// Section C
// project 4--stringart

function setup() {

var bgColor='#f8ada3'
var fuschia='#d06870'
var lightBlue='#86b5c6'
var ochre='#d0b268'

function draw() {

function fuschiaCurve(mouseX) {
  var x1=mouseX;
  var y1=0;
  var x2=10;
  var y2=300;
  var x3=250;
  var y3=0;
  var cmx=constrain(mouseX,75,500);
  for (i=0;i<400;i+=20) {

function lightBlueCurve(mouseX) {
  var x1=10;
  var y1=300;
  var x2=250;
  var y2=0;
  var x3=x2+20;
  var y3=300;
  var cmx=constrain(mouseX,100,500);
  for (i=0;i<300;i+=50) {

function ochreCurve(mouseX) {
  var x1=150;
  var y1=300;
  var x2=300;
  var y2=0;
  var cmx=constrain(mouseX,100,500);
  for (i=0;i<260;i+=20) {

My previous projects, I had sketched a clear visual and then figured out the code to execute it. This time, I wanted to embrace the nature of code and draw something directly in p5 without sketching ideas prior. I’d used the print statement to find the values for x and y at certain points in the loop so I could use those values for other curve functions. I spent the most time adjusting the increments to x and y so the composition outcome was balanced. Some process pictures are below.

I also added an interactive portion, building off of last week’s assignment, so the positions of certain coordinates varied with mouseX.

jennyzha – Looking Outwards 04

Carsten Nicolai is a german artist and musician based in berlin. He often incorporates mathematic patterns such as grids and codes, as well as error, random and self-organizing structures.

For his musical attributes he uses the pseudonym alva noto; leading his sound experiments into the field of electronic music by creating his own code of acoustics and visual symbols.

Reflektor distortion is a rotating, basin filled with water – is inspired by the shape of a parabolic mirror that ‘rotates’ water. The installation consists of the three main parts including mirror, reflection and distortion. Both the curve and distortion of the water is affected by speed and integrated resistors that generate a permanently new and re-organizing mirror reflection. The water surface will be affected by the speaker due to the low sound frequencies. Therefore, the water shows the distorted reflection; ultimately personifying a distorted reality. 



Keiko Uenishi is known for being a sound art-i-vist, as she described herself on her website bio. Her work includes reconstructing and experimenting with materials and one’s relationship with them in sociological and psychological environments. Uenishi’s present works include BroadwayDreams, Aboard: Fillip2, LandFilles, and many others.

Her installation LandFilles_UrbanDump is a project that took place at the Emily Harvey Foundation located in New York City in 2013. This piece was very inspiring because it takes a look at our urban environments using recycled material. This project was divided into several steps:

  1. Collection and Construction: recycling empty, clear, plastic bottles and constructing a structure from recycled materials
  2. Live processes/Performance: the structure is built with help from visitors and interacts with the pieces to produce audio feedback derived from the hollow shapes of the bottles.
  3. Demolition/Giveaway: the structure is torn down and given away to visitors or other people.

daphnel- Looking Outwards 04

The Mesa Musical Shadows is an interactive music playing device that allows people to create music through the use of their shadows. This device was created by Montreal’s Daily Tous Les Jours studio and is located in the north plaza at Mesa Arts Center in Arizona. This singing pavement has four different tracks that changes depending on the time of day–morning, afternoon, evening, and night. Additionally, 47 light sensors are controlled through 6 control nodes and speakers are carefully placed in areas where water could not reach them.

I admire the fact that the workers in the studio wanted to implement the voice of the community members and students who live in Arizona. Through surveys and feedback from those people, the studio bought prototypes to test out what products could most accurately reflect what the public wants. They not only focused on the aspect of people playing around with their shadows to generate music, they also tried to take into consideration the people sitting on the sides, who could also feel more relaxed and happy watching others formulate a joyful tune on the musical cement.

serinal – looking outwards 04 (section C)

In 2014, visual artist, David Bowen, created an installation, “cloud piano”, that plays the piano based on cloud movements and shapes. How this is done is that Bowen has a camera set up that is pointed towards the sky and takes video of the clouds. Using a software he made, the video causes a device to press down on the corresponding piano keys. The whole act of the installation is to make it seem like the clouds are pressing the piano keys as they move across the sky and go through shape changes. Ultimately, the sound that is played on the piano is made up of a bunch of different sound patterns that Bowen describes as “ethereal forms that build, sweep, fluctuate and dissipate in the sky”.

What I think is really cool about this project is the fact that it is so beautifully and intricately constructed. It is cool to see how sound, art and technology can all be tied in together. Bowen’s work definitely gears towards this side of things, but it is amazing to see things like this done because it is so opposite of what I would do or how I create my art.

Name: Cloud Piano

Artist: David Bowen

Date: 2014

Website Link:

Project 04-String Art

Dave String

//Yoonseo(Dave) Choi
//Section B
//String Art
var slider; //slider variable
var n; // output variable for sequence
var spix; //x coordinate variable for spiral sequence 
var spiy; //y coordinate variable for spiral sequence
var nn; //simple sequence variable to connect with spiral
var Svalue;  //variable for slider value
function setup() {
    createCanvas(400, 300); // set canvas size to 400,300
    slider = createSlider(0,170,0); // slider that value goes from 0,170 and start value with 0
function draw() {
    Svalue = slider.value(); //return slider value to Svalue
    background(0); //set background color to black
    stroke(255,255,255,70);//set color to be white and Alpha value of 100
    strokeWeight(1) // stroke weight to be 1 pix. 
    sequence(); //execute simple sequence function. 
    Bloom(); // execute Bloom function

function sequence(){ //simple arithmatic sequence
    for (var i =0; i <=Svalue; i+=5){ // increment of i in 5s if smaller than slider
        n = 2*i+1; //out put equation

        line(0,height/2+n,n*3,height); // sequence and inverse connected on left bottom corner 
        line(width,height/2+n,width-n*3,height); //Same on right bottom corner
        line(0,height/2-n,n*3,0); //same on left top corner
        line(width,height/2-n,width-n*3,0); //same on right top corner. 
function Bloom(){
    for (var j = 0; j <=Svalue/100; j+= 0.1){// slider value divided by 100 to fit trigonomatric values. 
        //based on r(t) = exp(t) in polar equation
        spix = exp(j)*cos(j); //x coordinate based on cos with exponaential value
        spiy = exp(j)*sin(j); //y coordeinate based on sine with exponential value
        //top and bottom of flower
        line(width/2+spix*20,height/2+spiy*20,width/2-spix*20,height/2+spiy); //connecting lines to each points generated
        //left and right of flower
        for (var w = 0; w <=Svalue;w+=60){ //connecting the polar equation with linear sequence
            nn = 2*w+1; //same sequence as above
            line(width/2+spiy*20,height/2+spix*20,width,height/2+nn); // connecting sequence with points on same quadrant
            line(width/2-spiy*20,height/2+spix*20,0,height/2+nn);   //left borrom corner
            line(width/2+spiy*20,height/2-spix*20,0,height/2-nn);   // left top corner
            line(width/2-spiy*20,height/2-spix*20,width,height/2-nn); // right top corner

For this project, I wanted to look into other equations rather than simple arithmetic equations. I tried to incorporate the polar equation (spiral,r(t) = exp(t))to generate interesting shape and line movements. I added the slider so user can interact with the shape and see the process of generating.

dchikows – Section C – Looking Outward – 04

Ryoji Ikeda is an extremely popular music composer in Japan. He focuses on the “essential characteristics of sound itself and that of visuals as light by means of both mathematical precision and mathematical aesthetics.” One of Ikeda’s works is an installation called The Transfinite. Accompanying the aggressive and static like electronic music are barcode like patterns that move throughout the 54 feet wide by 40 feet tall screen. I believe Ikeda created the music and visuals by the use of loops. He must have had to create different sounds then made them into functions and called them in loops. I am drawn to his work because it is so all encompassing. Just by seeing a video you can tell the world he creates people are a mere spec.

The Transfinite

Ryoji Ikeda’s website

The Transfinite

mjnewman LookOutwards-04, Section A

ambient synthesis from Amanda Ghassaei on Vimeo.

Amanda Ghassaei’s Ambient Synthesis is a physical product that reacts to sunlight with sound. The result is a surreal ringing sound that produces symmetrical Rorschach like light patterns in a bright space. What I admire most about this project is the attention to form giving this machine has. It is taking natural input, the sun, through technology and sensors, and outputting an aesthetically pleasing light pattern all encompassed in a obelisk-like box. I also think her approach to sound is interesting in that she is taking all these simple frequency sounds but when you put them together its complex, otherwise called additive synthesis.

In terms of software and hardware, Ghassaei’s Ambient Sound runs a MaxMSP FM Synthesis patch called straw in order for the light to be properly converted into corresponding sounds. Ghassaei’s intention was to create a piece that could incorporate the evolving landscape to create a wide range of “timbres and textures.”

Her website


Howler Monkey by Meier & Erdmann is a music video created by Spanish visual artist, Victor Doval. He used the frequencies of the sounds in the music to define a landscape’s visual parameters algorithmically. This literally visualized the idea that music is a journey through a changing landscape that is interpreted through one’s ears.

Doval used Processing and Blender to create these visuals that are in sync with the music. This project was interesting to me because of the initial idea that music is a journey. I thought that this music video was a good example of what that could mean and demonstrating how that could be visualized. However, I do feel that it may interfere with other people’s interpretations.

Victor Doval; Howler Monkey

Victor Doval; Howler Monkey


“Sonic Pendulum” by Yuri Suzuki Design Studio in collaboration with QOSMO (2017)

Sonic Pendulum is a sound installation that utilizes artificial intelligence to create an endless soundscape. Inspired by the client’s new Audi A5 line, the installation is made up of 30 pendulums, which simulates sound through speakers and crowd movement. Networked camera and computer vision systems set up around the installation provides an understanding of the crowd size and movement, which directly correlates with the music volume, soundtrack, etc. I really admire how the artist wanted to create a form of conversation through movement and sound, where the installation is almost ‘activated’ by the visitors’ movement, and in turn responds with the most original sound that never repeats itself.

The AI algorithms used to create Sonic Pendulum was trained by a team to create an infinite composition, which reacted to movement in live space, creating moment-to-moment experiences. An application called MAXMSP was used to further train the algorithm, delivering compositions that matched the sound intensity of the space.

In terms of artistic sensibilities, not only did the studio require a working algorithm, they also had to consider space, scale, composition and rendering of installation, and also how the Audi cars aligned with the arrangement. What resulted were multiple triangular forms that encouraged interaction with passerby.