I have been on and off Bowerize for a long time now, but it's kind of nice to be able to come back. Nice to have this tiny space on the internet after 8 years. I still don't know if anyone reads this.
Blogspot...Does anyone even still use these? I am surprised that the service is still up! Does anyone remember the pages for sharing pictures in Hotmail? My God so many social media platforms have died on the way. It's kind of weird to think how these spaces "die".
Now we have Instagram. And...erm, Facebook. And the evil Pintrest. Google Scholar. So many platforms to share! We are missing an ItsOkNotToShare.com. A white rectangle. I feel like that's a bit how I feel about Bowerize. Maybe it's good that it's not so reciprocated. It's ok.
I am not feeling nostalgic, I am just amazed at the speed of all of this. The meaning? I don't know. Not that every social interaction has to have an end.
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Today I wanted to write about Physical Input Controllers. It sounds kind of boring, but we actually use them all the time: the personal computer keyboard, the computer mouse, the phone tactile screen... All the interfaces mediating interaction between us and technology are in a way, physical input controllers. These are heavily developed in the game industry.
I was thinking about my practice as an "Artist". How I have been drawing for some time now. How I wish I could jump into sculpture. This has been a long term ambition of mine. I always feel like my drawings need to coexist in 3d form with their 2d counterparts. So hopefully I find the time at some points.
Alongside the two items above: drawing and sculpture, I have been long fascinated by choreographic notation and its relationship to sound. I have also tried to incorporate these-if only conceptually-into my drawings.
Now in this phase I am now, where I have been listening to the-largely labelled-IDM, I have found about the concept of physical input controllers. Something that has been long used to create digital music instruments. This is when I thought to myself, ah! it's spatial instruments that I am trying to conceptualise here. And the movements is a form of musical notation.
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The Artists that have really captivated me, due to their highly graphic sounds-maybe I am slightly synesthesic I don't know-are Autechre, Aphex Twin and Anklepants. I know, they are not really the same, but I always listen to them in conjunction.
I love how "easily" translatable their music is to visuals. I think this might be because their music is very itemised (Autechre). This was my way into looking at custom made instruments. My God, specially Anklepants custom made instruments. I wasn't aware of all the max/msp environment. It reminded me of Grasshopper 3d. That was the closest resembling program I could think of...
So much to learn.
The Music Technology Computer Lab at McGill University, says that these "trends in computer music" are due to the availibility of cheaper computers, real-time audio processing and "greater interest in combining computers with live performers" following the need to "allow performer actions to control sounds produced by computers".
I am posting below the rest. I am feeling too lazy to redact it here.
Trends in Music Controllers
- Controller technologies ... cheaper, faster, easier to use, and more available (e.g. from DigiKey, RobotShop, ...)
- Significant scientific and commercial effort focused on "Human Computer Interaction (HCI)" design
- International grant projects
- New Interfaces for Musical Expression (NIME) conference
- Games are making increasing use of HCI devices
These are the most interesting to met
Music Controllers: "Body" Controllers
- Michel Waisvisz's "The Hands"
- Tomie Hahnâ™s "Pikapika"
Pikapika.curtis bahn.tomie hahn
Meet Pikapika--a character influenced by anime and manga, Japanese pop animation and comics. Pikapika embodies movements from bunraku (puppet theater), a movement vocabulary Tomie studied while learning nihon buyo (Japanese traditional dance) pieces derived from the puppet theater. The concept of the sonic punctuation of Pikapika's movements is drawn directly from the bunraku musical tradition. However, the actual sounds are not drawn from bunraku musical vocabulary. Pikapika dons a new wireless interactive dance system (SSpeaPer)created by Curtis Bahn. SSpeaPer naturally locates and spacializes the electronic sounds to emanate from the speakers mounted on her body. As Pikapika moves her gestural information is sent by radio to an interactive computer music system. The sounds are then broadcast back to her body, creating a new sort of audio "alias" for her character; a sonic mask.
The Sensor/Speaker Performance Interface
As
an outgrowth of investigations in the use of Sensor/Speaker
Arrays for live performance for our composition "Streams,"
we became interested in the idea of mounting not only sensors, but also small
speakers on a live performer. As Tomie dances, the actions of her body drive an
interactive music algorithm which sonifys her performance. The sounds are
broadcast back on to her body creating a new sort of audio "alias"
for her character; a sonic mask. The interface naturally locates and
spatializes the new sounds with her body.
"SSpeaPer"
is an interactive sonic context for live performance currently in development
by composer/ programmer Curtis Bahn and dancer/ ethnomusicologist Tomie Hahn
The sensors on Tomie's hands each sense pressure and 2 axis of tilt. This movement data is sent to a micro-controller on her right hip where it is translated into continous MIDI messages and broadcast, via a small radio transmitter on her left hip, to the computer. A MAX/MSP patch maps her movements into various sampled sounds and DSP algorithms, sending the results to an 8 channel audio system. Using a small radiotransmitter, 2 channels of sound are sent to Tomie's arms (discreet information to the left and right). The remaining 6 channels of audio are sent to 3 stereo spherical speaker arrays on stage.
I know it's very non-conclusive here, as always. But will try and keep posting here a bit more.
As always, all the best.
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