Nico Di Mattia

Nico Di Mattia is an outstanding digital artist from Cordoba,
Argentina. An outstanding visual communicator, Di Mattia began his career at
the young age of 15, when he independently published his own comic book. Drawn
further and further into the arts, he continued to hone his craft and found
that he exceled at visual/graphic design. Now, at 29 years of age, he is most
famous for his “speed painting” series on YouTube, which have received over 50
million hits. In these works, he videotapes himself creating portraits of
different people such as Meghan Fox and Spiderman using Photoshop. These pieces
are incredibly detailed, so in the real world they take hours, but once the
piece is done Di Mattia takes the video, speeds it up exponentially and adds
music, giving us the entire creative process in a matter of mere minutes.
Presenting the piece like this almost give the work a life of its own and really
highlights the amount of detail that goes into his works as he adds layer after
layer of “paint” to the canvas. Aside from this type of digital art, Di Mattia,
a graduate of the Cinema and TV School at Cordoba´s National University,
also works in film production, comic book illustration and other graphic design
areas. As gifted as any designer in the world, Di Mattia continues to branch
out and build his brand, working as a freelance illustrator and designer for
numerous corporations and even today he continues to publish his own comic
books, showing us the passion that he truly has for his work. His pieces are inspirational
in that they show us how much is truly possible in today’s digital design
world, if one only has the passion for it.
http://www.youtube.com/watch?v=xJNvKjQHv8I
– Spiderman
http://www.youtube.com/watch?v=ssOJQXdwmrI
– Meghan Foxx
http://www.youtube.com/watch?v=IzoHhgrHrEg
- Dragon

Lucas Packer- "Reverb"

This project is a combination of movement tracking and video overlay that was created in the program MAX MSP. I have entitled this project “Reverb”, as it is symbolic of the ‘waves’ we create as we move through life. As you move in frame the camera tracks your movement and an image is overlaid into the area of your movements and at the same time a ghost pattern, or trailer, is left behind as you move, creating a sort of memory of your movements. The videos projected inside your image are of large ring ripples, smaller ring ripples and a flame/smoke combo. This is symbolic of the reverberation of action we feel within ourselves as we move through life and the symbolic smoke and fire of our struggles. The ‘tracers’ that are left behind are symbolic of the imprint we leave on the world outside of ourselves as we go about our daily lives. No matter what we do, no matter where we go, we deal with the consequences of our actions and we leave at least a small imprint on the world around us. It is impossible to escape these ‘ripples’ as their “Reverb” is felt throughout our lives and the lives of those around us.

TEL-T 430 INTERACTIVE PRACTICES SHOWCASE

COME SEE INTERACTIVE WORK IN THE INFORMATICS NEW MEDIA LOUNGE

GROUND FLOOR OF NORTHSIDE BY THE NEW GRILL

THE DISPLAY WILL BE UP 
MONDAY-THURSDAY NEXT WEEK FROM 11AM-2PM

Artist Statement - "Holding Still"

To live in our present human society means a daily engagement with hurriedness, whether emanating from our own itinerant drives or transferred upon us by the seeming direness of others’ rushing. Moments shuttle by us as we attempt to trace a narrative thread in the day’s events. Streams of information pour into us, are processed with varying degrees of success, and pass either into thin air or memory just as swiftly as the next stream can race into contact with our senses.

It is within our power, however, to change how we react to this pacing. In my piece, “Holding Still”, the relentless forward flight of a passenger train stands-in as metaphor for the existence described above. When an attentive face breaks from the crowd—pausing in its daily rush from point-to-point—it comes into focus, and the present moment resolves with new clarity. Stillness of body further calms the scene, a direct opposition to the emphasis interactive art often places on inciting motion. This interaction is simple: I invite you not to act, but pause, and be.

Illusive Shifts Artist Statement

Illusive Shifts represents different body movements, based on the mixture of lines drawn. This work allows the body to be in control of the art piece created, representing a machine run by people’s movement that creates visual lines. An increase in movement creates an increase in Illusive Shifts. The piece represents each individual differently, based on height and movement style. Illusive Shifts allows each individual to interpret his or her own thinking.

I wanted individuals to be in control of their creation and show the difference in every individual. I created Illusive Shifts in mind with the game scribble. As a child I would draw lines and make connections based on the lines. That's what I did with Illusive Shifts, which creates scribbles and builds connections.

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Kinect Depth and face tracking online

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2AU+nJci+8K++AX9H1xB
-----------end_max5_patcher-----------

kinect patch

----------begin_max5_patcher----------
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gmAMIO4aW96frQXnE
-----------end_max5_patcher-----------

Square Frequencies

So basically, the central idea behind my patch
rests with the object (jit.eclipse). What I wish to accomplish is using
jit.eclipse with a grid of images while the camera is operating to produce and
pick up the movement from the viewer but, with many visual effects that can be
switched off by use of the keyboard. Initially, the camera will be used to pick
up the movements of the viewer in the background/shadow of the square images.
the images in the squares will be pre-recorded images that I have produced with
added effects. So, the viewer will be seeing themselves through the little
images with effects through different visual means. I am going to produce
multiple recordings that I have edited/used different filters and layered
effects with. I will then use those video clip recordings to be keyed in using
the computer keyboard on specific keys. Every time a clip is chosen, it will be
filtered through jit.eclipse. I have yet to experiment a little more with
cv.jit effects but, I believe it is possible to use the camera recognition
features to trigger certain reactions from the live camera feed running through
jit.eclipse (even through the little square images).

Interactive Video - Self Reflection

Using the kinect sensor and face tracking together led me to the idea of creating a type of interactive mirror. What the patch will do is when a face is detected in the camera's view, different noises and visuals will start playing. The more a person moves, the more dramatic, flashy, and loud the patch will become. Also, the closer a person moves towards the kinect sensor, the more distorted and noisy the image gets. If more than one face can be detected, I would also like to build in an effect that only occurs when a group of faces are detected in the camera's vision, taking the emphasis off of one's self.

Interactive Video - "Changing Faces"

I want this project to be a type of social experiment that changes the skin color of the individual facing the camera, giving them a view of themselves as the opposite race. It could speak to the social and personal ramifications of how we view ourselves. Does a change in color change our perception of ourselves? Does it make you uncomfortable? Exploring these type of feelings can help us open our minds to others, especially when we have no control over the intereaction, just as we have no control over our race in the first place.

Collective Sound Making WITH MAXHOLE

<pre><code>
----------begin_max5_patcher----------
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QGLTw
-----------end_max5_patcher-----------
</code></pre>

Interactive Assignment Concept

The set up for this assignment will incorporate the camera tracking the movement of those passing by the installation. Whenever someone enters or leaves the boundaries of the frame, that data will control object jit.slide, so as they leave the view of the camera, fragments of their presence will still reverberate in the image. Also, as people draw closer to the actual proximity of the camera, options of objects controlled by numbers on the keyboard such as jit.glob, jit.sparkle, will become increasingly more profound, taking full effect when someone is standing directly in front of the camera. If they come close enough to the installation for this to happen, that's when they can sift through the different effects or objects using the keyboard.

IN CLASS EXERCISES

NOISEY SENSOR:
<pre><code>
----------begin_max5_patcher----------
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332l+dQ0UzTBuc1Z62t8wtmAfIzHYMrhBlNaj8um2WcBAlKqA+suBZOXEucf
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VMl72u6O.FM03TA
-----------end_max5_patcher-----------
</code></pre>
IF THEN STATEMENTS:

<pre><code>
----------begin_max5_patcher----------
959.3oc0Y1zaaBCFG+bxmBDG5orL+Nvj5gocYW1odbsphP7RYM.QfiV2p528
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crypgjdL5.Nj86v.c0SvE62oQiG+9NqFGzi9cJYzlUTSGXHq+yJRwiVJgzfI
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VovSy42ES1baGkgekEdP.37mQc10sBQ5sVRsiqgWBpd+3svg7xH0.noFU2WD
IJxlEmuQDWJ97MhhMd25+s0EIOdqe+WpFBzXPk9EBfcqTMtSctkwqphWwsSN
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zCo4OcsiIu6l9xz+C.50n8J
-----------end_max5_patcher-----------
</code></pre>

EXTENDED GATES & SWITCHES

<pre><code>

----------begin_max5_patcher----------

2480.3oc6bszbihjD9r7uBED6QOUTOx50dahI1Cy48XGc3.KUVldj.M.9QOS

L+22pn.IvFIWRBXk6nuHCEHHyuJemo7eeyrn6yd0TDM+eO+KymM6uuY1rpkb

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kEI+kwcaDJBWub5SaRRWaJqdph8Kl8TYypj5U2FWt3wjzU2kaVT5oUJEPRMi

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Y0saY0eQPhbq8O2bi6iaCEmdZy8l7l2ziNfZQ15rb+aBiTRLWots2iHsn9sw

4VZuzjemIM990UTJtOnkf3ZNQIa1YxSp1SptejtOTmzKpSOBpKADSo.piFkJ

DURkLwsygKBzSRKitcdz8woq5E+4xeh+03OWtG+4hIB+Y3eh+03Of2i+LXpj

+UmC9WlsZkk6C.EC.SNlkXrnElrWljJpvDQKLoWNuWIN5Ok3Z7yw1itVumNz

0c7HKwoOK7u+HCrbZgonLtzDE.HF.bwCSXTI2gVJw.fVG7O6dlcj1HDo.jUR

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gqt5fcjfjrJKTT2mB1Ake.5.BmamaJV7KO7z50EKxMlzSFUwmJpx.ARQD.yp

qvrnHvgpi03AOPdtHpMcXxqwmZ.x9BRVad1jWjjk1hpmEEucaqkm05q3P0u4

2xpygwsTRpeI7tkxMOmz78w9Es6U2zbwFvvanhfUU7NyqjgaokY2VWsNaweX

V194Gks0jljtM2TXRsVZadQMWdo4g3mVWdWmcQLp2q+P7ByA+x8h9yhVkmrL

K0QDc9ltkadcewFvZEu0gYptiz3s87kcdLdp393bGvUaRi1bwxrr0cuzt8Jq

XebZxFq6lxDOwRw6dnIa1lWYVp0Kxaw7Qq7d150cdT9q7bOWYoc6bg4kjkkO

5812Bsr2dx1lsfncXzxjUVufcWqLdUQ2U5jNda4r15ycV+M50Kx1rw37Ms+5

6Tt+O1vS1Zl+q+2e62+84+V1RS665HZ3GzMROZ53VWoGscu.tPVIJPdmkyiq

l+V8YedgyZL9UqTcl.mmGhFbNl54UalaTde9MeKSQaSBM6lUxHCHytwTTDux

zqTxdi+y+WjyVBgdP7hDDdQ83kzaPTcRhHG1av6RzXHA0NtT6ho+g46mMRhO

HRBgfjrpOAwYnpEdjvGBegIBeKLqsrskiGA4UZHnrvKtxkCALWES3sGQrkOj

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E3Eqswj2gLrt8KSR2E40WZ1md688XxxkcCzwGaPgCmW1J5vOXq8ToXdfTr3p

ghEARwrqFJlEHESGHJdun8RiM5Y6SXw2uaQrMwF+Ka9WuocdFQEwOaVdmkBr

pf2EWVlmb+SkdUh1IA89fROXLs1TQtOdccxT6Lvs6x8lNw4kCROAOGPdIG4R

GJkna1CxCSF0eKoD8RR5xrWlKo34fBeJMF6jKXXmzo4LjjnzZ3haL16bI0wc

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CWOq94c1Ev6zSl4omp7.WiQZrFyUug4AFRyUBo1kHlBQHZMCNByevM+yp7Sc

S.Yu1xI003StBdBFXUHvRN3q0jPPHLl6XDuaVFWbsl.8PBKzwEVvUQeMxHBG

OjHBYTQDtPfz.kN9fxPVK7Uwkl4CfFD6X.CCIXBqmEm6EMhiAhEkTLDQiwNi

ImcEau8HFY.3bfImq2sdeuQChyUAyt2act53S.KPV4BA1UYdEAI3Tk1crE.H

T..1YXLkotJ3S.3U0gWqFK9T94woASwsLJS6XZAAoU1Prjihw.l3bPkGVmY4

knqvlW6hwPnvbv0vP.PVYHF1dL+hZsikeiOd6qExevvQW0kHJJ1MraB0jgiR

5OV3nVaSMBzfdhgQ1PZr6uxx1b222WZ9Qrg2cj6zjc.lf+1hxewl9jvfiQuN

IXTaYpQFh3QCaUIxyJiG0ZQHcodhU3pPm8SiC1Ujb6y2kRp57U5rj+cahs1H

d8vgX.edR.iYMAADlMHiQODC1mmjvXDIhw4LobzQExUQX2r10moZTqwzAMra

p9Gs.iTHIXyMwZJgIz1fM4Z.FeO5zAslWEqSVZtyJEkNQd0aAZZFhYSmU6yg

encYQY+fE.IT44hJmXwMX3E2dZ6zDdTKDqkrlPM7xZCc3QU3zXGeD0BHVIHn

kqNPdIRSADYD85vamjTEcHopwDTj0qGE6ZTEkgTXhfaS5PSQJtcgyouDjgbF

1+S+XFyF2JMorPBVBL2OjMFAAtlSoaxkXXFv31.j3ZdtyaiEbjzIF.8MlHgO

14jAsli4l3kipvf120RKDrSX.p5o6fa4jn9zooTKb3pCujgbFNIinhB+ZVQo

ET.6sbdQJJvmJEERshhqC2MBCjwQQgNvgX7mknMYOmXljICosE0ZbpJ4RBej

i2ff+LCaszuHDFhRYDpdJfM8P2YXwkqFJNBNI0H.Dz5echNG1twrPIP7Anov

29AMHVNffke1bNsFoCmyO6ItDSoD+b4vANnbChjViHBMPTC8+ECZiPU2P2Ih

0CXuclGqgs2MqijNi.6AFzQRmoN88S436mvw2sAFL8vCfdzSG4PutHGYH6Vh

oidDgPO3oidTWWziNDxY5DengHMSYSG8DhwG5zY7gFhwGJY5nG10E8HBw7i7

ije1jrbalMmkhleNoLDoY3RrY90z4U2fNy10k+l02+xGLtRFBJK4WYnLcfPY

ovMZ40ijxXhxgX6QBSFJKCQWmMgzCbcQO5gfbdiPnBaCUtNELeZ89emccNgU

EZt6dglYNvsxHHRxfqKyqrPhlZ5BtKDpgNcAuvXWUnCibUQNzPIGV3pqRMRV

2VKeurXrpVK28LBqRek69WFESKbU2uZo+eov5XR5IYSZmcFP0hu5dVMWBV2k

DEi3lekwhK0AxjjKwvq0geKKuMmQ7srjn64r5+Wlnn8bluJ0.wBNTgDqqWZD

.G.5v4GvujZxz6fP1sfoysMGekQOjqK5ABJLK4zY2NX4Gx0C8v4mVbeLtqyu

94gigEsMx18rZStbgMyu5e5qfZTrivECAeNfAa4zagOhdjSK8v9H8D7zROzO

BeTSK87Q9g35okd9P6ZzoyNaHo6KlN4GHH+PSG9vCoR0hIrzdAk+v4Z+Y9Wu

4et4+AruG8RG

-----------end_max5_patcher-----------

</code></pre>

CONTROLLED RANDOMNESS

<pre><code>

----------begin_max5_patcher----------

969.3oc0XssaZCDD8Y3qvxOSi1c168s9cTEEY.Ghag0QvhJoQ4euyr1FHoNf

CWrRhTFSFudly4L6LqIOObP53xM4qRS9dxOSFL34gCFDcQNFT+2CRWjsYx7r

Uwkk5y+S43ekNp5Vg7Mgn6E4gkkIbFq4N2W5CqJ9aNcWNbCq1se8hB+77PLX

vNmkqCMd40deLKL4gB+r6VlOITAQtliQJQ5HqVQVfcCK418RpOaQLoo+XYQ1

7F3TE+vSOlWEozwY9YoaevhowGAY123tTx2KCGRlQcTVBkylMOOcKzWhnHju

7tbe134wb1pBvOQEfaa39aTf+imE9PqzDXmBMQbNNeYWnYWp+syd3.rWE4MG

hhfhcNa.HgYzg1GnOIAp81ikY9okKRbN20s+PoIIwFsF04JOsJKxKnr3KC4X

l+HZhnUMg89Zh.h6UDh3E9GPS1m0hKHqWj86bh4HGMmO0giQcoIdwZNmsC2O

uLK1uT8gV2Y.WRMpWNOoYuw073D9m4iSpD..N2SS3rKXseR4ZOR1OZ6gpUxK

OF4cQZajWfyRZ988TI6WvibqDId0liq6ItlurxiTXu9xi5TjmhPTFpi1Cwcl

n6M3nUdxSINol0ooLMTnYw3KzLqRIY3OceX7w2ooqNntdlD8BeGdbzgjLQCb

2U2MMSaHJd2zrPVUrhoVMJQH3X8jKoukgAOU..b3.CugwZwCQAGcRJtDN1RP

8EVMZkNAZMLzOvo6B.f9AAEwZqThOOnUzmMB5yVfVoig4RfgCsfA8KTZxZL3

JkLs9PVfdVqZ65wTgwTHspsVL8T7UBJWRBUFKorRqirLxCdg12ZvnwcLKwEI

zvnZ1I4Q9JkwoAhc1nGgFiFlDE8cSbRJZjnAbdLiDNAqgPBijvZ9hDnA+X3M

z6pPpmhSppBufVqhNbFSOcDsB8qMZLuZq0PUFGUZDDFLRR2vaJiEKbMVliS0

LEtRqvReVQ70pjlcVRGpsZQ7smM.YcwRMPqwPUsiXqdpp3HAw17xjtFrocFh

KFXGWDNxCixkxnw0qjjFp.ROUbRgkFQbDCsdbioaaEW6fsUYgl0TkqT3p8U0

0ZMsUFgCzT2kxja2aZRr2Icdg+s+u.hsoj+WOhYU45kSZZBqazR10mNMeUnv

mEJJ86sF0qVyCESml62eFyzhUTOYr6k05ntthFSGPin2PC9tQGGN3qI1a3g2

A7X6M3X6.ZL8m3.Xp3GqXId0ht53g0E7zO5ipKvA5uxkrK3Q2a3A5Tut6y0r

m2.5qJdbcQej8Gdzcc17oztimw9xv+w8AqiL

-----------end_max5_patcher-----------

</code></pre>

DON'T BE A MAXHOLE

<pre><code>

----------begin_max5_patcher----------

603.3oc0W1sbaBCDE9Z3oPih6ctdPRVfoW09.zmfNYxHCqswEj7.xstISd2q

PfSsaHEh+AWtv3giVwd3ikcVdx0AOWsCJvnOg9Fxw4IWGGqTofS84N3LwtnT

QgMLbFTTHVB3wUqogcZq9ciFc2mG8g85oIRHRsUZWjVKtPI0EIOBkZjoS7pk

kayRjoft3vXMhps58pjZ0MBczpD4xGxgHcksC73lqDhDZ+i6Udj4OwCc+AYU

JxrYE+EYrHEPeUIU6sZUZz+ZCTcAw3W1ZRrcSp4q+HkiK0d10s7v3NRqEoJy

MB9E2ma7gFxe.jh4o1748NXCoQ1Pea13y7dEanzygMlaHgFOFgmKjKaFTrAH

n3A2.PQFhfhz+fhDN.A0T9M.TACPPwBuAfZH1LmcCZlSFhMyo2fl4jSpYdGG

l5pL2DgUM2DsBVdgSlwlRogFV4cwmd5j5fKgeZ16qfStIk.RDKxP5Up74qU4

RTtXg.RQoIOhhLKDK9AfxR9N7dP3rFQ3r+QgFuBg0CcNK77qzJKxdyeMQ1fK

HY2jCa.Yrks3y9MTRqfyupziPt.bqI13ODadUgl5d8drI9TtGge86fwufERY

6VijfdhI1UpTnOpkpmhfEbkpkNp+tM.6239We6r0ek5GyrB017n8W9JXOF8G

GFCE5DoPmnjGDi+QwrJINFjGV9EmTTVQZsnWiO65pa76faH8laHcvMglXH8h

aBLYh0FaB5M3TlIZa1g2q1gzlcX+WU5zuOqZ80JRuZmosYmvd0N7VrCseoie

a1g0q1InM6vOwtfn6ce182PKe4Qt

-----------end_max5_patcher-----------

</code></pre>

Video Art Installation Idea

I have come to a conclusion on what I personally would like to do as a project. Most people love music this is not something new. But learning a new instrument takes time and practice, which is not something everyone has time for. So I want to give people the opportunity to create music with movement much like the dance performance only with a twist. I not only want to make them able to make music but i want them to see the music manipulate an image either of themselves or the nature around them. It's a thought of how music can transform what we see daily and how we perceive things. I am incredibly excited to work on this project and might add a few more tid bits to make it more complex... I have yet to decide :]

Thank you! :D

Video Art Installation - Concept

The concept for this installation centers on the self, and how we ultimately have control over how rushed or focused we allow our lives to be. The monitor will be running a 4-minute video shot from the window of a fast moving train, on a continuous loop (fig. 1 above). Trees and scenery flicker by at a breakneck pace, until a viewer moves closer to the monitor to investigate. The webcam will identify their face, and begin to increase the numbers on an xfade object until their image is competing equally with the train video (fig. 2). At this point they still have not found clarity—the scenery continues to click by rapidly, somewhat interrupting the image of their face.

That is where the computer mic comes into play. A small placard (or possibly a message on the screen, setup through presentation mode?) will encourage them to speak their thoughts into the mic, entreat them to ask things to slow down, etc. At a certain threshhold (so as not to let the background noise of the space trigger this) their voice will cause a slide object to begin blurring the train video, smoothing it out and making their face stand out clearly against a much calmer background (fig. 3). With the cessation of their voice the slide begins to crawl back down, bringing the train video back as it was.

I’m tentatively calling this installation “Breaking Through”.

Installation Plan

The piece focuses on gossip, and the concepts behind our instinctive tendency to listen and react to what goes on around us, even if it's not our business. The feedback will be exaggerated versions of natural reactions - some times they will be appropriate to what is being said near the display, and others they will be the complete opposite reaction...in other words, equivalent to how it works in reality.

On the screen near the snackbar, the patch will receive input from a microphone, and trigger one of 3 options based on the level of noise in the room (calibrated on test samples of ambient noise levels during the hours the display will be running). The first (quietest) level will have a grid screen showing video of 9-12 people, each looking around the room, seeming to focus on the tables before the screen, the snackbar, or people walking by. When the sound level increases, they will begin whispering amongst themselves from screen to screen. When there is a spike in noise levels, indicating someone speaking directly towards the tv, or elevated levels of conversation in the room, one of the grid videos will take full focus on the screen, and the person in that grid will have an exaggerated emotional response (anger, shock, laughter, etc). Timing on the videos will force it back to the first screen (looking around and listening) when the exaggerated emotion had displayed so that it doesn't constantly flip between settings. It will display a minimum of 2 seconds of the listening screen before changing to the whispering or reaction screen again. If the middle setting is triggered, it will last at least 2 seconds to avoid flickering between screens.

Interactive Installation Concept

The interactive installation concept will require a camera and keyboard. The camera will allow body movement to be displayed on the television screen. Procedural Drawing in MAX will demonstrate the movement. Procedural Drawing will allow body movement to draw lines and change directions depending on the body movement. Also, the keyboard top row of letters will be setup with multiple colors, providing color choices. Drawing interaction installation will allow individuals to be in control and create their own design piece.

RE-Edit With Sound

Multi-Media Dance Performance

Interactive Installations

Ken Feingold: 
http://www.kenfeingold.com/
http://www.kenfeingold.com/SelfL2.html

Graham Harwood :http://www.medienkunstnetz.de/works/rehearsal-of-memory/
Zoe Beloff: http://www.zoebeloff.com/influencing/
Rafael Lozano-Hemmer: http://www.lozano-hemmer.com/standards_and_double_standards.php
Gary Hill: http://www.acmi.net.au/deepspace/ar_gh2.php
Paul Sermon: http://www.medienkunstnetz.de/works/telematic-dreaming/images/4/
Camille Utterback: http://camilleutterback.com/category/projects/installations/
http://www.medienkunstnetz.de/search/category:interactive%20environment
http://www.medienkunstnetz.de/works/telematic-vision/images/1/
http://www.medienkunstnetz.de/works/split-reality/images/2/
http://www.medienkunstnetz.de/works/the-interactive-plant-growing/video/1/
http://www.flong.com/projects/telesymphony/related/index.html/
http://unseensignals.com/unseen/dataform.html
http://unseensignals.com/unseen/immaterlized.html
http://vimeo.com/19366179

Musical Instrument Emulator

So, I found this on the Cycling 74 forums. All you do is 

paste it into a patch with a makenote object, and you instantly 

can change what type of instrument the makenote object is 

mimicking. What I don't know (yet) is if it can be specifically 

assigned, or if it will always effect everything in the patch 

(i.e. if I build my patch to use "tympani" and you want to use 

"grand piano"). But, I figured it was a big enough find to share 

with everyone--happy experimenting: 

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Research Post-Raymond Salvatore Harmon

Raymond Salvatore Harmon is an American cross-genre media artist, filmmaker, sound artist, and record producer. He was born in Jackson, Michigan and now lives throughout the U.S. Harmon’s work in new media and experimental film varies from anthropological study and contemporary art. His work ranges from performance-based film and video to sound and visual conceptual installations and urban media. Over the past ten years Harmon has been evolving and developing the theoretical and practical applications of non-object oriented art. Harmon’s emphases with public performance, graffiti style ad bombing, and web based social engineering. Harmon’s work is abstract and accompanied by his own electronic compositions. Many of Harmon's films contain layered subliminal content; the source of this content is often resulting from occult and mystical texts.
Some recent works he’s developing include spray paint based painting, full-scale immersive video and sound environments, large format digital prints that are then hand manipulated and painted on, and live video performances. Harmon has presented improvised video with numerous musical groups from a diverse background including Exploding Star Orchestra, Blood on the Wall, Diplo, and Jason Forrest.
Harmon’s work has been viewed in several magazines/publications some most recently in the LA Times, Chicago Tribune and New York Times. His work has been screened at hundreds of festivals and galleries throughout the world including Chicago Underground Film Festival and Athens International Film Festival.

Harmon says this about his work:
"My work is something that makes me whole. It defines every moment of my day.
I work, therefore I am."

Website
http://raymondharmon.com/

Dance Videos

2:30pm TOMORROW - Dominic, Ruth, Keri
SET UP FOR TECH WED. AFTER 5PM
DANCE REHEARSAL 6:30pm NOV. 3RD
DANCE EVENT IS AT 7:30PM ON NOV. 4TH BE THERE BY 6:30
FREE TICKET AT BOX OFFICE FOR FAMILY OR FRIENDS...
http://vimeo.com/inmsiusb/videos

More: Sonic Art

http://www.ubu.com/sound/index.html
 http://www.ubu.com/sound/lucier.html
http://www.ubu.com/sound/cage.html

http://www.ubu.com/sound/stockhausen.html
DJ SPOOKY: http://www.ubu.com/sound/radio_radio/miller.html

http://www.ubu.com/sound/oliveros.html

http://www.ubu.com/sound/index.html
 http://www.ubu.com/sound/lucier.html
http://www.ubu.com/sound/cage.html

http://www.ubu.com/sound/stockhausen.html
DJ SPOOKY: http://www.ubu.com/sound/radio_radio/miller.html

http://www.ubu.com/sound/oliveros.html

Groove~

Did you know?

http://www.youtube.com/user/cycling74com#p/c/71A2325EEEFC1923/0/sEbyGLkVnrk
/\/\/\/\/\/\/\/\/\/\-Great Tips

MAX/MSP REVEIW

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Josh Harris

Long before anyone contemplated reality shows on network television, Josh Harris turned the ever-present, 24/7 camera into a social experiment which began a new era of interactive art. He designed the "Quiet: We Live in Public" experience at a time when online video was new, high speed internet was a luxury only the rich and businesses could afford, and the concept of observing the mundane around the clock was the purview of law enforcement. The experiment was an expression of his belief that eventually, we will all become part of one digital consciousness, with no sense of our own individual being.

The 1999 project began in a New York basement, transformed into a bunker with 100 pods stacked like a dog kennel. Each pod contained a sleeping space, a camera, and a video monitor. The rest of the bunker consisted of communal areas for eating and bathing, a shooting range, and private observation and control rooms where Harris and his team could observe and police the experiment. 100 artists volunteered to live in the bunker behind locked doors, with no outside contact. The monitors in each person's pod allowed them to watch what was shown on any camera in the bunker at any time. The actions of two people in one pod were the entertainment of others in a second pod. The reactions of the people in the second pod to what they were viewing were the entertainment of still others in their own pods. This contained feedback loop constantly changed the actions and attitudes of all participants, as they became both the subject and the audience of a free-form, month long film project.

Quiet was shut down early by police, and Harris went on to begin a new interactive experience in 2000. He wired his home with cameras in every room, and broadcast his life, live via internet. The site included a chat room, and viewers spoke to him and his live-in girlfriend in real time and by message, commenting on every aspect of their life from what was in the refrigerator to how they had sex. Within six months, his relationship ended and he experienced a mental break from the stress of the constant interaction.

We think of interaction in small scale, a single exhibit where a willing audience tentatively manipulates the work before them, or passively views the interaction between artists and machines. What Harris created was macro-interaction, pushing the art experience from a single shared moment to a network of shared experiences, influenced over long periods of time by multiple actors, each participating with as much or as little commitment as they desired.

The experiments of Josh Harris were featured in the documentary We Live In Public in 2009, which captures some of the many moments of both video experiences.



Sources:
We Live In Public, Ondi Timoner, 2009
ReThink Interview: Josh Harris - Nostradamus of the Net Tells Your Online Future

MAX MATTHEWS

The Frame, The Difference, The AUDIO

You assignment is to use MSP Tutorials 1-3 and 14 in conjunction with the frame difference to create a real time movement generated audio. The following objects will be helpful: scale, split, counter, metro, toggle, makenote, and select. This is DUE OCT. 20th before class starts. Work is to be turned in as the patch. You can copy compressed and email it to me or give it to me as a file on the 20th. 

Electronic Music or Sound

http://cycling74.com/2011/09/20/an-interview-with-dafna-naphtali/
http://cycling74.com/project/phases/

FRAME DIFFERENCE

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LINK: COMPUTER VISION FOR JITTER

IT IS TODAY!!

Written In Lights

Artist Statement:

There's a reason for the saying "feeling blue", sometimes simple colors and images can evoke emotions or tell a story. The beauty of this idea is in the sense that the same images and flow of colors can instill drastically different feelings from person to person, or maybe trigger different memories.

Jeffrey Shaw

Jeffery Shaw was born in Melbourne, Australia in 1944. His academic studies included architecture, art history, and sculpture. Shaw’s particular focus is on immersive installations and augmented reality, where the viewer is a direct participant in—or instigator of—the aesthetic experience. As early as 1966 he was already exploring ways of creating art that incorporated electricity-based technologies (though not yet with computers) and audience interaction. Among his early installations was a piece called “Emergences of Continuous Forms”, which featured film projections that an audience could manipulate by a variety of materials and objects placed between the projector and the screen. He subsequently developed more of these pieces—which he terms “air structures”—that were even more elaborate, such as “Disillusion of a Fish Pond”, described as follows on Shaw’s website:

“In this work a naked woman swathed in bandages of cotton-wool was sitting at the edge of a large indoor fish-pond. Her feet were embedded in thick yellow gelatin which filled the pond. The film Continuous Sound and Image Moments (1966) was projected down onto the surface of the jelly. Polythene tubing laid on the floor of the pond was slowly inflated with air and smoke, causing the jelly to lift and crack open. A masked figure burst white balloons that splashed bright yellow liquid over the seated woman. The tubing continued to inflate up out of the pond, pushing itself into the audience, who then dragged the jelly-covered plastic all around the room. When punctured by rough handling, the tubing released jets of white smoke that in turn created another medium for the ongoing film projection.”

In 1981 he produced an installation called “Points of View I”. A simplistic computer graphic image depicting a flat plane (the stage) and several symbolic figures (the actors) was projected onto a screen. The viewer could then sit before a pair of specially modified joysticks and move around the virtual space. Different points in the virtual space were associated with different sound clips, which would shift as the viewpoint shifted.

There is one other piece I must mention, and it’s the reason I decided to report on Shaw. It’s a video installation from 1993, titled “Disappearance.” Though not interactive, there is a beauty to the concept and, particularly, to the way the elements are balanced together—indeed, it provides a new way of seeing. The piece exists as a rotating forklift in a gallery. Resting on the forklift’s tines is a large television. As the machine rotates, the tines continuously raise and lower the television in a fluid motion; meanwhile, the screen is simultaneously projecting the partial image of a ballerina, in such a way that her feet are only visible when the tines reach the ground, and her head only visible when they reach the top. The source of the image is a tiny pirouetting ballerina figurine standing atop a music box, being scanned by a small moving camera inside the forklift itself. The contrasting fragility of the ballerina, bound up with the normally ungainly mass of the forklift, adds weight to one and grace to the other.

Shaw has served as the director, co-director, and even founder of numerous organizations during his career, including the Artist Placement Group in London;  the Institute for Visual Media at the Center for Art and Media in Karlsruhe, Germany; and the Center for Interactive Cinema Research at the UNSW, Sydney. He has also taught at universities in both Germany and Australia.

Jeffrey Shaw is currently the Dean and Chair Professor of Media Art at the University of Hong Kong.

Sources:

http://www.jeffrey-shaw.net/

http://en.wikipedia.org/wiki/Jeffrey_shaw

http://www.cityu.edu.hk/scm/people/JeffreyShaw.htm