As an addendum to the last story, Ivica Ico Bukvic sends along an example of the [myu] Max/MSP + Unity game engine combination in action. Here’s the surprise: Unity isn’t generating visuals. Instead, Unity simulates ripples created by movement in the space, and builds physical models that are sonified and spatialized by Max/MSP.

Speaking of work involving art museums and the combination of Max and Unity, VJ Anomolee notes in comments his own work with the pairing. Lightbent Synth is an in-progress piece with alternative controllers and sensors that produces sound with a novel visual representation (sound’s very quiet in this preview — more hopefully once it progresses):

Lightbent Synth from VJ Anomolee on Vimeo.

Ivica explains the top work:

This past fall [myu] had seen its first real-world implementation in an exhibit that was a part of the grand opening of the Taubman Museum of Art in Roanoke, VA (http://www.taubmanmuseum.org/). The exhibit utilized [myu] as part of an interactive aural installation titled "elemental." An online tech
demo video of the installation, including written synopsis is available also via Youtube at http://www.youtube.com/watch?v=PA-9BOgc1gk. Below is a brief synopsis of the installation:

"elemental" interactive communal soundscape premiered in November 2008 as part of the Revo:oveR collection commissioned for the grand opening of the Taubman Museum of Art in Roanoke, VA. The Youtube video focuses primarily on the technical aspects of the installation. Using Max/MSP/Jitter, a homebrew IR webcam with fish eye lens and a LED-based IR spotlights, entire 24×36-foot exhibit space is converted into an aural sandbox giving visitors an opportunity to generate and shape the
ensuing soundscape. Positional data of up to 20 visitors is forwarded to Unity3d using [myu] Max-Unity interoperability toolkit developed at DISIS (http://disis.music.vt.edu). Unity is used for physical simulation of ensuing ripples and the resulting data is sent back to Max for spatialization across a 12-channel (4×3) ceiling-mounted speaker array. Driven by communal interaction, virtual ripples refract from each other spawning an algorithmically generated aural fireworks. The exhibit ran non-stop for approximately 5 months until March 2009.

Bonus video below: an early prototype that did include visuals. After days of looking at emulated knobs and faders, it certainly does speak to some of the possibilities for musical interface and expression.

Surveying toys at a previous Handmade Music night.

Handmade Music, the monthly celebration of DIY musical instruments, electronics, and software hits its new home at East Williamsburg’s 3rd Ward tomorrow night, Thursday 12/11 7:30-10:30p. [Directions] Here’s a glimpse of a couple of the projects expected tomorrow night.

If you’re not in the NYC area, you can come visit us online at 8:30p Eastern time and hang with the crafty community denizens of Etsy.com:

Etsy Virtual Labs [not updated as I write this, but check in tomorrow]

If you are in the NYC area:

1. Workshop: We have more workshop spaces available in Michael Una’s workshop. For the cost of parts, and even if you have zero electronics experience, you’ll leave with a finished Beep-It optical Theremin! Walk-ups are okay if we have room, but to be safe, pre-register today:

http://beepit.eventbrite.com/

And it’s got a new form factor, as seen at right.

2. Projects to bring: If you’ve got a project you’d like to bring, just bring it! If you want to give us some warning, fill this out today:

Call for Works Form [Google Docs]

3. Facebook us: You can also RSVP on our Facebook page

4. Snacks/drinks! We’ll have pizza and (for a nominal fee, if you’re of age) PBR’s, and if the weather’s nasty, hot chocolates

Project previews

Handmade Music is a pot luck supper for everything from Max patches to strange acoustic instruments, so we never really know what will show up. Here are a couple of projects that are coming, though:

Electronic Glockenspiel, Michael Sperone

Glockenspiel with microphone pickups which go through a max patch which expands the range of the little 2.5 octave instrument to a full 5.5 octaves, as well as adds other features not present on a glockenspiel.  It almost sounds like a glockenspiel/marimba/vibraphone hybrid.  The project is also starting to experiment with interfacing with max/msp in new ways.

Plink Jet, Andy Doro + Lesley Flanagan

Plink Jet is a robotic musical instrument made from scavenged ink jet printers. The mechanical parts of four printers are diverted from their original function, re-contextualizing the relatively high-tech mechanisms of this typically banal appliance into a ludic musical performance. Motorized, sliding ink cartridges and plucking mechanisms play four guitar strings by manipulating both pitch and strumming patterns like human hands fingering, fretting, and strumming a guitar. Plink Jet is designed to play itself, be played, or both.  The result is an optionally collaborative performance between both the user and Plink Jet, with the user choosing varying levels of manual control over the different cartridges (fretting) and string plucking speeds (strumming).

http://www.andydoro.com/plinkjet/
http://www.seseyann.com/plinkjet/

Updated: Andy decided the Plinkjet was a bit too bulky to bring – though it’s worth watching the video to check this thing out. Instead, we get other surprise wonders – a networked sound device and a cube whose sounds shift as you pick it up and move it around:

http://www.andydoro.com/sonicube/
http://www.andydoro.com/nbo/

And while I don’t have any documentation of it yet, Ted Hayes is bringing this:

A floatometer is a simple wireless (XBee) accelerometer in a watertight plastic ball that floats on water and controls synths…

More expected! Stay tuned!

In addition to the week’s worth of discussions and skillsharing classes, there will be two “showcase” nights, Saturday Jan. 19th and Sunday Jan. 20th. For those interested, I will be exhibiting two audiosculptural pieces, Octophonopod and Snowy Day during the event on Saturday. There’s a riduculous amount of talent on both nights, amounting to some of the most fresh and innovative people working in sound and motion graphics today.

[- Michael Una]

A full week of buzzing digital media creation will be showcased starting Tuesday, January 15th through Monday, January 21st 2008, at several venues downtown Chicago.

MGFest 08 features two world-premier theater screenings, multiple post-production studio tours, audio/visual art exhibits, a/v performances, six days of motion design / sound design / and motion programming classes.

These events celebrate creative minds and bright ideas within the emerging media landscape. Whether your a hard-core geek, a dedicated composer, a designer, film-maker, artist, engineer, programmer, educator, aficionado, prosumer, hobbyist, or just someone who likes being close to the creative community, mgFest is for you. The festival has become a destination for creative professionals from all over the Midwest and the nation by attracting the meshwork of companies and individuals that surround creative motion-picture design.

Socialize at one or all of the night events while experiencing multimedia art, video and sound in synch. Watch some of the past years most creative shorts or travel thru alternate dimensions in video art. Come mingle with local art directors and advertising executives, or discuss the technical operations of a professional edit bay and graphics shop with seasoned veterans of the industry. Listen to panels on the newest advancements in delivery technology affecting every media professional. Attend cutting edge classes of your choice within the realms of motion design, sound design and programming. Awaken your creativity at the Imagination College.

( Design | Sound | Code ) .: in motion

Check out mgFest.com for the most current festival information. 

Note: we are temporarily having problems with Vimeo’s embedded video. (So is MAKE, evidently, so it’s not our fault!) Click through to see the video, or enjoy the lovely garbled characters if they’re there.

Regular followers of the music tech blogs know the wild and wonderful work of bender/inventor Gijs Gieskes (here or all over here), in which Casio keyboards get massive mechanical add-ons and Sega games become fuzzy, distorted video art. Phillip Torrone writes us to let us know MAKE has taken a closer look at the artist:

In the illustrious world of case-mods and console hacking, artists and makers are re-inventing the design and function of these ubiquitous consumer electronics devices by creating hybrid systems and creative artifacts that challenge the corporate status quo. Taking this credo to an extreme with his inventive hardware projects is Dutch artist and maker, Gijs Gieskes. From casting a Nintendo Gameboy in concrete in order to build a garden path with “GameBoy Bricks” to creating an analog version of the hated spinning cursor in the Mac OSX operating system with “Spinning Beach Ball of Death”, Gieskes’ work and live performances are an inventive look at how closely entrenched we’ve become in the world of glitchy hardware and scrambled noise producing machines. MAKE recently caught up with Gieskes to discuss his practice, philosophy, and exactly how important the current crop of hackable consumer electronics might be to future generations.

Modding consumer electronics devices into DJ tools with Gijs Gieskes

The author of the interview, Jonah Brucker-Cohen, is an artist himself, so for a little meta-interviewing, check out Regine interviewing Jonah for we make money not art.

Of course, if you’d like to challenge the likes of Gijs and think your bending kung fu is better, get applying to this year’s Bent Festival.

And if you’re in London, MAKE also points to what looks like a really cool toy bending workshop there. Let us know if any of you go!

Expressive technologies, like any other media, will say whatever their creators want them to say and do what their creators want them to do. Surveillance? Entertainment? Worship? Porn? You can count on all of the above, and everything in between.

Usually, when you talk about interactive multimedia software Max/MSP and real-world sensor inputs, you expect live music performance. Multimedia artists Matt Ganucheau, Kyle Machulis, and Kelly Moore took their project in a different direction, building a mannequin that would respond interactively to simulate female pleasure.

Donald Bell (aka electronic musician Chachi Jones) describes this among other projects recently shown at the adult-only tech fair Arse Elektronika (a reference to the artsier European new media show Ars Electronica).

It may sound like Weird Science, but Matt promises that Lisa’s technology is nothing mystical. A cutaway in Lisa’s back reveals a Make controller board that works as a hardware router for all the touch-sensitive sensors mounted on the mannequin’s more sensitive areas. A USB plug found on Lisa’s ankle connects to a nearby computer that handles the software end of things. Matt developed Moaning Lisa’s unique software using a visual programming language called Max/MSP. The program uses a neural networking algorithm to monitor all of Lisa’s sensors and determine her state of excitement, which in turn modulates both her volume and number of moans.

More on Donald’s new blog for CNET, MP3 Insider (which I think will be far cooler than that blog name implies):
Weird science: Lisa the foreplay robot [CNET MP3 insider]
Making the ‘Moaning Lisa’ [CNET crave]

Donald also shot a video, but its adult subject matter and mannequin nipples were deemed too hot for CNET. As I said, technology clearly has a full range of possible applications, so I’ll leave it to you to decide. I’m not necessarily building a Lisa, but I assume you can determine on your own whether you find this offensive and choose whether nor not to watch. Not-safe-for-work / those who don’t like nude mannequins and iPod-powered sex toys:

Still not weird enough for you? Here’s the Electric Orifice Orchestra, which uses inputs responsive to pressure changes from, erm, places where the sun don’t shine. “Alternative controllers” doesn’t really fully cover this, though I suppose it makes economical use of your body.

Lots of additional photos from Chachi, including what I know really gets CDMers’ pulse racing: big, juicy, up-close photos of Max/MSP patches. (Okay, maybe I’m just projecting.)

BeerNotBombs’ buddy icon
Arse Elektronika Flickr set

The answer: make a three-dimensional step sequencer using the Cube.

As seen on Music thing and (video) Audio Porn Central

I’m not sure I personally need a Rubik’s Cube interface, but I love the idea of three-dimensional sequencers, much as I enjoyed the (preposterous) notion of three-dimensional chess on Star Trek. (Side note. Spock, I suspect, would be equally unbeatable in a live P.A. set with a 1024×1024 three-dimensional Monome Cube.)

As it happens, the story of Douglas and the Rubik’s Cube is an interesting one. You can check out Douglas’ other wonderful creations:

abstractmachine Blog (he’s a wizard with Processing, the Java coding tool for artists)
abstractmachine Flickr set
Interview with Douglas Edric Stanley [we make money not art]

Mr. Rubik himself is equally fascinating — a Hungarian architect, engineer, interior designer, and sculptor who went back to academia, then started making games. Apparently, he’s now turning to architecture and digital games, meaning he can make us feel stupid all over again in a new medium. (Seriously, I’d love to see what Rubik’s Video Game studio turns out; as you’ll see, the Rubik’s Cube is just one of many brain twisters.)

Ernő Rubik

TurntablistPC is an ongoing art project coupling a vintage turntable with a vintage PC, creating a hybrid, record-playing server that can be controlled remotely by remote websites around the world. It’s the creation of artist Mogen Jacobsen, and it’s currently being exhibited as part of a show called Webscape at the Art Museum of West Sealand, Denmark. What? You’re not planning to pass through West Sealand this fall? The museum still wants your help: embed a piece of code, and visitors to your own website will trigger manipulations of the turntable based on geographic position.

TurntablistPC Project Page
The TurntablistPC spins again! [Networked Music Review, my new favorite source for artsy music tech!]

Thanks to our artist friend Michael Una for tipping us off. I’m not sure I’ll be building anything of this sort soon, but what I do like about it conceptually is that it returns playback devices — increasingly abstract and virtual in the age of the iPod — to the realm of mechanical instrument. I think we may see all sorts of strange, new, hybrid digital/mechanical instruments in the coming years.

Of course, if you can’t figure out how to turn a turntable into a hybrid server art installation, you can always just don your black vinyl jumpsuit and strap your turntable to your back. I think Numark’s idea here was to somehow promote their turntables, but to me, they may have stumbled onto a new, futuristic couture in which we wear heavy objects as fashion statements. And for whatever reason, I’m game! (People could, you know, come up to you … I’ll scratch your back if you scratch mine sorta thing?)

Making_sound grabbed this shot and sent it to our Flickr group; thanks!

Maybe it’s something about music making in the digital age, the alienation of music technology. Or maybe there’s just something fun about mechanical objects making sound on their own. Whatever it is, artists lately have been fascinated by mechanical instruments. Here’s yet another one:

French artist Saadane Afif makes sometimes-chilly installations out of musical objects, like a minimalist collection of guitars and amps, strummed by mechanical apparatus, in his piece Power Chords. Or, in art world-speak, he…

…works with notions of displacement and contrast. His pieces, vibrating with multiple meanings, function by using collusion as their driving force. He employs objects, scale models, installations, sounds, and writing to classify the unclassifiable and mirror-in the work of art itself – the dialog that arises between the viewer and the artist. This dialog is continuously fueled by various allusions and is infiltrated on every side by historic, psychological, social, and cultural elements.

It always has to be about displacement, doesn’t it? Always has to be the dialog between viewer and event? Darned art writers.

Anyway, in plain English he puts 13 guitars in a room and they play mysterious, ethereal strumming sounds as you walk through, a bit like a minimalist haunted Guitar Center.

It’s not just the guitars: he’s made his other work into musical installation. Lyrics is a radically different take on the artist retrospective: the artist is gone, and instead digital music reinterpreting his work takes its place. Lyrics are printed in bold Helvetica on the walls, and commissioned texts are reinterpreted by commissioned composers, as colored lights lead the audience around to headphones.

Good stuff, and fertile ground for those imagining new venues for music. Now, excuse me; my phone is vibrating with multiple meanings.

Gelerie Michel Rein on Exhibition
Power Chords, monograph
Seen in the lovely Artkrush 63

Yes, you can wow crowds playing with laptops — especially when you perform synth lines with drumsticks. (Pity some of us are worse drummers than keyboardists; this solution would definitely not work for me!)

As it happens, Gustavo’s email hits the night of a MIDI controller “brain dump” at the Warper Party here in New York City. That’s tonight, Monday, at 7pm. It’s basically just an informal hang, but we can hopefully demonstrate the cooling effect of thinking about MIDI on this blazingly hot day. The event has something extra to recommend it: namely, me wearing some kind of absurdly silly hat involving a circuit board. I’m not even sure what this means yet, but I’ll be sure there are pictures so we can embarrass me internationally and not just locally.

Alternative controllers aren’t the only way to go. There’s also taking the controllers you have now, and attaching more of them, then programming them into a monster, eight-keyboard rig of M-Audio Oxygen8s so that partygoers can try their hands controlling Ableton Live. That’s what my co-host tonight at Warper, Matt Moldover, does with his Octamasher. Here’s a video from Austin, Texas. It shows anyone can get their hands dirty playing with Live.

Moldover

Music itself may be ephemeral, but it’s deeply connected to the spaces in which it’s performed and heard. You’ll notice that space all the more readily if it’s, say, a giant, cavernous grain silo, and you can access the space not only in person but over the Internet. And, really, you can’t call yourself an audiophile if you don’t have a grain silo handy for listening.

JollyRogered writes with this gem from the Audiooddities list. It’s a chance to hear an online performance of the digitally-connected grain silo, the Silophone:

Announcing a special online performance by Lee Rosevere, scheduled for July 16, 2007 at 9:30pm EST.

The performance will be an exclusive live internet event, where Lee will perform new original material from his home studio and stream it to the Silophone.

The Silo #5 is an abandoned grain storage facility in the port of Montréal. From the website:

“Silophone makes use of the incredible acoustics of Silo #5 by introducing sounds, collected from around the world using various communication technologies, into a physical space to create an instrument which blurs the boundaries between music, architecture and net art. Sounds arrive inside Silo #5 by telephone or internet. They are then broadcast into the vast concrete grain storage chambers inside the Silo. They are transformed, reverberated, and coloured by the remarkable acoustics of the structure, yielding a stunningly beautiful echo. This sound is captured by microphones and rebroadcast back to its sender, to other listeners and to a sound installation outside the building. Anyone may contribute material of their own, filling the instrument with increasingly varied sounds.”

Musicians have created pieces for the Silo in the past, but in this event, an exciting element that makes this even more unique is the fact that anyone who is at the Silophone website can contribute to the concert, either by playing recorded content provided by the websites users, or by phoning or uploading individual sounds. These sounds will be heard simultaneously with Lee’s performance, making it a truly unique performance. The performance should last 35-40 minutes.

The results of the show will be recorded and released via archive.org. We encourage you to log on to Silophone at 9:30pm EST on July 16, 2007 for this event and we also encourage anyone to participate in the performance. (Real audio required to listen, Flash required to participate) .

To call the Silophone from North America: 1.514.844.5555 From the rest of the world: 001.514.844. 5555 Wait until the second ring, then start talking.

Silophone.net Site, including the ability to play the Silophone online, and lots of documentation