Around 2014, my friends were regularly playing in a band called Sun Street. They expressed an interest in introducing a visual element in their performance and asked if I would be interested in taking on the logistics of that process.
My educational background is in graphic design, so video content creation and, to a greater degree, live performative video was a very new endeavor. However, after working several years doing static design as a day job, I had found my creative motivation for the format had lost its pep and was receptive to the idea of picking up a new means of expression.
Our friend and collaborator who operates as Squared C Photo, provided me with a loan to procure a projector and a license for Resolume. From there, I spiraled down the video rabbit hole (and years of barely being able to pay on that loan).
Of Montreal's concerts were huge for my understanding of what video could provide to a live performance. Their shows provided the first experience in which I found myself blown away by the creative possibilities of the medium.
Early on, I found that the work of Danny Perez and Jason Galea provided the confidence to explore visual environments that I otherwise may have brushed off. Perez's work in particular drew me in to strange, discomforting base imagery that heavily defined my visuals style for several years.
After working with Sun Street exclusively for a year or so, I became a permanent member of the new project started by two of its members, Sweet Country Meat Boys, as the band's visual artist.
It was with this act between 2015-2020 that I more fully developed a consistent aesthetic and cut my teeth as a live performer.
I frequently worked with acts for whom we opened or played alongside, as well as took on one-off shows.
Other than my "permanent" roles, I've performed live visuals for Earthless, Deakin (of Animal Collective), Holy Wave, L.A. Witch, Bask, and Esseks. Outside of live contexts, I've created live-recorded visualizers with my approach for Frankie and the Witch Fingers and Amtrac.
Collaboration in a live environment has been rare for me. The only individual with whom I've performed in tandem is fellow Lexington-based visual artist, Yovozol.
The name Psensibil is a take on the word sensibilia which is a broad term capturing "anything that can be sensed." The silent "p" on the beginning is merely a nod to the psych influence and way in which my monicker could be differentiated when searched.
psensibil is still going in 2020, but currently only creating recordings of live performances for digital consumption. I plan to re-emerge once live music returns.
My process is entirely digital. I pack a desktop computer that I've been building/upgrading for nearly a decade running Resolume Arena, a 5.5k projector (Optima EH515t) and a slew of MIDI controllers (Akai MidiMix, Novation Launch Control, Novation Launch Control XL, Faderfox DJ4, and Actition 8-button footswitch with Nectar NX-P expression pedal).
I started with a small 3k projector and my computer with a keyboard and mouse. This was my setup for a year before I introduced my first MIDI controller (MidiMix) which changed everything for me creatively by allowing more immediate/expressive performances. I upgraded my computer components, A/V cables and projector as I could afford until I had a system capable of whatever I threw at it.
I own 2 projectors, but only utilize one for performances.
Creating feedback loops with a capture card is a fun experiment, but not incredibly tameable. I think most of my exploration has been through exploring and finding interesting stacks of FFGL plugins from the community.
I think the most effective tool I've found is utilizing a live audio source (microphone on stage or direct out from soundboard into USB audio interface) to act as a behavioral parameter for effects.
The way in which it has been applied has changed exponentially over the years, but as a core concept this approach has heavily affected my style.
Travis Hall, Lexington, Kentucky - January 2021