hardware

STEIM

dfodel — Sat, 16 Jan 2010 15:27:08 -0800

I came to the STEIM orientation with the expectation of gaining deeper understanding of the commercial software they have developed, and to present to the staff several artistic projects I currently have in development.

I have used JunXion in the past, but only for basic operations in mapping HID hardware. During my stay I was able to create several new patches for use in an upcoming performance titled "Still Life in Real Time", which will premiere at the Denver Museum of Nature and Science in April of 2010. For this project, I am tracking position and 3-axis orientation of several objects, which constitute a "Still Life" composition, both visually, and sonically.

David Fodel - Still Life with Guitar

The aim of the project itself is to interrogate the possibilities of real-time, structured improvisational, audio-visual composition, while incorporating the symbolic potential of the interface. The traditional Still Life, and in particular Dutch Golden Age Still Life paintings, provided me with an art historical locus and context for referencing this potentially symbolic quality of objects.

The technical aspects of the project are driven by this concept of "interface as content" and the ways in which the tangible interface and the embodied activities of the performer come to convey meaning. That being said, the technical problems then become those of creating tangible relationships between the objects, which are projected through sound and image, by selective mappings.

Screen cap of JunXion patch used for Still Life project

JunXion provides a way to create these mappings in a manner that allows for rapid prototyping. So that's what I did during my time at STEIM. I learned some of the deeper capabilities of the tool, which allowed me to explore some functionality that is key to the success of the project. I will outline these briefly below:

Creating switches without "buttons". I need to be able to tell the system to enable or disable certain functions or actions without clicking buttons, because that feels like it is an "un-natural" movement in the set-up. I was able to track large differences in accelerometer data, and turn that into a kind of switch, by storing, checking and updating a variable that denotes when the switch is on or off.
The individual object orientations, as tracked by the 3-axis accel data transmitted from each object wirelessly. Using JunXion, I map each axis to one or more MIDI CC's, and scale the data using the Tables in JunXion. This data is then forwarded on to audio and video parameters that respond to the movement of the objects.
Relative positions of each object while they are situated on the plinth or pedestal. I was able to do some quick testing using JunXion's built-in Object tracking, but it seems like I may have to use something else for the production version. I set-up a quick sketch that was able to detect blobs using Processing, but found that the actual "tracking" of the blobs is more complex. I need to be able to manage the blobs more precisely so the systems can determine how the blobs are related to each other spatially on a 2D surface. I am using a simple set-up of a frosted glass, with a camera underneath to let the system know when the objects are sitting on top of the glass, and where they are in relation to one another — the composition.

So this is mostly what I worked on but I also did some playful "what-if" scenarios with the other Orientation attendees, namely Berit Greinke, and Jeffrey Roberts. Berit was working on translating color to sound for her textile installation / performances, and Jeffrey was working with augmenting his live performance with a traditional Chinese string instrument called a Gu-Chin.

David Fodel working with Berit Greinke on color-to-sound conversions

Jeffrey Roberts playing Gu-Chin and WiiMote, David Fodel augmenting sound.

The discussions I had with Kristina and Robert were very helpful in giving me some perspective on my current work. This includes the Still Life compositions as well as my work with the Solar Wind Harp, a software (hardware under development) instrument that can "play" the solar wind in real-time via the NASA ACE satellite. I hope to be able to construct a large installation/performance version of the Solar Wind Harp with the assistance of STEIM staff in the future.

Testing Blob Detection patch in Studio 3

Most important to me was the interaction with the other orientation attendees. Hearing about the work they are doing, and the contexts within which they are working, provided a breath of fresh air, and a breadth of fresh ale to wash down some hard to swallow pills which seemed to be blurring my vision.

I have included links to brief videos of one of the experiments with Jeffrey Roberts playing Gu Chin, with one of my WiiMotes attached to his arm. The WiiMote is sending controller data via junXion to a patch in Ableton that is manipulating his live sound through various frequency domain dynamics effects processors. The other link is to a video of Jeffrey and Robert van Heumen playing together in the STEIM Studio 3.

Jeffrey Roberts and David Fodel

Jeffrey Roberts and Robert vanHeumen

jamBox: Audio Sculpture at the FAC Modern Gallery

dfodel — Thu, 20 Aug 2009 13:54:14 -0700

In the jamBox I wanted to explore the idea of an expressive audio instrument in a sculptural form, that uses spatiallity as a key component in its operation. The jamBox responds to the physically enclosing space to set its initial "sound floor" and is then modulated by one or many participants or viewers.

An array of sensors detect proximity in several directions and the mutiple voices of the audio are changed by the activities surrounding the enclosing space of the installation.

The materials used in the physical sculpture have a crafty sensibility, utilizing bamboo, and hand-sewn felt and are designed to visually invite closer inspection. The sounds on the other hand increase in volume as participants move closer, creating tension in the surrounding space.

The work is playful and encourages group participation and interaction while deciphering its puzzle-like quality.

The jamBox has been shown at the FAC Modern Gallery in Colorado Springs Colorado

Aurora's Aeolian Harp

dfodel — Thu, 09 Apr 2009 20:03:12 -0700

Overview
Aurora’s Aeolian Harp is named for Aeolus, an ancient god of the wind, and Aurora, a goddess of the dawn.
An Aeolian Harp (or wind harp) is a musical instrument that is "played" by the wind. This hardware/software “instrument” is an Aeolian Harp that is played by the solar wind.
In the software version, the "strings" of the harp are digitally synthesized using physical modeling techniques, and the "wind" is real-time solar wind data streamed from the NASA ACE satellite. Science consultant for the project is Dr. George Millward of the Laboratory for Atmospheric and Space Physics (LASP) / CU.
The hardware is based primarily on the Arduino platform. The physicalized output hardware is currently under development (see videos). This hardware controls the tensioning of multiple strings, attached to lengths of sheet metal, for pitch adjustment, using small motors. An audio transducer is used for controlling the excitation of the assembly. All of the electro-mechanical activity is controlled through Max / Arduino software. The instrument runs in conjunction with a simultaneous live performance, or as a stand-alone installation. The software version is built with Max/MSP and the base version will be available for free download and use.

Concept
By re-framing natural phenomenon as communication processes we can re-contextualize our place in the world in an effort to formulate appropriate design strategies. Re-engaging these processes as nodes in the living social network establishes those processes as contributing elements in the dialog with our past and future. By giving voice to these processes, a sonic voice, this dialog can be imagined.
Recognizing these natural phenomena, listening to the sonic fingerprints, and immersing ourselves in this aural architecture, connects us to the natural world in unexpected, subtle and sometimes spectacular ways.
Connecting a living process, by transposing its activity into an accessible perceptual realm, allows this voice to sing, and helps to tell a story, a story of our relationship to our own perceptions, and to the natural world.
Our engagement with the invisible forces around us radically affects our relationship with the culturally and historically constructed world. By framing these processes within a communications context we situate our humanity within a more inclusive sphere.

Deployment
The platform is meant to be extensible and already consists of several iterations. One iteration will be installed at the Denver Art Museum in November 2009 as part of the EMBRACE show, in collaboration with Timothy Weaver, Brigid Mcauliffe, Josh Fishburn and Nick Meyers. Another iteration will be performed as part of the Communikey Festival of Electronic Arts in Boulder, Colorado in April 2009. This will be a mobile audiovisual performance utilizing a custom mobile hardware platform (see images).
The Harp has also been informally performed at Anderson Ranch Arts Center in August of 2009.

Residency at Experimental Televsion Center

dfodel — Sun, 21 Dec 2008 11:38:49 -0800

In December of 2008 I did a residency at the Experimental Television Center in Owego, New York. I invited artist and long-time collaborator and friend Brian Kane to explore the center's vast collection of vintage analog video gear. The video below is a quick attempt at documenting the experience. Excerpts of some of the raw material are included. Some of the resulting material is included in a 5 DVD boxed set which chronicles the activities of the ETC from 1969 to 2008 and includes the work of 75 artists. The documentary footage will also be archived at the Rose Goldsen Archive of New Media at Cornell University. Special thanks to Hank Rudolph and Sherry Miller Hocking.

The "full project" doesn't really exist in any substantial form. The project WAS the residency I guess, which according to their guidelines merely consists of creating raw material, which may or may not get used in a finished "piece". The ETC intends the space and equipment to be used in that way, as opposed to a place to come and fine-tune/edit/finalize work.

That being said, what we were aiming for was raw material that was improvised live performance, which in some cases is finished as soon as it hits the eyeballs, eardrums and hard drive. So we have a bunch of that in the can, so to speak.

What I put together for the "documentary" is intended to describe the whole experience to put it into context for someone who might be interested in showing the work. It also seems to work to highlight the history and operation of the ETC itself. Which is really great.

As for the technical interactions occurring in the audio, video and control paths:

The center is almost entirely control voltage based. By using envelope followers one can feed audio in to a module and "extract' a CV signal, which then can be used for manipulating pretty much any aspect of the video gear. We worked primarily with the Dave Jones 6 channel colorizer, and also the Nam June Paik built "Wobulator" which is basically a huge electromagnet wrapped around a CRT and controlled by varying the voltage along several axis of the magnet(s). So that was one way of "syncing" the signals. Since we are using the envelope follower method, the signals fed into it tend to need to be relatively simple... tones or simple beats. We also managed to get the MIDI to CV module running which allowed for a simple way to get note on and off, and a single CC out to the CV stuff. It's a frikkin patchers heaven, if you have patience, and a lot of coffee. The cool thing is that in essence, the audio IS the video and vice-versa. The original practitioners and designers of the center's equipment (and I would encourage anyone interested to explore these folks) were basically just fascinated with the formal aspects of the electronic signal, and were the (dare I say) original transmedial artists. They were patching audio into video and extracting signals in both directions, deconstructing the television into its constituent elements and then rebuilding signals from the ground up.

The 3-screen work I include in the video doc is all raw captures from the center, with some augmentation to the audio. There are digital oscillators feeding the analog controls on the Dave Jones Colorizer, through the MIDI to CV module, as well as similar control running the analog Proc Amp. This is where one can control the final pedestal, chroma, gain and clipping of the video signal before digital capture. I also was doing some stuff feeding the centers signal into my laptop running VDMX, and then feeding that back into the centers system, with some gorgeous results. We also did a lot of weird stuff with live YouTube feeds etc to get that real vintage vs. contemporary thing going on. I was most fascinated with the things that were happening in these loops, the evolving pattern and color, that responded over time to subtle manipulation. That level of performative engagement in a real-time unpredictable environment is to me just irreproducible in the digital realm, but I don't want to start any arguments on that. Something about those soft analog edges and rich colors. Clearly, a lot of what VJ software does is based on how this early analog processing works, so you see a lot of familiar motifs emerging from the gear. Which is really cool to me... like a flash-back of a beautiful moment in ones past.

Anyway, enough of the prosaic rambling. The "studio time" was approx. 4 and a half solid days on site in the studio... sleeping there, eating there, drinking there etc. Immersive for sure. The 6 hours is raw... very. I am hoping to get 4 of what I think are pretty solid installation works out of the material. Slowly evolving large scale "immersive" audio-video works. There might be more in there... Not sure yet :)

Wind on Wind / Water on Water - Denver Botanic Gardens: Digital Nature

dfodel — Sun, 26 Oct 2008 13:39:27 -0700

The Digital Nature show sought to showcase the work of artists working in digital media, incorporating elements from the natural world via process, subject, aesthetics, or interactivity. Curated by Rachel Murray of the Denver Botanic Gardens and housed in the York Street Pavillion, the show incorporated interactive installation art, and live performances.
I had two interactive works selected, Wind on Wind and Water on Water. Each of the pieces were explorations of the metaphor of natural movement as subtle form of interspecies communication.
Sensors were suspended from tree branches and submerged under a waterfall, translating the motion of wind and water into malleable data which served to modulate video imagery projected in real time back onto the tree branches and waterfall.
More photos here. Wind on Wind statement here. Water on Water statement here.

dev/guitar MIDI controller

dfodel — Sun, 13 Jan 2008 15:26:10 -0800

This is a rudimentary demo of a custom controller I built to allow control of audio and video software in a live context. Not meant to be an exhaustive, or even entertaining exposition. This brief video only scratches the surface of the capabilities, but hopefully gives the viewer an overview of the device.