Category: Section E

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.

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!

Julie Choi – Looking Outwards – 04

Above shows the MULTIVERSE, the eternal birth and death of infinite parallel universes.

This project, Multiverse is an embodiment of the concept of “a system composed of an infinite number of universes that coexist simultaneously outside of our space-time.” Derived from the multiverse theory presented by Lee Smolin, this art piece fuses both audio and visual to generate a live experience of a narrative context. Multiverse was built through a program called openFrameworks that assimilates a continuous slide of digitally created photographs that displays a realistic series of evolutions of the multiverse. The photographs are generated with a soundtrack from the interaction of the visual elements. In the photographs, small unidentifiable particles continuously merge and separate forming bigger particles.

The vertical projection is 7.5 meters tall and has a mirror on the ceiling for a dramatic experience.

This art is displayed in a pitch black room that centers the focus only on the project. When the audiences stand in front of the vertical projection that is 7.5 meters tall, they are able to witness the art of creation.

Elena Deng-Looking Outwards-04

After looking through the websites given to us, I wanted to analyze my favorite example of sound art. The piece I am going to describing today is Sonic Playground by Yuri Suzuki. I admire how it plays upon the idea of childhood wonder as well as transforming the space it into a playground. As a kid, my favorite part of a playground was the different forms could transport noises to the opposite side of the playground. I enjoy how the project focuses on the mechanisms of that same design in playgrounds and yet still add a different technical side to a childhood toy.

sonic playground in atlanta

From the diagram given, it seems as if the different installations are connected. According to the article, the designer uses Grasshopper and Rhinoceros which are 3D geometrical software. It uses ray tracing techniques for specific frequencies which allows for acoustic applications. It was also stated that the plug is a 3D raytracing tool that can allow the selection of a specific sound in a particular direction.

mechanisms within the art installation

According to the artist, he wanted these pieces to animate the outdoor space and allow visitors/passersby to look and interact with the art experiences.

Rachel Lee Looking Outwards 04 Section E

Sonic Playground by Yuri Suzaki Design and High Atlanta (2018)

The project I have chosen to write about is Sonic Playground by Yuri Suzaki Design with High Atlanta. I admire this project because of its interactive quality, and how it engages the public in an immersive experience based on their own personal input (manipulating the sounds they are making via various processes). I think this creates an intimate relationship between the user and the artwork, and invites them to be curious and explore it piece. The creators of this piece created algorithms via a raytracing tool. This tool allowed users to pick a sound source of their choice, and relay that sound in a specified direction, or towards the shape of the mirrors of bell at the start and end of the pipes. The result of these algorithms includes sound that envelopes those interacting with the piece, and lateral reflections. I think that the creator’s artistic sensibilities manifested in the final form via the bright colors of the sound sculptures, and the shape and direction in which the ‘speakers’ point– this allows for a playfulness in not only form, but also in sound that has the potential to evoke strong emotions of joy and wonder in those interacting with Sonic Playground.

Alice Fang–Looking Outwards–4


Turbulent Forms

Dan Tapper is a British artist who combines code with his interest in celestial bodies and objects in the universe. The second iteration of his project Turbulent Forms is in collaboration with the Canadian Music Centre, and is a sonification of cosmic phenomena. Using abstract ideas of space and chaos, Tapper created software that generated modulated “sine tones of various pitches” and then collaborated with various artists and composers to create a composition. In total, six songs were produced, and performed at a NOVA concert.

While listening to the pieces, I was immediately reminded of the scores produced for the movie Interstellar, and it’s interesting how the generated pitches and almost mechanized sounds lend themselves to imagery of being in space. The general concept of the music is to “collectively simulate motions of bodies being pulled into the influence of a black hole” and that feeling of nothingness, of tension and anxiety, are definitely captured by the different pieces. I also think it’s really interesting that some of the artists actually pulled from NASA recordings as source material, creating an ambience that is very reminiscence of space.

Read more about this collaborative project!

Emily Zhou – Looking Outwards – 04

On the subject of sound and computation, I recently downloaded an iOS app called Seaquence that composes music using petri dish of life forms.

Screenshot from Seaquence: rudimentary lifeforms

The app by Okaynokay uses a custom physics engine to develop the lifeforms. The creatures’ tempo and waveform are represented by their antennae and tail respectively. I admire the game developers’ visualizing of sound in such a unique way; relating them to living organisms.

The interface allows you to adjust scale, octave, and rhythm and apply transposition and delay for each life form. Before playing the game, I assumed that the UI would be extremely complicated and it would be difficult to produce pleasant sounds. The fact that I was wrong makes me respect the effort put into finding a large range of sounds that work together and applying different parameters to each.


Sample music produced using Seaquence by Okaynokay, 2017.

Creators Gabriel Dunne and Ryan Alexander combined their acoustic and visual artistic sensibilities to develop an algorithm that intricately weaves together the parameters for sound.

Jason Zhu-Project-03-Dynamic-Drawing

sketch

/* Jason Zhu
Section E
jlzhu@andrew.cmu.edu
Assignment-03
*/

// This code demonstrates the Sunset!

// Easing Variables
var easing = .05
var x = 1;
var y = 1;

function setup() {
    createCanvas(640,480);  
}

function draw() {
    // Max Min Function
    noStroke();
    var mX = max(min(mouseX, 640), 0);
    var mY = max(min(mouseY, 480), 0);

    // Background Change
    var g = (480-mY)*(.309)+85;
    var g2 = (480-mY)*(.309)+85;
    background(255,g,100);
    
    // Ease Sun Function
    var tarY = mY;
    var dy = tarY - y;
    y += dy * easing;

    // Sun Shadow Large
    fill (360,g-20,140)
    ellipse(x + width / 2,y,mouseY / .35 +20,mouseY / .35 +20);
    if (y> 395) {
        y=395
    }

    // Sun Shadow Medium
    fill (330,g-20,100)
    ellipse(x + width / 2,y,mouseY / .55 +20,mouseY / .55 +20);
    if (y> 395) {
        y=395
    }

    // Sun Shadow Small
    fill (270,g-20,60)
    ellipse(x + width / 2,y,mouseY / .9 +20,mouseY / .9 +20);
    if (y> 395) {
        y=395
    }

    // Sun  
    fill (250,g-40,40)
    ellipse(x + width / 2,y,100,100);
    if (y> 395) {
        y=395
    }

    // Grass 
    var g2 = (480-mY)*(.309)+85;
    fill(135,g2,100);
    rect(0,410,640,120)

    // Right Shade
    fill(0);
    rect(640, 0, -.815*y, 480);

    // Left Shade
    fill(0);
    rect(0, 0, .815*y, 480);

}

This project was incredibly hard but rewarding. For me, thins project is when concepts really came together. It was a struggle to figure out how various variables interacted, but I eventually was able to resolve most issues. I had a particularly hard time with rotations and angles. I eventually figured out how to troubleshoot some of these issues, though a few questions linger. Overall, I am fairly satisfied.