Cycle 2, Stress Relief Environment

For cycle 2, I wanted to clean up my Touch OSC program and make sure it communicated robustly with Isadora. I worked with Alex on how Isadora could send messages back to OSC touch. This was so useful because it allowed me to change the page of the OSC interface with the scene of Isadora…essentially allowing the participant to easier follow along with the program.

Also during cycle 2, I collected most of my content for the music choice and background sound choice. This wasn’t hard, but was really time consuming as I tried to accommodate to various different preferences of relaxing music.

I wasn’t able to present my program as I had hoped for cycle 2 because I am currently struggling on finding a common network for my laptop and my OSC interface to work through. Thankfully, I will most likely get them to run on a separate router for cycle 3 and the final!

Cycle 2

Booo tech sucks. Not really, but I was really excited for this cycle because I figured out the most technologically advanced thing I’ve ever done thus far in my life to implement into this cycle only to have my presentation be hampered by significant tech problems from sound to video quality. I think everyone was able to get the gist of my ideas though, so not the end of the world, but still disappointing.

Nevertheless, I was super proud of myself for learning basic electrical engineering and how to close MakeyMakey circuits to use in my Isadora patch. Phase 3 of my project brings three videos of my mom and I at home (or rather will as I’m making those videos over Thanksgiving Break when I go home.), and participants will be able to toggle between the three videos by interacting with one of my dolls (also to be retrieved from home! Shoutout to Baby Jesus for standing in for us from Brianna Rae Johnson’s desk) and various Black hair products that I have set up on a table. They doll and products outfitted with MakeyMakey buttons connected to keyboard watcher actors in Isadora, allowing it to switch between each of the three video playing scenes.

I learned a lot about Isadora and actors in constructing these mechanics, and while after spending two hours figuring out to make Isadora switch between three videos at random all from within the same scene, Alex came to me at the next class with a much simpler option, which is how we ended up putting them in separate scenes and using a keyboard watcher to trigger a Jump++ actor to move forward and backward between scenes.

Once I figured out the patchwork, making the buttons was quite simple. I just used some pieces of packing cardboard that was in a box from a recent Ikea purchase, wrapped them in foil, and clipped alligator head end of the wire to the foil. Baby Jesus (which will be one of my own Barbies in C3) served as the ground, so by picking up the doll and one of the hair products, you could switch the video that was playing.

One additional change that I made was removing the written option for the “Thank a Black Woman” phase that opens the experience. I thought it would better streamline entry inside the space. A “thank you” is how you gain access to the space.

Feedback was still very good. The “thank you” section continues to resonate deeply. There were more people in the space thanks to guests from the Sonder film that was visiting, so the playback moment was longer, which was really great. I’m still towing around with the idea of pre-recording thank yous to intersperse throughout Phase 3.

Things I Need to Do/Make for Cycle 3:
* Make larger “Thank a Black Woman” signage for entrance by microphone
* Projection map videos
* Enhance hair product station (table cloth, pictures, etc) and make instructional signage
* Shoot film of my mom and I and edit/compile footage

Cycle 1, Stress Relief Environment

I am developing an installation that leads a participant through a “create your own” stress relief environment and guided meditation. The concept of this project is to provide a brief escape from the stresses of daily life to help individuals recenter and allow themselves a break. This will be possible by creating a Touch OSC interface on an iPad that communicates with Isadora through the relaxation program I will develop. The program will prompt the participant questions that will allow them to choose music, calming videos, and a nature sound/background noise. I envision the program to be played inside a fort or tent installation with comfy pillows and blankets for a better sense of security and privacy from the outer world.

During cycle 1, I set out to begin creating the Touch OSC program that communicates with Isadora. I successfully created the Isadora patch and was able to figure out how to get OSC to communicate with Isadora. The most helpful feedback gave insight on how to prompt the questions to the participant. Instead of projecting the questions and using the OSC to respond, causing the participant to constantly look up and down to know what to do… my classmates suggested that the questions and OSC interface could have both to make it easier to understand.

In addition, I realized that I needed Isadora to send messages back to OSC to have a more robust program. This was something I knew I needed to figure out for cycle 2.

CYCLE 1: Dancing Club

In cycle 1, I did a “Dancing Club” through which the relationship of the digital body and the actual body was experienced. I hope people can put focuses on their bodies under this relax and casual club atmosphere.

There was an entrance for people who had the ticket to go into the Club. To get a ticket, people had to choose one color and type into the Isadora Interface.

When people arrived at the club (Stage), the projector started to play the video that combined my Pressure Project1 and movement choreographed by me. I didn’t mean to let people learn these dance phrases, but they did.

As the instruction on the Ticket, people had to follow and stay in their color light. This means I “hired” and lighting designer manually control four light: Bule, Yellow, Red, and Green. When the light changed, people had to walk to the new spot.

With the music and video fade out, the last scene was people improvisation. I used Connect Sensor to capture people who dance in the stage and project them at the same time. They gradually recognized that it was themselves on the projection screen and started to play with it. And still, they had to take care of the change of their color light.

Cycle 1 – Anim. Driven Spatialized Audio

–This week of Cycle 1 I progressed more towards using this time to develop my thesis work. I decided to show the class the progress of the work and an example of how the project is progressing towards a ‘finalized’ project.
–My goal for this project is to be able to have the visuals projected towards the ground plane, and have the audio also reactive to the visuals being produced. Giving the viewer an audio-visual experience of animation beyond that of just watching it projected on a screen.

–For the moment, the patch works as an interface that 4 separate instances of utilizing visuals to drive audio. The proposed 4 separate sources are as follows:
1. Video
2. Image
3. Live
4. Multi-Touch
–Currently the only piece that I have invested time into showcasing is the “video” source. For the sake of effort and how much time it takes to connect all of the separate pieces that entail the position based object orientation, the GUI setup, and the prototyping, I have decided to stick with the work of making the video portion the main focus.
–Beyond this, I have been having considerations of changing the viewing experience from a viewing experience on a screen to a top-down projection onto the floor. I proposed a series of questions for the sake of generating a conversation around the piece as well:

• What would you imagine if the image was projected onto the ground?
• If color is incorporated, what do you expect to happen?
• I have the ability to derive a color palette from live imagery – would you all imagine that this affects all the sounds? Or ones from specifically tracked objects?

Feedback from the class (from what I could write down in time) entailed:

• Give us the understanding that based on the visuals, the audio data is being pulled out of the visual space itself.
• Explain that the video is live and the audio is being directly reactive from such.
• What kind of understanding should be gained through working with the experience? What can we experience/learn from it? Or is it purely something to enjoy?
• What do you want us to notice first? Audio? Visuals?
• Where would this piece actually be located? Within a museum? Open space?
• How do you project the visuals to give us more of an audio-visual sensation that drives our understanding?
• How does the curiosity of the audience aware that it wasn’t just pre-composed?

What I want to accomplish moving into next week:

• Work with the projector in the MoLab to have the animations play on the ground.
• Work with the audio in the MoLab to have the speakers setup in a way that is conducive to having the correct audio spatialization.
• Find patches/online resources that help with transferring different pieces of audio between different speakers.

Cycle 1 – DroidCo. Backend Development

For cycle 1, I built the backend system for a game I’ve been referring to as “DroidCo.” The goal of the game is to give non-programmers the opportunity to program their own AI in a head-to-head “code-off.”

The game starts with both players in front of sets of buttons (either digital or physical via makey makey). The buttons have keywords for the DroidCo. programming language. By pressing these buttons, both players build a program that each of their team’s droid will run. Here’s what a program might look like:

BEGIN
   IF-next-is-enemy
      hack
   END
   WHILE-next-is-empty
      move
   END
END

In addition to BEGIN and END, here are the keywords for the DroidCo. language:

After both players have completed their code, the second phase of the game begins. In this phase, a grid of spaces is populated by droids, half of which belong to one player and the other half belonging to the other player. Each second a “turn” goes by in which every droid takes an action determined by the code written by their owner. One of these actions could be “hack” which causes a droid to convert an enemy droid in the space it is facing into an ally droid. The goal is to create droids that “hack” all of your opponent’s droids, putting them all under your control.

The backend development is sorta an involved process to explain, so I may put the gritty details on my personal WordPress later, but here’s a boiled down version. We start with a long string that represents the program. For the sample program above it would be: “BEGIN IF-next-is-enemy hack END WHILE-next-is-empty move END END “. We give this string to the tokenizer that splits it up into an array of individual words. Here’s the tokenizer:

function tokenizer(tokenString){
	var tokens = [];
	var index = 0;
	var nextSpace = 0;
	while(index < tokenString.length){
		nextSpace = tokenString.indexOf(" ", index);
		tokens[tokens.length] = tokenString.substring(index, nextSpace);
		index = nextSpace+1;
	}
	return tokens;
}

This array is then given to the code generator, which converts it to a code “roadmap” in the form of an array of integers. Here’s the code generator:

function codeGenerator(code, tokens){
	var startIndex = code.length;
	var nextToken = tokens.shift();
	var dummy;
	var whileloop;
	while (tokens.length > 0 && nextToken != "END"){
		switch (nextToken){
			case "BEGIN":
				break;
			case "move":
				code[code.length] = -1;
				break;
			case "turn-right":
				code[code.length] = -2;
				break;
			case "turn-left":
				code[code.length] = -3;
				break;
			case "hack":
				code[code.length] = -4;
				break;
			case "skip":
				code[code.length] = -5;
				break;
			case "IF—next-is-ally":
				code[code.length] = -6;
				dummy = code.length;
				code[code.length] = -100;
				codeGenerator(code, tokens);
				code[dummy] = code.length;
				break;
			case "IF-next-is-not-ally":
				code[code.length] = -7;
				dummy = code.length;
				code[code.length] = -100;
				codeGenerator(code, tokens);
				code[dummy] = code.length;
				break;
			case "IF-next-is-enemy":
				code[code.length] = -8;
				dummy = code.length;
				code[code.length] = -100;
				codeGenerator(code, tokens);
				code[dummy] = code.length;
				break;
			case "IF-next-is-not-enemy":
				code[code.length] = -9;
				dummy = code.length;
				code[code.length] = -100;
				codeGenerator(code, tokens);
				code[dummy] = code.length;
				break;
			case "IF-next-is-wall":
				code[code.length] = -10;
				dummy = code.length;
				code[code.length] = -100;
				codeGenerator(code, tokens);
				code[dummy] = code.length;
				break;
			case "IF-next-is-not-wall":
				code[code.length] = -11;
				dummy = code.length;
				code[code.length] = -100;
				codeGenerator(code, tokens);
				code[dummy] = code.length;
				break;
			case "IF-next-is-empty":
				code[code.length] = -12;
				dummy = code.length;
				code[code.length] = -100;
				codeGenerator(code, tokens);
				code[dummy] = code.length;
				break;
			case "IF-next-is-not-empty":
				code[code.length] = -13;
				dummy = code.length;
				code[code.length] = -100;
				codeGenerator(code, tokens);
				code[dummy] = code.length;
				break;
			case "WHILE-next-is-ally":
				whileloop = code.length;
				code[code.length] = -6;
				dummy = code.length;
				code[code.length] = -100;
				codeGenerator(code, tokens);
				code[code.length] = whileloop;
				code[dummy] = code.length;
				break;
			case "WHILE-next-is-not-ally":
				whileloop = code.length;
				code[code.length] = -7;
				dummy = code.length;
				code[code.length] = -100;
				codeGenerator(code, tokens);
				code[code.length] = whileloop;
				code[dummy] = code.length;
				break;
			case "WHILE-next-is-enemy":
				whileloop = code.length;
				code[code.length] = -8;
				dummy = code.length;
				code[code.length] = -100;
				codeGenerator(code, tokens);
				code[code.length] = whileloop;
				code[dummy] = code.length;
				break;
			case "WHILE-next-is-not-enemy":
				whileloop = code.length;
				code[code.length] = -9;
				dummy = code.length;
				code[code.length] = -100;
				codeGenerator(code, tokens);
				code[code.length] = whileloop;
				code[dummy] = code.length;
				break;
			case "WHILE-next-is-wall":
				whileloop = code.length;
				code[code.length] = -10;
				dummy = code.length;
				code[code.length] = -100;
				codeGenerator(code, tokens);
				code[code.length] = whileloop;
				code[dummy] = code.length;
				break;
			case "WHILE-next-is-not-wall":
				whileloop = code.length;
				code[code.length] = -11;
				dummy = code.length;
				code[code.length] = -100;
				codeGenerator(code, tokens);
				code[code.length] = whileloop;
				code[dummy] = code.length;
				break;
			case "WHILE-next-is-empty":
				whileloop = code.length;
				code[code.length] = -12;
				dummy = code.length;
				code[code.length] = -100;
				codeGenerator(code, tokens);
				code[code.length] = whileloop;
				code[dummy] = code.length;
				break;
			case "WHILE-next-is-not-empty":
				whileloop = code.length;
				code[code.length] = -13;
				dummy = code.length;
				code[code.length] = -100;
				codeGenerator(code, tokens);
				code[code.length] = whileloop;
				code[dummy] = code.length;
				break;
		}
		nextToken = tokens.shift();
	}
}

This code is then given to the server, which stores both players’ codes and controls the game-state. Since the server is over 300 lines of code, I wont be posting it here. Nonetheless, each turn the server will run through the droids, allowing each of them to take an action to modify the game-state. Once they have all acted, it outputs the new game-state to both the display actors and back into itself so it can run the next round.

Cycle 1: Collaborative Performance

With my initial thoughts about building a “supportive system”, I set my cycle 1 as a collaborative performance with the help of the audience. I make people into three groups: performer, lighting helper, and audience member. The performers will feel free to dance on the center stage space. The lighting helper will help me trigger the lighting cues to keep the dance going.

Actually the mission for the lighting helpers are heavier. I have a connect capture the depth data of the lighting helpers. They will run and then land on the marked line I preset on the floor so that they will appear in the depth sensor capture area to get a brightness data. When the brightness data bigger than a certain number, it will trigger my lighting cue. Each lighting cue will fade in dark after a certain amount of time, so my helpers will keep doing the “running and land” movement action to keep the performance space bright so that audience members can see the dance.

Also, I have a lighting cue which uses five different lights to shine one by one. I set this the same function as a count down system. This cue is for the lighting helper to notice that they are going to be ready, and run after this lighting cue is done.

I want to use the human’s body movement to trigger the lighting instead of press the “Go” button on the lighting board so that audience members can be involved into the process and be interactive. However, I found the performer seems become less and less important in my project since I want the audience members to help with the lighting and really get a sense of how lighting works in the performance. I want to build a space where people can physically move and contribute to the lighting system. And I think I want to develop my project as a “tech rehearsal”. I will become the stage manager to call the cues. And my audience members will become my crew members to work all together to get the lighting board run.

Cycle 1

Cycle 1 went really well, and I am very excited to continue working on this project. My work centers Black women and moves from Black women at large in the lives of my audience to my own specific experience as a Black woman.

I was very intentional about wanting to craft an environment in the MOLAB, so I used the white scrims to create a circle in the middle of the room onto which I projected my video. However, before the participants could enter the space, they were met with my “Thank a Black Woman” station, which invited them to thank a Black woman by name that is in their own lives or give a thank you to Black women at large. They had the option to speak their thank you into the microphone that was set up, write the woman’s name on a sticky note and post it to the poster board that was set up on the table, or do both. Once they had recorded their thank you, they could enter the space.

I used an updated version of my patch from PP3 to capture the audio from the recording (whoops, I switched the camera to movie to be completely manual and forgot to enter the patch right at the top) and so they could see the flashes of the shapes and colors moving on the walls of the circle they stood inside of. After everyone said their thank you and entered the space, the play back of the voiced thank you’s played. This moment was very meaningful; everyone stood in the space along the outside edges making a circle and listened to each other. It was very powerful to hold space for Black women in this way… for women who are too often over looked to be given their flowers for once.

The next scene of the patch is meant to be a “Black women at home” segment, showing me and my mom doing things like washing and doing our hair (often a shared experience between Black mother’s and daughters across the globe) and caring for ourselves and our homes. I don’t have that footage yet so I was unable to show. However, I plan to bring in some physical objects into the space that will be connected to a Makey Makey to open and close circuits to switch between various video feeds.

The last scene speaks to me and my Black womanhood most specifically and is a 3 minute clip of a movement exploration of a research I am calling “ancestral crossings” in which I seek to bring about a kinesthetic shift to spirit through movement in order to shift the temporal planes between past and present so that I might commune with my ancestors once again. The last minute includes a pre-recorded spoken text narrated by me. The audience spread out and watched as the video was played on the the three individual scrims. They commented on the texture of having to watch my movement through another person.

As the video came to a close, everyone settled again onto the periphery, further solidifying the circularity of the space which felt important to me as circles and circularity carry a great deal of meaning in Black culture and life across the diaspora. The feedback I received was really spectacular. I was particularly interested to know how the “Thank a Black Woman” station would be received, and it was exciting to hear that my classmates wanted that moment to go on for even longer. I’m now considering ways to incorporate more by perhaps pre-recording the some thank you to have playing in the background intermittently throughout the third scene.

It was an immense pleasure to have another Black woman in the room when I presented, as we are who I do my work for. Sage Crump of Complex Movements, a Detroit based artists collective that was in residency at ACCAD last week came to visit with our class after she heard about the work that we were doing. It was an honor and a privilege to be in her presence and to hear her thoughts on not only my own work, but also that of my classmates. Thank you for your time and energy, Sage.

You can listen to the thank you’s at the download link below.

PP3 — You can do it!

When we were first given the parameters of this project, I was immediately anxious because I felt like it was outside of my skill and capability. This class has definitely been a crash course in Isadora and I’m still not the most proficient at using this program. The assignment was to spend no more than 8 hours using Isadora to put together an experience that revealed a mystery; bonus points were given for making a group activity that organized people in the space. The idea of mystery was really confusing to me because the only thing that immediately came to mind was TouchOSC and Kinect tools that I don’t know know how to use independently yet. However, Alex assured me that he would help me learn the components of which I was unsure, and was very helpful in showing me some actors that I could use to explore the idea that I had which was to play a game of “Telephone” with the class.

After having the class line up one after the other in front of the microphone, I used the mic to record the “secret” while it was passed down the line. I had played with locomoting some shapes and that reacted to the levels of the voices as they spoke in to the mic. Initially, I had wanted to use the sound frequency bands actor in addition to the sound level watcher actor, but when I started working on the project at home, the frequency bands would not output any data. Unbeknownst to the participants, I was recording the “secret” as it passed down the telephone so that at the end, I could “reveal” the mystery of what the initial message was and what it became as it was went from person to person.

It was really exciting actually to hear the play back and listen to the initial message be remixed, translated into Chinese and then back to English, to finally end in the last iteration. It was fun for the class to hear their voices and see that the flashing, moving shapes on screen actually meant something and were not just arbitrary.

Overall, the most complicated thing about PP3 was learning how to program the camera to start and stop recording the audio. To do this I used a camera to movie actor, and played with automating the trigger to start, switch to stop, and then stop. Ultimately, I ended up setting up a gate and a toggle to control the flow to the start/stop trigger and using keyboard watcher that I manually controlled to open and close the gate so that the triggers could pass through.

In spite of my initial concerns, I found this project to be a nice challenge. I had even been exploring ways to integrate a Makey Makey into the presentation, but realized I don’t have enough USB ports on my personal computer to support both an Isadora USB key, the USB for the mic and a Makey Makey. This was definitely a project that was the result of the resources that I had available to me in regards to both skill and computer systems.

PP3 — composer

In my pressure project 3, I used Makey Makey as an intermedia to connect people and Isadora. My ideation for this project was to create some music keyboard that people could play randomly and compose their music work. I believe that the process of composition is a mystery. People have no idea about what kind of music they will produce until the end. I created an Isadora interface with the piano keyboard and three mystery buttons that were four background music, some funny human/robot/animal voices. And then, I did the same interface on that paper and connected it through Makey Makey to the Isadora. At first, I asked people to choose a color mark-pen that I had and to draw that paper. Which means they could control the color (button). Because Makey Makey works when people connect, I also asked them to touch each other without using hands. I thought that maybe fun. Then the journey started. I made instructions to guide people to play the piano at first. And then, the guideline introduced them to the other funny/weird buttons so they could explore mixing all the sound and music. People were enjoying playing it. They more tended to play based on background music rather than create something new. I feel this was because my instructions jump to fast so that they barely saw. And also, they feel weird in the part of touching because of the space limitation.