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Emerging trajectories in art, science, and technology.

226 pages of conversation, research, opinion, analysis. Step into artists' studios and workshops to discover the faces, personalities, and processes behind important work. Learn more!

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Visual Music Collaborative [Events] – Results

This is a collection of work produced at the recent Visual Music Collaborative workshop hosted by Eyebeam this July in NYC. The event was led by Aaron Meyers, in collaboration with Re:Group artist, Aaron Koblin and in creative partnership with Ghostly International. Invited participants were asked to explore the relationship between music, sound, and dynamically generated imagery and motion. Topics included sound-analysis techniques, advanced OpenGL programming, and interfacing with mobile control devices.

The selection below shows only a small selection of the work done at the workshop. As more appear on line, we’ll add to the list although I am sure, as I write this, the organisers are working on collecting them all. For full list of participants see here.

For more information on this and future workshops see visualmusic.tumblr.com + Eyebeam + Wiki

(photo above – eyebeam’s flickr stream)

the Illusionist from Lars Berg on Vimeo.

music: Shigeto, “the illusionist”

made with openframeworks

BETA: Visuals (x) CWCIII – Telefon Tel Aviv / Richard Devine from /// *** this.riley *** \\\ on Vimeo.

OpenFrameworks live audio analysis / visual generation, OSC in/out (to be controlled or control other devices) 2D Geometry + GL shaders /// semi auto control via analysis or manually from performers input

Special track CWCIII – Telefon Tel Aviv / Richard Devine for Charlie Cooper on Ghostly International

Look at all the Smiling Faces — Shigeto from jonobr1 on Vimeo.

This video is a recording of my visual performance to Shigeto’s new track, Look at all the Smiling Faces, on July 23, 2010. This is the culmination of the 5 day long Master Class Workshop at Eyebeam (http://eyebeam.org/events/summer-school-masterclass-visual-music-collaborative) in New York.

While listening to the track — in total 299 times this week — I imagined some kind of microscopic underwater scene. I wanted to merge this idea with my desire and passion to perform. With the guidance of the instructors, Aaron Meyers and Aaron Koblin, I decided to interface the application with my XBox 360 Controller.

Built with Processing

Visual Music Collaborative – Sieve test w/ Dabrye + Dog Eating Ice Cream from Will Calcutt on Vimeo.

School of Seven Bells – Windstorm (Improv) from blair neal on Vimeo.

This is a visual improv I recorded to the SVIIB song “Windstorm” off of their new album Disconnect from Desire. Unfortunately, my 4 year old computer is not able to chew through video and do screen grabs at a very high framerate so it’s incredibly choppy, so please don’t take it as anything polished.

Built in Max/msp and jitter.

Eyebeam & Ghostly International – Visual Music Workshop from George Michael Brower on Vimeo.

Christopher Willits: Colours Shifting
Ghostly International

Performed live for this recording, using data gathered from the Echo Nest API.

Made in Processing.

The Old Man and the Sea from Evan Boehm on Vimeo.

My week’s output for the Visualist Master Class at Eyebeam NY, July 19th-23rd. This piece was written in C++ and is fully interactive.

The basis of the course was to create a visual accompaniment to a song off the Ghostly International label. Choosing The Sight Below’s ‘Simmer’ I decided to recreate Hemmingway’s The Old Man and the Sea as a serious of 3D dioramas.

In the novella, the protagonist has lost his pride and respect within the community because he has not caught a fish for 86 days. On the 87th day, a giant Marlin appears who he battles to catch. After a long struggle where he refers to the Marlin as ‘brother,’ he finally subdues the fish and brings him aboard. On the way back to land, the fisherman has to fight off numerous sharks who are attracted by the trail of blood in the water. Eventually, the fisherman returns to land with just the massive bones left. The ordeal can be read as the man’s fight for his sense of self and purpose with the Marlin the physical representation.

My interest lay in the use of polygon reduction as a storytelling tool. 3D graphics models are made up of a series of points (vertices) that are ‘skinned’ to create models. The more points, the smoother and more detailed the model. Could reducing/increasing the number of points on a model be used to drive a story forward or create a emotional response? Throughout the piece the character’s emotional state is represented by both the polygon count and distortion of the water.

Hopefully a first experiment of many.