Project Bump

Pressure Project 2 (Sara) | Devising EMS (ohio-state.edu)

I enjoy this pressure project. The little game Bottle Lighting motivate exhausted people spending too much time in front of screen to do wrist stretching exercise. Prolonged use of devices like smart phone and computer can cause many physical injuries like poor vision, neck pain … It is a good idea to remind people of the possible issues and help them in a gamification way.

Project Pump

https://dems.asc.ohio-state.edu/wp-admin/post.php?post=2214&action=edit

I find this dancing club project very interesting. One of the reasons that I choose this project is to see what are the possibilites of devising experiential dancing body that are already explored. I like the idea of connecting the virtual body and physical boby as well as the virtual space and theater conventions. The funny little twist here is that people get ticket in a box office to be the performers themselves. The whole interactive process is orgnized by a stucture that dictate people to move in certain way but finally failed at some point. The author’s realization that people are uncontrollabe tells us something about the slippage of the intentional devising concerning human experience.

Project bump

https://dems.asc.ohio-state.edu/wp-admin/post.php?post=2768&action=edit

I was looking through some of the pressure project and this caught my eyes because of the description and the though process of developing the program was well intended and planned then executed. Understanding what kind of work and thoughts that goes into making art, following through with the intention and plan is hard to do at times especially with these projects that has a limited time. I liked the intention and the art that came from that intention.

Pressure Project 3 Bump

The digital storytelling in this project caught my attention. The enthusiasm in his voice kept me engaged wanting to know more on prohibition. The still images gives the viewer time to take in the story being told as well as hold the visual context for the narrative. I also enjoy cocktails! https://dems.asc.ohio-state.edu/?p=2924&trashed=1&ids=158

Project Bump

I really enjoyed this project as it made a simple video game style into an interactive experience. I’ve always liked games that were self-aware while you were playing them, and adding the ability to use your hands to control it is a cool bonus! https://dems.asc.ohio-state.edu/?m=202104

Cycle 3

My Cycle project was to create an Isadora patch that would support my thesis performance of my original solo theatre piece Mr. Shirley at the End of the World. The initial patch was designed to integrate media with sound. I was interested in the final iteration of my project to incorporate actors that would control lighting equipment in the theatre and cue lighting changes in the play.

Here is the video I made detailing that process and what I learned.

Here’s a look at some of the equipment I was working on.

Here’s a look at some of the patch that I created. I made a dedicated macro user actor to operate the lights on two different systems – MIDI and OSC. With the MIDI actor, the computer running Isadora and the light board need to be physically connected through a MIDI box. With the OSC actor, they are connected via modem over a network.

Pressure Project 3

Here is an audio story I made for pressure Project 3. I have always been fascinated with the history of the cocktail and how it aligns with American history over the past 200 years! This is one of my favorite stories from Prohibition.

Pressure Project 3 (Murt)

For this project, I wanted to explore the use of spatial effects to distinguish the inner states-of-mind of different characters from their outward presentation. Within Logic Pro X, I set up three of the “smart drummers”(an oxymoron, depending who you ask). Each drummer plays an outer-world part, and inner-world part with some form of reverb/delay, and a third section where the two parts are combined but panned hard to opposite sides of the binaural field.
Anders is Logic’s metal drummer, but I used him to play something steady and subdued(soft-spoken) outwardly. For the inner section, I used an instance of EZDrummer2 Drumkit from Hell with a reverb and dub delay to create the inner metalhead.
Maya is a retro 80s drummer with a rad WYSIWYG vibe.
Aidan is indie rock oriented. He is constantly overplaying and it doesn’t suit the music. In other words, he is a loud mouth.

Based on the critique session, it seemed that the project might read better if I put each drummer’s parts in their own sequence rather than three external-> three internal-> three discrepancy.

Cycles 1-3

For the duration of the current millennium, I have been working in the live audio field. I have also been involved in a handful of theatre events. It is through this work that I have grown attached to the practice of providing support to performers. Within the pandemic milieu, I have been severed from my Allen & Heath digital audio console for the longest period yet. More importantly, I have no access to performers to support. I am not much of a performer myself, so I have resorted to the lowly wooden train set.

In Cycle 1, I created a green box setup for the purpose of chromakeying my train into an interactive environment. It was a simple setup: 2 IKEA Mulig clothing racks to provide a structure for mounting lights and cameras, 3.5 sheets of green posterboard, 2 Logitech webcams(1 of which is 1080p), a pair of mini LED soft box lights for key lighting and a single soft LED for back lighting.

Within Isadora, I patched each of the webcams into a distinct video effect, a spinner actor, and a master RGBA/Colorizer. Using the “Simple” preset in TouchOSC on an iPad and an iPhone, I was able to set OSC watchers to trigger each of the effects, the spinner and the colorizer. The effects were triggered with the MPC-style drum pad “buttons” in TouchOSC on the iPad and the colorizer was set to an XY pad on the iPhone. All of this is layered over a blue train themed video. The result is a patch that makes the train a true “performer” dancing to a Kick and Snare beat…that no one can hear…yet.

Cycle 2 began with the untimely death of my green box in a gravity related accident. In dealing with this abrupt change in resources, the cycle saw the implementation of Ableton Live. Woven into the Cycle 1 patch is a change of OSC channels in order to line up with the MIDI notes of a Kick and Snare in Ableton. I built in some ambition into my Ableton set by assigning every button in the “Simple” TouchOSC preset. The result is a similar video performance by the train, but now we can hear its music.

Cycle 3 began with a number of deviations from the train theme. I was looking for new ways to integrate my previous discoveries in a manner that would be less constrained by the physical domain existing solely in my house. I toyed around with some inverse chromakey patches that would sense the head of a blue-yarn mallet and trigger a sound. In returning to the train theme, I attempted to make an overlay that would use blob tracking and proximity targets to trigger sounds.

Ultimately, I resurrected the green box…and it the product looks and behaves a bit like a zombie. I went with a different Eyes++ setup in tandem with a simple motion tracker. As it turns out, I messed up the Eyes++ to the point that it wasn’t doing anything at all. In my final patch, the motion sensor is simply turning a train sound on and off as the train enters the frame of the camera. I intended to implement an cartoon overlay that would follow the train around the track thanks to the Eyes++ rig. Alas, the Roger Rabbit train is Sir Not-Appearing-in-This-Film thanks to a supply chain disruption of that most important of resources: time.

In this patch, I used video of the train from two different angles: bird’s eye and slightly downward. This made the patch easier to work with since I wasn’t constantly turning the train on and off. It also zombified the Cycle a bit more with the train no longer being a live performer. However, I justify this decision with the idea that the train was only ever a stand-in for a live performer.

On a final note, I will be packaging the final patch for future enjoyment to be accessed on this site.

Cycle 1/2 (Sean)

My first couple of cycles got mashed up a bit. I was working with the set deadline of tech rehearsal and performance of my solo thesis show, Mr. Shirley at the End of the World. In ordinary times, this would be presented live but due to the pandemic, I had to film the production for virtual presentation. The primary reason I enrolled in this class was to work with Isadora to program the sound and media in my show. Here are some images below.

Basically what I was trying to do was create a user friendly interface for the person running the media/sound for my show to just hit assigned buttons and make things happen on cue. I tried my best to automate as many transitions as I could to cut down on them having to think too hard about what do. For instance, to begin the show they just hit the space bar and the next could scenes cycled through automatically. A visual cue was noted in the program to let the Isadora operator know when to transition to the next scene by hitting the “Media Out” button I created.

I made some fairly significant use of the envelope generators in this to control the fading of music and media images. I also created a User Actor that would act as a neutral background and repeat several times throughout the performance. I also utilized a router on several scenes so that I could use the same button to initiate separate MP3 files.

The next two slides are from the end of the show. After the last cue I’m able to let the rest of the show play out without having to manually hit any buttons.