Inspired by The Wire magazine SC140 project, our assignment for AV Sys was to create a SuperCollider sketch that was under 140 characters. Based on the “Micromoog” piece that was involved with the SC140, I made this:
And here’s an audio recording of the first 2:30 of the piece:
For this week’s assignment, we were asked to make a music video that used code in an interesting way. It’s been a crazy thesis week, so I figured drum and bass music would be an appropriate genre to explore.
I took the street video by mounting a camera to my bike and riding home from school. I did a series of blob detection on different aspects of the video, and the alpha level of the blob colored visuals are based on the value of FFT ranges. The song is “Urban Shakedown ft. DBO General – Some Justice 95 aka Arsonist (Vocal mix)”.
This video is dedicated to Monday Night Vinyl Club.
My collaborative visual music piece, Modern Romance, was selected to be part of the inaugural New School Arts Festival, Noir, going on this month. The video will be shown as part of the Illuminating Noir gallery exhibition which was curated by faculty members Simone Douglas, Ben Katchor, and Christiane Paul and runs from April 1 – 9.
A combination of film, video, photography, and interactive media art, Illustrating Noir looks to be a significant contribution to the exploration of noir.
Admission is free, and here are details:
Fine Arts Gallery, Parsons The New School for Design
25 East 13th Street, 5th Floor (map)
Open Daily noon-6 pm, and Thursday noon-8 pm
Here are two pieces that caught my eye while I went to the gallery to setup:
There are a ton of events, talks, and screenings, so definitely check the schedule and come to an event.
This past weekend I invited fellow designers, artists, musicians, programmers, friends and family to Parsons to try out the latest hardware and software version of my tangible color music instrument. It had been a few weeks since the last set of tests, and I made a big push to get as many updates included in the hardware and software for this weekends Sound Tests and for final presentations at school.
On the night before the testing, I finished the hardware portion improvements which includes a new aluminum arm for the camera mount and an enclosure for the camera. I removed the PS3 eye from its original encasing and reduced the size of weight and space the camera took up.
The main goals for this weekend was to rigorously test the software to see if it was stable enough for long performances and to see how musicians and artists dealt with the interface. I truly feel that the audio is enough feedback for performers to know where the playhead is, but I needed to put the new hardware in front of people and see. Also, up to this point, the majority of the people testing my project were from the MFA Design and Technology program, and I wanted a fresh set of eyes and ears on the project.
Here are a set of images from both days:
The results were great. I received a lot of feedback (and some encouragement) that will help me with the next steps of this project. The primary comment dealt with how best to provide the musician feedback as to what is actually happening and to help them make decisions on how to use the pieces. Some people preferred more audio feedback, such as more drastic changes between the sounds when pieces are rotated or differ in shape. Others preferred to have more visual feedback so the user would know the location of the rotating playhead.
I put together a brief sample of the performances, and here is the video:
I also put together an extended version that includes all of the performances from the weekend, so if your still feeling like exploring the results from the test, you can see the long player here.
For the advanced AvSys homework, we were asked to build an app that uses live audio input to record data for a granular synthesizer.
I spent most of spring break hammering this out, and the current version works but is far from perfect. Here is a video demonstration:
Basically I am taking input buffer data, storing it to dynamic float arrays, and then sending the information to a version of Zach Lieberman’s granular synthesis code that I hacked up quite a bit.
I plan on updating this so that the parameters of the synthesizer can be changed after the sounds are recorded, and I’ll do a post (with code) in the coming weeks.