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Algorithmic Composition. Timeline. Sonic Light 2003: composing light, articulating space at light matters. (This text was an introduction to the ninth edition of the Sonic Acts festival in Amsterdam, held in 2003 under the title Sonic Light 2003. I put together the conference, the film programme (with Erwin van ‘t Hart) and parts of the evening programme (mostly curated by Edwin van der Heide).

The text below was published in “The Art of Programming”, Sonic Acts Press / De Balie, Amsterdam, 2002) Sonic Light 2003: composing light, articulating space Sonic Acts 2003 will entirely be devoted to the art of composed light: the shaping in time of light and colour in a way which is comparable to the way sound is shaped into music. For the occasion, the ninth edition of the festival will be presented under the title Sonic Light 2003 and its aim will be to make a broad survey of both contemporary and historic artistic approaches to light as ‘visual music’.

Light has been an integral part of the presentation of music ever since the rise of the large-scale rock concerts in the 1960s. Music for the eye. Max/MSP/Jitter for Music: A Practical Guide to Developing Interactive Music ... - V. J. Manzo. V.J. Manzo (PhD Temple University, M.M. New York University) is Assistant Professor of Music Technology and Perception at Worcester Polytechnic Institute (WPI). He is a composer and guitarist with research interests in theory and composition, artificial intelligence, interactive music systems, and music cognition. He has authored several open-source interactive music projects including the Modal Object Library, a collection of composition/theory algorithms for use in algorithmic and electro-acoustic composition, and EAMIR, an open-source project assisting individuals, including those with disabilities, to compose and perform music with accessible musical interfaces, alternate/adaptive controllers, and sensors.

Olivier Messiaen. Olivier Messiaen in 1946 Olivier Messiaen (French: [ɔlivje mɛsjɑ̃]; December 10, 1908 – April 27, 1992) was a French composer, organist and ornithologist, one of the major composers of the 20th century. His music is rhythmically complex (he was interested in rhythms from ancient Greek and from Hindu sources); harmonically and melodically it often uses modes of limited transposition, which he abstracted from his early compositions and improvisations. Messiaen also drew on his Roman Catholic faith. Messiaen entered the Paris Conservatoire at the age of 11 and was taught by Paul Dukas, Maurice Emmanuel, Charles-Marie Widor and Marcel Dupré, among others. He was appointed organist at the Église de la Sainte-Trinité in Paris in 1931, a post held until his death.

He taught at the Schola Cantorum de Paris during the 1930s. Life and career[edit] Youth and studies[edit] Messiaen with his mother and father in 1910 La Trinité, La jeune France, and Messiaen's war[edit] Messiaen in 1930. Max msp » ZEAL. For the past few weeks I’ve been working with Gian Slater and her choir Invenio to produce a new audio-visual work called Luminesce. The concept for the show is an extension of my Concerto for Light Sculpture piece, seven singers are arranged in a line and are projected onto. Each singers voice controls what exactly is projected on to them and Gian has arranged the music in such a way as to create emergent patterns of light across the singers. The show’s debuting next week at The Guild Theater, Melbourne.

If you’re a Melbournite and like pretty music, shiny lights and/or technical technology you really should come! Book tickets here Facebook event is here For the nerds who like to know what’s happening under the hood, read on. The overall architecture for the show is something like this: each of the singers has a microphone that’s fed into a macbook running Ableton. Luminesce is the first project I’ve used Touch for and coming from Max/MSP I’ve found it super easy to pick up.

Arvo Pärt Style Max/MSP Algorithmic Composition. MAX MSP Boids Flocking Algorithm Synth. Soweto Kinch gives Alfred Hitchcock jazz score. 24 April 2012Last updated at 10:22 GMT By Tim Masters Entertainment and arts correspondent, BBC News British jazz and hip-hop musician Soweto Kinch reveals why he's putting dance beats into his new score for a silent Hitchcock feature from the 1920s.

It is the heavy-hitting boxing drama that helped inspire Oscar-winning film The Artist. Now Alfred Hitchcock's 1927 silent film The Ring is being spruced up for the big screen and is getting a new score from Mercury Prize-nominated saxophonist Soweto Kinch. The jazz and hip-hop artist has revealed that he is planning to put some "tactfully placed dance loops" to Hitchcock's black-and-white movie.

"It's still very much work in progress," admits Kinch, who will present the world premiere of his new score at a screening at the Hackney Empire on 13 July. "There's no point in me crudely trying to reconstruct a silent movie score from that era," he says. Knock-out: A still from Hitchcock's The Ring (1927) Browsercheck. Audio-Vision. Audio-Vision Audio and Media Technologies Lecture 4 Pedro Rebelo The Three Listening Modes Michel Chion identifies three modes of listening. These modes are helpful in understanding relationships between recognizable sound sources and their visibility. - Causal Listening “Listening to a sound in order to gather information about its cause (or source)” (Chion p.25)

. - Semantic Listening Chion defines semantic listening as referring to a code of language; the interpretation of a message. . - Reduced Listening Reduced listening has been identified by Pierre Schaeffer as a mode that focuses on sound itself independent of cause and meaning. Reduced listening is closely related to the notion of acousmatic sound (also introduced by Schaeffer but with a history that goes back to Phythagoras). The intention behind acousmatic sound and an acousmatic listening situation is that the listener will be encouraged to focus on sonic properties alone and hence induce reduced listening. Phythagoras' Footsteps. Jaroslaw Kapuscinski. Flong - Interactive Art by Golan Levin and Collaborators. Ben Model - live music for silent film. Golan Levin on software (as) art. Synesthesia: Beyond the Five Senses. Share on facebook Share on twitter More Sharing Services 4 Report Contents 1.

Synesthesia2. Helen Keller3. Biological rhythms4. Polarized vision5. A. Synesthesia: Beyond the Five Senses by Oyang Teng • (PDF) Gottfried Leibniz once wrote that our sense perceptions are occult qualities, whose familiarity does nothing to render their essential nature more intelligible. Nevertheless, as Leibniz conceded, the study of human perception does yield important truths about that aspect of the physical world represented by our physiology, and the way the mind deploys such physiological functions to construct knowledge of the universe.

Long before brain imaging technology showed that even basic perceptual acts involve many different areas of the brain, common observation (and common sense) showed that there is no strict autonomy of any of the senses; rather, they each exist as interconnected aspects in a continuum of perception. So there is a sensuous which is not limited to one single sense. 1.) 2.) Making Digital One-of-a-Kind: Inside Icarus’ Generative Album in 1000 Variations. Even the artwork changes. This is my personal copy – #148. Digital: disposable, identical, infinitely reproducible. Recordings: static, unchanging. Or … are they? Icarus’ Fake Fish Distribution (FFD), a self-described “album in 1000 variations,” generates a one-of-a-kind download for each purchaser. Generative, parametric software takes the composition, by London-based musicians-slash-software engineers Ollie Bown and Sam Britton, and tailors the output so that each file is distinct.

If you’re the 437th purchaser of the limited-run of 1000, in other words, you get a composition that is different from 436 before you and 438 after you. Happily, the music is evocative and adventurous, a meandering path through a soundworld of warm hums and clockwork-like buzzes and rattles, insistent rhythms and jazz-like flourishes of timbre and melody. You can listen to some samples, though it’s just a taste of the larger musical environment. Fake Fish Distribution – version 500 sampler by Icarus…

VS Ramachandran on your mind (17:54) This is your brain on TED. MONTEREY, Calif. --If you sense numbers as colors, or see images when hearing a tone, you might be a poet and not know it. Atypical and subjective responses to colors, sounds, numbers and the like are caused by a neurological condition called synesthesia, a mutation in an area of the brain that can result in a cross-wiring of hearing, vision and touch senses. According to neurologist Vilayanur Ramachandran, synesthesia is eight times more common among creative people such as artists, musicians, writers and poets.

(It affects a small portion of the population.) "One theory (is that) they're just crazy," Ramachandran joked, while speaking here Saturday at the Technology, Entertainment and Design conference (TED), an exclusive confab that draws scientists, tech moguls, politicians and celebrities. "What's really going on (is that) concepts in different parts of the brain are cross-wired in some people, resulting in a greater sense of metaphorical thinking. " OF - Sounding. Sounding Ornaments (1932) Between ornament and music persist direct connections, which means that Ornaments are Music. If you look at a strip of film from my experiments with synthetic sound, you will see along one edge a thin stripe of jagged ornamental patterns. These ornaments are drawn music -- they are sound: when run through a projector, these graphic sounds broadcast tones or a hitherto unheard of purity, and thus, quite obviously, fantastic possibilities open up for the composition of music in the future.

Undoubtedly, the composer of tomorrow will no longer write mere notes, which the composer himself can never realize definitively, but which rather must languish, abandoned to various capricious reproducers. Now control of every fine gradation and nuance is granted to the music-painting artist, who bases everything exclusively on the primary fundamental of music, namely the wave -- vibration or oscillation in and of itself.

Oskar Fischinger. Modul8 VJ software. Sharpness: What is it and how is it measured? Image sharpness Introduction – MTF – MTF equation – Vanishing resolution – Slanted-edge measurements -MTF measurement matrix – Spatial frequency units – Summary metrics - Results -Noise reduction – Diffraction & Optimum aperture – Interpreting MTF50 – Calculation details – Links Introduction Sharpness is arguably the most important photographic image quality factor because it determines the amount of detail an imaging system can reproduce. It’s not the only important factor; Imatest measures a great many others.

Sharpness is defined by the boundaries between zones of different tones or colors. It is illustrated by the bar pattern of increasing spatial frequency, below. Bar pattern: Original (top); with lens degradation (bottom) One way to measure sharpness is to use the rise distance of the edge, for example, the distance (in pixels, millimeters, or fraction of image height) for the pixel level to go from 10% to 90% of its final value. Modulation Transfer Function (MTF) Green is for geeks. CsoundForLive | by Audivation. PAD 37 - Pixel Data from Images. SYNESTHETE STROLL (cedric paquotte's diploma work with Blair Neal's patch Max MSP) MUSIC PAINTING - Glocal Sound - Matteo Negrin.

The Visual Artist's Guide to Audio in Max/MSP (THE SYNESTHESIA SERIES) World-Wide-Walks / between earth & water / ICE is a video-web-sound installation of Peter d’Agostino’s video walks performed at glaciers in Iceland, Alaska & Argentina. These sites at the top and bottom of the globe provide compelling evidence of escalating man-made climatic changes. The exhibition is presented with a surround-soundscape composed by Reese Williams as evolving resonant glacial dynamics within the complex array of video images, maps, and texts.

Continue reading Density is a generative installation of abstract animation with six-channel sound based on a vintage mathematics reference text. Reversing the traditional visual music mapping from musical pitch to color hue, Density structures the sonic realm through constraints derived from the visual domain. The animation is created with Galbraith’s custom software which simultaneously generates sound via granular synthesis controlled by the image track, sparking the interplay between image and sound. Continue reading.