For this project I narrated a horror story. Below are the steps I took:

1. Wrote a short horror story and recorded it in CFA’s sound recording studio;
2. Recorded the balloon poping sounds in Scott Hall elevator (IR1) and CFA Atrium (IR3);
3. Downloaded garden ambient sound (IR2) and scary background sound (IR4) online;
4. Edited the original voice and the IRs in Audacity and convoluted them in Max (IR1=bedroom, IR2=garden, IR3=basement, IR4=horror movie sound effect);
5. Added the audio time shifting+feedback effect to render the scary atmosphere a bit more;
6. Outputted the final audio file from Max using the “sfrecord~” component.

For this assignment, I wanted to be able to control the color of the timeshifted frames.  I used jit.scalebias and jit.gradient to change the color of my delayed jitter matrix to black and white as well as replace those black and white values with two colors on a gradient.  The two colors could be chosen by the viewer using the color-picker gui.

assignment2

I also played with the time shifting patch we made in class and replaced the delay variable with a random number from 0-400.  This had a similar effect to the glitch patch we received after last Wednesday’s class.  Instead of including a random frame from the past couple seconds, however, it superimposed a random frame from the last 400 frames on the current frame.  I liked the contrast between how smooth the regularly-colored current video was versus how spazzy and terrifying the colored and delayed glitch frames were.  The effect made it look like I had demons inside me that were clawing to get out.  As for the validity of that perception, I provide no comment.

assignment 2 – random

github normal timeshifting: https://gist.github.com/anonymous/6bbd03bd0424ff4fab5939ac9f42e873

github glitch timeshifting: https://gist.github.com/anonymous/378d66d7059e8ba8934092f7192e79fb

Also shout out to jit.charmap-twotone.maxpatch in the cycling ’74 jitter examples for help on how to use jit.scalebias and jit.gradient.

An audio processing patch that the user is allowed to control the timeshifted delay effect of both high ends and low ends of an audiotrack through filters. The high/low ends are separated so different amounts of timeshifting can be applied, then they are played back together through main audio channel.

I’ve been exploring two bodies of work outside of class: digital interpretations of the novels of Virginia Woolf and interactive experiences/environments triggered by a user’s brainwaves using a hacked Muse headset.

For this assignment, I attempted to bring them together by creating a patch that live remixes the music video for Max Richter’s composition Mrs. Dalloway in the Garden through the mapping of theta brainwaves to the jit.matrixset’s frame buffer. Theta waves are indicative of mind-wandering, so the experience of remixing the video is meant to reflect the journey of Mrs. Dalloway herself who spends the majority of Woolf’s book with a mind that meanders back and forth between the past and the present.

The Muse headset sends data via a terminal script, which transforms the data into OSC messages which are read by Max. (The patch features a test subpatcher for testing without the Muse headset).

As mind-wandering and thus theta wave activity increases, the number of frames of delay increases, leading to a more aggressive movement across time. In addition, the waves are also inverse mapped to a jit.brcosa object, and so as the user becomes more present and concentrates more on the present environment, mind-wandering/theta wave activity decreases, triggering the video to fade closer and closer to black. The video only fully appears when the user’s mind is wandering freely.

Here’s a documentary video of a full cycle of the patch in action as influenced by me wearing the Muse.

And here’s the Gist.

This patch is four different time shifting filters. The first creates negative echoes that trail behind any movement resembling ghosts. The second takes these echoes and rotates them constantly to create a kaleidoscope effect around the center of the video feed. The third filter creates a spiral effect that trails off in to the center of the image. The last filter flips every other frame, resulting in all the positive colored frames and all the negative colored frames aligning. These effects were created by rotating the feedback to varying degrees and subtracting the feedback from the original video feed.

The results of the varying effects.

I used the concept of time shifting by delaying a sine wave to demonstrate noise cancellation properties. By changing the number of samples by which the wave is delayed, we can shift it enough so that the shifted wave added to the original becomes 0. My code and a demonstration of the patch are shown below.

My goal is to create a Max patch that changes the lights based on audio frequencies smoothly, i.e. with slow-motion effect. So far, I’ve gotten the light to change corresponding to the amplitude of the sound. I used delay on audio, and I embedded a new patch that “smoothes out” the fast changes in amplitude detected by the microphone. So far so good! Here’s a video on the current effect of my patch. Now, you might see abrupt changes on the desktop reflection of light. That’s because I haven’t gotten each individual light to change smoothly, but I did on the overall effect.

Music by Pink Floyd “The Great Gig in the Sky”.

Code:

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Three videos (Spaceballs, Little People Doing the Single Ladies Dance, and Funniest Star Trek Moments) are played simultaneously. The frames are triggered to start/stop via the various levels of the song Remember the Name by Fort minor. Then the song is shifted 1 second off and fed back to the system

FLicker


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For this assignment I have made a fun photo booth effect using the time-shifting technique. Each pose is transformed into three colorful delayed snapshots coupled with three gradually leveled up voices.