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

"Remember"

I have chosen to name this piece “Remember”. As a veteran myself, it is very important to me that people remember how we came to have all of the rights and freedoms we now possess. It is very easy to forget how this country was really forged, especially being so far removed from the World Wars, which shaped not only our own country’s destiny but also that of the entire world’s. This is also important to keep in mind today, politically speaking, as we face a budget crisis in our country and the answer in many people’s minds (at least partially) is to cut military spending and/or benefits. We should never forget and hopefully this piece will serve as a small reminder.

Resistance

In a sense, the universe may be said to consist of two types of matter: the inanimate, which coasts undirected through reality, breaking or bonding by a cycle of cause-and-effect, sometimes degrading, sometimes metamorphosing, all by the invisible maths of force and chemistry, chance and result. What stands against this chaos of physics is animated matter—the living. These pieces of reality grow and heal, replicate and reproduce, perpetuate their particular form through Time, against the erosive elements. Eventually, however, this force of life flees, and with that cessation of resistance the matter once animated is again taken to pieces, rejoining the thoughtless flow.

Musical Panels

Artist Statement:
Shapes can be defined by their color or by the combination of lines that make up their edges. Simple shapes can be combined to form complex shapes. Complex shapes can be abstracted to make simple shapes. Musical Panels connects panels or shapes to the sound of music. The panels are essentially reacting or in a sense, dancing to the music. Shapes themselves can give a viewer a certain mood. When music, shapes, and movement are combined, they can give one something they may have yet to feel.

Looking for Meaning:

How is the meaning generated and conveyed? 

The Signifier, or "Sound-image." and the signified, or "Concept" 

Fire Reconstructed

Project Statement:
Entropy is the process by which all things in the universe break down over time. Eventually, we will all be reduced to our most essential parts. With signal processing, we are able to both mimic this process, and reverse it. Unlike the handling of material in the real world, in the digital world I can put back together what I break down, in degrees, with precision, or randomly, as the universe sees fit. In manipulating the disintegration and reintegration, I wish to share the awareness of the most essential elements of things.

Frequencies of our Ecosystem

Frequencies of an Ecosystem from Dominic Kowalski on Vimeo
When you are outside walking around and you notice all the different colors and motion of the things around you, there can always be something interesting that you may get distracted by. I chose to convert the ecosystem into a realm of color and sound because it is something that we observe every day sometimes with fascination or sometimes without a care. The way the ecosystem is displayed in my view reveals the beauty that can be made from something simple that our minds understand easily. The ecosystem is indeed simple for our minds to see but, not everyone can explain how it was created. So, the complexity of colors, sound, and patterns that you see are representing the complexity of the ecosystems sounds, colors, and patterns in the form of signal manipulation.

Mix Reflection

Artist Statement
I selected shattered glass because it represents difficult times of people's lives, for instance, death, break-up or loss of a pet. Mix Reflection is a working process of three stages: broken, fix and normal. Broken signifies one's painful situation, which is then fixed by putting broken pieces back together with the help of loved ones and friends. Normalcy is last which indicates an enriching experience and enables one to reflect.

Switcher

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Matthew Schlanger

Matthew Schlanger: http://www.lumpybanger.com/index.html

Parameter Control Interfaces

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</code></pre>

Rhys Howell Research Paper

Rhys Howell

New Media Artist Research Paper 10/3/11

Nam June Paik

Nam June Paik is widely considered to be the first visual artist. Many say he is the “father of video art”. His list of accolades is extensive, one of which being his creation of the term “electronic super highway”. Although he passed away in 2006 from complications of a stroke suffered in 1996, his influence in new media, particularly video art, permeates with present day visual artists as a classic example of where innovation and creativity can take you when their boundaries are pushed.

Paik was first inspired to enter the electronic art field by John Cage and Karlheinz Stockhausen, both of whom were composers he met during his studies of music history at the University of Munich. At this time he also became involved in the neo-dada art movement known as Fluxus, which was a league of electronic musicians and visual artists in the 1950’s and 60’s. In 1965 Paik bought his first video camera, and went to Japan to experiment with modified television sets and electromagnets. In cohorts with an electronic engineer named Shuya Abe, Paik built his first video synthesizer in 1969.

Paik’s work was heavily focused on international pop culture, and often interlaced various forms of media from multiple cultures. Characteristics of his work entailed numerous visual techniques, often featuring textured and stacked images, single images that divided into several in the same frame, all usually done in some sort of a satirical or ironic context. Much of this was done in collaboration with many of Paik’s artistic peers of that time, some of which are ; John Cage, (A Tribute to John Cage, 1973), Merce Cunningham (Merce by Merce by Palk, 1978) and Julien Beck and Judith Malina, ( Living with the Living Theatre, 1989).

Nam June Paik received countless accolades and rewards for his work with new media and visual art throughout his life time. He won the American Film Institute’s Maya Deren award for Independent Film and Video, the Kyoto Award in Japan, and also the New York City Mayor’s award to distinguished immigrants. In 1999 he was listed as one of “The Century’s 25 Most Influential Artists” by ARTNews. Much of his work is on exhibit in numerous museums across the world, including the Tokyo Metropolitan Art Museum, the Centre Georges Pompidou in Paris, the Museum of Modern Art in San Francisco, and the Holly Solomon Gallery in New York. Although he passed in 2006, it’s clear that his legacy and influence in the world of new media, and even the much broader world of modern art, still resonates to this day.

Sources:

www.eai.org

www.metroartwork.com

www.paikstudios.com

My Three Explorations