Crafting 'Vectorize(Prototype)': A digital double approach with SPEKTRA

Asaco and Toyoshi Morioka of SPEKTRA discuss the creation of 'Vectorize(Prototype)' an audiovisual installation prototype in a performing arts theatre. SPEKTRA, based in Kyoto, is a group known for its experimental and expressive work. Their primary focus is on installations involving lights and audio. 'Vectorize(Prototype)' represents a shift, using flat beam lights in a performance context rather than as an installation. The interview explores Speckra’s approach to prototyping, which includes 3D modelling and simulations in TouchDesigner. Additionally, the collective’s dynamic team structure and other themes are explored.

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Highlights

• (0:01:19) Description of “Vectorize(Prototype)”
• (0:01:51) Discussion on Spectra’s shift from installation work to performance
• (0:03:00) Experimentation and new techniques in “Vectorize(Prototype)”
• (0:04:00) Challenges of working with a large space and lights
• (0:05:31) Inspiration for “Vectorize(Prototype)” came from a new device
• (0:07:05) Use of 3D simulations in planning the piece
• (0:09:22) Simulation and modelling now used in most of their works
• (0:12:13) Learning to create performance works was a challenge
• (0:13:56) Current projects involve mirror installations and merchandise
• (0:16:36) Collaboration involves specific skills rather than specific roles
• (0:17:16) Advice for working with light installations
• (0:17:57) Three points: creating something we’re interested in, site specificity, new techniques
• (0:19:50) Importance of being interested in new ideas and techniques
• (0:20:18) Collaborative approach to creating artwork
• (0:21:15) Collecting ideas from members and valuing personal experiences

About Spektra Studio

SPEKTRA is a Kyoto-based group that engages in experimentation and expression.
Members change dynamically according to projects and venues as they search for new ways to describe ideas.

Links from the podcast  

• Watch the videos of Vectorize(Prototype) 
• Visit the SPEKTRA website    
• Follow SPEKTRA on Instagram 
• Follow asaco on Instagram 
• Follow Toyoshi Morioka on Instagram 

Links from the episode

• SPEKTRA website
• Vectorize(Prototype) on SPEKTRA
• SPEKTRA on Instagram
• asaco on Instagram
• Toyoshi Morioka on Instagram
• SPEKTRA on Vimeo

Edited transcript of this interview with Spektra 

From installation to performance

Robin: Both of you, welcome to the Creating New Spaces podcast. What’s it like to experience Vectorize(Prototype)?

Asaco: We mainly work on installations — using audio and lights, like LED and flat beam lights — as part of SPEKTRA.

Robin: Vectorize(Prototype) was for a theatre space, is that right? Instead of a space where people are watching as they move around?

Asaco: It’s for performance. We didn’t use artists this time, but we can use it for artists.

Robin: If I’ve got it right, in the past you’ve done lots of installation work and some electronic music performance, but not so much light performance. So this is a new type of work for you?

Asaco: Yeah. That was part of our experiment. We do experimental things using new devices and new techniques.

Why ‘Vectorize(Prototype)’ is a prototype

Robin: Okay, so this is why you’re calling it a prototype — because there are new techniques in it?

Asaco: Yeah. We don’t think the work is at the very top level yet. We consider it more like an experiment.

Robin: What were some of the things you were experimenting with in the piece?

Asaco: The space was very wide, and we couldn’t imagine how the fog would spread or diffuse across such a wide area. That was the biggest experimental point this time.

Designing for fog, speed and a wide theatre space

Robin: So it was the wide space and the fog — how that would work. How did you try to get around that problem?

Asaco: The hardest part was speed. If we move the lights slowly, it’s not comfortable. But if we move them faster, the light becomes more like a flash — maybe too fast, not comfortable — but it creates a cooler effect.

Robin: Because it’s a very fast piece compared to some of your other works. Where did the idea come from?

Asaco: We got the idea from a new device. This time we got a new flat beam light, and we just wanted to try it. The original concept was: how can we get a cooler effect with this new device, and how can we use it?

Robin: So you had a new type of light — the flat beam — and you experimented with that. What was the process? Where did you start?

Asaco: We got the device maybe two years ago. The first time we tried it was on a live stage for an artist, in a small live house. We tried it, but we weren’t satisfied with the effect. So we kept trying to find a cooler way to use it.

Robin: How do you go about finding the right way to use the lights as a team?

Asaco: We discuss how to use the device, how to make the effect, and how to change the approach. We exchange ideas and opinions, and then we find new ways to use it.

Prototyping with Blender and TouchDesigner simulations

Robin: We were talking a little bit about simulations with this piece. Did you build a 3D simulation beforehand?

Asaco: First we model the space — the room — in Blender. Then we got a model of the flat beam light and arranged the layout. We decide where to put the devices and what the coolest lighting design is. We modelled the space and then decided the best layout.

Robin: So you planned the movement of the lights.

Asaco: Yeah.

Robin: What did you learn from doing the simulation?

Asaco: Through the simulation, we learned the best way to use the lights for that room — for that space. It helped us narrow down our ideas.

Robin: Was it faster than doing it any other way?

Asaco: Yeah. This way is cheapest. The cost performance is good, and the time performance is also good. We don’t need to go into the space, set up all the devices, and turn everything on just to try things. We don’t need to test every option physically.

Robin: Do you do this for all your installations now?

Asaco: Yeah, for most of them. We try 3D modelling, layout on the computer, and then simulations in TouchDesigner or other software. For our works we use the same approach: model the devices and the space, think about layout, colour simulation, and device control. We build the control system the same way and then deploy it in the space.

Robin: It’s a nice way to think about it — having it worked out before you actually go into the space. What other ways has your work changed?

Robin: So it’s quicker, and you’re working everything out without having to work in the space. Is there any other way it’s changed how you work?

Asaco: Another way we try is making a small sample — like a miniature model.

Robin: A model?

Asaco: Or we create the layout in Blender, like a 3D model. It’s similar, but sometimes we focus just on layout.

Robin: Are you doing this with performance works as well?

Asaco: We don’t really have our own main performance, but we support other artists’ stage performances. For instance, we support a Kyoto-based synthesiser band, Sawa Angstrom. We support their stage performance with lighting or video production.

Robin: This was an experiment — a new way of working. What did you learn from the project?

Asaco: This time we used a new device and we also filmed it ourselves. Taking video of the flat beam is very hard, but we found a more beautiful way to document the work.

Robin: It looks amazing.

Asaco: Thank you.

Robin: What was the greatest challenge when you were making the piece?

Asaco: The newest thing for us was making a movie work — it was the first time. Usually we create installations or exhibitions, or support live performance. But this time we challenged ourselves to create a short film work. That was the newest part for us.

Robin: By movie, you mean the audience is sitting there watching over a period of time. So rather than people moving around the space, they’re seated. You have to think about narrative and storytelling.

Asaco: Yes.

Robin: What are you currently working on as a team?

Asaco: We’re trying two new things. The first is finding another way to use light. One thing we’re doing is a mirror installation. It’s a new approach, and we’re also challenging ourselves to create an installation without using light.

Asaco: The second challenge is making something more static — like merchandise that people can bring into their homes.

Asaco: Recently we bought a plotter machine and got a new 3D printer, and we’re developing merchandise — objects shaped from our art practice.

Robin: Am I hearing correctly: with the mirrors, it’s about working with mirrors in a space to control the existing light, rather than bringing in additional lights?

Robin: That sounds really interesting, because it becomes a different type of light practice. And making consumable things is interesting too. We’ve had discussions before about the fact that installation artists often don’t have anything to sell — so it’s interesting to take some of the 3D work you’re doing and translate that into objects people can take home.

Asaco: Yeah.

Collaboration without fixed roles

Robin: That’ll be interesting to see how it works out. A couple more questions. We talked a little bit about collaboration being discussion-based. Is that always how it works, or do people shift roles across the team?

Asaco: We don’t have fixed roles, but we have specific skills. Some people are good at sound, other people are good at creating electronic devices, some people are good at technical systems. We don’t have formal roles — we have specific skills.

Robin: So many of you have multiple skills. Someone might do the TouchDesigner work in one project, but in another project they might do sound. You’re multi-skilled and you move in and out of roles. You’re not highly specialised, but you still have strengths.

Robin: My last question is broad: what’s your greatest piece of advice to someone wanting to work with light installations?

Asaco: We have three points. The first is we want to create something we’re interested in. If we can’t enjoy creating new things, it’s not artwork. We need to enjoy making the work.

Asaco: The second is site specificity. We want to apply the art to the territory — to the space. The artwork must be site-specific.

Asaco: The third is using new techniques — but not only because they’re new. The important thing is being interested in the skills you’re learning.

Robin: To summarise: make things you love, think deeply about the site and the space, and stay interested in the skills you’re learning.

Asaco: Yes — and new techniques for us, too.

Robin: Always being interested in new ideas and new techniques.

Asaco: Yes, exactly.

Robin: It also sounds like your process isn’t driven by one central person’s idea. You’re collaborating to make ideas happen.

Asaco: We think the most important part of creating is our own ideas and our experience. If we had a director, it might change the whole way of making things. We don’t have that. We prioritise creating from our ideas and experience. We collect ideas from our members.