thinking audibly

I guess for the show, I’m thinking there is an underlying track that we spoke about, and yes i agree that a drum loop would hold it much nicer together, and be more musical, more performative etc. There is a good example of a “heart-beaty” sort of loop in the “LXD Teaser Choises HD” file at 0:37, also around 3:33 in “Mortal Engine by Chunky Move”.
The track should be muffled sounds, humming of electric generator, whales(?), sliding electric guitar strings, repeating cd, static, distortion, airplane flying(?)…
I really like the sound around 1:30 of “Mortal Engine”…

The work/ space should start ’empty’ sounding, because the karate-ka will be performing a kata first. After around 30-45 seconds, the intensity will start to grow, the room will start to ‘crack’ more, and it will be as though these cracks are allowing the space to fill with more sound…
As the performers fight each other, the intensity rises and falls – all of this can be pre-recorded in the underlying track.
Finally, at the end of the performance (around 5-6 minutes) the sound of the space will be similar to the start, almost as though the cracks have frozen over, or coalesce together, emptying the space of sound again, or perhaps blocking it off from intruding.

The sensors will affect sound ‘above’ the din of the room.. e.g. muffled horns(?), or strings… maybe you have a better idea?? –> i have to look more into the parameters I want to affect. A good example of the interference of the sounds that are connected to the performers is at 1:56 on “The LXD Teaser Choices”. “Cut-off” can that be a parameter?

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audio enlightenment

NOTES: Taken from “Body Navigation” by Ole Kristensen
The system was created using Processing for infrared blob-tracking of dancers and drawing the openGL graphics. During the performance, the system was controlled live by a person from an ISADORA-based interface via osc.
(Note to self: “Oh dear”)
The floor was covered with white vinyl.

Things to look into after the meeting with Simon…
– What kind of sequencer will I be using?
– What kind of amp will I be using?

REF: “The wilderness downtown” in Goggle Chrome by Arcade Fire … Pure Awesomeness…

– What is the bridging software between Processing and the Sequencer… (This may have to be Isadora)
– Reference: http://www.native-instruments.com
– How is the MIDI data interpreted?

– Look into ‘Pressure zone microphones’ that could be used to amplify a heartbeat

whitelaw, transmateriality, and tangents

“The cultural imagination of data is crucial in a society increasingly enmeshed in the datasphere.” – Whitelaw

New media art provides a venue for the transformation and translation of the technical and conceptual artefacts of artificial life into cultural objects – conglomerates of rhetoric, metaphor, and aesthetics. Such translations are important… Because of the terms they articulate; at a time of rapid and dramatic technological change, the process of assimilating, debating, contesting and reflecting on that change within cultural domains is crucial. The interface of artificial life and cultural practice is particularly significant for all these reasons; it opens a space for creative experimentation and debate around the increasing technologization of living matter as well as broader issues of life and autonomy, agency and evolution, genetics, code and matter. (Reference: Metacreation: Art and Artificial Life, MIT Press 2004.)

One might take the extreme position that a significant interaction between an artwork and a spectator cannot be said to have taken place unless both the spectator and the artwork are in some way permanently changed or enriched by the exchange. A work that satisfied this requirement would have to include some sort of adaptive mechanism, an apparatus for accumulating and interpreting its experience….

… The navigable structure can be thought of as an articulation of space, either real, virtual or concpetual. The artist structures this space with a sort of architecture, and provides a method of navigation. Each position within the conceptual space provides a point-of-view, defined and limited by the surrounding architectural structure. Exploring this structure presents the spectatr with a series of view of the space and its contents. The sequence in which the spectator experiences these vistas forms a unique reading of that space. In Virtual Reality systems, the architectural metaphor can be taken quite literally. In other works, the architecture is more like a conceptual paradigm, a method of organisation of intellectual perspectives, opinions or emotions.” (David Rokeby, Transforming Mirrors: Subjectivity and Control in Interactive Media)

cracks – 1st prototype, processing sketch

The first iteration of my sketch was inspired by a variety of sketches, and created by combining two of these “inspirational sketches” into a (very) rough functional prototype of the type of generative design I would like my final sketch to mimic.

“Pollen” by Kyle McDonald

“Perlin Noise Particle” by Daan Van Hasselt

“Harmony web remake” by Micthell Whitelaw…

…whose inspiration was Mr Doob’s Harmony Sketch Tool

My sketch is a combination of “Perlin Noise Particle” and “Harmony web remake”:

week 1 done

First week of Session 2. And I feel so far behind my schedule. But all there is, is to keep going.

To re-cap from my thoughts of the week before… I have been reading a lot of the writing about the works of Raphael Lozano-Hemmer and his practice and production of his ideas within his work. It has been very interesting, and I’m not sure if it has been the 4 months that preceded that has resulted in my thought progression to this point. Because when I step back, it seems like a whole heap of mental rubbish from which (finally), a solid idea has emerged from the pile, and presented itself as a realistically viable way of representing my data.

The following somewhat describes where my mind wandered to after reading a couple of the essays from “Some Things Happen More Often Than All of the Time” – Rafael Lozano-Hemmer.
I have been thinking about the visuals and I was reading an essay about Spatial Expressivity (“the edge of a cliff supplies a walking animal with a rtisk, the risk of falling, and the sharp edges of the rocks below, the risk of piercing its flesh; a layout of rigid surfaces facing inward, like a hole on the side of a mountain, supplies an animal with a place to hide, either to escape from a predator or, on the contrary, to conceal its presence from its unsuspecting prey…”)

I won’t site the whole passage but, I was thinking of using the data from the accelerometers to transform the space into a kind of “chasm from above” where the cliff face edges are generated and projected vertically downward as a result of the rhythms of the players.
The gap of the chasm would be reliant on 2 states of the player:
-determination
-desperation

these values could be determined through the comparison of the individual data streams and represented in the gap of the “chasm” and i’m looking into the possibility of projecting a sense of depth through echo…

The 3rd state of the players, vulnerability, i was thinking could be mapped with the brightness of lights casting shadows on the back wall of the space. sort of like in films when the shot of approaching danger is coming.


Ref: Still from Woody Allen’s “Shadows and Fog” (1991)

This lead to further questions from Petra:

in what way do you imagine -determination and -desperation to influence the appearance of teh chasm?
and would you be after showing which player is determent in which one is desperate – how can you show the different states of the player in/through the chasm?
do you imagine the chasm to ‘evolve’ during the fight (that is, change in shape, crackle, etc)? (i must admit, i wouldn’t know how to program that)
if you are interested in visuals that change, grow, etc in accordance to the incoming data input, it might be easier to look for/develop a generative pattern or something alike (e.g. crackling (of the ground)), where the sensor data drives the pattern’s evolution.

This got me thinking… It was true that a “chasm” of sorts may not be expressive enough to represent the different states within a fight. So continuing with the “crack” metaphor, it came to me that it would make more sense to illustrate the reactivity with a collection of cracks, and so this lead to thinking about floating icebergs, broken glass and the assorted types of cracks produced in different materials.