The Suicided Voice is an interactive multi-media electroacoustic music piece in five movements. The piece explores the various and fluid identities of voice, the notion of voicing and the digital embodiment of the voice beyond the larynx. In this piece the acoustic voice of the performer is processed and manipulated live on the limbs of the performer via the Bodycoder System the first generation of which was developed by the artists in 1996 [1]. The Bodycoder System is a sensor array worn on the body that sends data generated by the switch choices and movements of the performer to an MSP environment via radio. In The Suicided Voice extended vocal techniques are coupled with live sound processing and manipulation to expose the multiplicity, potency and depth of the voice�s digital Otherness. The paper provides detailed information about the composition of the piece, the technology used, the nature and consequences of the interactivity employed and the artists� use of the Bodycoder System.

Mark Alexander Bokowiec, Julie Wilson-Bokowiec. "Spiral Fiction"

Organised Sound (2003), Volume 8(3): pages 279-287 Cambridge University Press

DOI: 10.1017/S1355771803000256,

ISBN: 1355-7718

Spiral Fiction is a piece of interactive performance staged by the authors in 2002. The paper provides detailed information about the technology used, the nature of the interactivity employed, the artists use of the Bodycoder System� and the aesthetic and theoretical issues arising out of the work. The paper addresses the problematic nature of the audience gaze, the seductive qualities of new technology, creative balance in the presence of new technologies and the problem of placing interactive performance along side analogue and single art form disciplines. The paper also explores the psychophysical nature of the interactivity associated with the Bodycoder System and will discuss cross-modal perception and sensation. The authors draw on aspects of postmodern theory to further expand their observations.