VART3510 - AkE Internship Journal Week 5

Working with the current research proposal below, I've been looking at developing the test design.

Observation and recording of brainwave activity changes in response to a range of musical and soundscape 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 pieces of atonal music, noise music, soundscape & stochastic music in contrast to more conventional musical compositions such as pop, rock, jazz & classical. Responses to the stimuli will be measured via EEG.

Test design:

• Participants are seated and given in ear monitors that will not obstruct the electrodes of the EEG device.

• A 30 second baseline EEG response is taken in between audio stimuli.

• EEG response is observed and recorded while participant is played audio stimuli.

• Participant is given a survey at the conclusion of the test where experiential biases and qualitative emotional responses are recorded.

Musical choice considerations:

With such a broad range of stylistic material the challenge has been to make the stimuli feel related in order to control the response.

Temporal, Timbral and Spectral content are real considerations. The "energy" and tempo of the music should be as similar as possible in order to control for brainwave response.

I've outlined some potential candidates for music selection to fulfil the criteria outlined in the research proposal:

Classical: Mozart - Symphony No. 9 in C Major

Energetic and Dynamic.

Atonal: Dane Rudhyar - Granites (1929)

Energetic and unusually dynamic for an atonal piece. Similar length.

           Jazz: Duke Ellington - The Clothed Woman (1947)
Actually considered an atonal piece, this piece could control for the energy level of the previous piece.
Dynamic, movement resembles the classic piece. Moments of energy.

       

          Noise music: Edgard Varese - Ionisation (1929 - 1931)

Composition modelled on noise, closer to timbral quality of previous pieces

 

Stochastic Music: Xenakis - Pithoprakta (1955/1956)

 Matches similar timbre and dynamics of previous pieces. Similar length.

          Musique Concrete: Bernard Parmegiani - Violostries (1969)

          Hard to find a musique concrete piece that matches the timbre and energy -
but this Parmegiani piece feels musical and dynamic.

          Rock: Amon Düül II - Between The Eyes (1972)

Very difficult to select a "rock" track that is within the timbral, spectral and dynamic energetic levels of the rest of the selected pieces,
but I think this piece by Amon Düül II best fits the criteria.

       

          Pop: Queen - Bohemian Rhapsody (1975)

Very difficult to control for bias, tone, length and energy levels. Pop is a very broad and culture bound genre.
Selected this based on its changing dynamics, timbral qualities and similar time period to the rest of the material.

VART3510 - AkE Internship Journal Week 4

I've taken the time to look into some of the other literature in AkE lab that Darrin suggested:

Daniel Levitin - This Is Your Brain On Music

David Huron - Sweet Anticipation (Music and the Psychology of Expectation)

Lerdahl, Jackendoff - Generative Theory of Tonal Music

The content explored in these books is brilliant! Many topics I wanted to explore in the coursework of my program are contained within these books. Many of the theories explored in the discourse will be very beneficial when we eventually get to undertake the research. There is a wealth of information on the neuroscience of processing music, but far less on the topic of "sound art" - understanding the current literature that explores the neuroscience of music is vital when juxtaposing this with sound art in a research context.

I've ordered my own copies of these books, I've borrowed the Levitin title from the library to try and get through it while we're working on this.

I've also listed the primary research questions we're looking to pursue:

Research Questions:

1: Is there a remarkable difference in the neural oscillatory response to contemporary sonic compositional works when compared to traditional musically structured composition?

2:Does the brain interpret these stimuli independently?

3:Does experiential bias affect these measurable responses? If so, how?

4:Does the neural oscillatory (and psychophysical) response to non musical sonic compositional works match the pattern of the neural oscillatory response to environmental audio stimuli?

VART3459 - Production Strategies Journal 6

Binary Euclidean sequencer idea/sketches:

VART3510 - AkE Internship Journal Week 3 :: New Research Proposal

Great meeting with Dr Eva Cheng last week. She is quite helpful and keen to assist us with our research. We discussed the scope of the research falling within the scope of a LIEF grant and have avenues to pursue the research in house with Antonio Paolini (Prof. Psych at Bundoora campus) or with Adrian Dyer.

Further correspondence between Eva and Darrin suggest that Eva is interested in incorporating the research into her 'Quality of Mulitmedia Experience' branch of research work which is exciting!

By suggestion from Darrin I read the following paper to explore the artistic scope of our research as we are approaching this from the School of Art.


Reedijk, S., Bolders, A. & and Hommel, B. (2013) The impact of binaural beats on creativity, Frontiers in Neuroscience




During the week Darrin and I decided to abandon Binaural beat brainwave entrainment as the basis of our research for the reason that due to the current literature there is a very small scope to explore the artistic/creative relevance of brainwave activity. By abandoning this we open ourselves up to the exploration of brainwave activity without consideration to the confounding literature exploring the legitimacy of the causal relationship between auditory cues and FFR EEG response.

We both agreed that an artistic foundation to the research would be most appropriate, with sound art as basis for investigation in a psychological context feeling the best way forward.

I altered our research proposal to accommodate a goal that explores whether musical compositional formatting is processed differently by the brain than compositions that would typically be considered "sound art."

Darrin and I both agree this feels like a more natural academic pursuit from the School of Art and opens up further research opportunities based on the findings we will go on to observe.

New Research Proposal:

Observation and recording of brainwave activity changes in response to a range of musical and soundscape 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 pieces of atonal music, noise music, soundscape & stochastic music in contrast to more conventional musical compositions such as pop, rock, jazz & classical. Responses to the stimuli will be measured via EEG.

ARCH1372 - Reading 3 :: The Perception, Evaluation and Creative Application of High Order Ambisonics In Contemporary Music Practice

The Perception, Evaluation and Creative Application of High Order Ambisonics In Contemporary Music Practice

Natasha Barrett

Ircam Composer in Research Report 2012

In her residency at IRCAM Barrett investigated the technical and artistic implementation of Higher Order Ambisonic techniques. In this paper Barrett investigated a range of Higher Order Ambisonics in two dimensional and three dimensional spatializations noting differences in perception of 4th and 7th order 3D decoding suggesting the 7th order decoding is the most optimal working in 3D giving the most ‘transparent’ and precise results - while in 2D, 12th order decodings were only marginally advantageous in complex scenes, suggesting that 7th order decodings were also the optimal format. Barrett also investigated Near Field Compensated Higher Order Ambisonics discovering that higher order encoding/decoding can result in more convincing NFC results albeit with a necessity to compensate some of the addition of low frequency content with high pass filtering which may remove some of the NFC effect. Barrett also noted when working with NFC that the loudspeaker distances in the decoding stage require consideration at the encoding stage, at 12th order noting a variance range of 50-200% for accurate translation. Barrett was also able to use an Eigenmike to capture scenes at a high resolution 4th order sound field and compared this with older lower resolution Soundfield microphone technology (SPS200 and ST250) noting a greater ‘openness’ and spatial accuracy with the Eigenmike. Barrett goes on to discuss some of the other considerations in composing for Higher Order Ambisonics such as monitoring issues, accuracy in translation and the compositional advantages of working at this level. I enjoyed this window into the artistic and technical application of HOA, Barrett’s work is certainly beneficial for those working with higher order ambisonics.

VART3459 - Production Strategies Journal 5

Possible alternative project

audiograffiti sonification RGB track from graf project last year. Use vocal samples to write rhythms and texture + melody.

http://youtu.be/oPG-VhU6Kiw

http://youtu.be/9FEgc2YQuMw

gating/enveloping for rhythms

ARCH1372 - Reading 2 :: An Ontology of Donald Schön’s Reflection in Designing

An Ontology of Donald Schön’s Reflection in Designing

John S Gero, Udo Kannengiesser

Key Centre of Design Computing and Cognition University of Sydney 2006


Gero and Kannengiesser present an articulated model of the design process primarily informed by the work of Donald Schön, in particular his notion of “reflection in action” within the design process. Gero and Kannengiesser identify two branches of this design model, the “functional” and “mechanistic” modes of reflection, dividing the critical design elements of “Function” “Behavior” and “Structure” and exploring the interplay between these elements within the mind of the designer, in three phases of “External” “Interpreted” and “Expected” outcomes for the design to exist. It is my understanding that Gero and Kannengiesser’s primary distinction between “functional” and “mechanistic” modes of reflection pertain to where the reflection is placed within the mind of the designer. In the “functional” model, reflection primarily occurs after action has taken place from the designer, altering design choices based on drafting, whereas the “mechanistic” model implies that the designer reflects on their wealth of experience in order to move systematically toward a refined design objective. I can particularly relate to the reflective design processes described here. Though much of the reflection in my design process is ‘functional’ in the execution stage, I aspire to work more ‘mechanistically’.

VART3510 - AkE Internship Journal Week 2

Following on from last week, I'm continuing to develop my software and look into existing research on brainwave entrainment.

In preparation for a literature review I spent some time on the RMIT library search system for academic research papers. I had not used this system before, such a wealth of knowledge freely available! I am glad at least in point in my program I have found a need to investigate published journals.

I have never assembled a literature review before, I have made some key notes based on my findings.

• Brainwave entrainment uses rhythmic auditory and visual stimuli to alter brainwave frequency and have been investigated since the late 1800's [Huang et al. 2008]

• Most commonly used auditory stimulation in brainwave entrainment experiments use isochronic, monaural or binaural beats.

• Binaural and monaural beats use 2 tones with similar frequencies that trick the brain into perceiving the difference in frequency as a "beating" - monaural beats sum these two signals into one, where the binaural method uses two independent tones are fed to either ear and the 'beating' is creating psycho acoustically.

• Isochronic tones are evenly spaced tones between moments of silence to create "beating.

• Binaural beats are best perceived when the carrier and standard tone frequencies are at approximately 400hz with differences between the two frequencies being no more than 35hz. [Krishnan et al. 2004]

• The Frequency Follow Response has been observed using audio cues, the EEG response has been correlated to the binaural beat frequency [the difference between tones] [Marsh et al 1970]

• Control factors for brainwave entrainment experiments have incorporated periods of white noise and measuring a baseline EEG response. 

• Recent studies controlling for personality traits have failed to produce statistically significant results. [Goodin et al. 2012]

• Recent controlled studies have concluded that binaural beat theta brainwave entrainment methods are no more effective than Pink noise [Stevens et al. 2003]

• The evidence that brainwave entrainment can be used to affect vigilance, performance and mood is largely anecdotal [Lane et al. 1997]

As is to be expected, the further I dig into the established literature - the more confounding the results. What is promising is that research into this area remains current with studies still being conducted locally at institutions like Swinburne Uni.


Darrin and I have a meeting tomorrow with Dr. Eva Cheng from RMIT to discuss the research.

VART3459 - Production Strategies Journal 4

Other algorithmic processes to pursue:

Markov Chains
http://en.wikipedia.org/wiki/Markov_chain

Serialism / Tone Row
http://en.wikipedia.org/wiki/Serialism
http://en.wikipedia.org/wiki/Tone_row

Euclidean Rhythms (Godfried Toussaint banff paper)
http://aatpm.com/banff.pdf

Genetic Algorithms
http://en.wikipedia.org/wiki/Evolutionary_music
Bruce Jacob - Composing with Genetic Algorithms
https://ece.umd.edu/~blj/papers/icmc95.pdf

Lindenmayer Systems
http://en.wikipedia.org/wiki/L-system

Désordre’s algorithms
"Désordre’s algorithms. The main argument of Désordre consists of foreground and background textures: Foreground (accented, loud). Two simultaneous instances of the same basic process, melodic/rhythmic, one in each hand, both doubled at the octave, and white note (righthand) and black-notew (pentatonic, lefthand) modes; and Background (quiet).
http://theacademyofthefuture.tumblr.com/post/62193508590/an-algorithmic-model-of-gyorgy-ligetis-desordre
http://cacm.acm.org/magazines/2011/7/109891-algorithmic-composition/fulltext

Cellular Automata
http://tones.wolfram.com/about/how.html

Chaos & Fractal Music
http://www.cim.mcgill.ca/~clark/nordmodularbook/nm_algorithmic.html

Rissett Rhythm
http://music.stackexchange.com/questions/4708/how-does-the-risset-rhythm-work

ARCH1372 - Reading 1 :: Estimating Room Impulse Responses from Recorded Balloon Pops

Estimating Room Impulse Responses from Recorded Balloon Pops

Jonathan S. Abel, Nicholas J. Bryan, Patty P. Huang, Miriam A. Kolar, and Bissera V. Pentcheva

AES 129th Convention, San Francisco, CA, USA, 2010 November 4–7

Abel et al. propose that Balloon Pop Impulse Response Recording is in most cases a more advantageous method for acoustic measurement however, properties of the impulse waveform create an undesired effect akin to comb-filtering when applied with convolution to other material. Abel et al. provide a methodology to avoid the aforementioned distortion through the synthesis and filtering of a pattern of echoes similar to those seen in a balloon pop impulse response recording. The echo sequence is generated in such a way as to create the same psychoacoustic impression as the original sequence of arrivals, though without the artifacts present in the recorded impulse method. I found the site specific example demonstrated in this article to be especially interesting, the application of synthesized/filtered impulse response convolution to authentically auralize a hymn performed in the 6th Century at the site of the Hagia Sophia. This example not only necessitates the methodology described in the article, but demonstrates the archeological, cultural and historical value of accurate acoustic measurement techniques.

VART3510 - AkE Internship Journal Week 1

Began modification on hardware and development of custom EEG software for preliminary use.

The MindFlex consumer EEG device serves as a perfect prototyping solution to begin working with EEG data. The device contains the Neurosky TGAM1 board which can be reprogrammed to send raw waveform data at a high baud rate of 57.6k equating to approximately 512 packets of data per second (or 1 packet every 2 milliseconds.) This is achieved by either desoldering a resistor on the board, or sending a command byte via serial.

The default configuration mode of the MindFlex device is set to is 9600 Baud without Raw Output, which is unsuitable for measurement purposes. I used an HC-05 Bluetooth module soldered to the TX and RX (Send & Receive) pins of the TGAM1 board to hijack the signal so I can send and receive packets in MAXMSP.

The MindFlex device is uses a monopolar montage EEG collection system, referencing a single dry electrode with two common reference electrodes attached to the earlobes. This is in contrast to bipolar montage collection which references two active scalp sites, commonly using a wet electrode system.

The results of the NeuroSky device have been tested and are comparable to Biopac wet electrode medical grade data acquisition devices used in research that has been published in peer reviewed journals, making it a suitable prototyping solution.




I've started some basic preliminary research of brainwave entrainment using binaural beats. I'm also looking into Isochronic Tones as per Darrin's suggestion.

VART3459 - Production Strategies Journal 3

Week 3 - 

Academic paper on Meshuggah:

• Re-casting Metal: Rhythm and Meter in the Music of Meshuggah
• JONATHAN PIESLAK
• Music Theory Spectrum
• Vol. 29, No. 2 (Fall 2007) (pp. 219-245

"In the first section of this essay, I examine rhythm and meter in Meshuggah’s music from 1987–2002, which is based on three specific techniques: large-scale odd time signatures, mixed meter, and metric superimposition. Scholars like Mark Butler, Walter Everett, and David Headlam employ models for the rhythmic analysis of pop-rock music based on ideas of meter, hypermeter, and metric dissonance developed by Harald Krebs and William Rothstein. These methods provide a useful framework for my discussion of Meshuggah’s music during this period.

....

This type of metric superimposition, or overlay, characterizes many Meshuggah songs and is articulated typically through the instrumental texture, where the guitars, bass, and pedal bass drum are based on a large-scale odd time signature and mixed meter while the cymbals (or some other instrument of the drum set, usually a hi-hat) maintain a steady quarter-note pulse that expresses a symmetrical hypermetric structure."

Creative AI: Computer composers are changing how music is made: http://www.gizmag.com/creative-artificial-intelligence-computer-algorithmic-music/35764/

Euclidean rhythms:

Euclidean sequencer in browser: http://www.groovemechanics.com/euclid/
Euclidean sequencer for Raspberry Pi: http://xavierriley.co.uk/neutron-accelerators-and-drum-machines-with-sonic-pi/
Euclidean sequencer in MaxMSP + Python: http://pattr.ru/rhythm-happy-failure.html
Euclidean sequencer in Ruby: http://blog.noizeramp.com/2008/10/26/rhythm-generation-with-an-euclidian-algorithm/

Factoring, Euclidean algorithm and rhythms: http://bbolker.github.io/math1mp/notes/week5A.html

Algorhythms: Generating some Interesting Rhythms: http://www.maths.usyd.edu.au/u/joachimw/talk2.pdf
MATHEMATICAL INVESTIGATIONS INTO RHYTHM: http://vrs.amsi.org.au/wp-content/uploads/sites/6/2014/09/Adam_Rentsch_AMSI_report.pdf

Algorhythms:Sonic Journeys and Emergent Patterns in Rhythmic Music: http://www.eca.ed.ac.uk/sites/default/files/documents/news/Algorhythms_Dave-House.pdf

Bjorklund Algorithm Python Script: http://brianhouse.net/files/bjorklund.txt

Euclidean Rhythm Generator using only MaxMSP (No Externals/Abstractions): https://cycling74.com/forums/topic/using-euclideanbjorklund-algorithm-for-rhythm-generation-purely-in-max/

Acreil post ia gearsluts:

https://www.gearslutz.com/board/electronic-music-instruments-electronic-music-production/777371-generative-evolving-drum-patterns-2.html

It's helpful to link multiple Euclidean patterns in series, and also to have a different counter/divider driving each part so you can get polyrhythms.

I've tried a lot of other ways to automatically generate drum patterns; mostly it ends up sounding like a train wreck. I even replaced the pattern ROM chip in a Korg KR-55B with a salvaged EPROM from something or other. The results weren't really compelling.

Another reasonably useful thing you can do is take a 16 (or whatever) step pattern and partition it into 4 parts. You can program a number of complete patterns and switch between them independently for each 4 step section. This is nice if you want some "variation within pre-determined limits". You may want to treat this differently for each sound.

Possible Non algorithmic (hand sequenced Polymetered + Polyrhythmic examples)

Using the 3 reference tracks as a basis to create a new track.

Start with simple rhythmic marker (ae @ flex) create polymetering (meshuggah) incorporate vocal structures (md + p73) analyze speech patterns and transpose to rhythm? <audio to midi> 

VART3510 - AkE Internship :: Intention Statement

VART3510 - AkE Internship :: Intention Statement

1. What you hope to gain from your experience at your host organisation

2. Your schedule at the organisation

3. The tasks or special project you have been assigned to

4. Information about the host organisation and why you selected this organisation in relation to your own career ambitions

I aim to learn and work within the framework of scientific research whilst exploring the potential for audio as a basis for academic study. I also aim to work toward a publishable paper of my findings. I will be developing skills that can be applied to development of gestural interfaces and installation artworks, exploring the articulation of raw brainwave data with hydraulic kinetic gestures. 

I have booked AkE Lab every Tuesday from 9:00am - 1:30pm for the duration of my Internship. In this time I will be developing the necessary software to undertake the research project and consequentially observing and recording the results of a small selection of participants. I have arranged a sample group of RMIT sound students to participate in the study which I will be balancing with a control group of non sound focused volunteers.

I will be conducting a volunteer based research study into brainwave entrainment via specific audio cues. I will also be experimenting with the use of specific audio stimuli as a modulation source for realtime EEG data driven gestures of the Thruxim Motion System based at AkE Lab, RMIT University Melbourne. The study will be supervised by Darrin Verhagen, but will be entirely self directed. I will be journaling the development process with preparatory research, technical notes and personal reflection.

AkE (pronounced "ache") is a multidisciplinary research, teaching and learning laboratory using motion simulators and 4D cinema seating to explore relationships between sound, movement and vision.  AkE Lab presented an opportunity to work on an academic research project on campus at RMIT. This opens exciting pathways at a postgraduate level.

ARCH1372 - Major Project Outline

Project Title

Axes (/ˈæksiːz/)

What is your project about? 

By applying the fundamental properties of sound in a multidimensional spatial framework I will create an immersive kinetic sound experience that explores the relationship between sonic gestures and perceived space.

Why do you want to create it?

I want to utilise the full potential of the 16 channel array at SIAL to explore the possibilities of a purely aural kinetic space. By examining and applying the fundamental properties of sound to a spatial framework I aim to create a sense of immersion and engagement that makes a unified tangible experience for the participants within the space. Through this process I aim to highlight the capacity sound alone has to create an objectively perceived space and the potential for the physicality of sound when applied spatially.

VART3459 - Production Strategies Journal 2

Journal 2 - Post presentation

I played my RMIT application folio, stating that it really felt like the most recent collection of musical pieces I've worked on.

Phil picked up on a temporal quality being explored. Phil said, "Sounds like these pieces have been playing before we heard them." or words to that effect. Interesting, considering the compositions I enjoy the most create a similar sense. The notion that when you look through a window the world outside doesn't begin the instant you engage with the window, activity has been occurring in perpetuity. I'd like to explore this more in music. I think Phil was just commenting on the fades. There is so much scope to compose without being clamped to the x axis with only a time vector to slide across it to the right..

3 key influences:

I would have liked to have picked a Xenakis and Cage pieces for this, but fundamentally I find their structures and concepts to be far superior to their aesthetics. The following artists left more of an impact on me sonically as I enjoy their aesthetic as much as their technical skill. Parmegiani, Penderecki and Wendy Carlos are all classic composers I really enjoy.

Autechre - Live at Flex Vienna (1996)

Long form minimalist performance, exercise in restraint. I love this.

Meshuggah - In Death is Death [Catch 33]

Sections of this manages to capture order and chaos simultaneously. 

Polymetric timing and odd tonal choices create this effect.

Machinedrum - Half The Battle // Prefuse73 - Radioattack

Using the voice as rhythmic sound object allowing hiphop to be stripped of 

contextual baggage and retaining/developing its aesthetics.

Key concepts, motives that can be transposed out to new presentation models beyond non visual stereo speakers/pa.

Development of a performative aspect to recording and presenting work.

Focused, directed work. Objective driven experimentation. Conceptual works obfuscated with process.

Working toward to a sound design portfolio.

VART3510 - Internship Program (AkE Lab) Project Outline

Volunteer based research with a small study group examining the relationship between audio stimuli and neural oscillations in an immersive kinetic environment.

Observing and recording results of the use of specific audio stimuli as a modulation source for realtime EEG data driven gestures of the 2DOF Thruxim Motion System based at AkE Lab, RMIT University Melbourne.

Noise stimuli (Pink, White)

Binaural Beats

Scope to sonify the EEG data as sonic biofeedback played to the participants.

Scope to test claims made of binaural beat frequencies directly modulating brainwave activity and record the results.

Scope to study the possibilities of thought driven motion simulators and the potential relevance of sound as the key modulation source.

Required:

Participant Information Consent Form: CHEAN

Background research:

audio brainwave entrainment

binaural research

isochronic tones

neural oscillation

Meeting with Jenny Robinson

Preparatory hardware & software tests at AkE next week.

ARCH1732 - Convolution Experiments

Using FScape I experimented with convolution using samples from my library.

Experiment 1:
For the input file I selected a short transient (a snare i'd made from my own library)

For the Impulse Response I selected a long granular choir sample from a free pack downloaded a long time ago.

The results were not impressive. I made the assumption that a long pad sound would make a good impulse for the short transient input file. 

I reversed the sample selection for the input file and impulse file to test whether this would have some effect on the output. 

I was disappointed to discover that it didn't. 

Clearly I have a lack of understanding of the convolution process. After taking a look at the FScape Module documentation I took another approach with sample selection and experimented with the settings.

"the spectral characteristics of the IR (both amplitude spectrum and phase resonse) are superimposed onto the input file. When using normal sounds the output tends to emphasize the low frequencies unless the IR has a flat spectrum. It tends to emphasize the frequencies that exist both in the input and the IR and cancels those frequencies which are not present in either file."

I opted to use a dynamic sample from my library as the impulse response with a sample of granular drone textures from a sonified image as the input file. I also experimented with the convolution with inversion mode, morph IRs with correlate and shift policy setting along with Truncate overlaps which the documentation stated caused "interesting" results from buggy code.

Input file: granular drone textures from sonified image

Impulse file: dynamic digital transient + fx sample from personal library

Output file: Convolution with inversion mode, morph IRs with correlate and shift policy setting along with Truncate overlaps

Output file: Convolution with inversion mode, morph IRs with Polar Crossfade policy setting along with Truncate overlaps

Output file: Deconvolution mode, morph IRs with Polar Crossfade policy setting along with Truncate overlaps

Output file: Convolution mode, morph IRs with Polar Crossfade policy setting along with Truncate overlaps

Interesting method for generating textures when superimposing rhythmic content. I would like to use recordings of speech patterns as a source for future experiments. 

Finally I decided to use an impulse response from a range I recorded myself last year at First Site Gallery at RMIT for a previous assignment. For these experiments I used dry sample of a Koto playing Kojo no Tsuki as the input file and a mouth click impulse rather than one of my balloon pop impulses.

Input file: Dry sample of Koto playing Kojo no Tsuki (The Moon Over the Ruined Castle)

Impulse file: Mouth Click + Impulse Response recorded at RMIT First Site Gallery

Output file: Convolution mode

Output file: Convolution with inversion mode + truncate overlaps

Output file: Deconvolution mode + truncate overlaps

Great results, especially with deconvolution mode. I have used convolution reverbs in this way in the past, but not with this utility. FScape has some interesting quirks I enjoyed exploring. I will definitely be exploring the rest of its modules and experiment with convolution further with other rhythmic and textural combinations.

VART3459 - Prod. Strategies Journal 1

Journal 1 - Reflection

How divergent practices have informed an ongoing design motive.

What I am inspired by?

Contextual transposition, steganography, Ordered Chaos

'Linguistic' Music - Phraseology

I want to study DSP algorithms and articulate them gesturally. The gestural component provides the "linguistic" articulation.

Non algorithmic (hand sequenced Polymetered + Polyrhythmic examples)

[Interventions / Actions]

Eno - Imaginary Landscapes

David Byrne - How Music Works

Transducer - Speak Percussion

Meshuggah - In Death Is Death (Cued from ~4:40)

Autechre - Live At Flex 1996 (cue from 7:30)

Machine Drum - Half the Battle

/ Prefuse73 - Radioattack

ARCH1372 - Image to text exercise

Find an image, describe the sound of this image in words.

Literal: Monochromatic, noisy, granulised, textural, ragged, smeared, viscous, abraded.

Symbolic: Static, Rorschach, Shroud, Newsprint, Stone Rubbing.

Alliteration: A Tattered tactile textured text textile.

Onomatopoeia:

Random Inkjet Print (Readymade) Julyyb via Deviantart

ARCH1372 - Spatial Sound Modeling :: First Class Notes

SIAL ::

Major Assessable Work Development Notes

Working Title: 'AXES' ? Axis

Recorded composition could be adapted to audience/gesture driven realtime piece (kinect) 

Offset clusters through sonic cues / 'tilting'

Reinforce clusters through sonic cues / 'tilting'

Resistance / Attractant 

** Sheppards Tone? Risset?? ***

Key question: Is this ambisonics? 

Use of Abstracted sound choices/Non real space? Non representational sonic space = Is this Ambisonics? 

** Key distinction: Using space to understand sound, not using sound to understand space. **

Main assessment: Preparation

Readings

Idea Dev: 16 as a concept, mathmatic significance http://en.wikipedia.org/wiki/16_%28number%29

_Pairings_ as a key concept for composition

Ambisonics Research, 

Gestural? Improv?
Raytracing? : http://en.wikipedia.org/wiki/Ray_tracing_%28graphics%29

** Gestalt Driven Design** Unified experience, not subjective. Intentional, for greatest impact. The space _is_ the piece.

** Contextually reduced sonic space  (No recordings)

** Physicality driven / Objective experience intended **

** __Implied__ circular space.**

Donald Schon - "The designer designs not only with the mind but with the body and senses."

The Reflective Practitioner

Educating the Reflective Practitioner

Depth? (Frequency drop/rise) - Spatial Relationships through Frequency VERTICAL AXIS SPATIALITY

Spatial Relationships through Call & Response [Vocal/Voice Pairings]

Spatial Relationships through Mathmatical Geometry/Symbology [RESEARCH]

Spatial Relationships through Panning (Combined with Freq for "Tilting")

Spatial Relationships through Time & Distance

Transient Experiment: 

Fire 100% dry transient through one side of a pair // fire 100% wet reverb/other fx through other pairing

Cross pairing (Firing both at each other simultaneously)

Spatial Relationships through Listener Placement [Static vs. Dynamic]

Spatial Orientation? Should ambisonic/spatial composition consider/maintain traditional notions of basic L+R orientation?

Compositional/Temporal Orientation: Should ambisonic/spatial composition consider/maintain traditional notions of basic L to R temporal orientation?

[Establishment of Spatial Language]

https://sites.google.com/a/rmit.edu.au/ambisonic-and-spatial-sound-modeling/

Example Performance: '40 Part Motet'

Binaural recording: http://www.amazon.com/Roland-CS-10EM-Binaural-Microphone-Earphones/dp/B003QGPCTE