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Lewis Jeremy Sykes The Augmented Tonoscope Towards a Deeper Understanding of the Interplay between Sound and Image in Visual Music A thesis submitted in partial fulfilment of the requirements of the Manchester Metropolitan University for the degree of Doctor of Philosophy Manchester Institute for Research and Innovation in Art & Design (MIRIAD), Manchester School of Art February 2015 Abstract This thesis presents the theoretical, technical and aesthetic concerns in realising a harmonic complementarity and more intimate perceptual connection between music and moving image. It explores the inspirations and various processes involved in creating a series of artistic works - attached as a portfolio and produced as the research. This includes the Cymatic Adufe (v1.1) - a sound-responsive, audiovisual installation; Stravinsky Rose (v2.0) - an audiovisual short in Dome format; and the live performance works of Whitney Triptych (v1.2), Moiré Modes (v1.1) and Stravinsky Rose (v3.0). The thesis outlines an approach towards realising a deeper understanding of the interplay between sound and image in Visual Music - through applying: the Differential Dynamics of pioneering, computer-aided, experimental animator John Whitney Sr.; alternate musical tunings based on harmonic consonance and the Pythagorean laws of harmony; and sound’s ability to induce physical form and flow via Cymatics - the study of wave phenomena and vibration - a term coined by Dr. Hans Jenny for his seminal research into these effects in the 1960s and 70s, using a device of his own design - the ʻtonoscopeʼ. The thesis discusses the key method for this artistic investigation through the design, fabrication and crafting of a hybrid analogue/digital audiovisual instrument - a contemporary version of Jenny’s sound visualisation tool - The Augmented Tonoscope. It details the developmental process which has realised a modular performance system integrating sound making, sound analysis, analogue outputs, virtual systems, musical interface and recording and sequencing. Finally, the thesis details the impact of this system on creating audiovisualisation of a distinct quality through: a formalist, minimal, decluttered aesthetic; a direct, elemental and real-time correspondence between sound and image; a mirroring of music’s innate movement and transition within the visual domain; and an underlying concord or harmony between music and moving image. Lewis Sykes ii Table of Contents 5.4 Analogue Outputs 65 5.4.1 Early Studio Prototypes 66 5.4.2 16” Floor Tom 67 List of Figures vi 5.4.3 13” Piccolo Snare 69 Dedication & Acknowledgments viii 5.4.4 Drum Tuner 71 Preface ix 5.4.5 Comparative Tests to Virtual Drum Skin 71 1. Introduction 1 5.5. Virtual Systems 72 1.1 Outline 1 5.5.1 Virtual Drum Skin 73 1.2 A Personal Research Statement 2 5.5.2 Superformula 75 1.3 Visual Music 5 5.5.3 John Whitney Sr.’s Differential Dynamics 75 1.4 Stationary Waves 7 5.6 Musical Interface 77 1.5 Cymatics 11 5.6.1 Sine Wave Generator (SWG) 79 1.6 Cymatic Music 14 5.6.2 Lamdoma Matrix & monome64 79 1.7 Pythagorean Laws of Harmony 15 5.7. Recording & Sequencing 81 1.8 John Whitney Sr. 17 5.7.1 Ki-No-Seq (Kinetic Nodal Sequencer) 81 1.9 Movement in Music - Musical Gestures 19 5.7.2 Ableton Live Suite 9.1 83 1.10 The Senses and Perception - Sensory Integration versus Synaesthesia 20 5.7.3 Recording Pitch Bend Data 83 1.11 Audiovisual Composition 21 5.7.4 Max4Live Pitch Bend Device 85 1.12 An Examination of the Senses 23 5.7.5 Micro-tuning Software 85 2. Literature Review 25 5.7.6 Custom Micro-tuning Hardware 87 2.1 Introduction 25 5. 8 Conclusions 88 2.2 Hans Jenny’s Cymatics 26 2.3 John Telfer’s Cymatic Music 27 6. Creative Outputs 89 2.4 Suguru Goto’s Cymatics 30 6.1 Introduction 89 2.5 The Legacy of John Whitney Sr. 32 6.2 Submitted Works 89 2.6 Musical Gestures 33 6.3 A Note on Naming Convention 91 2.7 Sensory-Centric Philosophy 34 6.4 Creative Output Timeline 91 6.5 On Description, Context, Technical Realisation and Critical Reflection 91 3. Methodology 36 6.6 A Note on Formalism 93 3.1 Introduction 36 6.7 Gallery Installation - The Cymatic Adufe 93 3.2 Research Frameworks 37 6.7.1 Description 93 4. The Augmented Tonoscope 41 6.7.2 Context 94 4.1 Introduction 41 6.7.3 Technical Realisation 95 4.2 On Making an Instrument 41 6.7.4 Critical Reflection 97 4.3 On Making An Instrument as Method 43 6.8 Screening - Stravinsky Rose (v2.0) 99 4.4 From Mental Model to Physical Device 45 6.8.1 Description 99 4.5 Key Developmental Stages 47 6.8.2 Context 100 4.6 A Modular Performance System 49 6.8.3 Technical Realisation 100 5. A Modular Performance System 51 6.8.4. Critical Reflection 103 5.1 Introduction 51 6.9. Live performance - Moiré Modes (v1.1), Whitney Triptych (v1.2) 105 5.2 Sound Making 51 and Stravinsky Rose (v3.0) 5.2.1 Sine Wave Generator (SWG) 53 6.9.1 Description 105 5.2.2 Ronin Synth 57 6.9.2 Context 106 5.2.3 Maximilian Library 59 6.9.3 Technical Realisation 107 5.3 Sound Analysis 63 6.9.4 Critical Reflection 111 5.3.1 Frequency Measurement Device v1.0 and v2.0 63 6.10 Conclusions 113 5.3.2 Minim library in Processing 64 5.3.3 MaxMSP fiddle~ object 64 iii Lewis Sykes Lewis Sykes iv 7. Conclusions 115 List of Figures 7.1 Introduction 115 7.2 Shifting Emphasis 115 7.3 Key Research Question 117 Figure 1 - Generating stationary wave patterns 8 7.4 Cymatics 117 Figure 2 - Illustration of harmonic overtones 8 7.5 Cymatic Limitations 118 Figure 3 - Modes of vibration of a circular membrane, showing nodal lines 10 7.6 Cymatic Art 120 Figure 4 - The third mode (2,1) of a drum skin 10 7.7 Cymatic Music 121 Figure 5.1 - The fourth mode (0,2) of a drum skin - on a 16” floor tom 12 7.8 Whitney’s Differential Dynamics 123 Figure 5.2 - The fourth mode (0,2) of a drum skin - via the through the 12 Virtual Drum Skin 7.9 Perception and the Senses 123 Figure 6 - The Pythagorean Lamdoid 28 7.10 An Emerging Aesthetic and Form 124 Figure 7 - Lamdoma - the Pythagorean Lambdoid in its completed form 28 7.11 Impact of the Research on Personal Practice 126 Figure 8 - Telfer’s 16-limit Lamdoma Matrix 28 7.12 Future Trajectories 127 Figure 9 - A SketchUp ‘mock-up’ of The Augmented Tonoscope 44 Appendices 131 Figure 10 - The Augmented Tonoscope showcased at Brighton Mini 46 Appendix 1 A Visual Music Manifesto 132 Maker Faire 2012, UK, 8th September 2012 Appendix 2 Automating Portamento 134 Figure 11 - The Augmented Tonoscope showcased at BEAM 2012, 46 Appendix 3 Comparative Tests of Drum Based Analogue Tonoscopes 137 Brunel University, UK, 22nd-24th June 2012 to Virtual Drum Skin Figure 12 - AD9835 Signal Generator with Sparkfun Breakout Board 52 Appendix 4 Adapting John Whitney Sr.’s Differential Dynamics 141 Figure 13 - SWG breadboard prototype 52 Appendix 5 Analysis of the Lamdoma Monome 143 Figure 14 - SWG v1.0 52 Appendix 6 Cymatic Art & Creative Coding Examples 147 Figure 15 - SWG v2.0 52 Appendix 7 Glossary of Terms 148 Figure 16 - SWG v3.0 54 Appendix 8 Stationary Wave 150 Figure 17 - SWG v4.0 54 Figure 18 - Arduino Ethernet Shield R3 54 Bibliography 151 Figure 19 - SWG v4.0 TouchOSC 54 Figure 20 - Ronin 802 stand alone digital synthesiser 56 Figure 21 - Ronin TouchOSC interface 56 Figure 22 - KORG MS2000 synthesiser 58 Figure 23 - Maximilian KORG MS2000 Emulator 60 Figure 24 - Frequency Measurement Device v1.0 62 Figure 25 - Frequency Measurement Device v2.0 62 Figure 26 - 16” floor tom tonoscope 68 Figure 27 - 13” piccolo snare drum tonoscope Figure 28 - DrumDial drum tuner 70 Figure 29 - Virtual Drum Skin model in openFrameworks 72 Figure 30 - A sound-responsive adaptation of Reza Ali’s 2D SuperShapes 74 in Processing Figure 31 - Whitney Triptych v1.2 76 Figure 32 - John Telfer’s Lamdoma Matrix alongside a momone.org 78 walnut 64 controller Figure 33 - The Lamdoma Monome musical interface 78 Figure 34 - A nodal sequencer prototype realised in openFrameworks 80 Figure 35 - Pitch bend envelope data recorded in Ableton Live 82 Figure 36 - Adapted zb.detune Max For Live device 84 Figure 37 - Hπ Instruments Custom Scale Editor loaded with a Scala tuning file for the 12-tone 1/3-comma meantone scale (Salinas) 84 v Lewis Sykes Lewis Sykes vi Figure 38 - The Teensy Weensy Micro-tuner breadboard prototype 86 Dedication Figure 39 - The Augmented Tonoscope: Creative Outputs Timeline 90 Figure 40 - Cymatic Adufe (v1.1) 92 To my father, Brian Sykes, for teaching me that ‘being’ is as important as ‘doing’. Figure 41 - Stravinsky Rose (v2.0) via DomeTester 98 Figure 42 - Moiré Modes (v1.1) 104 Figure 43 - A table of the six ‘preferred modes’ of timpani 108 Figure 44 - The six ‘preferred modes’ of timpani 108 Figure 45 - Bézier curve controller 134 Figure 46 - Frequencies at which distinct stationary waves patterns 136 appeared on the drum skin of the 13” piccolo snare tonoscope Acknowledgements Figure 47 - Frequencies at which distinct stationary waves patterns 138 appeared on the drum skin of the 16” floor tom tonoscope I would like to express my sincere gratitude to my Supervisory team - Prof. John - 100Hz - 274Hz Figure 48 - Frequencies at which distinct stationary waves patterns 139 Hyatt (Director of Studies), Dr.
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