FAIRYTALES FOR THE 21st CENTURY

WEEK 1

READING RESPONSE

Bruno Bettelheim
“The Uses of Enchantment” The Meaning and Importance of Fairytales

Bettelheim discusses the raising of a child and how we find meaning in our lives. Fairytales help us understand ourselves when we have no experience in the real world. “The fairy tale, by contrast, confronts the child squarely with the basic human predicaments.” He uses the example with the death of a parent, a child comes to grips with a problem and the dilemma is in essential form. “Fairytale simplifies all situations. Details, unless important, are eliminated, all characters are typical rather than unique.” The evil doer is punished at the story’s end and provides child with moral education. The hero is most attractive to child, they are virtuous. Fairytales represent the juxtaposition of opposite values in the characters. Good and evil, lazy and perseverant, untrustworthy and true.

Jack Zipes
Why Fairytales Stick
The Evolution and Relevance of a Genre

Chapter 2
The Evolution and Dissemination of the Classical Fairytale

Zipes discusses the universal motifs and experiences that are borrowed and rewritten in the wonder tales of oral tradition. “The plot generally involves a protagonist who is confronted with an interdiction or prohibition that he or she violates in some way, there is a departure, the protagonist given a task or assumes a task.” In regards to the appeal for fairytales, Zipes examines how there is the transgression that makes the tale exciting. It is the possibility of transformation that gives hope to the teller and listener of a tale. A key element in these stories is when the protagonist receives help from a supernatural or mysterious friend. This friend has unique powers and gives the protagonist gifts. The aid for the protagonist is a “process of natural change and indicates possibilities for overcoming obstacles that prevent other characters or creatures from living in a peaceful and pleasurable way.” The stories repeat on the theme of “the persistent human quest for an existence without oppression and constraints.” There is another theme with the change of status. Michele Rak explains that, “The situation evolves rapidly to bring wealth and beauty, poverty and ruin to others.”

Chapter 3
Once Upon a Time in the Future: The Relevance of Fairytales

Fairytales serve as entertainment and instruction, a basic function for these stories. They are, “designed to communicate ideas about natural instincts, social relations, normative behavior, character types, sexual roles, power politics.” The stories “appeal to all audiences because they reinforce the notion of transformation” and this “desire for a better life is relevant due to moral codes instituted by hegemonic groups within respective society.”

 SELECT ANY VERSION OF CINDERELLA ASSIGNMENT  Yeh-Shen A Cinderella Story From China Re-Told by Ai-Ling Louie  The story is similar as it features a wicked stepmother and stepsister who treat her unkindly, dress her in rags and make her do the hardest work. There is a spring festival where a king is looking for a wife. A slipper is left behind and there is a search for the girl who fits the shoes. The story is different in that Yeh-Shen has a friend in a magical fish who is caught, cooked and eaten by her stepmother and stepsister. She talks and cries to the bones of her dead fish friend. The bones become the magical slippers that transform her rags into a beautiful dress. The fish is similar to the fairy godmother that I am familiar with in Disney’s Cinderella story. I chose this version because it is one of the oldest variants of the story.

SELECT ANY VERSION OF CINDERELLA ASSIGNMENT

Yeh-Shen
A Cinderella Story From China
Re-Told by Ai-Ling Louie

The story is similar as it features a wicked stepmother and stepsister who treat her unkindly, dress her in rags and make her do the hardest work. There is a spring festival where a king is looking for a wife. A slipper is left behind and there is a search for the girl who fits the shoes. The story is different in that Yeh-Shen has a friend in a magical fish who is caught, cooked and eaten by her stepmother and stepsister. She talks and cries to the bones of her dead fish friend. The bones become the magical slippers that transform her rags into a beautiful dress. The fish is similar to the fairy godmother that I am familiar with in Disney’s Cinderella story. I chose this version because it is one of the oldest variants of the story.

 MAKE/INTERPRET ASSIGNMENT  Through the Looking Glass Lewis Carroll

MAKE/INTERPRET ASSIGNMENT

Through the Looking Glass
Lewis Carroll

 Make significant changes – in time, in location, in characters…

Make significant changes – in time, in location, in characters…

 ALICE

ALICE

 NEO CLASSICAL SCI-FI SETTING

NEO CLASSICAL SCI-FI SETTING

 THE QUEEN 

THE QUEEN 

Screen-Shot-2017-01-29-at-10.31.49-PM.png
 CHESS GAME

CHESS GAME

 INTER-DIMENSIONAL DREAM WORLD

INTER-DIMENSIONAL DREAM WORLD

Screen-Shot-2017-01-29-at-10.34.40-PM.png

WEEK 2

READING RESPONSE

Bruno Bettelheim
“The Uses of Enchantment” The Meaning and Importance of Fairytales

Child’s Need for Magic

Bettelheim discusses the need for fairytales in childhood as a manner of instruction and how children learn to process their inner experiences. Children have little or no knowledge of how the world operates and they have to learn about complicated things through fairytales. He indicates that, “While giving a scientifically correct answer makes adults think they have clarified things for the child, such explanations leave the child confused, overpowered and intellectually defeated. A child can derive security only from the conviction that he understands now what baffled him before.” The attachment of concepts to characters in fairytales helps the children identify them. The way that a “child’s wishful thinking embodied in a good fairy, all his destructive wishes in an evil witch; fears in a veracious wolf; the child can finally begin to sort out his contradictory tendencies.” Fairytales provide the imagination with a way to learn about the real world in a safe place.

ASSIGNMENT

3 CHARACTERS
Re-imagined through Adobe Fuse Modeling and Mixamo.

 

 

 ALICE

ALICE

 THE QUEEN

THE QUEEN

 KNIGHT

KNIGHT

WEEK 3

READING RESPONSE

Jack Zipes “FairyTales as Myths, Myths as Fairy Tales” Chapter 3: Breaking the Disney Spell

Zipes discusses how Disney played a significant role in fairytales through his animation techniques and the implementation of film in the storytelling process. He says that, “the great ‘magic’ of the Disney spell is that he animated the fairytale only to transfix audiences and divert their potential utopian dreams and hopes through the false promises of the images he cast upon the screen.” He examines how fairytales had implied notions of elitism due to the fact that children who knew how to read had access to these stories. They were stories that soothed children’s anxieties because of their happy endings. The stories encouraged themes of rags to riches, miracles, pull yourself up and dreaming. He refers to Walter Benjamin and shows, “how the technique of reproduction detaches the reproduced object from the domain of tradition.” I found this to be incredibly interesting as we have a similar phenomena occurring in technology with the internet and how social media has influenced this most recent presidential election. Benjamin indicates that, “How the revolutionary technological nature of the film could either bring about an aestheticization of politics~ leading to the violation of the masses through fascism, or a politicization of aesthetics that provides the necessary critical detachment for the masses to take charge of their own destiny.” It is interesting to see how Disney changed Grimm’s tales and transformed them to suit his tastes and beliefs.

ASSIGNMENT
PAPER PROTOTYPE SCENES

I re-imagined these three scenes in a paper prototype pop up book.

 SCENE I: “Looking Glass House” re-imagined to: “Through the Painting”  This scene is extremely important as it is the catalyst to the fantasy of this fairytale. I believe the critical action is stepping through the mirror. Instead of Alice in a house, I have envisioned her in a modern charity ball, an elegant evening where she wanders away from the snobby donors. Along a deep hallway she walks past a painting, a breeze blows her hair to attract her attention to the painting. She notices the water is splashing and the scene is animate. Her curiosity has her step into the painting.

SCENE I: “Looking Glass House”
re-imagined to: “Through the Painting”

This scene is extremely important as it is the catalyst to the fantasy of this fairytale. I believe the critical action is stepping through the mirror. Instead of Alice in a house, I have envisioned her in a modern charity ball, an elegant evening where she wanders away from the snobby donors. Along a deep hallway she walks past a painting, a breeze blows her hair to attract her attention to the painting. She notices the water is splashing and the scene is animate. Her curiosity has her step into the painting.

 SCENE II: “Looking Glass Insects” re-imagined to: “Rooftop Deal”     This is originally where Alice meets the Red Queen. She is offered to be made a queen if she gets to the other side. I have imagined a scene on top of a tall building in a metropolitan skyline. There is lightning, rain and the queen is suspended in air, flying, gliding and teleporting about, yelling out frustrations. I think this scene is important to the story as it explains the objectives for Alice and her purpose for the fairytale. The Queen explains to Alice that the city is a giant chessboard. Alice accepts the deal made by the Queen that if she makes it to the top of the buildings on the other side, she will be made a queen as well.

SCENE II: “Looking Glass Insects”
re-imagined to: “Rooftop Deal”

 

This is originally where Alice meets the Red Queen. She is offered to be made a queen if she gets to the other side. I have imagined a scene on top of a tall building in a metropolitan skyline. There is lightning, rain and the queen is suspended in air, flying, gliding and teleporting about, yelling out frustrations. I think this scene is important to the story as it explains the objectives for Alice and her purpose for the fairytale. The Queen explains to Alice that the city is a giant chessboard. Alice accepts the deal made by the Queen that if she makes it to the top of the buildings on the other side, she will be made a queen as well.

 SCENE III: “It’s My Own Invention” re-imagined to: “Skyline Rescue”  The original scene features Alice journeying through the Red Knight’s section in the forest. The White Knight comes to her rescue. The scene is re-envisioned with Alice traversing a tall building. She’s being pursued by the Red Knight. This is an important scene in the fairytale as it is the scene that features Alice in the most danger. She is rescued by the White Knight, who then gives her safe passage to becoming queen.

SCENE III: “It’s My Own Invention”
re-imagined to: “Skyline Rescue”

The original scene features Alice journeying through the Red Knight’s section in the forest. The White Knight comes to her rescue. The scene is re-envisioned with Alice traversing a tall building. She’s being pursued by the Red Knight. This is an important scene in the fairytale as it is the scene that features Alice in the most danger. She is rescued by the White Knight, who then gives her safe passage to becoming queen.

WEEK 4

READING RESPONSE

Jack Zipes “FairyTales as Myths, Myths as Fairy Tales” Chapter 7
To Be or Not to Be Eaten: The Survival of Traditional Storytelling

Zipes explores the act of consumption and its prevalence in folklore. The themes of monsters and villains who devour children are part of a storytelling tradition that instruct children on the ramifications of encountering malevolence. Furthermore, these traditions of storytelling have a purpose for civilizing people. As the times change Zipes indicates that, “We live in a world torn apart by political and religious forces that shred us and make us feel so threatened and desperate that we seek an overall arching narrative to provide us with security.” These are the stories told in canonical tales of religion that reinforce a conditioned thinking of literate people.
I appreciate how he explains, “…the storyteller must reveal that he or she is engaged in the preservation of tradition while standing outside it and transforming it from a personal and ideological viewpoint…storytelling involves the preservation of imaginative vision.” As an artist and storyteller I see the value of engaging cultural traditions with our children. Fairytales accompany survival and contribute to the progress of imagination.

 

 UNREAL  The world, setting, in Unreal Engine. Alice wanders into a painting…

UNREAL

The world, setting, in Unreal Engine.
Alice wanders into a painting…

FINAL SCENE

I used Unreal Engine to create the scene where Alice walks into the painting and immerses herself into the fantasy world. I was able to attach some animations to the character I created in Adobe Fuse through Mixamo and import them into Unreal. I then focused on the sequence by creating camera rigs on the rails to get the sweeping shots. Animating was a bit tricky to dial in and I would get frustrated in adjusting the x,y,z values of the character’s path that would change if I added another animation to the sequence. I enjoyed getting the lighting just right, blending the special fx in Final Cut and composing the score in Logic. I would like to explore more shot angles and generate new special fx to composite with. It was a challenge to compose music for the piece in a short timeframe because I wanted the sound to compliment the tranquil and progressive elements for the scene.

Screen-Shot-2017-03-06-at-8.57.24-AM.png
Screen-Shot-2017-03-06-at-8.57.57-AM.png

Introduction to computational media (ICM)

 https://alpha.editor.p5js.org/projects/B1EpsJCs

https://alpha.editor.p5js.org/projects/B1EpsJCs

 https://alpha.editor.p5js.org/projects/Sk87T-0s

https://alpha.editor.p5js.org/projects/Sk87T-0s

 https://alpha.editor.p5js.org/projects/HJNVAZRs

https://alpha.editor.p5js.org/projects/HJNVAZRs

 https://alpha.editor.p5js.org/projects/r1aeIFdn

https://alpha.editor.p5js.org/projects/r1aeIFdn

 https://alpha.editor.p5js.org/projects/Bk16jFuh

https://alpha.editor.p5js.org/projects/Bk16jFuh

 https://alpha.editor.p5js.org/projects/r1ge3q_3

https://alpha.editor.p5js.org/projects/r1ge3q_3

 Notes on sketch

Notes on sketch

 PSEUDO CODE BALL BOUNCE  https://alpha.editor.p5js.org/projects/SJTFQ3gT

PSEUDO CODE BALL BOUNCE

https://alpha.editor.p5js.org/projects/SJTFQ3gT

 3 SECTIONS OF COLOR CHANGE  https://alpha.editor.p5js.org/projects/SJSKvxP6

3 SECTIONS OF COLOR CHANGE

https://alpha.editor.p5js.org/projects/SJSKvxP6

 10 SECTIONS OF COLOR CHANGE  https://alpha.editor.p5js.org/projects/S1ysu6xT

10 SECTIONS OF COLOR CHANGE

https://alpha.editor.p5js.org/projects/S1ysu6xT

 COMBINATION CODE ALGORITHM AND SLIDER BUTTON by Tiri and Brandon  https://alpha.editor.p5js.org/projects/HJ7dUeL6  This assignment was challenging with respect to combining the code that our partner wrote with our own. Tiri and I decided to create a way to adjust the algorithmic design via button slider. Tiri worked on the algorithmic design and I wrote for the slider button. After much learning and debugging, we were able to create a separate function for the algorithmic design. It operates within the sliding function and adjusts the design according to the amount of button position on the slider.

COMBINATION CODE ALGORITHM AND SLIDER BUTTON
by Tiri and Brandon

https://alpha.editor.p5js.org/projects/HJ7dUeL6

This assignment was challenging with respect to combining the code that our partner wrote with our own. Tiri and I decided to create a way to adjust the algorithmic design via button slider. Tiri worked on the algorithmic design and I wrote for the slider button. After much learning and debugging, we were able to create a separate function for the algorithmic design. It operates within the sliding function and adjusts the design according to the amount of button position on the slider.

 10 COLUMNS & 5 ROWS  https://alpha.editor.p5js.org/projects/rJ6omQda

10 COLUMNS & 5 ROWS

https://alpha.editor.p5js.org/projects/rJ6omQda

 4 SIDE BOUNCE  https://alpha.editor.p5js.org/projects/SyHXCQda

4 SIDE BOUNCE

https://alpha.editor.p5js.org/projects/SyHXCQda

 2 BOUNCING BALLS  https://alpha.editor.p5js.org/projects/HJNUe4_6

2 BOUNCING BALLS

https://alpha.editor.p5js.org/projects/HJNUe4_6

 ASSIGNMENT:  TRIANGLE SPIN  https://alpha.editor.p5js.org/projects/SkK1Zqg0  I was able to re-organize my code based on the bounce function we made in class. It was helpful to simplify the conditionals into the function and cleaned up the setup and draw functions. At first it was difficult to reduce 9 lines of code into 3, but because of the bounce function, I learned that this technique will be helpful in constructing more complex drawings and programs.

ASSIGNMENT:

TRIANGLE SPIN

https://alpha.editor.p5js.org/projects/SkK1Zqg0

I was able to re-organize my code based on the bounce function we made in class. It was helpful to simplify the conditionals into the function and cleaned up the setup and draw functions. At first it was difficult to reduce 9 lines of code into 3, but because of the bounce function, I learned that this technique will be helpful in constructing more complex drawings and programs.

 FUNCTIONAL BALL  http://alpha.editor.p5js.org/projects/HygjQDb0

FUNCTIONAL BALL

http://alpha.editor.p5js.org/projects/HygjQDb0

 3 BALLS

3 BALLS

 BALL COLLIDING COLORS  http://alpha.editor.p5js.org/projects/Bk05ZatC

BALL COLLIDING COLORS

http://alpha.editor.p5js.org/projects/Bk05ZatC

 OBJECT TRIANGLE  Making an object was a struggle to have multiple functions operate correctly, and I finally got my triangles to fly after debugging and getting help. I wanted to include color changes but that was out of my realm of skills.  http://alpha.editor.p5js.org/projects/SkfCjaFC

OBJECT TRIANGLE

Making an object was a struggle to have multiple functions operate correctly, and I finally got my triangles to fly after debugging and getting help. I wanted to include color changes but that was out of my realm of skills.

http://alpha.editor.p5js.org/projects/SkfCjaFC

 HTML ASSIGNMENT  http://alpha.editor.p5js.org/projects/rJKxQZQyl

HTML ASSIGNMENT

http://alpha.editor.p5js.org/projects/rJKxQZQyl

 JSON & API SKETCH ASSIGNMENT  OPEN WEATHER API  http://alpha.editor.p5js.org/projects/By9Kr7hJe

JSON & API SKETCH ASSIGNMENT

OPEN WEATHER API

http://alpha.editor.p5js.org/projects/By9Kr7hJe

 SOUND & IMAGE VISUALIZING MUSIC  This is a visualization I was inspired to make from Daniel Shiffman’s Coding Rainbow Video tutorial (https://youtu.be/2O3nm0Nvbi4?list=PLRqwX-V7Uu6aFcVjlDAkkGIixw70s7jpW). I used my song, “M^Ji3C^L” to make the background draw some rectangles to visualize the music being played.  Title: Visualized Song  Description: Visualization of sound frequency and graphic equalizer as shifting staircase to my song “M^Ji3c^L.”  Context: Sound Visualization  How Does it Work?: Maps sound frequency amplitude value spectrum with different size rectangles, pre-load song and button.  http://alpha.editor.p5js.org/projects/S1QhUNrlg

SOUND & IMAGE VISUALIZING MUSIC

This is a visualization I was inspired to make from Daniel Shiffman’s Coding Rainbow Video tutorial (https://youtu.be/2O3nm0Nvbi4?list=PLRqwX-V7Uu6aFcVjlDAkkGIixw70s7jpW). I used my song, “M^Ji3C^L” to make the background draw some rectangles to visualize the music being played.

Title: Visualized Song

Description: Visualization of sound frequency and graphic equalizer as shifting staircase to my song “M^Ji3c^L.”

Context: Sound Visualization

How Does it Work?: Maps sound frequency amplitude value spectrum with different size rectangles, pre-load song and button.

http://alpha.editor.p5js.org/projects/S1QhUNrlg

VISUAL LANGUAGE

A-Hologram-for-the-King.jpg
 
 

WEEK 1 ASSIGNMENT

 

This Design for the film poster, A Hologram for the King clearly portrays Tom Hanks wearing a suit in the middle of the desert. His tie is blown past his shoulder and it contributes to some movement within the stillness of the desert backdrop. The design simply features the star’s name at the top third, the star himself in the middle, and the title of the film at the bottom third. Although the design is simple, it lends itself to much intrigue and at first glance had peaked enough of my interest to see the film. The clever subtleties that I admire are in the shadow that runs into the white backdrop for the film’s title and accompanying credits. I also drew an association to Percy Bysshe Shelley’s Poem, “Ozymandias” which refers to a decay and impermanence of great leaders and kingdoms.

 
 
 The design splits the elements of the image into 5 horizontal sections. 3 primary sections for the sky, sand, and movie title. The top section for the name of the star, Tom Hanks. The bottom section for the film credits. Hank’s is featured slightly off center juxtaposed in the positive/negative space. He is depicted in the clouds from the chest to head, while the lower half in the sand. His shadow drifting into the title of the film like a hologram.

The design splits the elements of the image into 5 horizontal sections. 3 primary sections for the sky, sand, and movie title.
The top section for the name of the star, Tom Hanks. The bottom section for the film credits. Hank’s is featured slightly off center juxtaposed in the positive/negative space. He is depicted in the clouds from the chest to head, while the lower half in the sand. His shadow drifting into the title of the film like a hologram.

 The color palette is kept simple and friendly, neutral beige tones for the sand and blue for the sky. The contemporary typeface is in charcoal gray with the font style, Board of Directors, complimenting Hank’s Suit and briefcase.

The color palette is kept simple and friendly, neutral beige tones for the sand and blue for the sky. The contemporary typeface is in charcoal gray with the font style, Board of Directors, complimenting Hank’s Suit and briefcase.

WEEK 2 ASSIGNMENT

UNSUCCESSFUL SIGNS:

 The purpose of this sign is to distinguish between items that are for the landfill and for the recyclables. The task of sorting our trash is improving with these bins. The signs are informative and list detailed examples of the items that should be discarded in each bin. From the looks inside of the bin, these signs were ignored and refuse was found in the recycle bin and recyclable items were found in the landfill bin. It seems as though the signs’ listed information has a good intention to inform us of the items that belong, yet in the moment of discarding trash, their purpose has been simply ignored.

The purpose of this sign is to distinguish between items that are for the landfill and for the recyclables. The task of sorting our trash is improving with these bins. The signs are informative and list detailed examples of the items that should be discarded in each bin. From the looks inside of the bin, these signs were ignored and refuse was found in the recycle bin and recyclable items were found in the landfill bin. It seems as though the signs’ listed information has a good intention to inform us of the items that belong, yet in the moment of discarding trash, their purpose has been simply ignored.

 The sign for a Taxi Stand is unsuccessful here because beneath the sign there were street vendors blocking access to the street. The area was crowded to the point where there was no space for taxis to arrive and pick up waiting travelers or for anyone to stand and wave for a taxi.

The sign for a Taxi Stand is unsuccessful here because beneath the sign there were street vendors blocking access to the street. The area was crowded to the point where there was no space for taxis to arrive and pick up waiting travelers or for anyone to stand and wave for a taxi.

 The purpose of this sign is to signal the location for where the sprinkler shutoff valve is. In my perspective, the sign is not finished as it is.

The purpose of this sign is to signal the location for where the sprinkler shutoff valve is. In my perspective, the sign is not finished as it is.

 SIGN IMPROVEMENT:   By placing the word “Here” at the bottom of the sign, I feel that the sign is improved and complete. The sign now has specified and clarified the location for where the sprinkler shutoff valve exists. With the re-design improvement, people may view the sign and know that it is located there underneath the sign, instead of the dangling, ‘…located.’

SIGN IMPROVEMENT: 

By placing the word “Here” at the bottom of the sign, I feel that the sign is improved and complete. The sign now has specified and clarified the location for where the sprinkler shutoff valve exists. With the re-design improvement, people may view the sign and know that it is located there underneath the sign, instead of the dangling, ‘…located.’

 SUCCESSFUL SIGN:   This sign is a light projection on to the sidewalk and it advertises for the entrance of the pub. It is a peculiarly bright spectacle when passing by the venue on the street as the dim sidewalk becomes illuminated and is an effective use of signage to attract passing people in for a drink or more.

SUCCESSFUL SIGN: 

This sign is a light projection on to the sidewalk and it advertises for the entrance of the pub. It is a peculiarly bright spectacle when passing by the venue on the street as the dim sidewalk becomes illuminated and is an effective use of signage to attract passing people in for a drink or more.

WEEK 3 ASSIGNMENT:

TYPOGRAPHY & NAME

 SERIF TYPEFACES  CINZEL  Cinzel has a sophisticated and classic look. There are strong brackets on the ‘n’ and the leg for the ‘r’ smooths right in to the feet of the ‘a’. The juncture joint for the letters B, K and R are swift in their symmetry and is soothing to my eye.

SERIF TYPEFACES

CINZEL

Cinzel has a sophisticated and classic look. There are strong brackets on the ‘n’ and the leg for the ‘r’ smooths right in to the feet of the ‘a’. The juncture joint for the letters B, K and R are swift in their symmetry and is soothing to my eye.

 CORMORANT Features a raised mean-line to accentuate the capitalized letters of the typeface. I am fond of the junctures for ‘k’ and ‘r’ as they showcase a thicker stroke weight on their legs.

CORMORANT
Features a raised mean-line to accentuate the capitalized letters of the typeface. I am fond of the junctures for ‘k’ and ‘r’ as they showcase a thicker stroke weight on their legs.

 Disco captures a thin aperture on the ‘a’ and a wider loop to contrast the thin shoulders on the ‘n’. I also enjoy how the joint on the ‘k’ is offset to add a more asymmetrical shape in the capital letter than the symmetry in the ‘b’.

Disco captures a thin aperture on the ‘a’ and a wider loop to contrast the thin shoulders on the ‘n’. I also enjoy how the joint on the ‘k’ is offset to add a more asymmetrical shape in the capital letter than the symmetry in the ‘b’.

 RESAGNICTO SANS  Resagnicto has a distinct sharp angle for the shoulders of ‘d’ and ‘n’ that provide a direction of decreasing background next to the gentle slope of the shoulder on the ‘a’. This sharp angle is also mirrored upside down on the bowl of the ‘a’. The ‘a’ and the ‘d’ do not feature spurs and give it a more modern look.

RESAGNICTO SANS

Resagnicto has a distinct sharp angle for the shoulders of ‘d’ and ‘n’ that provide a direction of decreasing background next to the gentle slope of the shoulder on the ‘a’. This sharp angle is also mirrored upside down on the bowl of the ‘a’. The ‘a’ and the ‘d’ do not feature spurs and give it a more modern look.

 Venetian Sound is an all capitals typeface that has a simple modern feel of balance and symmetry. I appreciate the matching bowls of the ‘b’ and ‘r’. The crossbar and the x-height run equal to the bowls. The slight asymmetrical adjustment to the juncture on the ‘k’ and ‘r’ give the typeface some character to the simplicity of the modern elegance.

Venetian Sound is an all capitals typeface that has a simple modern feel of balance and symmetry. I appreciate the matching bowls of the ‘b’ and ‘r’. The crossbar and the x-height run equal to the bowls. The slight asymmetrical adjustment to the juncture on the ‘k’ and ‘r’ give the typeface some character to the simplicity of the modern elegance.

 ALL TYPEFACES

ALL TYPEFACES

WEEK 4: Expressive WORDS

 To express ‘Chart’, I utilized layer blending techniques of ocean maps otherwise known as ‘charts’ to create a composite image for the word. I implemented a beige color for the tech-modern typeface, OCRA to resemble the color of warn paper on antique ocean maps. I created blue to contrast the beige to give the word a distinction between land and sea. I included a beige blur underline beneath the word to give it an old open book appearance.

To express ‘Chart’, I utilized layer blending techniques of ocean maps otherwise known as ‘charts’ to create a composite image for the word. I implemented a beige color for the tech-modern typeface, OCRA to resemble the color of warn paper on antique ocean maps. I created blue to contrast the beige to give the word a distinction between land and sea. I included a beige blur underline beneath the word to give it an old open book appearance.

 I made the decision to feature multiple typefaces for each letter in this expressive word to symbolize the changing fonts like the constant change of time represented by sands falling in the hourglass. I structured the words ‘hour’ and ‘glass’ on top of each other respectively to create a shape of an actual hourglass. The ‘h’ and ‘r’ mark the frame of the timepiece. The round shapes of the ‘o’, ‘u’, ‘g’, ‘l’ and ‘s’ fit the curve of the glass that the sand falls into. I positioned the capital ‘a’ to resemble the pile of sand accumulating at the bottom of the glass.

I made the decision to feature multiple typefaces for each letter in this expressive word to symbolize the changing fonts like the constant change of time represented by sands falling in the hourglass. I structured the words ‘hour’ and ‘glass’ on top of each other respectively to create a shape of an actual hourglass. The ‘h’ and ‘r’ mark the frame of the timepiece. The round shapes of the ‘o’, ‘u’, ‘g’, ‘l’ and ‘s’ fit the curve of the glass that the sand falls into. I positioned the capital ‘a’ to resemble the pile of sand accumulating at the bottom of the glass.

 For Celestial I used the Venetian Sound Typeface doubled and stretched on itself.  The stretch made crescent moon shapes at the bowls of the 'c' and 's' composited with the imagery of my celestial interpretation.  The stretch is made vertical to symbolize the looking up to the stars.  The word is in the middle of the the image and the transitory element between the bleak bottom half and the colorful radiance of astral space.  

For Celestial I used the Venetian Sound Typeface doubled and stretched on itself.  The stretch made crescent moon shapes at the bowls of the 'c' and 's' composited with the imagery of my celestial interpretation.  The stretch is made vertical to symbolize the looking up to the stars.  The word is in the middle of the the image and the transitory element between the bleak bottom half and the colorful radiance of astral space.  

WEEK 5 ASSIGNMENT:

COLOR HUE TEST

 I took the hue test and received a score of 0.

I took the hue test and received a score of 0.

 DAILY LIFE DOCUMENTATION

DAILY LIFE DOCUMENTATION

 These are the images I have taken from my life over the past week. I was able to take pictures of the piano I play in the practice rooms, void of color but represents a big portion of my devotion to music throughout the years and is very meaningful to me. I selected images of personal items such as my glasses and focused on their plum tint, the gold trim and the gold iPod that compliment the wood floors in my apartment and the inside of the grand piano. I find this neutral tone is similar to the selection from the ITP floor.

These are the images I have taken from my life over the past week. I was able to take pictures of the piano I play in the practice rooms, void of color but represents a big portion of my devotion to music throughout the years and is very meaningful to me. I selected images of personal items such as my glasses and focused on their plum tint, the gold trim and the gold iPod that compliment the wood floors in my apartment and the inside of the grand piano. I find this neutral tone is similar to the selection from the ITP floor.

 I implemented a stained glass filter to give the images a simple shape and the color hierarchy comes through with most of the pink hues in the left and the dark to the right.

I implemented a stained glass filter to give the images a simple shape and the color hierarchy comes through with most of the pink hues in the left and the dark to the right.

WEEK 6 ASSIGNMENT:

ITP WINTER SHOW POSTCARD

 To add a human element to the ITP theme, I decided to use a photograph I took from shaking hands with this statue. I then used some compositing and layer blending effects to make lighting dynamic around the image and add a lightning bolt to the statue finger filling my hand with light.

To add a human element to the ITP theme, I decided to use a photograph I took from shaking hands with this statue. I then used some compositing and layer blending effects to make lighting dynamic around the image and add a lightning bolt to the statue finger filling my hand with light.

WEEK 7 ASSIGNMENT: BUSINESS CARD

 I enjoyed making this design for a business card. I have not yet had a nice looking business card and it was meaningful to get them printed. Making it tangible helps reinforce the purpose of design and I learned a few things from the task of having them printed. I can pick the type of card stock and will look into printing on both sides.

I enjoyed making this design for a business card. I have not yet had a nice looking business card and it was meaningful to get them printed. Making it tangible helps reinforce the purpose of design and I learned a few things from the task of having them printed. I can pick the type of card stock and will look into printing on both sides.

PROJECT DEVELOPMENT STUDIO

Defining Project Idea:
Defining the project in a cascading level of detail as follows – Dream, Vision, Goal, Plan:

Dream – Extra dimensional Navigation. Travel or explore dream worlds and share the experiences with others. Simulation of worlds, an artificial environment.

 Vision – Life sized chess game performance, interpreted by musicians and dancers. Similar to the ‘holodeck’ in Gene Rodenberry’s “Star Trek,” the board is a stage upon a setting that is dynamic, it is progressively transformed as the game develops (i.e. weather, day/night lighting, location setting.) Technologies that would be employed are: -A medium sized room approximately 25ft. by 25ft. equivalent to one square on the corresponding chessboard. -There are 4 to 6 projectors for each wall, floor and ceiling. -Cameras for the environment, 360 Theta and/or 4 to 6 cameras for the walls, floor and ceiling. -Static/dynamic lighting, fog machine, fans, for special FX.  Goal – Produce ‘Holodeck’ Prototype / Performance. Interaction with sensors to trigger sounds in a musical composition. Interaction with sensors to trigger video. Performance piece, composed music and live piano/keyboard in the center of room with projections on the walls.  Plan – Feb 17 – Research sensors, serial communication, other physical computing to achieve control of lights/video and sounds. March 2 – Create video and music content March 23 – research projection mapping April 6 – testing projections on walls/floor/ceiling. April 20 – user testing/rehearsals 

Vision – Life sized chess game performance, interpreted by musicians and dancers. Similar to the ‘holodeck’ in Gene Rodenberry’s “Star Trek,” the board is a stage upon a setting that is dynamic, it is progressively transformed as the game develops (i.e. weather, day/night lighting, location setting.)
Technologies that would be employed are:
-A medium sized room approximately 25ft. by 25ft. equivalent to one square on the corresponding chessboard.
-There are 4 to 6 projectors for each wall, floor and ceiling.
-Cameras for the environment, 360 Theta and/or 4 to 6 cameras for the walls, floor and ceiling.
-Static/dynamic lighting, fog machine, fans, for special FX.

Goal – Produce ‘Holodeck’ Prototype / Performance. Interaction with sensors to trigger sounds in a musical composition. Interaction with sensors to trigger video. Performance piece, composed music and live piano/keyboard in the center of room with projections on the walls.

Plan –
Feb 17 – Research sensors, serial communication, other physical computing to achieve control of lights/video and sounds.
March 2 – Create video and music content
March 23 – research projection mapping
April 6 – testing projections on walls/floor/ceiling.
April 20 – user testing/rehearsals 

 

Research on Kinect and processing, Visuals with openFrameworks, Lights

KINECT

open Kinect for Processing

Live Kinect motion computer vision

Iterate over raw depth data array

 Visual Content Generated for Projection   Generated using Photoshop, p5.js, Final Cut Pro X, MAX/MSP/Jitter 

Visual Content Generated for Projection 

Generated using Photoshop, p5.js, Final Cut Pro X, MAX/MSP/Jitter 

 MIDI Controller sends bangs to generate particles in MAX.    

MIDI Controller sends bangs to generate particles in MAX.    

 Getting the Serial object in Max to work with Arduino and Box Fan.  Using the Power-switch Tail II.   

Getting the Serial object in Max to work with Arduino and Box Fan.  Using the Power-switch Tail II.   

 Concept Art for Project.  "PIANO SAIL"  

Concept Art for Project.  "PIANO SAIL"  

I was able to accomplish the tasks I had set to get working.  I had envisioned a rear projection that displayed visuals generated through MAX.  I was able to visualize the fan through a piece of fabric suspended by two auto-poles and a microphone stand.  Every time I hit a note on the MIDI controller, the fan blows the fabric and particles are generated in the visualization.  I am glad I got this all to work.  It was a challenge at parts to improve the functionality of the project so that it could be a performance piece.  I was able to compose a piece that allows for improvisational piano to transition into some recorded material.  

 Accompanying Music in Logic Pro X

Accompanying Music in Logic Pro X

 MAX PATCH

MAX PATCH

 Arduino Code

Arduino Code

Interactive Music

WEEK 1

MANIFESTO

    When I created my stage name: A3SE1LA, I was inspired by the peace of silence. A3SE1LA pronounced (a-say-la) is an acronym for: All 3nvision Surreal Enlightenment 1n Love’s Ambiance. I derived this from the Hebrew ‘selah,’ a musical direction for pause, the silence to symbolize a reverence for the divine influence in music. I want my music and name to have a deeper meaning than my birth/legal name, something that will be meaningful beyond a clever phrase or trend at the time of conception. I am inspired by the essence of dream, and motivated by the dynamic nature of film score. I am compelled to make music that finds its place between dreams, storytelling and everyday life. In the age of information and the technologically saturated society we participate in, I value the human element in music and insist that it remains an integral part of my songwriting. It is important for me to include classical instruments such as piano, strings, guitar or voice to maintain this human element amongst digital audio workstations and electronic music. I appreciate intricate rhythms and simple beats. It is a principle of mine to express intensities, extremes and contrasting elements of emotion, the juxtaposition of opposites.

 

When I created my stage name: A3SE1LA, I was inspired by the peace of silence. A3SE1LA pronounced (a-say-la) is an acronym for: All 3nvision Surreal Enlightenment 1n Love’s Ambiance. I derived this from the Hebrew ‘selah,’ a musical direction for pause, the silence to symbolize a reverence for the divine influence in music. I want my music and name to have a deeper meaning than my birth/legal name, something that will be meaningful beyond a clever phrase or trend at the time of conception. I am inspired by the essence of dream, and motivated by the dynamic nature of film score. I am compelled to make music that finds its place between dreams, storytelling and everyday life. In the age of information and the technologically saturated society we participate in, I value the human element in music and insist that it remains an integral part of my songwriting. It is important for me to include classical instruments such as piano, strings, guitar or voice to maintain this human element amongst digital audio workstations and electronic music. I appreciate intricate rhythms and simple beats. It is a principle of mine to express intensities, extremes and contrasting elements of emotion, the juxtaposition of opposites.

week 2

score

 

 CHART 1

CHART 1

The score I am envisioning consists of a point of departure, to embark on a journey in search for a treasure. I want to symbolically represent the piece as a treasure map, similar to old charts indicating the location of some buried treasure. I used symbols such as the sailboat, phonetically similar to my name a3SE1LA, (a-say-la)..a sailor …to be inclusive of the themes associated with sailing. Other images to serve as symbolic points of inspiration, and a means to provoke their connotative qualities. Palm trees, bamboo signify a tropical aesthetic, mood and tranquil quality. Clouds connote air, space, landscape and my intention of signaling ambient sound. Waterfall and stairway are more attentive to rhythm and percussion. I included an illustration of Alice looking into the Mirror and another of the chess notation for the formation of the game in Lewis Carrol’s “Through the Looking Glass” as an implication of fantasy, fairytale, surreal elements.

 CHART 2

CHART 2

 CHART 3

CHART 3

WEEK 3

PSEUDOCODE for SCORE

BPM 86

Intro – Mysterious
Simple Intriguing Tranquil
(Adventure to looking in)
-Harp, Ambient Synths, Airy Pads
Light strings, cymbals

Verse – Glistening Palm Tree
Constellation Chart
Introduce bass rhythm/percussion
Drums

Bass, Drums (Twinkle Spots in the Chart)
Synth
Bamboo (piano, harp)

Clouds – (Soaring, strings, pad ascending)

Bridge to water (floating) Cymbals, airy/floating

WEEK 4

REALIZING THE SCORE

Tone.js

Rendered my score using the tone.js player.

https://jsfiddle.net/a3se1la/wsfoopwv/

 

 I composed the score using Logic Pro X. I made an .mp3 of the Interactive Music Score and publicly hosted the file on GitHub pages. In order to use tone.js and render the score using code, I had to troubleshoot a public hosting issue for the file. I started with soundcloud.com and encountered difficulties calling the file through the tone.js player. After exploring other hosting options through Google Drive and Dropbox, I decided to use the Git Hub pages and host my file in a repository. I devised a link from the repository that I am able to call using the tone.player in the online editor JSFiddle.

I composed the score using Logic Pro X. I made an .mp3 of the Interactive Music Score and publicly hosted the file on GitHub pages. In order to use tone.js and render the score using code, I had to troubleshoot a public hosting issue for the file. I started with soundcloud.com and encountered difficulties calling the file through the tone.js player. After exploring other hosting options through Google Drive and Dropbox, I decided to use the Git Hub pages and host my file in a repository. I devised a link from the repository that I am able to call using the tone.player in the online editor JSFiddle.

 My process in composing for this score was in the translation of my graphical interpretation. I wrote notes to generate direction for how I wanted these symbols and images to sound.

My process in composing for this score was in the translation of my graphical interpretation. I wrote notes to generate direction for how I wanted these symbols and images to sound.

WEEK 5

Debugging Activity

 I was able to answer most of the questions on this activity. I had difficulty with question 5, “Step past ‘lfo.connect…’, what is the value? I wasn’t able to figure that one out or call oscTwo. For the function I made the values for frequency and type to be true by making it 440 and a sine. I wasn’t sure how to do question 6, I created a variable called truthy, I would like to know how to construct these and make them operate as it is unclear to what I am supposed to do.

I was able to answer most of the questions on this activity. I had difficulty with question 5, “Step past ‘lfo.connect…’, what is the value? I wasn’t able to figure that one out or call oscTwo. For the function I made the values for frequency and type to be true by making it 440 and a sine. I wasn’t sure how to do question 6, I created a variable called truthy, I would like to know how to construct these and make them operate as it is unclear to what I am supposed to do.

Midterm 2 – Gesture

Realizing composition through a gesture you define, measure and map to sound.

The gesture is touching regions of a webcam feed. Computer vision and presence detection.
The gesture is clear and intuitive from mapping to sound using Max. The player has the power and ability to sculpt the music.

Performed by me.

 The Max Patch opens the webcam feed and uses a low resolution. The jit.change object filters out repeating frames and the jit.rgb2luma converts ARGB color to Black and White. I used the jit.scissors object to divide the frame into six equal regions. The jit.3m object reports minimum, mean and maximum values from the webcam feed and the < 100 object compares the value. If the value is less than 100 it sends a bang to trigger a sound. I have mapped several sounds to some regions to give more intuitive control to the gesture in sculpting the music. All regions feature 3 note chord variations in the key of C minor so that the player can stay in tune with the other sounds. I have sampled some of my piano improvisations at lower and higher pitches in C minor to give the illusion that there are some improvised notes in the piece that can be triggered in different regions. The gesture is successful because it encourages the user to experiment with different regions of the webcam frame and it operates like an interactive sound mirror. Touching different points of the air in front of the webcam will give you different levels of sound and interactivity to sculpt music. To further enhance this project I continued exploring a visual accompaniment with the gesture and have not made it work as of the midterm but would like to continue troubleshooting so I can improve the visual side of the concept. It would be cool to develop this idea with multiple cameras acting in the same manner so a live performer like a dancer could sculpt music by using bigger movements.

The Max Patch opens the webcam feed and uses a low resolution. The jit.change object filters out repeating frames and the jit.rgb2luma converts ARGB color to Black and White. I used the jit.scissors object to divide the frame into six equal regions. The jit.3m object reports minimum, mean and maximum values from the webcam feed and the < 100 object compares the value. If the value is less than 100 it sends a bang to trigger a sound. I have mapped several sounds to some regions to give more intuitive control to the gesture in sculpting the music. All regions feature 3 note chord variations in the key of C minor so that the player can stay in tune with the other sounds. I have sampled some of my piano improvisations at lower and higher pitches in C minor to give the illusion that there are some improvised notes in the piece that can be triggered in different regions. The gesture is successful because it encourages the user to experiment with different regions of the webcam frame and it operates like an interactive sound mirror. Touching different points of the air in front of the webcam will give you different levels of sound and interactivity to sculpt music. To further enhance this project I continued exploring a visual accompaniment with the gesture and have not made it work as of the midterm but would like to continue troubleshooting so I can improve the visual side of the concept. It would be cool to develop this idea with multiple cameras acting in the same manner so a live performer like a dancer could sculpt music by using bigger movements.

FINAL 

 For the Final Project, I continued working with the gesture patch. &nbsp;I upgraded the midi piano chords to more elaborate samples I composed. I was inspired to use sounds with more textures such as thick synth pads and strings. &nbsp;To make the sounds visually expressive, I integrated a generative aspect that emits particles each time the region of the frame is triggered. &nbsp;I layered the particles with some visuals that further enhance the compelling interaction of the gesture with sound. &nbsp;The visuals are composed of FFTs and glowing violet hues.&nbsp;&nbsp;When you play the touch-less instrument, the visual feedback is effectively responding to the gesture in front of the webcam. &nbsp;

For the Final Project, I continued working with the gesture patch.  I upgraded the midi piano chords to more elaborate samples I composed. I was inspired to use sounds with more textures such as thick synth pads and strings.  To make the sounds visually expressive, I integrated a generative aspect that emits particles each time the region of the frame is triggered.  I layered the particles with some visuals that further enhance the compelling interaction of the gesture with sound.  The visuals are composed of FFTs and glowing violet hues.  When you play the touch-less instrument, the visual feedback is effectively responding to the gesture in front of the webcam.  

Performed by Dominic

Introduction to Physical Computing

Week 1

What is Interactivity to Me?

 

An exchange and or act of consumption that involves two or more actors/things.  The exchange may be a request or an input.  The consumption an output or response to the preliminary action.  Things like data, food, music are exchanged and consumed.  A person interacts with food by selecting to eat something.  It is tasted, digested and it harms and or benefits the consumer.  The interactivity is between the eater and the food.  Business, human relationships and art/science are more complex systems of interactivity.  Moments are interactive.  We can be aware of our present surroundings and have a simple or elaborate interaction with our breath, ambient sounds, the pen as it leaves ink on the paper, the thoughts processed, continued , rejected as occurring in automated articulations.  The Interactivity of editing my written word.  

 

Screen Shot 2017-09-16 at 12.09.17 AM.png

I am inspired by the interactivity of playing piano. I press my fingers to the keyboard in patterns that I may know or have yet to discover or learn.  The sound yielded through this exchange of kinetic energy resonates in the air.  Vibrations in the air originate from a hammer striking a string corresponding with the key I played.  The sound further sustained in the moment with my right foot on a pedal that elongates the time the string remains vibrating after I have pushed the key.  The response to the sound that my ears receive guides me to the process of sculpting music.  An interactivity occurs between my emotions, thoughts(or absence of) choice of the key played, and proceeding patterns or improvisations of sound.  I elaborate on this interactivity with composing music and visuals.  

 

 

 

 

 

 

 

 

WEEK 3 

OBSERVATION 

 

NYC SUBWAY TURNSTILES

The way this device works is that it scans your metro card in the reader slot and if you have enough value or time you may pass through the metal bar.  From this picture you can see the sign 'Entry' and an arrow pointing to the screen.  This screen informs the user of their metro card balance or expiration date.  If the card is valid then the green lights brighten and the lock to the bar is removed so it can cycle through allowing one individual the passage to wait for a ride on the train platform.    

518065272.jpg

I have noticed some people pull on the turnstile half way towards them and they squeeze in between and pass through without paying.  I have seen some people jump over using their hands to support them as they lift over the bar.  The most typical adverse reaction to the card reader is when someone scans their card and the screen says: "PLEASE SWIPE AGAIN."  Their reactions are always a bit alarmed or surprised as they expect to pass through but the card did not read correctly so their momentum is halted.  Some people scan their cards more cautiously and slowly.  Others breeze quickly through the turnstiles.   

It takes the least amount of time if you scan your card correctly and it has a sufficient value for the fare, approximately 3 seconds to walk through the interaction of the turnstile with fare paid and ready to board the next train.  If there are problems with the swipe, the reader or your card, then the process could take longer.  Swipe again is usually a brief interruption and takes two or three swipes prior to passage.  If there is a more serious issue like a defect with your card, you need to see the MTA Personnel at the booth.  There they may help you get a new card or tell you to use another turnstile.    

20031016-token-booth.jpg

Lab: electronics

 Everything worked great! &nbsp;

Everything worked great!  

WEEK 4 

ARDUINO: Digital and analog

Musical Instrument Prototyping 

 

 

 Prototyping for musical instrument ~ "Piano Scroll"&nbsp;

Prototyping for musical instrument ~ "Piano Scroll" 

 Attached a flex sensor beneath the paper prototype above the pipe housing. &nbsp;

Attached a flex sensor beneath the paper prototype above the pipe housing.  

 Arduino and Breadboard circuit: Analog Input 0 (yellow wire) , Ground (black wire), 3.3v Power from Arduino (red wire)

Arduino and Breadboard circuit: Analog Input 0 (yellow wire) , Ground (black wire), 3.3v Power from Arduino (red wire)

 Arduino Code IDE and MAX Patch

Arduino Code IDE and MAX Patch

 The Serial Connection in MAX gets values from the flex sensor and when it reads '208' it launches the sound files I composed. &nbsp;

The Serial Connection in MAX gets values from the flex sensor and when it reads '208' it launches the sound files I composed.  

 2ND Flex Sensor in Circuit

2ND Flex Sensor in Circuit

Instrument with 2 sensors

 Breadboard circuit for 2 flex Sensors

Breadboard circuit for 2 flex Sensors

 MAX/MSP PATCH reading serial values to launch sounds

MAX/MSP PATCH reading serial values to launch sounds

 Flex Sensor 1

Flex Sensor 1

 Flex Sensor 2

Flex Sensor 2

 

midterm project

Drum Box

-with jesse simpson & ahmad arshad

 

We designed and built a drum box.  It is made up of Piezo vibration sensors, 1M Ohm resistors, breadboard, wires to 4 analog inputs into Arduino.  We laser cut acrylic to enclose the sensors, breadboard, resistors, wires and Arduino.  We drilled a hole in the side of the acrylic box for the usb AB cable from the Arduino to the laptop.  

The p5 Sketch responds to serial communication from the Arduino's analog inputs and launches sound samples from a drum kick, snare, hi-hat and clap.  

 

Arduino code

  

 

Screen Shot 2017-10-25 at 12.59.38 PM.png

p5 sketch.js

let serial; // variable to hold an instance of the serialport library
let portName = '/dev/cu.usbmodem1421';
let inData; // for incoming serial data
let sensor1;
let sensor2;
let sensor3;
let sensor4;
let clap;
let hat;
let snare;
let kicksub;
let xPos = 0; // x position of the graph

function preload() {
    soundFormats('wav');
    clap = loadSound('CLAP.wav');
    hat = loadSound('HAT.wav');
    snare = loadSound('SNARE.wav');
    kicksub = loadSound('KICKSUB.wav');
}

function setup() {
    createCanvas(800, 800);
    background(255, 255, 255);
    serial = new p5.SerialPort(); // make a new instance of the serialport library
    serial.on('list', printList); // set a callback function for the serialport list event
    serial.on('connected', serverConnected); // callback for connecting to the server
    serial.on('open', portOpen); // callback for the port opening
    serial.on('data', serialEvent); // callback for when new data arrives
    serial.on('error', serialError); // callback for errors
    serial.on('close', portClose); // callback for the port closing

    serial.list(); // list the serial ports
    serial.open(portName); // open a serial port
    // serial.list(); // list the serial ports
}

function draw() {
    graphData(sensor1, 255, 0, 0);
    graphData(sensor2, 255, 255, 0);
    graphData(sensor3, 10, 129, 25);
    graphData(sensor4, 10, 24, 129);

    //background(0);
    //fill(255);
    //text("sensor value: " + inData, 30, 30);
}


// get the list of ports:
function printList(portList) {
    // portList is an array of serial port names
    for (var i = 0; i < portList.length; i++) {
        // Display the list the console:
        console.log(i + " " + portList[i]);
    }
}

function serverConnected() {
    console.log('connected to server.');
}

function portOpen() {
    console.log('the serial port opened.')
}

function serialEvent() {
    // read a string from the serial port:
    var inString = serial.readStringUntil('\r\n');
    // check to see that there's actually a string there:
    if (inString.length > 0) {
        var sensors = split(inString, ',');
        sensor1 = sensors[1];
        sensor2 = sensors[0];
        sensor3 = sensors[2];
        sensor4 = sensors[3];

        if (sensor1 >= 25) {
            var m = map(sensor1, 25, 1023, 0.1, 1.0);

            if (!clap.isPlaying()) {
                clap.setVolume(m);
                clap.play();
                console.log("playing clap at volume : " + m);

            }
        }
        if (sensor2 >= 25) {
            var m = map(sensor2, 25, 1023, 0.1, 1.0);
            //            console.log(m);

            if (!hat.isPlaying()) {
                hat.setVolume(m);
                hat.play();
                console.log("playing hat at volume : " + m);

            }
        }
        if (sensor3 >= 25) {
            var m = map(sensor3, 25, 1023, 0.1, 1.0);
            //            console.log(m);

            if (!snare.isPlaying()) {
                snare.setVolume(m);
                snare.play();
                console.log("playing snare at volume : " + m);

            }
        }
        if (sensor4 >= 25) {
            var m = map(sensor4, 25, 1023, 0.1, 1.0);
            //            console.log(m);

            if (!kicksub.isPlaying()) {
                kicksub.setVolume(m);
                kicksub.play();
                console.log("playing kicksub at volume : " + m);

            }
        }
    }
}

function serialError(err) {
    console.log('Something went wrong with the serial port. ' + err);
}

function portClose() {
    console.log('The serial port closed.');
}

function graphData(newData, r, g, b) {
    // map the range of the input to the window height:
    let yPos = map(newData, 0, 255, 0, height);
    // draw the line in a pretty color:
    stroke(r, g, b);
    line(xPos, height, xPos, height - yPos);
    // at the edge of the screen, go back to the beginning:
    if (xPos >= width) {
        xPos = 0;
        // clear the screen by resetting the background:
        //background(0x08, 0x16, 0x40);
    } else {
        // increment the horizontal position for the next reading:
        xPos++;
    }
}
 

 P5 SERIAL CONTROL

P5 SERIAL CONTROL

We had a few people play our drum box and they enjoyed the experience.  One person said, "why do the shapes look like iPhones?"  It was valuable to get the feedback from user testing and will consider the shapes of the drum pads in future iterations.   

 

Final Project

music-visual Scrolls

An Audio Visual Controller that plays my music and video/animation work as a response to my touch gesture using a paintbrush.

Scrolls suspended in the air that use scrim or muslin fabric instead of paper papyrus.  The scrolls are pressed to initialize music samples of a song composition and notes in progressions on a synthesized sound.  The initialization gesture of pressing on the fabric launches a sound and simultaneously projects visuals on the scroll fabric.  

 

The concept is inspired by songwriting taking shape.  The Interface shape visually resembles the head of a violin, (a wooden scroll) with the fabric making up the body (instead of strings).

 

I am inspired to perform music and visuals I have composed/created.  As a performer, I would like to have a musical role as a conductor in an orchestra, directing the symphony.  I have composed music with sounds from most instruments (i.e. piano, guitar, bass, synths, strings, drums/percussion) and am unable to play all instruments simultaneously for a performance (one-man band).  This music visual scroll enables me to conduct my music composition and provides a canvas for my visual artwork.   

 

  • It uses a flex sensor at the top of the scroll where the fabric is attached.  Bending the sensor sends serial values to an arduino Analog Input.  The values are read in MAX/MSP/Jitter to initialize the sound and visuals.  The visuals are projected on the fabric.

  • I will need: Arduino, Flex Sensors, Projector(s), wires, bigger breadboard, resistors, aluminum or PVC pipe (scroll piece), muslin or scrim fabric (scroll paper), Auto-pole(s) to hang the scrolls.  

 

Screen Shot 2017-11-01 at 1.31.43 PM.png
Screen Shot 2017-11-01 at 1.31.53 PM.png

final project plan

timeline and bill of materials

Week 10

Connectors for Stranded Wire, Scrolls Fabrication, Soldering

Beta Version - Playtest

Week 11 

Improve Visuals feedback response with MaxMSP/Jitter

Additional sensors to system and Arduino code

Cut and Finalize additional Fabric Sheets  

Playtest 

Week 12 

Compose Sounds, Projection Mapping

Rehearse  

Week 13

Compose Music, Choreograph Performance, Rehearse

Week 14 

Presentation 

 

BOM

Laptop - Arduino, MAX/MSP/Jitter

Breadboard, stranded wires, flex sensors, resistors

(Translucent) Fabric 

Projector, Tripod

PVC/Aluminum Pipes for Scroll Piece

AutoPoles 

Enclosure for Arduino + Breadboard 

 

system diagrams

 Arduino, Breadboard, Resistors, Flex Sensors

Arduino, Breadboard, Resistors, Flex Sensors

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Play testing day

Some feedback from user tests...

"radiate from a point" "brush expressivity"  "scrolls move when you push them, make more stable" "what am I creating?  I want to write my name" "particles fade?"  "difficult to know whats going on"  "make it more clear"  "correlation with sound and visuals"  "make the scrolls higher, bigger"  "simplify" "make it more clear, not subtle"  "from nothing to something"  "make it more stupid"  "pattern and sound synchronize" "fast/slow motion = sound"

 

 

painted the scrolls &

cut the fabric

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FINAL DOCUMENTATION

MUSICVISUAL SCROLLS

 MAX/MSP/JITTER PATCH

MAX/MSP/JITTER PATCH

 UPDATED MAX/MSP/JITTER PATCH

UPDATED MAX/MSP/JITTER PATCH

 Setup, Soundcheck @ NIME

Setup, Soundcheck @ NIME

Designing for live performance

 

 

 

WEEK 1

Peter Brooks - THE EMPTY SPACE

reading response

Chapter 1: The Deadly Theatre

 

     The reading about stages and spaces evoked my memory about the Seven Ages of Man Speech in Shakespeare's As You Like It, " All the world's a stage, and all the men and women merely players" (Act 2, Scene 7).  I feel like our lives are performances, some days we do not always give it our best and some moments we deliver spectacular performances.  I have never heard of Brook's description of the Theatre as a Whore comparing the way patron's pay for pleasure of a specified amount of time and then leave. I appreciate how he elaborates on the creative process with plays and the challenge of form with actors and audiences, “They recognize that the only way to find the true path to the speaking of a word is through a process that parallels the original creative one” (Brook, 12).   Brook talks about the ephemeral quality or style of the theatre and “From the day it is set something invisible is beginning to die” (Brook, 15).  I associated this idea of a Deadly Theatre with the scene from Birdman or (The Unexpected Virtue of Ignorance) (Alejandro Iñárritu, 2014) Where Riggan (Michael Keaton) is preparing for the opening night of his play and he interacts with the Theatre Critic.  

 

The Scene is a great example of how the critic can "Kill a Play" and how I am beginning to understand how the theatre can be deadly.  The livelihood of people in theatre soars or sinks from the reviews of critics.  

Brook examines the performance, and how an actor can be killed or thrive from that live audience.  The adrenaline of all the eyes and ears of a full hall focused on a scene is amazing, and I appreciate how he describes, “When this was ended, no explanations were needed, the audience had seen itself in action, it had seen how many layers silence can contain” (Brook, 28.)    That these are brief moments, several hours that are full of material that hopefully keep the audience engaged, entertained and perhaps inspired by what they watch.  

 

Chapter 4: The Immediate Theatre

 

Brook writes about the process of detailing the scenes on stage and I find it refreshing to read about work that goes into producing the play.  He discusses how actor's may deliver great performances during rehearsal, yet when they are in costume, they do not measure up to their delivery.  On costume and set design, “A costume doesn’t just come out of the designer’s head: it springs from a background” (Brook, 125).  The Background is the scene, the time and place, the other cast members, the actor's style and work.  Furthermore the actor has to be Sincere and Insincere, to lie truthfully.  Since my background is in Film and Media Theory, a great deal is derived from the theatre.  When Brook discusses the performance on stage where, “Moments of dialogue linked by a rhythm of silences of unequal duration in a film would be sustained by close shots and other silent, related images” (Brook, 151.)  I can imagine how the performance must be to accomplish something great.  He articulates this idea well from the performer, “If the actor can catch the spectator’s interest, thus lower his defenses and then coax the spectator to an unexpected position or an awareness of a clash of opposing beliefs, of absolute contradictions, then the audience becomes more active” (Brook, 159.)  In this reading I have been reminded of the evanescent quality of the theatre, the live experience and why it is distinguished.  My Passion is oriented around Music and would echo his statement, “Music is the one thing that makes life tolerable for a great number of people” (Brook, 168.)  My times of playing piano or live performance with improvisation have that fleeting quality that can not be grasped yet are cherished forever.  



 

ELINOR FUCHS

 

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VISIT TO A SMALL PLANET:

 

Some questions to ask a Play

 

I appreciate this text as it serves as a checklist to creating a world.  I would have valued greatly to have had this as I was creating films however I will keep this as a go-to guide for creating worlds.   

 

I particularly enjoy the illustrations.  

 

This guide has all the questions one could ever hope to answer in creating the world for their envisioned story.  I value a quote from Red Burns, In Her Own Words - "Understand the question, before looking for the answers"  "That you look for the question, not the solution."  This reference enables me to look for the question that I may ask myself at any given creative moment, and I am thankful to use EF's Visit to a Small Planet as the question source.  

 

 

 

 

 

 

 

 

WEEK 2

Response to Aunt Dan and Lemon

via Elinor Fuchs Questions about World:  

The World of the Play is interior at evening time after the sun has gone down but still light outside.  It is in the living room of a residence.  The space is wide open yet filled with a dining table and a couch positioned at the television.  We are in a metropolitan area, ambient city sounds.  

Time behaves normal during the conversations of scene.  There are flashbacks and time stands still when the narrator directly addresses the audience.  It is leisurely, the scenes are in Zulu time, Eastern-Pacific Standard time.  The time-lapses of lives are there for reference by the narrator.  

Climate is a hot summer in late August.  The ambiance is humid on the brink of a monsoon thunderstorm.  Flashes of lightning in the clouds at the horizon.  There are old foliages resembling plant life failing to exist in the concrete jungle.  

The mood is melancholy, lethargic and gregarious.  People are sociable and depressing.  They are happy they speak and the joy rapidly fades after the first sentence spoken.  The tone is coarse and passionate to resonate with a firm emotional impact.  The mood evokes a decaying life with sepia tones suffocating the drab olive, brown, orange and dull yellow finishes of the decor.

The unseen spaces resemble the seen world.  There is nothing hidden in the beautiful decaying world.  The honesty is humiliating and passionately pathetic.  The music is a tired saxophone and drunk trumpet.  The golden touch are the violins that guide us to a sentimental heart warming familiarity of home.  It has a somber drone of cynical laughter and children teasing at a funeral.  

This World is private.  It is a residue of an inconsequential fascist regime.  The patterns make up half circles. A single central figure, Lemon surrounded by her parent's close friend and others.  Figures are in conflict in the subtext.  We do not see the tension but we feel and hear it in the words spoken.  The figures appear from the entrance to the living room.  They are two-dimensional and exaggerated.  They are like puppets and clowns in a suburban sitcom.  I am sure.  They dress in 1960s middle-class American casual attire made of itchy wool and stained cotton polyester blends.  I am sure.  

Figures interact by reasoned discussion with fighting words.  A fascist regime has power on this planet and it is achieved through propaganda and military enforcement.  It is exercised over everyone, comply or die.  The language habits on this planet are in prose and monologue certainly.  Reflection and flashback predominates the thoughts and feelings.  The reminiscence of a fantasy past.  The feelings of pessimism and cynicism flood a flat language full of metaphors.  There are exuberant silences that force us to hope for the future and act in the present.  

It is essential to pass through the gate of the central image to get from the first to the last.  We need to have our imaginations manipulated into truthful accounts of horror and die vicariously with the facts.  We need to discuss this tragedy with the present regime and discover the regime is in power to lose it.  

The landscape of the world changes from dull and lifeless to blossoming jovial vibrance.  Plants grow green leaves from dehydrated branches.  Humidity cools into a thriving breeze.  The storm washes the dust from the concrete and renews the finishes of architecture.  Time moves from dusk to night.  Time moves from present to past in retrospect, flashbacks occur in daylight or night depending on the reference.  Language becomes more sincere and optimism fills the moods of the figures.  They dress comfortably with confidence.  The tones develop sophistication.  

Action changes from negative historical examinations to nurturing harmonious relationships.  From suffering to rebirth.  The grave does not change.  We realize dull fate is not a life to live and an essence of euphoria must be kindled to enjoy it. We progress from the living room to the jubilant city streets on a warm moonlit summer night.  The hope resonates in the clarity of green plant life illuminated at night by both the moon and city street lights.  

This world has demanded me to examine my own life.  It asks me for pity in underprivileged scenarios and to fear the recklessness of power / authority.  It asks me to reason out greed in exchange for the harmony of equality and opportunity.  It asks me to interact with other spectators to inquire if they received a similar reaction.  To leave the theater and discuss the political action necessary for the future to thrive and not suffer from hegemonic designs in the present.  It asks us to find an ethical being within our shallow cores.  It is an entertaining world because of the transformation.  It makes the intention known by inspiring action from the transformation.

There are two performances signaling to me from inside this world.  They echo Alfred Hitchcock's Rear Window and Tom Hanks in Forrest Gump.  There is an invaluable entertainment in the discovery of watching the triumph from tragedy.         

Simple Sentence

Aunt Dan and Lemon is just a play to talk about fascist atrocities.  

Aunt Dan and Lemon is about dismissing the horror of immorality.  

Aunt Dan and Lemon is about explaining away crimes perpetrated by regimes through an objective perspective.  It undermines the emotional trauma and personal experience of the victims.  

 

 

 

CORNELL BOX

I printed out my visual artwork in black and white and wrapped it around a shoe box.  I cut up a gold Lei and used the leaves to symbolize the greed of powerful entities that drain the color from artwork for their gain.    

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WEEK 3

Response to Hedwig and the angry inch

via Elinor Fuchs Questions about World:

Space on this planet is exterior, cityscape.  Space is contained within brick buildings and neon lights.  I see a long passage within many interior flashbacks.  We are in a war torn city.  Time behaves like montage from present day to the cold war era.  It is marked through the shifts of daylight and night time.  

 

The climate is gloomy, partly cloudy.  We have a cold chill infecting the landscape.  The mood is cynical and sad.  It is not serious.  The tone is lively and sarcastic.  The mood and tone are created through music and drag performance themes.  It gives a Las Vegas twist to a Cold War era drama.  This is a public world with private matters.  Its class rules are escaping the face of socialism to a life in capitalism.

 

I see both groups in action caught in the middle of isolated individuals.  The single central figure is Hedwig surrounded by the band.  The figures are exaggerated and two-dimensional.  They dress in drag and have elaborate hair pieces.  I am sure.  Figures interact through song and dance, unreasonable discussions.  Two ways of governing people have power on this planet.  It is achieved through military force and law.  It is exercised over all peoples.  

 

The language habits are verse dialogue.  The language of rock stars predominates a thoughts and feelings of remorse.  Language colorful and coarse.  Silences offer a moment to reflect on the emotion.  

 

The background changes from the past to present.  It moves from outside the city and walls to inside a dim lit bedroom, crater, office.  Time moves from day to night, night to day.  We have moved from remorse to satirical gratitude.   Tragicomedy.  The neon lights remain a fixed accessory to all the scenes in the world.  It is the same world returned to a present day conversation with neon light adjustments.  

 

This world asks me for pity and has demanded me to honor the extravagance.  It asks me to appreciate the opportunity.  It makes a mess of the audience in participation.  It makes me think of the stories that are in the world and where people are coming from.  Entertaining without the intention known.  

     

SIMPLE SENTENCE

 

Hedwig and the angry inch is just about transgender disguise escaping the cold war and being a rockstar.  


 

 

Hedwig and the angry inch is an examination of love and the human dilemma from myth to modern mystery.

 

WEek 4

Simple sentence and complex Sentence

Hedwig and the angry inch is about love, self acceptance and hope for the future.

 

Hedwig and the angry inch is about a compromise for a better life.   The internal struggle of self acceptance and believing love will lead an optimistic view of life to fulfill a void with transgender identity crisis.  

VISUAL RESEARCH AND CONCEPTS

The scene I am envisioning is for the "Origin of love" so I am considering renaissance art and modern neo-classical architecture, lighting and design.  

 THE ORIGIN OF LOVE &nbsp; ~ Birth of Venus by Sandro Botticelli

THE ORIGIN OF LOVE   ~ Birth of Venus by Sandro Botticelli

 Look and Feel

Look and Feel

 Lighting Aesthetic

Lighting Aesthetic

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isadora 

privacy. 

Written by James Graham 

fuchs questions 

 

Space is an interior, in an office, restaurant and car.  Wide open are the transitions of time and place.  I see the stations of the therapist, restaurant scenes and car encounters.  The landscape is metropolitan first world.  

Time is quick and upbeat with slower motions in reflective moments aside.  The climate is cloudy with gaps of intense sunshine.  Autumn surrendering with a wintry finish.  

The mood is business casual, smart and emotionally shallow tone carves the sentimental into suspicious charm. Delicate moods lend an intrusive demonstration of information.  Provoked by music and bold examples of data surprises.  We recognize the playful scores similar to those composed by Thomas Newman in American Beauty(1999).   

This is a private world made public.  Self Reflexive perspective on data indeterminism of how information effects our current social experience.  The single central figure surrounded by a group in several experiences.  We see the tension of interlocking triangles.  Figures appear two-dimensional like advertisements exaggerated in architectural design magazines.  The figures are more like us in a superficial and commercial aspect.  They interact like an infomercial and absurd reasoned discussion. 

The central figure of public and private is the power on this planet and it is achieved in the controversy over the current affair and exercised by including the audience.  The language habits are professional and dry.  Emphatic and enunciated with charm for the delivery.  The dialogue is pushy and predominates the urgency of choice.  Impatient colorful language that clips the logic of the exuberant pace.  Silence delivers the punchline of our intrusive information sequences.  

The intention is to make the hidden or unknown open or make aware of our open agreements about privacy.  It asks us to evaluate our structure and intersection with information, society and how that psychological dynamic shapes us.     

concept sentences image research

Privacy. is just about the settings on our social networking preferences.  

 Privacy. is about understanding the interplay of information and participating in sharing our digital selves.&nbsp;&nbsp;&nbsp;

Privacy. is about understanding the interplay of information and participating in sharing our digital selves.   

 Privacy. is a way of provoking us to examine our approach to an identity epidemic of the digitally commonplace.&nbsp;&nbsp;

Privacy. is a way of provoking us to examine our approach to an identity epidemic of the digitally commonplace.  

 Privacy. is about fitting in to the information culture and integrating it into our lifestyle.&nbsp;

Privacy. is about fitting in to the information culture and integrating it into our lifestyle. 

 Privacy. is about the affairs of information and what we define and perceive of public and private data.&nbsp; It asks us to question the illusion of information security and how we are naive to these agreements and their implications.&nbsp;&nbsp;

Privacy. is about the affairs of information and what we define and perceive of public and private data.  It asks us to question the illusion of information security and how we are naive to these agreements and their implications.  

Interaction Design Studio

 

 

 

Simple Usability Review

Examples of

GOOD INTERFACE:

Chess

Board Game 

People discover the possibilities of piece movements in this strategy game between two players.  Both sides have the same pieces.  Theoretically equal and perceptible chance of winning by checkmate of the opponent's king/resignation.  The sport of mind and strategy in sequence regarding the reaction of moves played.  The affordances in position and exchange of pieces are the possibilities sculpted throughout the duration of the game.  Signifiers shaped in the sequence of the move.  Constrained by one move at a time, and by time itself in timed games that feature a clock that is gives both players the same amount of time.  The time starts to drain when its a players turn.  It stops when you make your move.  If a player runs out of time, they lose.  

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Each piece is mapped to behave in an assigned movement.  The Pawn moves forward, the Rook moves horizontally and vertically along the files and rows of the board, the King and Queen afford moves in all directions, the Bishop constrained to diagonal vectors of its originating square, the Knight moves in 'L' Shaped 'up one, over two / up two, over one' configurations that and are not blocked by other pieces between this movement.  The resulting feedback of moves played result in pieces lost or exchanged for the opponent's pieces that give the player a strategical advantage that concludes with checkmate.             

 

I crafted a piece of paper with an 8x8 grid. Pieces featured are contrasting clear and frosted glass.  Space for illustrating in the grid instead of the traditional checkerboard.  

  

 

 

BAD INTERFACE:

Capitalism

 

An economic system designed in profit and private ownership appears to not create a positive experience for the lifetimes of many people.  They lead unfulfilling lives to pay debt.  The system could improve by increasing the affordances of the many rather than limit their affordances.  Providing a problem so that you can profit from its 'solution' may have limited our progress and potential as a species. Could we accomplish more positive things together rather than dysfunctionally attempt the achievement of control?

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Lidwell TERMS

 

 

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COMMON FATe

Elements that move in the same direction, perceived to be more related than elements that move in different directions or are stationary.  

I have only heard this term used when describing the deaths of many people by a villain in a story.  Or the people who lead certain lives have a common fate.  Bubbles have a common fate, they rise in the water till they reach the surface or pop.  

 FLOCKS OF FLAMINGOS are elements in this photo that move in the same direction, distinguished by flight, suspended in the air above the ground, unfocused view of stationary flamingos. &nbsp;

FLOCKS OF FLAMINGOS are elements in this photo that move in the same direction, distinguished by flight, suspended in the air above the ground, unfocused view of stationary flamingos.  

OCKHAM's Razor

Given a choice between functionally equivalent designs, simplest design should be selected.  

Simplicity preferred to complexity in design.  

 

I remember my good friend and chess mentor valued and expressed the terms 'simple and efficient' and I reflected upon the times when I would listen to his advice and talk about ideas.  

Eliminate the unnecessary.  

 I appreciate the way the sculptor cut away at the rock to eliminate the unnecessary amount of stone so that the architecture can be distinguished.&nbsp;

I appreciate the way the sculptor cut away at the rock to eliminate the unnecessary amount of stone so that the architecture can be distinguished. 

SElf-Similarity

A property in which a form is made up of parts similar to the whole or to one another.

Photomosaic

Forms in nature

Natural vs Human-Created forms

Algorithmic process of Recursion

Subtle variations in the form

 

I contemplate on brick buildings, how a brick is stacked upon another brick until a larger space that resembles the brick is established.  Similar in shape and scaled size.  

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Similarity

Elements that are perceived to be more related than elements that are dissimilar.  

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Color, size and shape, areas of information - Interpreted as being relevant to one another.

 

I am fond of the idea in libraries of organizing books by similarity.  Books are sorted using the Dewey Decimal System that classifies books by subject.  

 New York Public Library - Rose Reading Room

New York Public Library - Rose Reading Room

The fungus among us

Reading Response

 Paul Stamets “Mycelium Running”

Nature's Internet

Dark Matter?

Spiral galaxies conform to the same archetypal pattern as hurricanes and mycelium.  

Threads of matter and energy - Physics & Microbiology 

"a rotting tree is more supportive of biodiversity than a living tree" (23) 

"perigord black truffle is $500 a pound" (27)  

Mycelium of Shiitake:

"Mycofiltration can be used to treat complex wastes contaminated with heavy metals and other toxins" (94)

Toxins are passed from many sources upward from one level to another.  

This discussion brings up an interesting issue:  If these "magic" mushroom species proved effective for breaking down VX, would we choose not to use the since they are controlled substances and illegal in many countries?  Nature responds to catastrophes with apolitical measures.  We do not.  (99)  

Psilocybe Azurecenes / cyanescens   absorb phosphorous from surroundings to synthesize the psilocybin molecule.  


 

Preliminary Outline for Final Presentation

 

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choreographic interventions

 

 

pathway studies

2 Duets 

  • Create 2, 1 minute duets between 1 dancer + 1 drawing.
  • Duet 1 is between 1 dancer + 1 live drawer.
  • Duet 2 is between 1 dancer + a coded drawing.

random pathway with conrols

/* Mimi Yin, NYU-ITP
Random pathways with controls.

- mouseX controls range (speed) of motion
- mouseY controls interval (how often there is a random change in direction)

When mouse is pressed:
- mouse position relative to center controls direction and extent of drift
When key is pressed:
- mouseY controls yscl (verticality)

*/

// Store x,y coordinates of current location
let x, y;
// Store x,y coordinates of previous location
let px, py;
// Store current xspeed and yspeed
let xspeed, yspeed;

// # of frames to wait before changing direction.
let interval;
// Range of random, relative range of vertical random
let range, yscl;
// How much to shift right/left, up/down
let xshift, yshift;

function setup() {
  createCanvas(windowWidth, windowHeight);
  x = width / 2;
  y = (height / 2) + 120;
  px = x;
  py = y;

  xspeed = 0;
  yspeed = 0;

  interval = 1;
  range = 4;
  yscl = 1;
  xshift = 1;
  yshift = 1;

  background(0);
  noStroke();
}

function draw() {

  // Draw very transparent background every frame
  // to create fade-out effect
  background(0, 10);

  //Change direction
  if (frameCount % interval == 0) {
    xspeed = random(-range, range * xshift); //shift median to go right/left
    yspeed = random(-range * yscl, range * yscl * yshift); // shift median to go up/down
  }

  // Move
  x += xspeed;
  y += yspeed;

  // Draw a line from the previous loc to this loc
  stroke(255);
  line(px, py, x, y);

  // Remember current location for next frame
  px = x;
  py = y;

  // Wrap around screen
  if (x < 0 || x > width || y < 0 || y > height) {
    if (x < 0) x = width;
    else if (x > width) x = 0;
    if (y < 0) y = height;
    else if (y > height) y = 0;

    // Don't draw line when wrapping around
    px = x;
    py = y;
  }

  // Draw a landmark in the center
  fill(255);
  noStroke();
  rect(width / 2, height / 2, 10, 10);

  // Controls
  if (keyIsPressed) {
    // mouseY controls yscl (verticality)
    yscl = mouseY / height;
  }
  // Mouse position relative to center sets directional drift
  else if (mouseIsPressed) {
    // Horizontal shift
    xshift = mouseX / (width / 2);
    // Vertical shift
    yshift = mouseY / (height / 2);
  }
  else {
    // mouseX controls range (speed)
    range = 100 * mouseX / width;
    // mouseY controls interval (frequency of change)
    interval = int(120*mouseY/height);
  }
}

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POLAR ROSES 

/*
Mimi Yin NYU-ITP
Polar Roses
*/

// Store current and previous x,y coordinates
let x, y;
let px, py;

// Angle
let a;
// Angle speed: How quickly we're circling
let aspeed;

// How quickly we're circling vertically versus horizontally
let yfreq;

// Size of circle (radius)
let range;

// Verticality of circle
let yscl;

// Center of circle
let centerX, centerY;

function setup() {
  createCanvas(windowWidth, windowHeight);

  angle = 0;
  aspeed = 0.01;
  yfreq = 1;

  range = width/4;
  yscl = 1;

  centerX = width/2;
  centerY = height/2;

  background(0);
}

function draw() {
  background(0, 5);
  
  angle += aspeed;

  //Move
  x = cos(angle)*range + centerX;
  y = sin(angle*yfreq)*range*yscl + centerY;
  
  /////////////////////////////////////////////////////////
  /////////////////////////////////////////////////////////
  ///////////////////////POLAR ROSES///////////////////////
  /////////////////////////////////////////////////////////
  /////////////////////////////////////////////////////////

  // // Spiral
  // range += 0.1;
  // x = cos(angle)*range + centerX;
  // y = sin(angle*yfreq)*range*yscl + centerY;
  //
  // // Straight line
  // x = cos(angle)*range*cos(angle) + centerX;
  // y = sin(angle*yfreq)*range*yscl*sin(angle) + centerY;
  //
  // // Circular squares
  // x = cos(sin(angle)*angle)*range + centerX;
  // y = sin(cos(angle)*angle*yfreq)*range*yscl + centerY;
  //
  // // Just a circle, sorta
  // x = cos(cos(angle)*angle)*range + centerX;
  // y = sin(cos(angle)*angle*yfreq)*range*yscl + centerY;

  // // Inny - Outy
  x = cos(sin(angle)*angle)*range*sin(angle)+ centerX;
  y = sin(cos(angle)*angle*yfreq)*range*yscl*cos(angle)+ centerY;

  // Bigger sweeps with tan
  //x = cos(sin(angle)*angle)*range*tan(angle) + centerX;
 // y = sin(cos(angle)*angle*yfreq)*range*yscl*tan(angle) + centerY;

  // Traversing by tan()ing centerX
  // Alternating horizontal curves with straight darts
   //x = cos(angle)*range*sin(angle) + centerX*tan(angle);
  // y = sin(cos(angle)*angle*yfreq)*range*yscl*cos(angle) + centerY;
    
  
  
    // Draw line
    stroke(255);
  strokeWeight(3);
  if(px) line(px, py, x, y);
    
  // Remember x,y coordinates for next frame
  px = x;
  py = y;
  
}


 

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thesis

immersive music visual instrument installation 

 

How can I make an immersive MusicVisual experience using a touch free interface without a device or VR headset?

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Description

The experience involves multiple projectors to display visuals on the walls, ceiling and floor of the space. Depth Data from a Kinect type sensor is mapped with music and visual elements. It will be used as a music visual instrument/installation for performance. The audience is for people who enjoy music and exploring how their movement affects the music and visuals. It will enable musicians to perform visuals with their music. It enables visual artist to have a musical accompaniment to their work. It assists dancers who wish to have music and visuals compliment their movements and bodies. The key features include a venue space, where sound and projections submerge the room. A performer steps into the space and performs the music and visuals by their movement through the space.

 

Research Approach

 

I plan to research venue spaces for thesis and beyond. I have seen ideas that inspire me in examples of the holo-deck on Star Trek, the holographic interface in the films Minority Report and Matrix Reloaded, and the V Motion Project. I will need to find a place where I can exhibit the functionality of what I produce. I need to research what is required for multiple projections and integrating the system with a touch free sensor. I need to talk to people who have done room scale installations and research the methods to accomplish these tasks.

 

Personal Statement

I am a composer, songwriter, visual artist, director, performer and chef. I care about dreams, inspiration, the wonderful and fantasy. My experience as an auteur filmmaker and music composer have shaped my art to focus on the compelling nature of music score and mesmerizing effect of visual synchronicity. I am intrigued by dreams and this area of our lives that is seemingly inaccessible to our waking experience. I am inspired to articulate the idea of navigating dreams, to sail celestial waters. To express this idea through the medium of a touch free music visual instrument installation performance. 

Bill of materials

- SPACE

     Booked for some time around Week 9, 10, 11

- Computer

     - MaxMSP/Jitter System, Processing, OSC, Visuals & Music

- Kinect 1 or Kinect 2

- Projectors (3 + )

     - Matrox TripleHead2Go for Multiple Displays

     - USB AtoB

     - Thunderbolt to Displayport Dongle

     - DPI male to male Patch Cord

     - Displayport Dongle (3x)

     - DPI to HDMI (3x)  

- Mounts, Stands, Tripods for Projectors

- Screens?


Schedule

 

Thesis Response

I want to make an immersive music visual instrument installation using a touch free interface without a device or VR headset.  I have tried a VR headset and felt disoriented and extremely uncomfortable.  I most definitely do not want to work in that medium.  I do not like to be unaware of my surroundings and feel that would be the wrong platform direction to take my artwork into.  I am inspired by how technology can assist and enable us to do wonderful things with our artwork, not inspired by how technology is assimilating our ideas.  

 

It is important that the participant not touch things like the conductor does not play a specific instrument in an orchestra, rather directs the performance.  My experience with piano performance is that it is not very physically moving, the piano is stationary and the performer is seated at the keyboard.  There is little showmanship or stage presence.  I have felt the need to perform my music in another way.  I am repulsed by the idea of being a dj to perform my music because it does not do the justice to my passion practice of composing and producing my musical expression.  Most of the work I put into my music occurs at a piano, keyboard and computer.  I compose for a range of sounds, melodies, percussions, rhythm and harmonies.  It is a lot like the novelty of a one-man band and a reality with how technology has made advancements with music production and composition.  These tools and instruments are not the way I see my artwork articulated for performance.  As the author of the music, I feel I must conduct the performance, to direct the sounds via a touch free interface.  

The limitations with the technologies are mapping the depth data from Kinect to my musical samples.  It is a prototype system that is inhibited by the workflow.  For example, I must compose my music samples in a Digital Audio Workstation, Logic Pro X, and import them to the music visual system, Max MSP/Jitter.  The depth data comes from the Kinect and sent to Max where the music samples are triggered.  It would be nice, (yet too large in scope) to design and develop a platform for easily integrating music samples with my music visual system or configure a way to compose with the system.  I write my music using a piano keyboard and use it to produce a song.  I would use the Immersive Music Visual Instrument Installation to perform the song.  

I am considering having the visuals being an ensemble player to the music composition and performance.  I have more of a sense of urgency to develop a way to perform my music with stage presence, movement and showmanship.   I feel that enjoying music in headphones is a fraction of what the real music experience can be.  The idea of having an immersive experience in an installation that is the instrument packages the idea of modern music composition and performance with visuals that compliment the sound and without the pressure of venues, booking, stages, minimums, and costs that come with live acts.

My goal is to build a platform that works so I can perform a single piece.  It is unclear whether work has been done in this area.  Certainly there are works that are similar or resemble the idea in one way or another.  I am building upon skills that I have developed at ITP and am inspired to continue working and iterating on these ideas.  The nexus would be the composer being the conductor, the performer.      

USER SCENARIO 

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LIST OF ENTITIES THAT HAVE DONE SIMILAR WORKS

 

United Visual Artists Collective

https://uva.co.uk/

Light Surgeons

http://www.lightsurgeons.com/

AV&C Systems

http://www.av-controls.com/

Rockwell Group

https://www.rockwellgroup.com/projects

V Motion Project

https://vimeo.com/45417241

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Visuals test

 system prototype test

Scheduled space for performance

In my quest for a space to show my project I was fortunate to schedule an evening to perform at NYU Steinhardt Education Building, Recital Room 303, 35 W. 4th Street for Wednesday, March 14th @ 7pm.  I was referred by Kimmel Center Operations to Luis Mercado who handles the scheduling of those rooms and he informed me that this space is completely booked after spring break.  He was able to schedule this time for me and I gratefully obliged.  My prototype is ready and I will be able to perform something and it will give me an opportunity to get some quality documentation of my project in preparation for presentations.  I’ve asked Jenny Lim to help me with camera work.  Still looking for an assistant to help carry equipment and help with production logistics.

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performance promotion

I sent out a promotional card to invite the community.  An email was sent to the student list of ITP and I created a Facebook event invitation.  I don’t expect a big turnout as it is during spring break and many are out of town.  I still find this opportunity to be rather awesome and to meet it with a radiant performance.

Rehearsal 

Tuesday, March 13, 2018 6pm Conference Room 

 

PERFORMANCE PREPARATION

Because of scheduling availability at NYU Steinhardt’s piano recital room, the performance took place on Wednesday, March 14th, 2018, during spring break.  On March 2nd, I spoke on the phone with Luis Mercado, who does scheduling at Steinhardt, for booking the room.  He informed me that there was no availability after Spring Break, and the room is for Professors and students in their department.  So I agreed to book the room for that Wednesday of Spring Break.  We then exchanged email to confirm and go over the procedures for using the room.

 

 Hi Brandon,  You are confirmed in room 303 on 3/14,&nbsp;7 – 10pm.&nbsp;The room is available as-is — meaning piano, 74 chairs, and whiteboard will be in the space. I will create a document for Public Safety and deliver the day of so your guests have access to the space. If you can restore the room to the way you found it we should be good to go! Let me know if there is any food involved in this production as we’ll need to discuss that further.  All best,  Luis

Hi Brandon,

You are confirmed in room 303 on 3/14, 7 – 10pm. The room is available as-is — meaning piano, 74 chairs, and whiteboard will be in the space. I will create a document for Public Safety and deliver the day of so your guests have access to the space. If you can restore the room to the way you found it we should be good to go! Let me know if there is any food involved in this production as we’ll need to discuss that further.

All best,

Luis

-The space was confirmed on March 5th after he spoke with his supervisor.

I immediately went into triple overtime on developing the system, mapping sounds, calibrating pixel thresholds and preparing equipment for the rehearsals and performance.

Processing Sketch:

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MAX Patch:

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I composed the piece in the key of A Major (Omit E) with Logic Pro X:

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Implemented instruments such as: Orchestra Strings, Synth Pads, Ambient Soundscapes, Oud, Guitar, Distorted Synth Lead, Bass and Rhythmic Beat.

MUSIC SAMPLES COMPOSED:

VISUALS

The Visuals are a generative composite  with a blend of video, particle systems, p5.js sketch, Adobe After Effects / Photoshop, Final Cut Pro X and JITTER.

Preparations included setup of three tripods for three projectors, and another tripod for the documentation camera, Canon 5D Mk III.

The process of checking out the equipment was extensive.  Some tripods were not functioning properly, they would slouch and not stay fastened.  There were two projectors that needed recalibration or keystone adjustment.  Another two projectors needed mounting for the Manfrotto Arm Head Mount because that is the only one compatible with the wood mount piece for the bottom of the projectors and corresponding tripods without the proper mount.   Thanks to Marlon and Nitish in the ER for assistance with mounting and adjustments!

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I was able to check out the Roland Speaker Monitors to get louder audio for the performance.  Each speaker required its own power cable and I used 1/4″ to RCA Connector Adapters for a Y 1/8″ connection to the audio output of my laptop.

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For transporting the equipment I was able to fit the speakers, projectors, cables, power cords, extensions cords, and arms in the large Pelican Case.  Michael Kripchak helped with pushing the case to 35 West 4th Street Room 303.

Marlon then gave me an official NYU Memo document to carry around with me while I am moving the equipment from the ITP floor to the performance space.  To: TSOA Security Re: Removal of Gear

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Day of REHEARSAL & Equipment Check:

Arrived at 35 West 4th Street Room 303 @ 6:20pm…

SETTING UP:

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The show was a success and it was an inspiring evening.  I was able to perform for the duration of 7-8pm.  Because Spring Break Hours have the Equipment Room close early at 8, I had to make special arrangements with floor staff, Chetan Hasabnis to return the equipment when we finished.

I would have loved to stayed there for at least 3 hours to flush out all the documentation coverage and perform more music and visuals.  Considering all the circumstances and being respectful to everyone’s time and the help I received, I was thankful to all and for everything running smoothly.

I was able to have others perform the instrument as well - Dominic Barrett, Michael Kripchak & Christina Elizabeth Hall.  I will be getting their feedback and interviewing them about the performance & system.

Meticulous preparation for the show and planning contributed to a successful evening.  I will be interviewing the attendees for their feedback and response to the performance.