Snibbe Studio’s biggest project since the Björk Biophilia, REWORK is a full-length app album treatment for the Beck/Philip Glass collaborative remix album featuring artists like Amon Tobin and Cornelius now available for the iPhone and iPad.
The studio has built a REWORK app that includes interactive visualizations corresponding to 11 of the remix songs with visuals that range from three-dimensional landscapes to shattered multicolored crystals and vibrating sound waves. The app also includes an interactive “Glass Machine” that allows users to create their own music inspired by Philip Glass’ early works by simply sliding two discs around side- by-side, generating polyrhythmic counterpoints between the two melodies.
“This is a way for people who don’t have the experience of manipulating music material to see what it’s like” Glass.
The artists include Tyondai Braxton, Amon Tobin, Cornelius, Dan Deacon, Johann Johannsson, Nosaj Thing, Memory Tapes, Silver Alert, Pantha du Prince, My Great Ghost and Peter Broderick. The album is out now on Orange Mountain Music/Ernest Jenning Record Co./The Kora Records and is available at Philip Glass’ website as well as via the iTunes store and Amazon.com.
The app was created using Cinder with the help from David Wicks who did most of the visualization work for the eleven songs using Bloom’s GLKit extension and working with Graham McDermott and Ahna Girshick from Snibbe Studio. Read more about the process here.
Download from the AppStore ($9.99)
- Passion Pit: Gossamer – New interactive music app by Scott Snibbe Studio The "Passion Pit: Gossamer" by Scott Snibbe Studio is a new interactive music app for iPhone and iPad that combines voronoi diagram with album imagery to allow you to interact with the band's music video or create new melodies using the samples provided. The project started at the Webby Awards a couple months ago, doing video backdrops to their new single "Take a Walk." (video here) Then the team expanded the collaboration to an app "EP" featuring two songs, including a new track: "Carried Away." Each song can be experienced in two modes - one is an interactive music video, where the sequencing of graphics, animation, and photographs by Mark Borthwick are different every time. The second mode for each song is a "remixer" in which people can create their own music with Passion Pit's raw material. For "Take a Walk" people can create new melodies on top of a backing track, by creating a kind of harp-string spider web. In the remixer for "Carried Away" all the parts of the song can be turned on and off via touch tiles. Some loop, while others are synth notes. "Passion Pit: Gossamer" can be found in the iTunes App Store as a universal app for iPhone, iPod Touch, and iPad for $1.99. Download | App at Snibbe Studio web […]
- field [iPhone, iPad, openFrameworks, Sound] Created by Rainer Kohlberger with sound by Wilm Thoben, field is an abstract audiovisual app that uses realtime camera feed as input. Brightness, saturation and color are interpreted, and translated into a constructed grid. The realtime image triggers different sounds as you pan around. Included are five different modes which you can switch through by double tapping the screen. The app was the winner of ZKM App Art Award - Prize for Artistic Innovation. Artist Statement: In this app, the iPads camera reacts to light and colors in the environment and translates them in an aesthetic way in tones, sounds, and geometrical patterns. Formally speaking, Kohlberger draws on concrete art. The term concrete art was first coined in 1924 by Dutch painter, Theo van Doesburg, before being programmat- ically defined a few years later, in 1930, in the founding manifesto of the group Art Concrete for a direction in art the ideal foundation of which was anchored in mathematics and geometry. It is not “abstract” in the proper sense since it does not extract from what already exists in material reality; on the contrary, it rather materializes intellectual content, possessing no symbolic significance, and is more or less generated from geometrical con- struction. During the 1960s, Op-Art and Kinetics artists made the logical step of also generating the mathematical foundation purely by programming: in other words, to have the works generate themselves according to an algorithm. With Rainer Kohlberger’s app, a further step has been taken: external influences, such as real light and real movement become part of the algorithm, and extend the geometric and acoustic input in endless variations. Created with openFrameworks. Platform: iPhone/iPad (Universal) Version: 1.0 Cost: $1.99 Developer: Rainer […]
- Björk – Biophilia – Virus [iPhone, iPad, Sound] This week saw the release of 'Virus', the new in-app purchase from Björk's forthcoming 'Biophilia' app-album created in collaboration with Scott Snibbe and M/M (Paris). As expected the new Virus release does not disappoint. We are handed a mesmerising viral system that draws you into the beautiful interactive musical experience. As always we wanted to know more, so we got in touch with Scott and got some wonderful insight into the development of the app including early sketches, code/libraries, inspiration images and sketches by Bjork and Scott. Read on for details.. Virus The 'Virus' was engineered from September, 2010 through July, 2011. The overall Biophilia project, including Virus, was engineered in Cocos2D for ease of transitions between song app experiences. Virus itself is a hybrid of several graphics and simulation models, and was programmed by Scott Snibbe and software engineer Graham McDermott. Scott build the first prototype (up to the images you see below from February). Then Graham worked for several months refining it. At the end Scott added a few tweaks including the DNA strand simulation and refined some elements of the physics, interactivity, and textures. 1.The Viruses are pressed together using an offscreen “trash compactor” that squeezes in from four sides. 2.Prototype of hand-drawn Ink look for Virus. 3.Rough early textures in a textbook style for Virus. 4.Virus textured with Drew Berry prototype textures, on its way to the final look. The core physics engine for cell movement is based on the unrestricted (but undocumented!) library JellyPhysics by “Walaber” (Tim FitzRandolph). The team modified this library and fixed various bugs to adapt to application. The cells are pressed together using an off-screen “trash compactor” comprised of four walls that push in from the sides to squeeze all the cells together. 1. Storyboard and concept sketches for Virus, clockwise from upper left: packed cells, singing nuclei, DNA attack the nucleus, DNA strands entering cell walls. 2. A page from Snibbe’s notebook with calculations for cell physics. Physics for the nuclei is hand-done, and physics for the simulated DNA strands is accomplished with a custom spring and mass physics library Scott has worked on for about twenty years." Physics engines are a bit like poetry engines in my opinion – to really get the precise behavior you want, you need to implement from scratch, or make significant changes. There are an infinite number of ways to perform simulations, even ones as simple as spring-and-mass." The textures for cells are layers of custom textures created by Nathan Heigert, designer in Scott's studio. They are layered together and animated to create a richer, more life-like appearance, and there are specific textures for different scales. Scott points out that because Cocos2D is limited to OpenGL 1.1, the team had to use old OpenGL tricks for the blending modes, rather than custom shaders. Rough sketch by Björk of the Virus score used to explain the song structure during early meetings. Virus graphics and animations were created using Cocos2D sprites, animations, and texture sheets, and produced using Photoshop and After Effects. The audio for Virus and the other apps is created using the FMOD library, a robust audio library for gaming that can support hundreds of simultaneous mixed tracks, precise synchronization, and real-time DSP effects. 1. Protools screenshot of vocal and hang tracks used for Virus’ music logic to stretch or compress the duration of the song, and mark transitions during the infection and attack. 2. Page 22 of the traditional musical score for Virus, used for planning and synchronization. Inspiration Images 1. David Goodsell Virus illustration - Virus inspirational illustration from talented bio-illustrator david Goodsell. Watercolor on paper. 2. 3D Virus model from Drew Berry, creative consultant to the project. 3. Images from video by Drew Berry of cells being infected. 4. Microscopic photograph of stem cells under microscope. Thanks to Scott for providing all these details. If you haven't already, make sure you download free Biophilia app from the AppStore (link below), including both the 'Virus' in-app purchase described here and Crystalline we mentioned few weeks back. Platform: iPhone/iPad (Universal) Version: 1.0 Cost: Free + $1.99 per in-app purchase Developer: Second Wind Ltd Screenshots: Viruses massing for attack of the mother cell. Surrounding cells nuclei sing to the chorus as viruses mass menacingly on the mother cell. DNA strands gracefully move in for the kill. Viruses and DNA coexist happily in instrument mode, producing gameleste and hang […]
- PulsART. [iPhone, iPad] Created by Megan Monroe, PulsART. brings back memories of Peter Saville's legendary album cover for Joy Division in the app form. Create Unknown Pleasures like visuals using a number of options provided including color, number of bends, grooves, and twists. Whats included: • 8 distinct Pulse Styles • Color switching and inversion • Large palette with 80 color options • Control over line, background, and pulse color • Control over pulse radius and magnitude • Control over line density and width • Shake undo • Save to your Photo Library Platform: iPhone / iPad (Universal) Version: 1.0 Cost: $0.99 Developer: Megan Monroe See also Joy Division LP Cover Visualized [Flash] by Mr.Doob and #landscape tag on […]
- Soundrop [iPhone, iPad, Sound] Soundrop is a sound toy application for iPad, iPhone & iPod Touch which allows you to create sounds by drawing lines on the screen and have ball bouncing off them. Each time the ball touches the line, a sound is generated. Depending on the location of the line on the screen, the tone of the sound is set. You can move the ball emitter, changing the nature of the composition. You can modify the location of lines by dragging points that define them alternatively double tap on any line will clear it. Wonderfully simple and a lot of fun to play with. Check it out..it's free. Platform: iPhone Version: 1.0 Cost: Free Developer: Develoe […]
- Voidie [iPhone, iPad, oF] We are happy to announce that after only 2 day review at Apple, new CAN app is now available in the AppStore. Created in collaboration with Francis Lam aka dbdbking, Voidie is an abstract depiction of the Great Void which uses a sound reactive particle system illustrating the activity around it. The app also functions as an audio visualizer and a clock. Double tap to toggle the Clock interface displayed using beautiful particle clusters. Use the multi-touch interface you can create your own audiovisual expressions or just position your iPad or iPhone near the speaker to see visuals come alive. Francis Lam aka dbdbking was blogged on CAN a number of times. We first got to know his work through Bitboxland, half soundtoy, half game, it is a a unique and joyful audiovisual playground. Cloudie was the follow up, one again a simple beatbox game inspired by the little clouds at the corner of db-db.com. We also loved Goldfish Music Box, inspired by his own art installation that tracks movement of fish and turns them into sound, this app was the iPhone version that allows you to converts color into music. How could we also forget the range of apps inspired by Francis' web art project nudemessenger.com including AskNumen, Numen Camera and Tap Numen. Many inspiring apps and we are very happy to have him onboard. To see more apps by CAN, visit apps.creativeapplications.net Platform: iPhone / iPad (Universal) Version: 1.0 Cost: $1.99 Developer: […]
- Thicket [iPad, iPhone] Featured in our "Must have iPad Apps" but never got a post of it's own, Thicket is now version 2 and with that it's own feature on CAN. In case you missed it, Thicket is an audiovisual app created by Joshue Ott and Morgan Packard. It is also a world of texture, movement, line and tone. Thicket is part toy, part wind chime, part spiderweb. The app is now also on sale for $0.99 - to celebrate the new release (normal price $2.99). If you like snowflakes, chaos, fire, and music without words, there's a good chance you'll love Thicket. It's wonderful + visual joy guaranteed! What's new in ver 2: -completely new mode system: simply tilt your device to change modes. -two brand new modes. -5 different modes total! -added more information to the info screen -new ultra smooth VGA out mode (non-mirrored) Also, Thicket is a side project of intervalstudios, a collective Joshue Ott and Morgan Packard. Joshue's also known for his SuperDraw app, while Morgan composes and performs with his own SuperCollider application called Ripple. You can hear his music here. (edit 09/11/2010) In case you are interested how to get the video out in your app, Peter has a nice post about both the Thicket and Video-Out on the iPad. Platform: iPhone/iPad (Universal) Version: 2.0 Cost: $2.99 Developer: […]
- NodeBeat [iPhone, iPad, oF, Sound] NodeBeat is a generative music app for the iPhone and iPad in the style of apps like Bloom. In it, gently drifting nodes interact with pulsing triggers producing minimal soundscapes. It offers several options to tailor the parameters of the music generation. The overall experience is very soothing and meditative; background gradients swirl through prismatic color changes. Below is a mini-interview with the authors of the app, Seth Sandler and Justin Windle: What is the inspiration for NodeBeat? Justin: I was reading a lot about sync at the time and was interested in experimenting with systems which could be free to form their own patterns, with the possibilities of spontaneous and unexpected 'syncs' emerging. Setting up rules to describe quite loosely coupled processes and then observing whether some kind of order emerges from them is something that I find fascinating. Aesthetically, I wanted the system I programmed to feel organic and so chose to work around the analogy of neurons and synapses firing - something talked about a lot in sync theory. These concepts concern themselves a lot with rhythm, repetition and cycles and so using audio seemed like a natural step, which is what gave rise to the idea of a sequencer of sorts. I had recently been introduced the Tonfall AS3 library, written by André Michelle and was keen to experiment with audio synthesis in Flash so I build the initial experiment on top of this as the library had a pretty small learning curve. The user interactions and the ability to tweak parameters at runtime, in order to produce different types of patterns; was something I added to give a layer of feedback to the experiment and push it more in the direction of an instrument that to an extent can be played rather than just observed. Seth: I've always been inspired by the simplicity of iOS applications like Bloom and how something simple can appeal to many and create a variety of musical interactions. When I saw Justin's sequencer, I thought that it was a great example of something that was simple, yet created an interesting, visual and fun experience. Since, I typically focus on musical applications that aren't targeted at musicians, I thought NodeBeat was a great fit. What were your goals? Justin: The goal was really no more ambitious than simply producing something interesting to observe and interact with. It began as a study and not a product. I personally find that goals are very hard to define during the experimental process, as by definition you want to remove any finite end-point and instead explore the space you're in at that time; feeling free to branch, destroy or enhance whatever you're working with. It wasn't until I posted the first experiment and realised that other people seemed interested by it that it became clear it could be refined into something more usable. This is why I was so excited when Seth got in touch about developing it for devices because it was clearly something which suited that format perfectly. Seth: In terms of NodeBeat, the iOS implementation, the main goal is really just to provide a fun musical experience. While we had a variety of additional ideas to implement, we really wanted to keep the feature set simple and easy to understand on the first release. The hope is that anyone, musical or not, is able to experiment and create melodies and rhythms without having to learn anything or understand how notes, octaves, or rhythmic subdivisions work. NodeBeat is developed using openFrameworks and utilizes PureData for audio synthesis. You can download the free desktop version + source code at NodeBeat.com. Platform: iPhone/iPad Version: 1.0 Cost: $0.99 Developer: AffinityBlue (iPhone) […]
Posted on: 13/12/2012
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