Multi-Platform Development of Audiovisual and Kinetic Installations

ABSTRACT In this paper, we describe the development of multi-platform tools for Audiovisual and Kinetic installations. These involve the connection of three development environments: Python, SuperCollider and Processing, in order to drive kinetic art installations and to combine these with digital synthesis of sound and image in real time. By connecting these three platforms via the OSC protocol, we enable the control in real time of analog physical media (a device that draws figures on sand), sound synthesis and image synthesis. We worked on the development of algorithms for drawing figures and synthesizing images and sound on all three platforms and experimented with various mechanisms for coordinating synthesis and rendering in different media. Several problems were addressed: How to coordinate the timing between different platforms? What configuration to use? Clientserver (who is the client who the server?), equal partners, mixed configurations. A library was developed in SuperCollider to enable the packaging of algorithms into modules with automatic generation of GUI from specifications, and the saving of configurations of modules into session files as scripts in SuperCollider code. The application of this library as a framework for both driving graphic synthesis in Processing and receiving control data from it resulted in an environment for experimentation that is also being used successfully in teaching interactive audiovisual media

Accented Body and Beyond: a Model for Practice-Led Research with Multiple Theory/Practice Outcomes

Dance has always been a collaborative or interdisciplinary practice normally associated with music or sound and visual arts/design. Recent developments with technology have introduced additional layers of interdisciplinary work to include live and virtual forms in the expansion of what Fraleigh (1999:11) terms ‘the dancer oriented in time/space, somatically alive to the experience of moving’. This already multi-sensory experience and knowledge of the dancer is now layered with other kinds of space/time and kinetic awarenesses, both present and distant, through telematic presence, generative systems and/or sensors. In this world of altered perceptions and ways of being, the field of dance research is further opened up to alternative processes of inquiry, both theoretically and in practice, and importantly in the spaces between the two

Examining the effects of experimental/academic electroacoustic and popular electronic musics on the evolution and development of human–computer interaction in music

This article focuses on how the development of human–computer interaction in music has been aided and influenced by both experimental/academic electroacoustic art music and popular electronic music. These two genres have impacted upon this ever-changing process of evolution in different ways, but have together been paramount to the establishment of interactivity in music as we understand it today; which is itself having wide-ranging implications upon the modern-day musical landscape as a whole—both in the way that we, as listeners and audience members, purchase and consume music as well as conceptualise and think about it

Towards physical manifestations of light in kinetic art : an exegesis presented in partial fulfilment of the requirements for the degree of Master of Creative Enterprise at Massey University, Wellington, New Zealand

Figure 3 was removed for copyright reasons, but may be accessed through the link in note [10].This exegesis explores the development of kinetic art that focuses on giving life to physical light sources through the design and implementation of custom-built light systems. By reviewing three significant fields: audiovisual art, kineticism and custom performance technologies, a trend was identified which emphasises the physicality of art and technology. Custom-built fibre optic light systems have been developed to physicalise LEDs (Light Emitting Diodes), evoking tangible and visceral experiences of kinetic audiovisual art. Two new works, ether and expanse, have been developed for application within the realm of live music performance. Key applications, installation and performance, are discussed, providing context to the novel and immersive experiences evoked by the works through their modular design

On the Simultaneous Perception of Sound and Three-Dimensional Objects

Although examples of work investigating the perceptual relationship and possibilities of sound and image are common, relatively litle work has been carried out into multimedia works combining sound and three-dimensional objects. A practice-based investigation into this subject is presented with original artworks and contectual material from sound art, sculpture, moving image and psychology. The project sets out to more examine the perception of multimedia work, specifically through the creation and analysis of artworks combining sound and physical objects. It considers three main areas of study: sound’s ability to draw attention to, or modify, the existing properties of an object; techniques which encourage sound and object to appear cohesively as part of the same work; and a discussion of cognitive effects that may occur as a result of their simulataneous perception. Using the concept of the search space from evolutionary computing as an example, the case is made that multimedia artworksde can present a larger field of creative opportunity than single-media works, due to the enhanced interplay between the two media and the viewer's a priori knowledge. The roles of balance, dynamism and interactivity in multimedia work are also explored. Throughout the thesis examples of original artworks are given which exemplify the issues raised. The main outcome of the study is a proposed framework for categorising and analysing the perception of multimedia artworks, based on increasing semantic separation between the sensory elements. It is claimed that as the relationship between these elements becomes less obvious, more work is demanded of the viewer's imagination in trying to reconcile the gap, leading to active engagement and the possibility of extra imaginary forms which do not exist in the original material. It is proposed that the framework and ideas in this document will be applicable beyond the sound/object focus of this study, and it is hoped they will inform research into multimedia work in other forms