The Evil Eye project is the result of a residency by Belgium collective Indianen at the Frans Masereel Center, a center for printmaking in Kasterlee. The project investigates how printmaking could produce another kind of information, transforming material into an object with a new meaning.
When you put “optical audio record” on the record player it passes the handheld electronic “eye” the team has built: a simple device with an LED and a light sensor. The rotating patterns create modulating light that is translated into an electric signal by the eye. This signal is fed into a guitar amplifier and comes out as the exact sound that is embedded in the prints.
The app that generates the patters was made with Cocoa / Objective-C. It can create tracks with notes and sequences of notes with different waveforms like a synth, or just audio files (.wav) that you load into it. The screenshot below shows the record in the making and allows user to move and scale the tracks, change the sample rate, etc.
The track editing view superimposes waves on top of each other and allows for adding tones, moving them around and changing their pitch and waveforms (square wave, sine, sawtooth, etc…). The software finally exports the PDF files (single track image on the left which includes only sine waves or many different tracks, mostly square waves, on the right – the label was added in illustrator afterwards )
The device used to read the patters contains a small electronic circuit that converts the light it receives into an audio signal. When you hold it above a spinning (optical) record, the LED at the bottom shines on the pattern (see video below). The light that is reflected from the paper is measured by an optical sensor and that’s the signal that gets sent to the amplifier. There is no extra processing of the signal.
Evil Eye performance is taking place on Thursday June 28th 2012 at the Frans Masereel Center, Kasterlee, Belgium.
- 3D Printed Record – 600dpi into 11kHz with Processing and ModelBuilder Created using Processing, ModelBuilder Library by Marius Watz and a 3D printer, Amanda Ghassaei at instructables managed to print a 33rpm music record that actually doesn't sound too bad considering the limitations of currently available 3d printing technologies. These records play on regular turntables, with regular needles, at regular speeds, just like any vinyl record. Though the audio output from these records has a sampling rate of 11kHz (a quarter of typical mp3 audio) and 5-6bit resolution (mp3 audio is 16 bit), it is still easily recognisable. - The records were printed on a UV-cured resin printer called the Objet Connex500. This printer has a very high resolution: 600dpi in the x and y axes and 16 microns in the z axis, some of the highest resolution possible with 3D printing at the moment. Despite all this precision, Amanda writes that the Objet still at least an order of magnitude or two away from the resolution of a real vinyl record. Her hope is that despite the lack of vinyl-quality precision, she would still be able to produce something recognizable by approximating the groove shape as accurately as possible with the tools she had. In this Instructable, she demonstrate how she developed the workflow that can convert any audio file, of virtually any format, into a 3D model of a record. So, just before you put your old record player into storage you may want to wait a little longer because 3d printing is just about to give it a whole new life. 3D Printed Record on Instructables | Record models on the 123D gallery as well as the Pirate […]
- Audiotool [Flash, Sound, WebApp] Audiotool is a fantastic example of why Adobe Flash is still relevant in a world where many web developers are calling for it's early demise. Audiotool.com is a fairly complete electronic music studio in web app form. It's something that would have been impossible just a couple of Flash versions ago, but since Adobe added the ability to generate realtime audio without hacks, creative coders have been seeing how much Digital Signal Processing they can accomplish in a scripting language. Amazingly, the answer is quite a bit. Audiotool is a modular environment - it features boxes such as 808 style drums, 303 emulations, a slew of effects boxes and other interesting modules such as tone grids and poly-synths. Any of the units can be hooked up in any order giving great flexibility. Songs can be sequenced, complete with parameter automation. It's like a simpler version of Reason full of features you normally expect to find in an expensive desktop studio app, not a free web app. Songs can also be saved and shared online and you can open other people's songs to check out their arrangements. Things are simple enough that someone new to electronic music should be able to figure things out with a few minutes of fiddling around. Audiotool has been in development for a long time. The sound features are fairly well developed, but the community features are just starting to be introduced. One could imagine it becoming even more useful as a fun way for musicians to collaborate, remix and share musical ideas - just the kind of thing that the whole world needs more of. Since the software is totally free and available for everyone, I could easily see them building up a decent sized online community. Check it out now. myVST Demo: AudioTool from myVST on […]
- F**k You, Buddy [openFrameworks, Events] Created by recoil performance group from Denmark, F**k You, Buddy is a physical performance in combination of interactive video scenography. We wrote about the project back in January and now the video with behinds the scenes (embeded below) + details of the setup are available. The interactive/stage tracking and projections were coded by Ole Kristensen and Jonas Jongejan including a custom framework for a modular app combining openFrameworks and cocoa gui, controllable via midi. The set-up includes infrared lights, led par 64 cans (dmx from our own arduino) and two panasonic projectors on stage. The software is open source and we are very grateful to the openFrameworks community, whose efforts form the basis of our programming work. The software for Fuck You Buddy builds on our move into Cocoa and Objective-C from the Frost performance. We intergrate openFrameworks into a cocoa-based Mac OS X Snow Leopard application running on a mac pro seeing the dancers through a Point Grey Flea 2 IEEE 1394b camera, showing the openGL graphics using two video projectors, shooting diagonally onto a white square of dance floor. The projectors have 0.7 wide angle optics and the software is qued from qLab using apple's midi networking capabilities. Links: http://3xw.ole.kristensen.name/works/fuck-you-buddy http://halfdanj.dk http://recoil-performance.org/productio ... -you-buddy To download code for the project head over to http://code.google.com/p/fuckyoubody/ The team are also planning to make their ofxCocoaPlugins gui code available for general consumption very soon. recoil is a Copenhagen based performance group. The group was formed in 2003 by choreographer Tina Tarpgaard and composer Pelle Skovmand, with the intention of establishing collaboration between artists across genre and borders. Through dance, live video and electronic sound, we create performances that aim to explore technology as an equal and interactive partner to the performing […]
- Avouching A/Visions at MUTEK 2011 [Events, Sound] [AntiVJ's Simon Geilfus and Murcof at A/Visions 2 / photo: basic_sounds] Having just completed its twelfth run, Montreal's MUTEK festival continues to cultivate the the substantial niche it has carved out for itself on the global media arts circuit. In addition to a storied history of showcasing emerging and established electronic musicians of all stripes, MUTEK has also acted as an r&d lab for exploring the possibilities of integrated audiovisual performance. In 2005, a programming stream dedicated to presenting bleeding edge collaborations between musicians and visual designers entitled A/Visions was brought into the fold to showcase innovative projects like artificiel's cubing and Marc Leclair & Gabriel Coutu-Dumont's 5mm. A/Visions has matured so rapidly that by 2008 this supplementary programming was consistently eclipsing 'big room' headliners and—at least as many MUTEK regulars were concerned—functioning as the locus of innovation within the yearly gathering. The 2009 and 2010 AV performance programming upped the ante even more and the expectations for both experimentation and production design were very high going into the this year's edition of the proceedings. This post presents an overview of and reflection on material featured at A/Visions two weeks ago in Montreal. Electroacoustic composer Alain Thibault and visual designer Yan Breuleux have been working together as Purform for almost 15 years. For MUTEK the duo presented White Box, a project dedicated to exploring "new forms of generating A/V compositions in real time." As evidenced by the teaser video above, the performance leveraged a massive three screen projection surface as a canvas for exploring dense monochromatic meshes and emergent moiré patterns. Characterized by coarse granular synthesis and dynamic, clinical pattern studies, the set was undeniably polished – perhaps pristine to a fault. Compared to the subsequent rumbling bass-scapes of Emptyset and the cataclysmic improvised mayhem that Mika Vainio cooked up in the darkness, White Box offered a glimpse into a stark formalist universe that could only emerge from such a longstanding collaboration. Within about 45 seconds of beginning their performance at the SAT the British duo Sculpture had already confirmed their status as the wildcard artists at MUTEK 2011. Sound artist Dan Hayhurst and animator Reuben Sutherland specialize in crafting dense, plunderphonic soundscapes complimented by live video of custom-made zoetropic picture discs. Their performance married reel-to-reel tomfoolery with turntable centric digital video that was projected onto a horseshoe-shaped configuration of screens lining the perimeter of the space. This arrangement was intentionally overwhelming and many audience members were visibly dazed by the combination of Hayhurst scrubbing through his tape loop inventory and Sutherland's reconfiguration of the wheels of steel as a psychedelic movie machine. The set was a gloriously orchestrated cacophony – media archeology for the MIDI controller set and a refreshing reminder that a virtuosic back-to-basics approach to animation is capable of trumping any graphics library. Fernando Corona (aka Murcof) and Simon Geilfus of AntiVJ have been collaborating for approximately two years and the duo presented the fruits of their (iterative) labour at the second A/Visions event. The embed above really does not do this work justice and the creative partnership essentially 'builds a universe' around Murcof's brooding, orchestral LP Cosmos and some more recent material. AntiVJ's Joanie Lemercier and Nicolas Boritch describe the work as "being rooted in a 2009 residency in Bristol" where the artists had the time to build an "emergent" performance workflow "from the ground up". Riffing on the geometries and organizational logic of cosmology, biological systems and the scattershot luminosity of a dense weave of light rays, the set was captivating and deservedly received a thunderous response. It should also be noted that AntiVJ developed a thoughtful solution to the perennial "where do we put the performers?" problem by projecting the video on a semi-transparent mesh scrim that hung in front of Corona and Geilfus, downplaying their visual presence and also creating the illusion that the animation is floating in space rather than dancing across a "standard white screen". One particularly riveting sequence played out as if the audience were drifting through a 3D field of detritus that pulsated in sync with Corona's drones, the shading of this 'space junk' was incredible and justifies comparisons to some of Lebbeus Woods' wilder moments. A veteran of the inaugural MUTEK lineup, Seth Horvitz is amongst a handful of artists including Atom Heart and Carsten Nicolai whose experimental practices have remained important references to the evolution of the festival over the last decade. Horvitz recently completed his MFA at Mills College and essentially presented his thesis research Eight Studies for Automatic Piano on intensely programmed scores for the Yamaha DC7 Mark III Disklavier. In perhaps the best moment of theatre of the entire festival, a besuited Horvitz began his performance by strolling across stage to turn on his piano and then disappeared into the shadows, not to be seen again. The work presents kind of a piano endgame that tested the perception of the audience while—given the scope of MUTEK—offering a timely examination of precision and 'programming'. An excerpt from the 'listener's guide' (PDF) for the LP release of the project on LINE where Horvitz discusses the notion of hand-made algorithms: "I have been told that my music is algorithmic, although I don’t really think of it that way. I don’t use any math other than simple addition, subtraction, multiplication and division. I copy something (often a repeating figure), paste it next to itself, and then change it a little. Then I do it again and again, changing it by the same amount each time, and listening all the while. If it doesn’t sound good, I might start over. Or I might copy half of all the copies and put them somewhere else, change that a little, then repeat the process again and again… I avoid using equations, because I never want the music to get too far away from my ear." The above video demonstrates how the dense melodies literally wash over the keyboard while the projections offer a rudimentary visualization of the complexity of these pattern studies. Eight Studies for Automatic Piano was a treat to experience live, and there was something quite amazing about watching a precisely calibrated automaton work its magic in a concert hall setting. The above smattering of teaser videos clearly doesn't do A/Visions 2011 justice but these taste tests certainly verify the innovation and diversity of the work programmed this year. For the sake of brevity this review did not touch on Tristan Perich's surprisingly moving rendition of 1-Bit Symphony, a severe prop-driven performance piece by Women With Kitchen Appliances and an atmospheric meditation on macro photography by Comaduster – these projects are all worth looking into. Stepping back from A/Visions and considering the larger events at MUTEK, it is clear that the interplay of sound and image is becoming increasingly important to the direction of the festival; this year the spotlight shone on Richie Hawtin's LED cage (produced by Ali Demirel and the wizards at Derivative) and Amon Tobin showed up for his gig at Metropolis at the helm of a cubist megalith (it was hardly the Mothership, but I suppose it would do in a pinch). I greatly prefer the focus and discipline of the work I've described above, but one can't help but note that audience expectations and visual literacy are evolving rapidly. While my mind is still buzzing from this abundance of stimuli, I'm already starting to catch myself wondering what next year will yield. -- About the Author: Greg J. Smith a Toronto-based designer and researcher with interests in media theory and digital culture. Extending from a background in architecture, his research considers how contemporary information paradigms affect representational and spatial systems. Greg is a designer at Mission Specialist, blogs at Serial Consign and is a managing editor of the digital arts publication Vague Terrain. He currently teaches courses on information visualization, technology and urbanism in the CCIT program (University of Toronto – Mississauga/Sheridan […]
- DopplerPad [iPhone, Sound] Created by Retronyms,Â DopplerPad is an iPhone sound application that allows you to quickly create and perform musical hooks, phrases and loops with a variety of custom synth and sample-based instruments. DopplerPad offers a unique take on mobile music production. It's clear that it was designed solely with iPhone in mind, and doesn't attempt to follow desktop music apps too closely. The first thing you'll notice about Dopplerpad is it's beautiful presentation. It's a minimal, high tech look but very colorful and inviting. Buttons are just the right size and the interactions feel great. The screens are laid out very logically and slide smoothly between each other. You will never feel lost in this app. DopplerPad centers mostly around live recording rather than sequencing. Just pick an instrument, press record and start tapping. Each time you tap, DopplerPad produces animated squares to show your notes and these get played back with the recording as well. The result is both nice to look at and listen to. One of the cool things about DopplerPad is that it can figure out how hard you are tapping the screen and adjusts the velocity of the note accordingly. The 'Y' position on the screen also controls a modulation parameter for each instrument, such as the filter. All the sounds seem like pretty basic synthy sounds and you can't tweak them, which may be a bit limiting for some people. However, they give you more than enough sounds to have fun with. There are also a couple drum kits. Hopefully the devs will be adding more sounds as time goes on (some realistic instrument samples might be cool).Â DopplerPad also has an intuitive arpeggiator/gate to help you stay on time. I have a couple criticisms with the note input model - one is that it can be hard to hit exactly the right note. It's tempting to just click and drag around, but that will just produce atonal experimental sounding music. It would be cool if you could set up a musical scale and have the pitches snap to that, like you can do in Bebot. My other criticism - no multitouch? DopplerPad is capable of playing back many sounds at once, but you have to input them seperately. I'd love to be able to input chords. DopplerPad also sports the ability to sample sounds using the microphone and to replay them starting at any point in the sample. This feature is a lot of fun to experiment with and opens up a lot of possibilities. The other main screen in DopplerPad is the 'Mixer' page and it's very reminiscient of a DJ mixing console. Here you can mix between two DopplerPad loops. You can also copy loops and pick which ones are playing. It's very intuitive and DJ's will be right at home here. To conclude - DopplerPad is a very enjoyable app. It's intuitive and easy to pick up, it's nice to look at, and you can do some interesting stuff with it. $10 may sound like a lot, but when you compare that to what you would pay for a desktop version of the same app, it's a steal. For iPhone musicians, DopplerPad is a must have. Platform: iPhone Version: 1.01 Cost: $9.99 Developer: […]
- rain. [iPhone, Sound] Rain. is a minimalistic audio visual composition app for the iPhone created by Rainer Kohlberger. Tap to create black sound stripes, double tap to create moire phases, shake to create a colored beat, double swipe to change background loop. The longer a stripe the lower its pitch. After creating a stripe, use your second finger to alter the length. Simple, beautiful, must have. Rainer Kohlberger is a Berlin based Freelance Visual Artist and Designer. See also his blog blowup and bleed. Platform: iPhone Version: 1.0 Cost: $0.99 Developer: Rainer […]
- Shedding Light on Squidsoup – A Conversation with Anthony Rowe For more than a decade, the artist collective Squidsoup have been designing rich interactive experiences. From their early navigable sonic environments, through their playful experiments with computer vision and interest in 'volumetric visualizations', an email exchange between Squidsoup's Anthony Rowe and CAN begat a mammoth interview abound light, sound and many of the collective's […]
Posted on: 27/06/2012
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