yoonyouk-project04-stringart

sketch

//Yoon Young Kim
//Section E
//yoonyouk@andrew.cmu.edu
//project04-stringart

var x = 0;
var y = 10;

function setup() {
    createCanvas(400, 300);
    background(0);
    strokeWeight(2);    
    for(var i = 0; i<200; i+=5){
    //red line
    stroke(247, 38, 81, 95);
    line (6*i, height, width, height-2*i);

    //yellow line
    stroke(247, 219, 29, 95);
    line (6*i, height, width, height-6*i);

    //green line 
    stroke(55, 156, 121, 100);
    line (0, 5*i, 5*i, 299);


    //blue line
    stroke(66, 126, 226, 95);
    line (0, 5*i, 5*i+100, 299);
    }

//CUBE
changeX = 20;
changeY = 20;
    // purple line

    translate(100, -25);
    stroke(181, 52, 255);
    strokeWeight(2);
    x1 = 20;
    y1 = height/2 - 25;
    x2 = 70;
    y2 = height/2;
    for (var i = 0; i<9;i++){
    line(x1 + changeX, y1, x2 + changeX, y2);
    changeX += 10;
    }

    //magenta line
    stroke(181, 39, 103);
    strokeWeight(2);
    x1 = -20;
    y1 = 150;
    x2 = -20;
    y2 = height/2 + 75;
    for(var i = 0; i<9;i++){
    line(x1+changeX, y1, x1+changeX, y2);
    changeX +=10;
    }

    //violent line
    stroke(64, 50, 130);
    strokeWeight(2);
    x1 = -160;
    y1 = 105;
    x2 = -160;
    y2 = 180;
    for(var i = 0; i<5;i++){
    line(x1 + changeX, y1 + changeY, x2 + changeX, y2 + changeY);
    changeX += 10;
    changeY += 6; 
    }
}

function draw() {
}

I found this project particularly difficult because, unlike the previous projects, we cannot simply plug in different values. It was very confusing when I though I added the appropriate values. However, once I understood how to use loops I realized how much easier it is to use rather than drawing out many different lines individually.

Originally my plan was a little more complicated than the final product; however, I was still able to achieve something that looks like a cube.

alchan-Project04-string art

alchan project 04

//line properties
var startX;
var startY = 200;
var endX = 150;
var endY;
var startDist = 20;
var endDist = 20;

//adjust background color
var backColor = 100;

//check whether lines should move back or forth
var shouldMove = true;

function setup() {
    createCanvas(400,300);
    stroke(256);
    strokeWeight(2);
    frameRate(30);
}

function draw() {
  background(backColor, backColor, 200);


    //top left corner
    startX = 0;
    startY = 150;
    endX = 200;
    endY = 0;
    for(var i = 0; i < 10; i++) {
        line(startX, startY + startDist, endX + endDist, endY);
        startY -= 10;
        endX += 10;
    }

    //top right corner
    startX = 400;
    startY = 150;
    endX = 200;
    endY = 0;
    for(var i = 0; i < 10; i++) {
        line(startX, startY + startDist, endX - endDist, endY);
        startY += 10;
        endX += 10;
    }

    //bottom left corner
    startX = 0;
    startY = 150;
    endX = 200;
    endY = 300;
    for(var i = 0; i < 10; i++) {
        line(startX, startY - startDist, endX + endDist, endY);
        startY -= 10;
        endX -= 10;
    }

    //bottom right corner
    startX = 400;
    startY = 150;
    endX = 200;
    endY = 300;
    for(var i = 0; i < 10; i++) {
        line(startX, startY - startDist, endX - endDist, endY);
        startY -= 10;
        endX += 10;
    }

    //check whether the lines have reached a certain position
    //and change the value of shouldMove to switch direciton
    if (startDist >= 300) {
        shouldMove = false;
    } else if (startDist <= 0) {
        shouldMove = true;
    }

    //move the position of the lines' endpoints
    //changing direction depending on shouldMove
    if (shouldMove === true) {
        startDist += 10;
        endDist -= 10;
      backColor += 5;
    } else if (shouldMove === false) {
        startDist -= 10;
        endDist += 10;
        backColor -= 5;
    }
}

I wanted to try making an animated piece (without mouse interaction), so once I figured out how to calculate and draw the lines I played around with moving all of the points to animate the entire drawing. The final piece wasn’t quite what I had originally planned to make, as I had wanted to incorporate rotation again somehow, but I also learned a lot in figuring out how to create a back-and-forth motion.

mecha-lookingoutwards-04

Patatap was created by designer Jono Brandel in collaboration with Lullatone and published on March 26, 2014. Described as a “portable animation and sound kit”, patatap generates sounds created by the Lullatone team, Shawn and Yoshimi, with corresponding graphics at the push of a key. As both a graphic designer and a computer programmer, Jono wanted to create a program that introduced synesthesia–more specifically visual music–to creators.

What drew me to this project specifically was the way that sound and graphics were combined in such a precise manner. When first introduced to this website a few years ago, I did not even consider the fact that it had to have been coded. With the knowledge that I know now, I have even more respect for the designers and the project itself. I am also inspired by Jono’s ability to purposefully exemplify the concept of synesthesia through Patatap.

jwchou-LookingOutwards-04

Big Bang (Icebox) by Ezra Masch

Big Bang (Icebox) is the third in a series of projects by the artist Ezra Masch. It consists of LED light poles installed in a space, which are activated by the input of a drummer and a drum set. As the drummer beats on the drum set, the LED light poles will light up in specific ways based on the tempo/beat/intesity of the drum. Masch is an artist who has a background in sculpture from RISD, but he has recently been experimenting with combining technology and art.

His work is incredibly disciplinary, combining visual art, music, and technology, and I think it mirrors the interdisciplinary spirit at CMU. I don’t know much about the algorithms that were used for his work, but his website states that his installations use custom electronics by 4MS Pedals.

If I were to critique this project, I’d love to see other instruments added to it. It could be expanded with more colors and arrangements.

Video:

A drummer talking about drumming in Big Bang:

svitoora – 04 Looking Outwards

Georgia Tech’s Shimon robot writes and plays its own music using machine learning.

The Shimon robot was trained with 5,000 songs and two million motifs, rifts, and licks. The algorithm behind it involves using a neural network that simulates the brain’s bottom up cognition process. The result sounds very soothing, according to article the song it wrote is a blend of jazz and classical music. What I admire most about this project its that the music as well as the performance is totally generated, and yet it still sounds human and not robotic. This robot is making debatably “creative artistic decisions” by synthesizing novel music for pre-existing ones. Additionally, I also admire the performance. Instead of pre-defining the note location of the keyboard by assigning them a position variable, the robot uses computer vision through a camera on its robot-head which actively rotates, pans, and scans around its field of vision the very same way an actual musician would do when they’re playing the keyboard. If I closed my eyes, I could be fooled that this is a human.

(http://www.wired.co.uk/article/ai-music-robot-shimon)

rmanagad-lookingoutward-04-sectionE

Creator: K A R B O R N

Title of Work: The Wondrous Wobbulator Machine for Young and Old Like

Year of Creation: 2015

Link to Project Work: http://artwork.karborn.com/The-Wondrous-Wobbulator-Machine-for-Young-and-Old-Alike

Link to Artist Bio: http://www.karborn.com/

John Karborn, a new-media audio-visual video artist, developed The Wondrous Wobbulator Machine for Young and Old Alike by feeding geometric still frames into a custom-built wobbulator, a device that visualizes frequencies and wavelengths of a given sound. To record these, he uses analog video sequences (VHS, for example) while a given frequency is being passed through the wobbulator — what results is the geometric animation to the right. Algorithmically, the wobbulator utilizes a combination of manual control feedback and an oscillator that produces a visual representation of the image being manipulated by the given sound waves.

My current work is in the field of audio-visual performance art, which makes K A R B O R N’s methodologies valuable towards my practice. As a whole, K A R B O R N’s work follow similar themes, using a combination of narratives and acting and sound and still frames to produce video works and documentations that are altered by time and noise.

alchan-Looking Outwards 04

Chelpa Ferro is a multimedia art group whose work primarily revolves around sound, in one form or another. One of their installations, Acusma (2008), combines recorded sound and traditional Brazilian pottery spread throughout a space. Though I wasn’t able to find much information on the actual process behind the work, the sounds used in the work appear to have been originally recorded, then manipulated by an algorithm to play back with various modifications or repetitions. The result is a chorus of sounds that are voice-like, but is just removed enough to be not quite just a group of human voices.

I really appreciate the juxtaposition between this process and the other main part of the work, traditionally made pottery. This combination of new and old, as well as that of the sounds themselves coming from such unexpected places, also seem to be typical of how the artists are trying to explore sound—making both the sources of sounds and the sounds themselves unfamiliar to the viewers/ listeners.

yoonyouk-LookingOutwards-04

Using Beethoven’s ballet with Houdini to create generative art, artist Simon Russell used this project in order to combine both visuals and audio. Each visual takes pitch and speed into consideration. These characteristics determine the shape and the amplitude. Rather than animating every little piece individually, this piece is dependent on generative factors.

From the clapping at the beginning, to the maestro, to the composition and organization of the generative art, Russell sets the scene of the orchestra. This generative art piece seems to display the different instruments or components of the orchestra. Russell explores the different colors that would represent each component. Rather than being completely obvious with instrument of music forms, he successfully uses abstract shapes that go along with the music. He did not just utilize music notes but also sound waves to make everything look cohesive.

jwchou-LookingOutwards-3

Project: Iris Van Herpen’s line of laser-cut/3d-printed dresses
http://www.additivefashion.com/wp-content/uploads/2013/05/RadiationSS10-418B.jpg
Iris van Herpen “Radiation Invasion” Sept 2009 Leather

I really admire this project because it really combines hand craftsmanship with the precision and automation of modern digital methods. Even though she used digital tools to cut the materials, she still had to use her aesthetic sensibilities to come up with the patterns and designs. In addition, I assume in assembling the dress, she still had to do it by hand to fit the dress to the specific model. It also inspired me in how she worked with various different manufacturers and partners in order to create the necessary forms.

I visited her exhibit at the Carnegie Museum last year, and in the exhibit, she talked about how many people told her that her vision could not be accomplished with existing technology. I love that her vision was so strong that she was so insistent in bringing her creations to live.

LookingOutwards03-jooheek

Silk Pavillion

Site: https://www.media.mit.edu/projects/silk-pavilion/overview/

This project is part of Mediated Matter of the MIT Media Lab. It exploresthe interaction between digital fabrication and natural fabrication by mimicing the silk thread structure of a silkworm’scocoon through a Computer-Numerically Controlled (CNC) machine and then having silkworms create their own silk structures from that primary, fabricated structure. Inspired by how silkworms can create their silk structure through one continuous

line of thread, an algorithm was created to mimic the single continuous style of the natural silkworm pattern and the variation of density of the fabricated threads. 26 panels of this silk scaffold was made and put together to make a dome. Then, silkworms were put into the dome structure to fill in the gaps with their own biological silk structures.

What admired me the most about this project was how mechanically fabricated structures can work alongside biologically, naturally created structures. It demonstrates how mechanic and natural physical worlds can work together to create beautiful outcomes. Another interesting aspect about this project was how because these two drastically different worlds worked together, they created a beautiful, artistic outcome. By generating an algorithm, scientists were able to mimic the natural world.