based on price, although I plan to choose a company that uses environmentally sound practices when they can. This is the point where many producers believe they have done enough, but I continue to examine my practices: can I live more lightly?

I am writing the book using a computer that I built from mostly re-cycled parts and the notebook I bought to take on the tour was manufactured by AsusTek, a leader in re-use and re-cycling of its products. I am using Ubuntu Linux on both computers (the notebook came with Vista, so it is dual-boot) because I believe that open source software is more efficient and uses less resources. This is a statement I can’t provide academic proof for, but I know it saves my resources. With Windows and Mac computers I have to spend time working to be able to afford the product, then after spending considerable sums of money, I usually have to spend hours troubleshooting. With Linux, if you can get it to work — it is yours. I want to have good karma on this project and use legitimate software only. The software I am using in Ubuntu would take me months of work to afford because I do not want to be a software pirate.

The motorcycle is very important because I will need to tour to promote my book and facilitate my workshop. Air travel produces a lot of pollution and even though carbon offsets can be purchased, my goal is to reduce my impact on the planet. I realize that this may not always be possible, but by touring on my motorcycle I can produce a relatively insignificant amount of pollution and purchase carbon offsets for that as well. It is true that a lot of recent posts have been motorcycle related, but it is all-important to realizing the tour and the documentary video.

Concert reviews are not 100% relevant to widget production, but I am trying to improve my skills as a photographer and videographer. My training as a graphic designer and music technologist does give me a unique perspective, but I am very new to this world. Many of the reviews discuss the various challenges I face in documenting my activities and I hope all of this experience will be valuable to the realization of the project. I am still trying to find out if any video equipment is more environmentally friendly in manufacture or re-cycling. To make this a more easily searchable issue, I have added a new category Video and Photography to the left sidebar to filter posts into this category.

Improving my skills as a musician and writing posts about my interactive performances, such as the Children’s Festival, may be of interest to workshop presenters. I am very interested in presenting Live More Lightly Workshops and I hope that these events will demonstrate a level of competency as a professional musician and workshop facilitator. Current research into low impact workshop practices is on-going and will be the subject of a future post.

The “Live More Lightly Project” is utilizing all of my skills and developing some of my non-skills. The original concept of the project was to focus my abilities to encourage everyone to “Live More Lightly” and that is what this blog is all about. Although I may seem to digress, the importance of “cradle to grave” widget production and maintenance or life-cycle responsibility is constantly influencing my planning. As a parent, it is of primary importance to leave resources for the future.

The basic version of the book is almost in manuscript form and ready to start editing and moving forward to the next stage. I really want to spend time now recording the music and preparing a draft of the disk that will be a companion to the book. However, before I do anything else, I have to finish doing my taxes for 2007. This should not be a difficult undertaking as I do not have a lot of money to count, but I am always overwhelmed by book-keeping and even have trouble keeping up with invoicing for my work hours and keeping track of receivables.

This is where “CGA Man” should swoop in through a handy open window and say, “I’ll save you!”, but no. Accountants work in mysterious ways and I have to produce many spreadsheets to get the job done. I have to force myself to do this as the little neat piles of paper all over the studio are driving me mad.

If I can get my taxes done, I have prepared the draft of a business plan so I can get a line of credit to produce “The Live More Lightly Songbook and Workshop Guide” and have a financial cushion in case someting unexpected happens on the tour. As a responsible parent, I have to make sure that I can afford to be safe and I am not placed in dodgy situations due to lack of funds..

It would be nice to get sponsorship or a grant, but I can’t count on it. This project is my dedication to do what I can to help the environment and I am using every bit of my skills and some of my non-skills to achieve that goal. Time is not on my side here as July is coming to a close and August is making an entrance. It is foolish to plan to ride too late in the year, so I will not be going completely across Canada. I know the “iron-butt” endurance record is something like 72 hours for a motorcycle ride across Canada, but my purpose is different. I want to show the beauty of the country I know so well and have seen so many times.

As a touring musician, I have travelled over most of Canada, covering the geography week by week, as we moved to a new venue. The bands I was part of rarely played one-nighters, we were road wariors who pulled into town Sunday, set-up and played all week and pulled out Saturday night or Sunday morning. We drove vast distances sometimes to arrive at the next venue, sometimes hundreds of kilometers to play in another town. I would joke we got paid for driving at a dollar a mile plus for hauling gear and then played for free. I feel better when I’m playing for free, but it is usually not possible. I would like to give my music out and share it with everyone, but I have to make money somehow so I can make more music.

It is shocking to me how little I have produced of my own work and what brief hours I actually spend playing. I must remain dedicated to producing this one song as the first completed release. First I have to do my taxes.

Gamelan Madu Sari, Vancouver’s gamelan that uses Javanese instruments, was producing a show called “Semar in Lila Maya” and they had worked very hard to bring four performers from Yogyakarta, Indonesia. Students could study with one or all of these instructors who specialize in dance, shadow puppetry and music instruction. It was tempting to sample a bit of everything from the rich cultural buffet. The group picture, taken at the end of class, was a bit of an afterthought and I had already changed into my motorcycle riding clothes so I couldn’t sit cross-legged anymore.

On the far left back row and below, is my friend Mas Sutrisno Hartana, who has moved to Vancouver and teaches Javanese music at Simon Fraser University. It is because of Sutrisno, that I say five Masters of Javanese Arts, although there are only four visitors. I have taken better photos of him, but he is really concentrating and serious in this image below. He introduced me to the subtle beauty of Javanese gamelan when I was still playing with Gong Gita Asmara, the ensemble using Balinese instruments based at UBC. I did rehearse with Madu Sari and play one concert, and I look forward to having more time to play with them in future.

Mas Sutrisno is a multi-talented performer who has worked with the Javanese guests as a shadow puppet master (dalang) and treated us to an impromptu dance duo performance with the visiting dance specialist. He is best known as an expert Javanese performer, recognized composer and arranger and the Artistic Director of the Madu Sari Community Gamelan group.

Many of the other students had better cameras and they may share their shots later, but I took a few pictures. On the left is Ki Seno Nugroho, one of the most famous of Java’s traditional shadow puppet masters (dalang.) He constructed and manipulated puppets in the Madu Sari production assisted by Eko Pumono.

Most of the Indonesian visitors smoked clove scented cigarettes (kretek), it is a very widespread habit in their country.

Below is a photo of the four members of Gamelan Wargo Laras who visited Vancouver, taught a week-long workshop, then performed with Gamelan Madu Sari during their “New Javanese Shadows” Canadian tour. The dance specialist, lower left, demonstrated and taught at the workshop, but participated in the show as a musician.

Then there was the show. This genre is called “Wayang Lectrik” in Indonesia, wayang is the Indonesian term for the puppet play and lectrik signifies the use of electricity, instead of traditional oil lamps, to produce the light. It combines the traditional magic of the shadow play with the innovative magic of technology.

The electronic visuals were by Aleksandra Dulic and Ken Newby, who are located in the back left in the photo below. I tried to show the screen from the side so the puppet can be seen behind the screen and the shadow reflection as well.

Above: Ken Newby is playing suling (Javanese flute) in this photo and the gamelan orchestra instruments are shown much more clearly. The long table in the middle of the group holds the puppets where the dalang can easily pick them up and animate them.

The music was composed by Madu Sari members Ben Rogalsky, Mark Parlett, Micheal O’Neill, Sutrisno Hartana and Kenneth Newby. The story combined Javanese mythic figures and stories with modern vignettes and cameos by Western philosophers. The beauty of the visual elements combined with the emotionally evocative gamelan sounds created a wonderful ambience. I went to the show each evening to enjoy the improvisation and watch the evolution of the show.

I had seen “Semar’s Journey” last year and so made the effort to see the launch of this show, “Semar in Lila Maya”, at the Vancouver Art Gallery on the Night of Broken Bikes. This was a much more interesting presentation visually as during the launch, it was still light outside and in the Roundhouse the light was controlled. There is always something special about listening to gamelan music outside, but the audio was very good in the Roundhouse.

The show went on to tour in Ottawa, Mississauga and Toronto after two nights in Vancouver at the Roundhouse on Wed. July 9th and Thu. July 10th, 2008. There was some recording and other documentation that I may be able to post later. I will never forget the generous spirit of the Javanese artists, who shared their expertise with us. I give them and Gamelan Madu Sari, my deepest thanks for the experience.

This is an artistic photo, and I like it because it shows Paul’s musical spirit, but I always like to have control over results. [Yes, control is a deep part of my psyche -- we'll go there later ...] I keep trying to get decent live pictures, and I am doing better in low light conditions than last year.

That is because earlier this year I started watching photographers to get some idea of how it was done. My first subject was Willie Cackett, photographer of the Blues and Roots scene in Vancouver, who gets some decent photos with inexpensive equipment. He has even had some shows of his work. Those are his photos on the wall behind him in my image below.

I noticed something right away. Photographers are very still so it is really easy to take pictures of them and I can use a flash. When I told Willie I had taken photos of him, he was pleased. He told me he didn’t have many images of himself because he was always taking the pictures. So, I have found my photographic niche — to take pictures of photographers in action.

Much better photographers, with better cameras can take pictures of the show. I will take pictures of them. It is interesting too, as it fits into my idea of “watching the watcher” by standing in front of highway cams and having them video me videoing them across the country.

This is Brian Nation with the flash diffuser obscuring his face– not the best, but look how still he is in the natural light. The next one caught him preparing, so his face is visible. I used a flash, so it is blue shifted and if I was using this for pro work I would colour correct it.

Next, I got a picture of Laurence Svirchev, but he was standing around before the show and saw me taking it. I really like to sneak up on them while they are being very still to take a photo. Laurence is a bit out-of-focus but it’s not too bad. I noticed he had a flash diffuser too. When he saw me taking the picture, he was kind enough to show me menus to set the ASA that I didn’t know existed on my camera. He flipped through the options expertly and I was surprised that there was such a hold-over from film technology in the digital controls.

Another photographer I caught a little more unawares was Chris Cameron, the official photographer of the Jazz Festival. He was preparing his camera to shoot the Andy Bey concert at the Centre for the Performing Arts on Saturday evening. This is the best photo I took during the week. The blue shift from the flash has been colour-corrected and I left the right hand wall for a natural border. It is in focus and pretty steady for hand-held, although this Canon is an S2 with image stabilization to help me. Chris’s camera is the big, black box and to the left is Lisa, his assistant, perusing a Festival programme. I could have cropped the bottom a bit tighter, but I liked the geometry of the legs of the stool and the people.

Later, I tried to take photos of Chris when I was capturing Vivienne and Stephen at the “Homage to Al Neil Concert” with mixed results. It is fun to take pictures of Chris because he is so concentrated on his shot that I used the longest exposure I have and he didn’t move at all. However, he crouched in the darkest part of the floor in front of the stage, so it would take some careful graphic manipulation to bring out any detail. The colours are from ambient stage lights and the massive nature of his camera is evident.

Chris has a sweet Triumph motard that he rides around to catch all the Jazz Festival action with and often Lisa rides on the back. I told her she was very brave as I like to be in control [issues again ... lack of trust -- I know] and have only been on the back once in recent memory, a brief, but overly exciting ride, on Simon’s FJ. I kept reminding myself that people don’t usually fall off the back of motorcycles or you’d read about it. I was so impressed with the power and beauty of the bike, I bought one just like it, but I am not eager to be a passenger again.

I did not get a photo of Graham Ord, who runs the sound and is an expert photographer of shows at the Ironworks where I was the crew chief. I will make it a goal for next time I see him in action because I don’t usually take my camera when I am volunteering. I don’t have time to take any photos because it is so busy and I know Graham is doing better than I could anyway. I wanted to take a picture of him playing, but it was the night of broken motorcycles and I missed my chance.

I may write more about my 2008 Festival experience if I get some video, pictures or sound clips, but for now it is a return to the regular Live More Lightly Project programming.