Looking Outwards -04 Jaclyn Saik

For this assignment, I shopped around a lot and looked at a variety of sound and new media artists to see what caught my eye. There was some really astounding work in a wide range of forms, such as computing sound into visual representation, or using computer programming to form sounds out of things that don’t generally create it. It reminded me of a podcast I listened to awhile ago that talked about being able to identify noises that were playing in the background of silent videos simply because of the way the objects appear. Computers were used to detect tiny movements and vibrations in the frames, and used it to bring out people’s voices. I thought that was not only crazy interesting, but also a possible window into making artwork that reflects on the past.

And speaking of reflecting on the past, the artist that really caught my eye, Robert Henke, combined engineering and sound to document a past tragedy in a beautiful way. In his audiovisual laser installation, “Fall” (2016), he was inspired by the village in southern Bavaria of the same name that disappeared underwater in the 1950’s after a reservoir was built. Henke, a German-based artist who creates mainly installation combinations of contemporary electronic music and laser work,  was inspired when the ruins of this village resurfaced in 2015, and created a hanging sound installation that completely engrossed me as soon as I watched the video (above).

The installation is made of hanging fabric structures, which are distributed by an algorithm Henke created. This is one thing that I think really defines this artist as a new media computer artist: he generates algorithms for almost every installation and sound he creates, and in this way his work is very technical but very individual. Lasers are used to illuminate the translucent and pieced-together build of the fabric construction, and an entire show plays through in about 10 minutes, varying in color and texture to create a water-like effect on the ceiling.

An still from the 2016 installation “Fall” by Robert Henke. Even without the movement or sound, the visuals are captivating.

The sound that plays is particularly interesting. Henke generated his own track of music that is of course algorithm based, and it sounds kind of like a jungle mixed with clinking glass layered on top of static or big noises or something– I can’t describe it, but it’s somehow very electronic and very organized all at the same time, and very interesting ot listen to. The lasers are also punctuated by some larger noises, and every movement is matched with sounds or electronic percussion somehow.

I have no idea how he generated algorithms as complex as those he used to make these noises. I know that there is defiantly code that relates the movements of the lasers to the beat of the track he created, and since the tempo seems to be constantly changing as the pace ebbs and flows (like water). I especially wonder how he can achieve sounds that feel so organic and natural with technical algorithms.

Alice Fang–Project 04–String Art

sketch

/*
Alice Fang
Section E
acfang@andrew.cmu.edu
Project-04
*/

var x1; // (x1, y1, x2, y2) variables for lines
var y1;
var x2;
var y2;

var circlesize = 270; // circle diameter
var squaresize = 80; // square length

function setup() {
    createCanvas(400, 300);
    background(0);
    
}
function draw() {
    stroke(57, 255, 20);
    strokeWeight(0.5);

    // bottom left corner curve
    for (var i = 0; i < width; i += 20) {
        x1 = i;
        y1 = height; 
        y2 = i;
        x2 = 0; 
        line(x1, y1, x2, y2);
    }

    // top right corner curve
    for (var i = width; i > 0; i -= 20) {
        x1 = i + width - 300;
        y1 = 0; 
        y2 = i;
        x2 = width; 
        line(x1, y1, x2, y2);
    }

    //bottom right corner curve
    push();
    translate(width / 4, height);
    rotate(radians(270));
    for (var i = 0; i < width; i += 20) {
        x1 = i;
        y1 = height; 
        y2 = i;
        x2 = 0; 
        line(x1, y1, x2, y2);
    }
    pop();

    //top left corner curve
    push();
    translate(0, height + width / 4);
    rotate(radians(270));
    for (var i = width; i > 0; i -= 20) {
        x1 = i + width - 300;
        y1 = 0; 
        y2 = i;
        x2 = width; 
        line(x1, y1, x2, y2);
    }
    pop();

    // center square outline
    noFill();
    rect(width / 2 - 40, height / 2 - 40, squaresize, squaresize);

    // white circle outlines 
    stroke(240);
    ellipse(width / 2, height / 2, circlesize, circlesize);
    ellipse(width / 2, height / 2, 115, 115);
    ellipse(width / 2, height / 2, circlesize / 15, circlesize / 15);

    fill(240);
    ellipse(width / 2, height / 2, circlesize / 27, circlesize / 27);

    // curves generated in square
    noFill();
    strokeWeight(0.5);
    stroke(57, 255, 20);

    push(); // translate (0, 0) to top left corner of square
    translate(width / 2 - squaresize/2, height / 2 - squaresize/2);
    square(0, 0); // top X shape (function square() established below)

    push();
    translate(0, squaresize); // left X shape
    rotate(radians(270));
    square(0, 0);
    pop();

    push();
    translate(squaresize, 0); // right X shape
    rotate(radians(90));
    square(0, 0);
    pop();

    push(); 
    translate(squaresize, squaresize); // bottom X shape
    rotate(radians(180));
    square(0, 0);
    pop();

    pop();
    
    // cross hair (white perpendicular lines)
    stroke(255);
    line(width / 2, 0, width / 2, height);
    line(0, height / 2, width, height / 2);
}

function square(x, y){ // produces X-shape within square
        push();
        translate(x, y);
        noFill();
        strokeWeight(0.5);
        stroke(57, 255, 20);
        for (i = 0; i < 30; i+=10) {
            x1 = 0;
            x2 = squaresize;
            y1 = .75*i + 20;
            y2 = -i + 20;
            line(x1, y1, x2, y2);
            line(x2, y1, x1, y2);
        }
        pop();
}    

This was inspired by lasers that my mind associates with laser security systems, as well as eye-scanning mechanisms. (Or perhaps, a target scope aimed at an eye? They’re all interpretations within the same realm). The color scheme of neon green and black were especially influenced by this. I also used this project as an opportunity to try out and practice defining and creating my own function.

Jenny Hu — Looking Outwards 04

Oscillating Continuum is a project by artist Ryoichi Kurokawa. Ryoichi calls this an audiovisual sculpture, where both dynamic sound-generated visuals are displayed on juxtaposed sculpture surfaces. The above video shows multiple songs documented.

While the process is not documented online, I think the video can let you assume a process where the line distances and vertices are generated based on the data from the song.  What I admire, however, is the elegance and simplicity of the artist’s creative direction. He has kept the work minimal in color and form, letting the sound generated visuals take priority. This project reminds me that data exists, but it still takes the artistic and creative vision to articulate what it means.

Shirley Chen – Project 04 – String Art

sketch

// Shirley Chen
// Section B
// junfanc@andrew.cmu.edu
// Project-04




function setup() {
    createCanvas(400, 300);
    background(244, 217, 166);

}

function draw() {
    var x1 = 0;
    var y1 = 0;
    var x2 = 0;
    var x3 = 0;
    var y3 = 0;

    strokeWeight(1);
    //Draw the blue lines at the bottom left corner
    for (var i = 0; i < 50; i++){
        y1 += 4;
        x1 += 8;
        stroke(166, 188, 201);
        line(0, y1, x1, height);
    }
    //Draw the yellow and pink lines at the upper left and right corner
    for (var i = 0; i < 50; i++){
        x2 += 20;
        x3 += 5;
        y3 += 5;
        stroke(242, 143, 143);
        line(400, 0, x2, height);
        stroke(255, 191, 62);
        line(x3, 0, x3, y3);
    }
    strokeWeight(1);
    stroke(86, 42, 42);
    //Draw lines between points along the circles to create eyes
    for(var i = 0; i < 360; i += 10){
        line( width * 0.2 + 20 * cos(radians(i)), 
              height * 0.4 - 20 * sin(radians(i)),
              width * 0.2 - 20 * cos(radians(i)),
              height * 0.4 - 20 * sin(radians(i)));
    }
    for(var i = 0; i < 360; i += 10){
        line( width * 0.5 + 20 * cos(radians(i)), 
              height * 0.4 - 20 * sin(radians(i)),
              width * 0.5 - 20 * cos(radians(i)),
              height * 0.4 - 20 * sin(radians(i)));
    }
    stroke(0);
    for(var i = 0; i < 360; i += 10){
        line( width * 0.2 + 5 * cos(radians(i)), 
              height * 0.4 - 5 * sin(radians(i)),
              width * 0.2 - 5 * cos(radians(i)),
              height * 0.4 - 5 * sin(radians(i)));
    }
    for(var i = 0; i < 360; i += 10){
        line( width * 0.5 + 5 * cos(radians(i)), 
              height * 0.4 - 5 * sin(radians(i)),
              width * 0.5 - 5 * cos(radians(i)),
              height * 0.4 - 5 * sin(radians(i)));
    }
    strokeWeight(2);
    stroke(214, 29, 29);
    //Draw the mouth by connectiing points on the ellipse
    for(var i = 0; i < 360; i += 10){
        line( width / 2.5 + 30 * cos(radians(i)), 
              height / 1.5 - 30 * sin(radians(i)),
              width / 3.5 - 30 * cos(radians(i)),
              height/ 1.5 - 30 * sin(radians(i)));
    }
}

For this project, I use the “for” loop to map out all the points on different lines and connect them together. When I drew the circles that are constructed by lines, I need to use cos and sine to calculate each point on the circle and then connect them together. The circles eventually form a face. Overall, I feel comfortable with the looping function.

Looking Outwards-04 Sound Art-Veronica Wang

CARBONSCAPE, the latest kinetic data soundscape installation by h0nh1m aka chris cheung from designboom on Vimeo.

CarbonScape is a kinetic soundscape installation created by Chris Cheung. It consists of 18 tracks of granular synthesized sound samples. They are collected from the sound sources where carbon footprints left: the sound from the jet engine, steam from the factory and horn of the ship, etc… The finale is composed of all tracks blending into the soundscape.

Interactive installation

The installation is a visualization of CO2 levels arranged in a bamboo forest like landscape, with the changing ambiance drone noises, imitates chimneys frequently found in power plants and factories, with black spheres indicating CO2 levels around the globe.

Sound data incorporated with the exhibition

Eliza Pratt – Project 04

sketch

/*
Eliza Pratt
Section E
elpratt@andrew.cmu.edu
Project-04
*/

function setup() {
    createCanvas(400, 300);
}

function draw() {
    background(0);
    
    var y = 0;
    var x = 0;
    var y1 = height/2;
    var x1 = width/2
    var y2 = height/4;
    var x2 = width/4;

    //dark gray curves
    for (var z = 0; z < 35; z++) {
        stroke(180 - x2/2);
        //bottom left curve
        line(width - x2, height, 0, height - y2);
        //top right curve
        line(x2, 0, width, y2);

        x2 += 6;
        y2 += 6;

    }
    
    //gray center curves
    for (var i = 0; i < 44; i++) {
        stroke(x/2);
        //bottom center curve
        line(width - x, height - y, x, height);
        //top center curve
        line(x, y, width - x, 0);

        x += 7;
        y += 7;
    }

    //white curves
    for (var w = 0; w < 20; w++) {

        stroke(255);
        //bottom right curve
        line(x1, height, width, height - y1);
        //top left curve
        line(width - x1, 0, 0, y1);

        x1 = x1*1.04;
        y1 = y1*1.04;

    }

}



Although confusing at first, I had a lot of fun with this assignment! While it’s frustrating when the lines don’t map out the way you want them to, it was always a surprise when I refreshed my browser. I also played around with adjusting the stroke color in my for loops, which led to some pretty cool gradients!

Sharon Yang Looking Outwards – 04

The computed audio artwork is called ‘Déguster l’augmenté’ created by Erika Marthins. She aims to add a new dimension to the perception of food and experience of meals. She has explored three desserts and transformed them into generative art pieces; the record made of chocolate that brings the sense of taste to a different sensation – auditory is what I especially admire. The regular records are made of wax; recreating the texture as well as the algorithm – the lines on the record that creates the sounds – using chocolate that can emulate it. The collaboration between the chefs, artists and scientists is incredibly innovative and unparalleled which brings attention to the creators’ ingenuity and artistic sensibilities. She achieves bringing a change into a highly common experience or a highly common object through a technological innovation, allowing us to interact with them to a whole new level.

KadeStewart-Project04-StringArt

sketch

function setup() {
	createCanvas(400, 300);
	background(255);
}

var x1 = 0;
var y1 = 0;
var x2 = 0;
var y2 = 300;
var lim = 101;
var quality = 1;

function draw() {

	background(255);

	//change the number of lines (the quality of the curves)
	lim += quality;
	if (lim == 100) {
		quality = -quality;
	} else if (lim == 150) {
		quality = -quality;
	}
	//draw 8 curves
	for (c = 1; c <= 8; c++) {
		//draw "lim" number of lines in each curve
		for (i=0; i<=lim; i++) {
			x1 = (width/lim) * i;
			x2 = (width/lim) * (lim - i);
			y1 = x2;
			y2 = 50 * c;
			//make the curves different shades of gray
			stroke( (255/9) * c );
			line(x1,y1,x2,y2);
		}

	}
}

String art is really hard, I literally could not figure out how my curves were going to look. I ended up choosing this one because it was visually appealing and seemed interesting.

Jessica Timczyk – Looking Outwards 04

The photo above shows screenshots of different students’ work utilizing the Chunity program.

Chunity is a programming environment developed by a PhD student and associate professor at Stanford’s Center for Computer Research in Music and Acoustics, Jack Atherton and Ge Wang in 2018. The program uses the programming language ChucK and the real time graphics engine in Unity. I find this project extremely interesting because the tools are driven by audio as the most important component with visual graphics coming second, following the audio. This is contrary to how I would think most programs and tools run, with visual graphics as the main component and audio being secondary. In the algorithms generated using this program, physical changes in the graphics of the program are accompanied by audio, integrated with real time components. When a final project is created using this programming environment, the coder is able to artistically express their vision through how  the audio is integrated with the visual graphics.

The photo shows a screenshot of an example of how code is written to include both the audio and visual graphics.

Erin Fuller Project-04-String-Art


//Erin Fuller
//SectionA
//efuller@andrew.cmu.edu
//Project 04

// please view on safari, does not work on chrome

var x; //mouseX global
var y; //mosueY global

var control; // laser position based on for loop increments

function setup() {
    createCanvas(400, 300);
}

function draw() {
    background(0);

    var x = mouseX * (255 / width); // changes g value relative to width
    var y = mouseY * (255 / height); // changes b value relative to width

    stroke(255, x, y); //g and b values changed 
    strokeWeight(.005); // very thin lines to look like lasers

    for (var i = 0; i < 100; i++) {
        var control = (i * mouseX) / 75; //control increases based on mouseX postion
        
        line(0, 0, control, height);//top left "laser" pointing down
        line(0, 0, width, control);//top left "laser" pointing right
   
        line(width, height, control, 0);//bottom right "laser" fanning left and up
        line(0, control, width, height);//bottom right "laser" fanning left and down
    }
}

I wanted my “String Art” to be reminiscent of a laser light show like what you see at concerts. So as you move your mouse you change how wide the “lasers” fan out and their color.