VART3459 - Production Strategies Journal 10

Spatialised Euclidean rhythmic divisions prototyping:

Electro acoustic instead of synthesis/speakers??

Solenoids & Relay via Arduino over serial

Example (video not mine):

16 channel relay! 16 solenoids..

RELAY + ARDUINO LINKS:

http://www.instructables.com/id/Home-Automation-How-to-Add-Relays-to-Arduino/?ALLSTEPS

http://arduino-info.wikispaces.com/ArduinoPower

http://www.thebox.myzen.co.uk/Tutorial/Power_Supplies.html

http://www.instructables.com/answers/How-do-you-use-this-relay-module/

https://www.youtube.com/watch?v=sR3xmof8rZY

Inspiration links from Phil:

http://westspace.org.au/event/listening-to-the-reflection-of-points/

Listening to the Reflection of Points

Toshiya Tsunoda

In order for a sound wave to be heard as sound, various physical and qualitative attributes must interpose.

Using the reception of footsteps as metaphor, Tsunoda’s installation features a table with small speakers and corresponding numbers of everyday objects. A sound wave moves through the speakers at fixed intervals, exploring the changes a sound wave makes to a fixed space when it progresses towards objects, collides with them and is reflected. As such it becomes an index for the fixed space, and generates changes as it moves. These changes are perceived by the observer and appear as occurences. Reception of these occurrences means that the state of the space has been grasped, thereby completing the change generated.

Toshiya Tsunoda’s work is internationally recognized for its unique and conceptually rigorous take on sound installation and field recording. Born in Kanagawa, Japan in 1964, Tsunoda received his MFA from Tokyo National University of Fine Art and Music.

Floating Glass

Ros Bandt

http://ateliernord.no/en/alvin-lucier-empty-vessels/

Empty Vessels

ALVIN LUCIER

Empty Vessels (1997) belongs to a series of works in which Alvin Lucier studies the resonance characteristics of the smallest interior spaces. He has placed eight glass water containers and vases on pedestals along the space’s south wall. Microphones are placed in the openings of the empty vessels, and each is rooted through limiters to speakers. The eight loudspeakers are positioned exactly opposite, along the space’s north wall. The amplifier in each microphone-loudspeaker system is selected in such a way that each strand of feedback is marked by the resonant characteristics of the respective vessel. This creates a controlled feedback field of resonant tones and their interferences in the ANX gallery space. When entering the field, the visitor disrupts the delicate balance of the system, creating new feedbacks with unexpected frequencies. Even a small head movement is enough to hear a multifaceted, fluctuating spectrum of pitches. Realization: Nicolas Collins and curator: Carsten Seiffarth. Read more about Alvin Lucier and his program in Oslo during the Ultima Festival.

ARCH1372 - Development Notes

TILTING:

• AS SUB PITCH RAISES AMPLITUDE SHOULD LOWER NOT RAISE [SLIGHTLY] - WEIGHT IS IN THE OTHER QUADRANTS ON A TILTED PLANE - PITCH RAISE REINFORCED BY SHEPARDS TONE?

• PITCH REINFORCED BY HYDRAULIC NOISES?

• GRANULAR PITCH CLOUDS / TONES

• EXPONENTIAL CURVES

• TRITONE PARADOX FOR OPPOSING QUADRANTS (ONE PITCH RAISES THE OTHERS APPEAR TO FALL)

• ^ STEPPED TONES [HALF OCTAVE APART] TIMBRE: LIKE "CREAKING PLATFORM" CROSS MAP RAISED PITCH WITH FALLING PITCH ACROSS OPPOSING QUADRANTS

• ** USE REAPER TO FINESSE ARTICULATION **

• MAX TO PROTOTYPE 

AUTOMATE CIRCULAR/SPIRAL MOVEMENT IN NODE? - <ARCHEMEDIAN PATCH>

VART3459 - Production Strategies Journal 9

Arduino circuit with waterproof temp sensor, photoresistor and audio output

arduino + temp & light sensors in situ with piezo contact mic triggering generative tones and modulating live audio feed in maxMSP

Reflection: Best I could do given the circumstances. Notes for the future, generative site responsive works should feel more emergent of the space. We also should have directed people to enter one at a time. With a longer installation the body heat of the people would have altered the tone more. I felt the sounds generated were a decent approximation of the space. It felt more like a score than a sound design piece, but I think ultimately that was the intention. It was performed, but by a computer and electronic sensors.

VART3510 - AkE Internship Journal Week 7

With the research now being projected to occur after my Internship at AkE has concluded I've been looking at some of the other objectives I wanted to complete during the semester at AkE. Though the LIEF grant equipment we've requested access to at Monash is far superior to the NeuroSky hardware I modified, I've spent this session at AkE continuing to develop the software I started in week 1.

     The patch receives 10 values from TGAM1 board via bluetooth:

• "/eegdelta" : 1-3Hz
• "/eegtheta" : 4-7Hz
• "/eeglowalpha" : 8-9Hz
• "/eeghighalpha" : 10-12Hz
• "/eeglowbeta" : 13-17Hz
• "/eeghighbeta" : 18-30Hz
• "/eeglowgamma" : 31-40Hz
• "/eeghighgamma" : 41-50Hz
• "/attention" 0-100
• "/meditation" 0-100
• "/signal" 0-200
• "/raw" -2048. - 2048.

VART3459 - Production Strategies Journal 8

Group task preparation

Group is having difficulty selecting a space. Oli found a space in Trades hall.

We all seem to want to use a confined space. Oli suggested using arduino.

Ash wants to make it comedic/performative. I'm not sure I can contribute to that.


Backup space is the ladder area near the toilets in building 14, can we access it?






use arduino sensors to approximate/express a space we can't access musically?
-temp
-light
-contact mic?

VART3510 - AkE Internship Journal Week 6 :: Further refinement & CHEAN

Darrin has advised me of the College Human Ethics Advisory Network [CHEAN] and the process required to authorise research involving participants. He has advised me to outline any potential risk factors of the test design.

I've made note of the following considerations for our application to CHEAN:

*Volume - Decibel level /SPL using Earbuds 

We can control for this using a suitable volume

*Dry electrode sensor considerations 

Participants need to informed that they can not have any cuts or abrasions in sensor area, jewellery, metal plates in skull, electrical oversensitivity, pacemakers.

*Psychological issues 

Controllable, we will require that participants cannot undertake the research if psychological issues are present

Also, after filling out the CHEAN application form: Ethics Checklist for Negligible Risk Projects - questions 1, 2 and 8 required to be answered YES, requiring the Ethics Checklist for Low Risk Projects to be filled.

In the Ethics Checklist for Low Risk Projects I only identified one question that may prevent us from applying under the Low Risk category. Under administration of other substances or devices I ticked YES on the basis that we will be using the EEG device on our participants. Darrin is going to contact CHEAN to ascertain whether this does disqualify us from the low risk category.

We also decided to restrict the audio stimuli to two sources. We are both fans of the contemporary electronic noise musician Merzbow, we opted to compare and contrast the neural oscillatory response from a single piece by Merzbow and a single piece by Mozart. Simplifying the list of auditory stimuli to be played to the participants allows us to avoid having to tightly control the timbral, historical, dynamic elements and energy levels of the compositional stimuli. This allows for a piece by a contemporary electronic noise musician to be incorporated into the research.

This is also under the suggestion from Darrin that the most opportune pathway with research is to begin with broad strokes and follow up with detail in subsequent research - which feels much more suitable.



Refined research proposal:

Observation and recording of comparative brainwave activity changes in response to musical and noise based sonic compositions in order to examine whether a conventional musical framework is a significant component in the neural response to composed sonic stimuli. 

Participants will be played a single piece Mozart followed by a single piece by Merzbow. Responses to the stimuli will be measured via EEG over the duration of the composition after a baseline response has been recorded. Respondents will also be surveyed via questionnaire following the experience.

I have modelled our Participant Survey after a previous study that Darrin had undertaken.

VART3459 - Production Strategies Journal 7 [Post 2nd review]

Further development of Euclidean Rhythmic Distribution using Bjorklund algorithm in Max MSP

3 Polyrhythmic pattern generators triggering sample playback.

Midi export as a compositional tool:

Further implementation:

Polymetric timing

spatial presentation of rhythm [multichan] ?

kill sample perc / use synthesised perc
automate permutations
shape dynamics
create/modulate space through rhythmic density
vol ramps/velocity for temporal flux

controlled relational timbral changes

begin dualistic relationships [freq/pitch] move to triadic relationships

swing?
flam?

dan graham > surveillance installations