DOCSLIB.ORG

Ryo Ikeshiro

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Ryo Ikeshiro Studio Composition Live audiovisualisation using emergent generative systems Ryo Ikeshiro Thesis submitted for the degree of Doctor of Philosophy Goldsmiths, University of London August 2013 Declaration I hereby declare that the work presented in this thesis is my own. Signature: Ryo Ikeshiro 2 Abstract The aim of this research is to explore new creative outcomes of the use of emergent generative systems as material in audio and audiovisual experimental art. The portfolio includes the following compositions: Construction in Self, Construction in Zhuangzi and Construction in Kneading, the last two each comprising of three separate pieces. The mathematical systems used are the Lorenz dynamical system and the Mandelbox fractal. Through considering their potential for emergence, the aesthetic possibilities that generative systems offer in the context of experimental computational art are explored. The approach is initially investigated in the audio domain in CiS, a generative electronic music work. CiZ and CiK, the two main sets of works that comprise the portfolio, then explore the technique of “live audiovisualisation”: the simultaneous sonification and visualisation of the same source of data in real-time. Aesthetic considerations of the use of data as sound and moving image and their combination is discussed with reference to research into auditory displays, experimental film and perception. The techniques used include my approach of “self-similar sonification”: the presentation of data as audio at multiple time- scales, including at audio rate by means of non-standard synthesis or audification. All the works are implemented in the programming environment Max/MSP/Jitter. 3 Acknowledgements I would like to thank my supervisors, Michael Young and Mick Grierson, for their support and guidance during my time at Goldsmiths. I would also like to thank the various teachers, colleagues and friends who have helped me along the way. A special thank you goes to my family and Tim and Kit Kemp for their generous support that made this PhD possible. 4 Contents List of tables and figures!...............................................................9 Notes on Movie examples!...........................................................10 Notes on Sound examples!..........................................................11 Research outputs!....................................................12 Creative work!..............................................................................12 Peer-reviewed papers!.................................................................13 Introduction!..............................................................15 Part I: Theory!.........................................................17 Computational Art!....................................................17 Separation of technique and aesthetics!......................................17 Institutional and underground!.....................................................19 Software art and generative art!...................................................20 Concept and conceptual!.............................................................22 Complexity!..................................................................................23 Emergence!..............................................................24 History of emergence!..................................................................24 Strong and weak emergence!......................................................25 Noise!...........................................................................................27 Aesthetics!................................................................28 Artificial Life!................................................................................28 Art-as-it-could-be!........................................................................29 5 Experimental art!..........................................................................31 Machinic!......................................................................................33 Cyborg!........................................................................................34 (New) Aesthetic!...........................................................................35 Alien phenomenology!.................................................................36 Alien music!..................................................................................37 Systems!..................................................................39 The Lorenz system!......................................................................39 Sensitive dependence on initial conditions!.................................40 Attractors and basins of attraction!..............................................41 Arrow of time!...............................................................................42 Vector fields, perturbations, phase transitions!............................43 Ordinary and singular events!......................................................43 Second type of first-order emergence!.........................................44 Mandelbox!...................................................................................44 Dimensions!.................................................................................45 The baker’s map!.........................................................................46 Squares and circles!....................................................................47 Part II: Techniques!................................................48 Data as Audio!..........................................................48 Auditory display and music!.........................................................48 Self-similar sonification!...............................................................50 Self-similarity!...............................................................................50 Audio rate!....................................................................................51 6 Audification!.................................................................................52 Non-standard synthesis!..............................................................53 Control rate!.................................................................................55 Inflection point triggering!.............................................................56 Elegance!.....................................................................................57 Live Audiovisualisation!............................................58 Integration of sound and image!..................................................59 Structural/Materialist film!.............................................................60 Recent examples!........................................................................62 Musical texture metaphors!..........................................................63 Auditory displays and perception!................................................65 Cross-modal phenomena!............................................................66 Added value and synchresis!.......................................................68 Superfield!....................................................................................69 Camera position!..........................................................................70 Synaesthesia!..............................................................................70 Live performance!........................................................................71 Part III: Practice!.....................................................72 Construction in Self!.................................................72 Introduction!.................................................................................72 Key concepts!..............................................................................72 Form!............................................................................................73 Calculation!..................................................................................74 Data as audio!.............................................................................74 7 Panning!.......................................................................................78 Structure!.....................................................................................79 Implementation!...........................................................................80 Documentation!............................................................................80 Evaluation!...................................................................................80 Construction in Zhuangzi (Part 1 to 3)!.....................83 Introduction!.................................................................................83 Key concepts!..............................................................................83 Modified Lorenz system!..............................................................84 Trajectories!.................................................................................84 Audiovisualisation!.......................................................................85 Implementation!...........................................................................86 Evaluation!...................................................................................87 Construction in Kneading (Part 1 to 3)!....................88 Introduction!.................................................................................88 Key concepts!..............................................................................88
Load more

Recommended publications
  • Object Oriented Programming
    No. 52 March-A pril'1990 $3.95 T H E M TEe H CAL J 0 URN A L COPIA Object Oriented Programming First it was BASIC, then it was structures, now it's objects. C++ afi<;ionados feel, of course, that objects are so powerful, so encompassing that anything could be so defined. I hope they're not placing bets, because if they are, money's no object. C++ 2.0 page 8 An objective view of the newest C++. Training A Neural Network Now that you have a neural network what do you do with it? Part two of a fascinating series. Debugging C page 21 Pointers Using MEM Keep C fro111 (C)rashing your system. An AT Keyboard Interface Use an AT keyboard with your latest project. And More ... Understanding Logic Families EPROM Programming Speeding Up Your AT Keyboard ((CHAOS MADE TO ORDER~ Explore the Magnificent and Infinite World of Fractals with FRAC LS™ AN ELECTRONIC KALEIDOSCOPE OF NATURES GEOMETRYTM With FracTools, you can modify and play with any of the included images, or easily create new ones by marking a region in an existing image or entering the coordinates directly. Filter out areas of the display, change colors in any area, and animate the fractal to create gorgeous and mesmerizing images. Special effects include Strobe, Kaleidoscope, Stained Glass, Horizontal, Vertical and Diagonal Panning, and Mouse Movies. The most spectacular application is the creation of self-running Slide Shows. Include any PCX file from any of the popular "paint" programs. FracTools also includes a Slide Show Programming Language, to bring a higher degree of control to your shows.
    [Show full text]
  • Fractal 3D Magic Free
    FREE FRACTAL 3D MAGIC PDF Clifford A. Pickover | 160 pages | 07 Sep 2014 | Sterling Publishing Co Inc | 9781454912637 | English | New York, United States Fractal 3D Magic | Banyen Books & Sound Option 1 Usually ships in business days. Option 2 - Most Popular! This groundbreaking 3D showcase offers a rare glimpse into the dazzling world of computer-generated fractal art. Prolific polymath Clifford Pickover introduces the collection, which provides background on everything from Fractal 3D Magic classic Mandelbrot set, to the infinitely porous Menger Sponge, to ethereal fractal flames. The following eye-popping gallery displays mathematical formulas transformed into stunning computer-generated 3D anaglyphs. More than intricate designs, visible in three dimensions thanks to Fractal 3D Magic enclosed 3D glasses, will engross math and optical illusions enthusiasts alike. If an item you have purchased from us is not working as expected, please visit one of our in-store Knowledge Experts for free help, where they can solve your problem or even exchange the item for a product that better suits your needs. If you need to return an item, simply bring it back to any Micro Center store for Fractal 3D Magic full refund or exchange. All other products may be returned within 30 days of purchase. Using the software may require the use of a computer or other device that must meet minimum system requirements. It is recommended that you familiarize Fractal 3D Magic with the system requirements before making your purchase. Software system requirements are typically found on the Product information specification page. Aerial Drones Micro Center is happy to honor its customary day return policy for Aerial Drone returns due to product defect or customer dissatisfaction.
    [Show full text]
  • Open Etoth Dissertation Corrected.Pdf
    The Pennsylvania State University The Graduate School The College of Arts and Architecture FROM ACTIVISM TO KIETISM: MODERIST SPACES I HUGARIA ART, 1918-1930 BUDAPEST – VIEA – BERLI A Dissertation in Art History by Edit Tóth © 2010 Edit Tóth Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy May 2010 The dissertation of Edit Tóth was reviewed and approved* by the following: Nancy Locke Associate Professor of Art History Dissertation Adviser Chair of Committee Sarah K. Rich Associate Professor of Art History Craig Zabel Head of the Department of Art History Michael Bernhard Associate Professor of Political Science *Signatures are on file in the Graduate School ii ABSTRACT From Activism to Kinetism: Modernist Spaces in Hungarian Art, 1918-1930. Budapest – Vienna – Berlin investigates modernist art created in Central Europe of that period, as it responded to the shock effects of modernity. In this endeavor it takes artists directly or indirectly associated with the MA (“Today,” 1916-1925) Hungarian artistic and literary circle and periodical as paradigmatic of this response. From the loose association of artists and literary men, connected more by their ideas than by a distinct style, I single out works by Lajos Kassák – writer, poet, artist, editor, and the main mover and guiding star of MA , – the painter Sándor Bortnyik, the polymath László Moholy- Nagy, and the designer Marcel Breuer. This exclusive selection is based on a particular agenda. First, it considers how the failure of a revolutionary reorganization of society during the Hungarian Soviet Republic (April 23 – August 1, 1919) at the end of World War I prompted the Hungarian Activists to reassess their lofty political ideals in exile and make compromises if they wanted to remain in the vanguard of modernity.
    [Show full text]
  • The Last Adventures Education Pack
    THE LAST ADVENTURES EDUCATION INFORMATION PACK CONTENTS 1. Teacher’s notes and your group’s visit to the theatre 2. About the performance 3. About the company 4. Tim Etchells 5. Tarek Atoui 6. KK Null 7. Interview with Tim Etchells and Tarek Atoui 8. Further resources available 9. Credits The Last Adventures Information Pack 1 ** 1. TEACHER’S NOTES AND YOUR GROUP’S VISIT TO THE THEATRE This pack is designed to help prepare a college or university group for their visit to the theatre. We hope the information provided will enhance students’ overall critical appreciation of the production and we look forward to welcoming you to the theatre. The aims of this resource pack are: • To provide some context to the work of Forced Entertainment, especially for those who may be encountering the work for the first time; • To provide some background as to how this work in particular is placed in the company’s repertoire; • To introduce Forced Entertainment’s artistic director, Tim Etchells, and this project’s key collaborators; • To provide signposts to further resources for those wishing to engage in deeper research. You can support this through: • Engaging students in a discussion or some preliminary research about the company, prior to their visit; • Making students aware Forced Entertainment’s work is very different from ‘traditional theatre’; that it can be seen as challenging and dark as well as funny and moving; • Ensuring in their visit that students are briefed to turn their mobile phones off and that quite a high level of concentration may be required throughout the show; • Encouraging students to think about what they might ask in a post-show discussion.
    [Show full text]
  • Signal Processing Using Fuzzy Fractal Dimension and Grade of Fractality –Application to Fluctuations in Seawater Temperature–
    Proceedings of the 2007 IEEE Symposium on Computational Intelligence in Image and Signal Processing (CIISP 2007) Signal Processing Using Fuzzy Fractal Dimension and Grade of Fractality –Application to Fluctuations in Seawater Temperature– Kenichi Kamijo Graduate School of Life Sciences, Toyo University, 1-1-1 Izumino, Itakura, Gunma, 374-0193, Japan and Akiko Yamanouchi Izu Oceanics Research Institute 3-12-23 Nishiochiai, Shinjuku, Tokyo, 161-0031, Japan Abstract— Discrete signal processing using fuzzy fractal As an application in the present paper, we describe a new dimension and grade of fractality is proposed based on the fuzzy fractal approach for a system to monitor seawater novel concept of merging fuzzy theory and fractal theory. The temperature around Japan. Local fuzzy fractal dimension is fuzzy concept of fractality, or self-similarity, in discrete time used to measure the complexity of a time series of observed series can be reconstructed as a fuzzy-attribution, i.e., a kind of seawater temperature. fuzzy set. The objective short time series can be interpreted as an objective vector, which can be used by a newly proposed membership function. Sliding measurement using the local fuzzy fractal dimension (LFFD) and the local grade of fractality II. FUZZY FRACTAL STRUCTURE (LGF) is proposed and applied to fluctuations in seawater Generally, when the fractal dimension is calculated temperature around the Izu peninsula of Japan. Several remarkable characteristics are revealed through “fuzzy signal formally for a phenomenon that is not guaranteed to be processing” using LFFD and LGF. fractal in nature, the fractal dimension depends on the observation scale [17]. In this case, the dimension is referred to as a scale-dependent fractal dimension.
    [Show full text]
  • Real-Time 3D Graphic Augmentation of Therapeutic Music Sessions for People on the Autism Spectrum
    Real-time 3D Graphic Augmentation of Therapeutic Music Sessions for People on the Autism Spectrum John Joseph McGowan Submitted in partial fulfilment of the requirements of Edinburgh Napier University for the degree of Doctor of Philosophy October 2018 Declaration I, John McGowan, declare that the work contained within this thesis has not been submitted for any other degree or professional qualification. Furthermore, the thesis is the result of the student’s own independent work. Published material associated with the thesis is detailed within the section on Associate Publications. Signed: Date: 12th October 2019 J J McGowan Abstract i Abstract This thesis looks at the requirements analysis, design, development and evaluation of an application, CymaSense, as a means of improving the communicative behaviours of autistic participants through therapeutic music sessions, via the addition of a visual modality. Autism spectrum condition (ASC) is a lifelong neurodevelopmental disorder that can affect people in a number of ways, commonly through difficulties in communication. Interactive audio-visual feedback can be an effective way to enhance music therapy for people on the autism spectrum. A multi-sensory approach encourages musical engagement within clients, increasing levels of communication and social interaction beyond the sessions. Cymatics describes a resultant visualised geometry of vibration through a variety of mediums, typically through salt on a brass plate or via water. The research reported in this thesis focuses on how an interactive audio-visual application, based on Cymatics, might improve communication for people on the autism spectrum. A requirements analysis was conducted through interviews with four therapeutic music practitioners, aimed at identifying working practices with autistic clients.
    [Show full text]
  • Immersion Into Noise
    Immersion Into Noise Critical Climate Change Series Editors: Tom Cohen and Claire Colebrook The era of climate change involves the mutation of systems beyond 20th century anthropomorphic models and has stood, until recent- ly, outside representation or address. Understood in a broad and critical sense, climate change concerns material agencies that im- pact on biomass and energy, erased borders and microbial inven- tion, geological and nanographic time, and extinction events. The possibility of extinction has always been a latent figure in textual production and archives; but the current sense of depletion, decay, mutation and exhaustion calls for new modes of address, new styles of publishing and authoring, and new formats and speeds of distri- bution. As the pressures and re-alignments of this re-arrangement occur, so must the critical languages and conceptual templates, po- litical premises and definitions of ‘life.’ There is a particular need to publish in timely fashion experimental monographs that redefine the boundaries of disciplinary fields, rhetorical invasions, the in- terface of conceptual and scientific languages, and geomorphic and geopolitical interventions. Critical Climate Change is oriented, in this general manner, toward the epistemo-political mutations that correspond to the temporalities of terrestrial mutation. Immersion Into Noise Joseph Nechvatal OPEN HUMANITIES PRESS An imprint of MPublishing – University of Michigan Library, Ann Arbor, 2011 First edition published by Open Humanities Press 2011 Freely available online at http://hdl.handle.net/2027/spo.9618970.0001.001 Copyright © 2011 Joseph Nechvatal This is an open access book, licensed under the Creative Commons By Attribution Share Alike license. Under this license, authors allow anyone to download, reuse, reprint, modify, distribute, and/or copy this book so long as the authors and source are cited and resulting derivative works are licensed under the same or similar license.
    [Show full text]
  • From Hydrophonics to Interactive Sound Fountains
    From Hydrophonics to Interactive Sound Fountains Johannes Birringer From “Series One” – Open Studio Exhibition, Derby University April – May 2008. Although modest and seemingly unspectacular, Caroline Locke’s phrase “seeing sound” – a phrase she used to describe her interests in creating sculptural sound-performance works when I first met her in 2004 – has stuck with me. It is an odd paradox, but one that has gained resonance in recent years as we have moved along with the scientific and technological advances in a culture obsessed with data visualizations and location mapping. Today’s ultrasonic medical scanning of our arterial blood flow allows us to peer inside ourselves, so to speak. We depend on x-ray vision to diagnose a fracture of our bones, and neurologists look into our brains to pinpoint areas responsible for thoughts, feelings, and actions. Sound and vision are two closely related sensory registers, yet we do not commonly think of sight being audible, and sound being visible. We do not see with our ears, we use them to listen to the wind as we go forth in the world, as the anthropologist Tim Ingold once suggested, noting that wind and breath are intimately related in the continuous movement of inhalation and exhalation that is fundamental to life and being.1 1 Cf. Tim Ingold, “Against Soundscape,” in Angus Carlyle (ed.), Autumn. Leaves: Sound and the Environment in Artistic Practice (Paris: Double Entendre, 2007), pp. 10-13. 2 Even though my immediate contact with Caroline Locke’s artistic creativity and collaborative ventures was limited to a brief two-year period (2004-05), I propose to reflect here on her major performance installation Hydrophonics (2005) and her on-going preoccupation with water and sound, attempting to sketch a particular collaborative and interactive trajectory in the various manifestations of her artistic project.
    [Show full text]
  • Selected Filmography of Digital Culture and New Media Art
    Dejan Grba SELECTED FILMOGRAPHY OF DIGITAL CULTURE AND NEW MEDIA ART This filmography comprises feature films, documentaries, TV shows, series and reports about digital culture and new media art. The selected feature films reflect the informatization of society, economy and politics in various ways, primarily on the conceptual and narrative plan. Feature films that directly thematize the digital paradigm can be found in the Film Lists section. Each entry is referenced with basic filmographic data: director’s name, title and production year, and production details are available online at IMDB, FilmWeb, FindAnyFilm, Metacritic etc. The coloured titles are links. Feature films Fritz Lang, Metropolis, 1926. Fritz Lang, M, 1931. William Cameron Menzies, Things to Come, 1936. Fritz Lang, The Thousand Eyes of Dr. Mabuse, 1960. Sidney Lumet, Fail-Safe, 1964. James B. Harris, The Bedford Incident, 1965. Jean-Luc Godard, Alphaville, 1965. Joseph Sargent, Colossus: The Forbin Project, 1970. Henri Verneuil, Le serpent, 1973. Alan J. Pakula, The Parallax View, 1974. Francis Ford Coppola, The Conversation, 1974. Sidney Pollack, The Three Days of Condor, 1975. George P. Cosmatos, The Cassandra Crossing, 1976. Sidney Lumet, Network, 1976. Robert Aldrich, Twilight's Last Gleaming, 1977. Michael Crichton, Coma, 1978. Brian De Palma, Blow Out, 1981. Steven Lisberger, Tron, 1982. Godfrey Reggio, Koyaanisqatsi, 1983. John Badham, WarGames, 1983. Roger Donaldson, No Way Out, 1987. F. Gary Gray, The Negotiator, 1988. John McTiernan, Die Hard, 1988. Phil Alden Robinson, Sneakers, 1992. Andrew Davis, The Fugitive, 1993. David Fincher, The Game, 1997. David Cronenberg, eXistenZ, 1999. Frank Oz, The Score, 2001. Tony Scott, Spy Game, 2001.
    [Show full text]
  • 1989 and After
    1 1989 AND AFTER BEGINNINGS It begins with a string quartet: two violins, a viola, and a cello pumping notes up and down like pistons. An image of the American machine age, hallucinated through the sound of the European Enlightenment. Th e image is strengthened as a voice—mature, female, American—intones an itinerary: “From Chicago . to New York.” Th e sound is prerecorded, digitally sampled and amplifi ed through speakers beside the ensemble. More samples are added: more voices; the whistles and bells of trains; one, two, three, or even more string quartets. Rapidly the musi- cal space far exceeds what we see on stage. Th is is a string quartet for the media age, as much recordings and amplifi cation as it is the four musicians in front of us. Yet everything extends from it and back into it, whether the quartet of quartets, which mirror and echo each other; the voices, which seem to blend seamlessly with the instrumental rhythms and melodies; or the whistles, which mesh so clearly with the harmonic changes that it seems certain they come from an unseen wind instrument and not a concrete recording. ••• It begins with thumping and hammering, small clusters struck on the piano key- board with the side of the palm or with three fi ngers pressed together, jabbing like a beak. Th e sound recalls a malevolent dinosaur or perhaps a furious child, but it isn’t random; a melody of sorts, or an identifi able series of pitches at least, hangs over the tumult. Aft er twenty seconds or so the thunder halts abruptly for a two- note rising motif played by the right hand, which is then imitated (slightly altered) 1 2 1989 AND AFTER by the left .
    [Show full text]
  • Firmament of Sound
    Firmament of Sound Before there were eyes to see when a vast darkness still permeated the void, All rested beneath a firmament of Sound. I stare into the primal pool breath ripples the water and light appears –as if from within– a raiment of pastel profusion barely the faintest hint of definition. I open myself and eyes appear –as if from within– so that I might see myself apart from the landscape, a part of the landscape– my original face peering out of the darkness, peering into the void. Without fear; without pain; no sharp edges; no hard places; no borders. Nothing to recoil from no need for protection no need for rejection– no separation. I raise my voice and Behold! I Create my own personal playground, a universe of figure, form and motion arising from my impetuous imagination. © 2009, Jeff Volk Autumn 2010 FROM VIBRATION TO MANIFESTATION: Assuming our Rightful Place in Creation All is vibration! ––Novalis Editor’s Note: The following article builds on Cymatics: Insights into the Invisible World of Sound, published in the Summer 2009 issue of The Quester. A brief overview of the science of Cymatics will be given at the outset, but for a more thorough understanding, please refer to that article at http://www.cymaticsource.com/pdf/CaduceusArticle.pdf. Cymatics in a Sound-bite Cymatics, the study of wave phenomena and vibration, is a scientific methodology that demonstrates the vibratory nature of matter and the transformational nature of sound. It is sound science at its finest, and its implications are vast! The term (Kymatiks in German), was adapted from the Greek word for wave, ta Kyma, in the 1960s by Swiss medical doctor and natural scientist, Hans Jenny (1904-1972).
    [Show full text]
  • Alternate African Reality. Electronic, Electroacoustic and Experimental Music from Africa and the Diaspora
    Alternate African Reality, cover for the digital release by Cedrik Fermont, 2020. Alternate African Reality. Electronic, electroacoustic and experimental music from Africa and the diaspora. Introduction and critique. "Always use the word ‘Africa’ or ‘Darkness’ or ‘Safari’ in your title. Subtitles may include the words ‘Zanzibar’, ‘Masai’, ‘Zulu’, ‘Zambezi’, ‘Congo’, ‘Nile’, ‘Big’, ‘Sky’, ‘Shadow’, ‘Drum’, ‘Sun’ or ‘Bygone’. Also useful are words such as ‘Guerrillas’, ‘Timeless’, ‘Primordial’ and ‘Tribal’. Note that ‘People’ means Africans who are not black, while ‘The People’ means black Africans. Never have a picture of a well-adjusted African on the cover of your book, or in it, unless that African has won the Nobel Prize. An AK-47, prominent ribs, naked breasts: use these. If you must include an African, make sure you get one in Masai or Zulu or Dogon dress." – Binyavanga Wainaina (1971-2019). © Binyavanga Wainaina, 2005. Originally published in Granta 92, 2005. Photo taken in the streets of Maputo, Mozambique by Cedrik Fermont, 2018. "Africa – the dark continent of the tyrants, the beautiful girls, the bizarre rituals, the tropical fruits, the pygmies, the guns, the mercenaries, the tribal wars, the unusual diseases, the abject poverty, the sumptuous riches, the widespread executions, the praetorian colonialists, the exotic wildlife - and the music." (extract from the booklet of Extreme Music from Africa (Susan Lawly, 1997). Whether intended as prank, provocation or patronisation or, who knows, all of these at once, producer William Bennett's fake African compilation Extreme Music from Africa perfectly fits the African clichés that Binyavanga Wainaina described in his essay How To Write About Africa : the concept, the cover, the lame references, the stereotypical drawing made by Trevor Brown..
    [Show full text]