Category: Spring 24

Concept:

The project came together after deciding we wish to create a faster track, compared to our previous one. After Noah laid down some break beats and Aakarsh laid some textural pads, we decided on an atmospheric breakcore sound. Raya and Juanma took the visuals from this starting point and created an eclectic mix of old cartoon footage with hydra glitch effects.

Sound Composition:

The first sound is Sophie’s “It’s Okay To Cry” put through a striateBy to create an ambient pad. Then a voice line from Silent Hill 2 goes through a similar process. A superzow arp with long sustain kicks in creating a bleeding, noisy, driving sound. A trem adds rhythm to this sustained blended arp. A jungle bass and Amen break cut up kick in now. A superpwm with a smaller sustain kicks in afterwards.

The whole song goes double time now. The break is replaced with a faster, glitchier cut-up. A rhythmic chopped up voice memo replaces the superpwm arp. These are transitioned in with a gradual manual increase of a low pass filter. The superpwm comes back now, crushed to add more granularity to the sound texture.

The song eventually returns to the original tempo, cutting out the vocal fragments, while the rest of the instrumentals gradually fade out.

Visual Composition:

The visual composition initializes video playback from a URL of “The Mechanical Cow” and first starts b&w. Then applies a modulation effect to create a slightly scaled black and white version of the video. Then intensifies the grayscale effect, blends it with the original output. Then the colorful variation blocks introduce color dynamics, kaleidoscopic effects, and rotation modulations, controlled by time-based functions, enhancing the visual complexity. Then we increase the intensity of visual effects with higher frequency oscillations, complex colorama applications, and increased modulations that respond dynamically to the sin of the time. For the final layer we applied color changes and scaling based on the audio’s frequency spectrum, combining with masked oscillations to produce rhythmic visuals ideal for accompanying drum beats.

Code:

d1 $ jux rev $ slow 16 $ striateBy 64 (1/8) $ sound "sophie:0" # room "0.9" # size "0.9" # up "-2" # gain 0.8
d2 $ jux rev $ slow 16 $ striateBy 64 (1/8) $ sound "scream:0" # room "0.9" # size "0.9" # up "1"

d5 $ slow 8 $ s "jungbass" <| n (run 20) # krush 8 


xfadeIn 2 64 $ fast 1 $ chunk 4 (|- note 5) $ jux rev $ 
  arp "<converge diverge>" $ note "<cs3'min9'11'o>"
  # sound "superzow" # gain 0.7  # tremr "8" # tremdp 1
  # sustain 1 # room 0.3 # sz 0.5  
  # lpf 1000 # lpq 0.2 # crush 2

xfadeIn 3 64 $ fast 1 $ jux rev $ 
  arp "<pinkydown>" $ note "<cs3'min9'11'o>"
  # sound "superpwm" # gain 0.8 
  # sustain 0.2 # room 0.3 # sz 0.5  
  # hpf 500 # hpq 0.2 # crush 2

setcps(0.7)

hush

d6 $ slow 4  $  s "amencutup" <| n (shuffle 8 $ run 32) # speed "{1,2,3}%8" # gain 1 # room 0.4 # sz 0.6 # krush 4 # lpf 6000
d6 $ slice 8 "[<0 1> 2] [<3*8 4 0> <4 3 1>]" $ s "breaks152" # gain 1.35 # legato 1 # room 0.3 # sz 0.6 # lpf 6000 # krush 2
d3 $ slow 2 $ slice 8 "1 [1*2] 2 3 2 [4*2] [~ 3] [5 [5*2]]" $ s "vmemo:2" # gain 1.7 # legato 1 # room 0.3 # sz 0.9 # krush 4 # lpf 3000

d6 $ silence
d3 $ silence


d10 $ ccv "120 30 110 40" # ccn "1" # s "midi"
d11 $ slow 4 $ ccv "[<0 50> 127] [<0 50> <177 30>]" # ccn "0" # s "midi" 
d12 $ ccv "127 60 127 90" # ccn "2" # s "midi"
d13 $ ccv "20 40 60 80 100 120 127 0" # ccn "3" # s "midi"

s2.initVideo('https://upload.wikimedia.org/wikipedia/commons/c/ce/The_Mechanical_Cow_%281927%29_silent_version.webm')

src(s2).out(o0)

//b&w 1
src(s2).modulate(src(s2), [0,1]).scale(0.8).out(o0)

//b&w 2
src(s2).color(-1.5, -1.5, -1.5).blend(o0).rotate(-0.5, -0.5).modulate(shape(4).rotate(0.5, 0.5).scale(2).repeatX(2, 2).modulate(o0).repeatY(2, 2)).out(o0)

//colorful variation 
src(s2).blend(osc(5, 0.5, ()=>cc[2]*0.02)
    .kaleid([3,4,5,7,8,9,10].fast(0.1))
    .color(0.5, 0.3)
    .colorama(0.4)
    .rotate(0.009,()=>Math.sin(time)* -0.00001 )
    .modulateRotate(o0,()=>Math.sin(time) * 0.003)
    .modulate(o0, 0.9)
    .scale(0.9))
    .out(o0)

//colorful variation 2
src(s2).modulate(src(s2), ()=>cc[2])
  .blend(osc(5, 0.5, 0.1)
              .kaleid([3,4,5,7,8,9,10].fast(0.1))
  .color(0.5, 0.3)
             .colorama(0.4)
             .rotate(0.009,()=>Math.sin(time)* -0.0001)
              .modulateRotate(o0, ()=>Math.sin(time) *0.003)
              .modulate(o0,0.9)
              .scale(0.9)
             )
    .out(o0)

//more distortion (add colorama details, osc 10)
src(s2).modulate(src(s2), ()=>cc[2])
  .blend(osc(10, 0.5, ()=> 0.1 + 0.9*Math.sin(time*0.05))
              .kaleid([3,4,5,7,8,9,10].fast(0.1))
  .color(0.5, 0.3)
             .colorama(() => 0.5 + 0.5 * Math.sin(time))
             .rotate(0.009,()=>Math.sin(time)* -0.0001)
              .modulateRotate(o0, ()=>Math.sin(time) *0.003)
              .modulate(o0,0.6)
              .scale(0.9)
             )
    .out(o0)

//super distortion
src(s2).rotate(0).modulate(src(s2), ()=>cc[0])
  .blend(osc(10, 0.5, ()=> 0.1 + 0.9*Math.sin(time*0.05))
              .kaleid([3,4,5,7,8,9,10].fast(0.1))
  .color(0.5, 0.3)
             .colorama(() => 0.5 + 0.5 * Math.sin(time))
             .rotate(0.009,()=>Math.sin(time)* -0.0001)
              .modulateRotate(o0, ()=>Math.sin(time) *0.003)
              .modulate(o0,0.6)
              .scale(0.9)
             )
    .out(o0)

src(s2)
.mult(osc(20,-0.1,1).modulate(noise(3,1)).rotate(0.7))
.posterize([3,10,2].fast(0.5).smooth(1))
.modulateRotate(o0)
.out()

//vibrant circle layer
src(s2).add(noise(2, 1)).color(0, 0, 3).colorama(0.4).out()

//vibrant circle layer with MIDI
src(s2).add(noise(()=>cc[1], 1)).color(0, 0, 3).colorama(0.4).out()

//Transition
src(s2).add(noise(()=>cc[1]*0.3, 1)).scale(()=> a.fft[2]*5).color(0, 0, 3).colorama(0.4).out(o0)

//drum vibes
src(s2)
.color(() => a.fft[2]*2,0, 1)
.modulate(noise(() => a.fft[0]*10))
.scale(()=> a.fft[2]*5)
.layer(
  src(o0)
  .mask(osc(10).modulateRotate(osc(),90,0))
  .scale(() => a.fft[0]*2)
  .luma(0.2,0.3)
)
.blend(o0)
.out(o0)

hush()

Work Distribution:

The entire project came together pretty much simultaneously, the visuals were shaped by the audio and vice-versa. Hence, everyone contributed from a technical level to design choices on whatever level possible. More specifically, Aakarsh worked on the synths and pads. Noah came up with the drums and rhythm. Raya worked on the hydra part to create the visual layers on top of the video. Juanma came up with the video and worked on the MIDI synching.

Hoffmann and Naumann trace the roots of artist-musicians back to figures like Leonardo da Vinci, establishing a long-standing tradition of interdisciplinary genius that challenges the modern compartmentalization of artistic professions. This historical lens invites a contemplation on the essence of creativity itself—is it not the spirit of inquiry and boundless exploration that defines true artistry, irrespective of medium? The concept of the “all-round artist” resonates with my understanding of art as a fluid expression of human experience, unbounded by rigid categorizations. It prompts one to consider how contemporary artists might draw upon this tradition to navigate and transcend the increasingly blurred lines between disciplines.

The move towards abstraction in both art and music reflects a shift from representational to conceptual modes of expression. The authors highlight the role of abstraction in fostering a form of universal communication:

“The main focus of modernist art was therefore on the basic elements (color forms tones etc.) and the basic conditions (manner and place of presentation) of artistic production.”​​ So the question arises, in what ways does the abstraction in music influence the abstraction in visual arts, and vice versa?

The exploration of synesthesia and the case studies of Kandinsky and Schoenberg exemplify the profound interplay between seeing and hearing, revealing how artists and musicians have sought to create immersive and multisensory experiences. This intersection fascinates me, as it encapsulates the quest for a holistic artistic expression that engages all senses, thereby amplifying the impact and reach of the artwork.

The role of art schools in fostering interdisciplinary and multidisciplinary work underscores the importance of educational environments in shaping the artists of the future. As someone who values the transformative power of education, I see art schools as crucial incubators for challenging traditional boundaries and nurturing the next generation of artist-musicians. This prompts further reflection on how curricula and institutional structures might evolve to better support this cross-pollination of ideas and techniques.

In conclusion, I believe Hoffmann and Naumann’s work encourages us to reconsider the fluid boundaries between artistic disciplines, urging a deeper appreciation for the complex dialogues that have shaped the evolution of art and music.

With an increasing push to opt for specialization in the current economic environment, Artist-Musicians, Musician-Artists by Justin Hoffmann, Sandra Naumann serves to be a calming point for my anxieties. The text served as a great and compact overview of multidisciplinary traditions spanning from the 20th century to early 21st century. Enamored by their descriptions for both artists I had heard about and hadn’t, I was prompted to check out a lot of these pieces while reading. Their highlighting of fashion icons like Vivienne Westwood and club spaces in LES were of particular interest to me, as I had been exploring intersections of fashion and club spaces with media arts in my writings at university over the last few years. The multi-modality of our major, Interactive Media, had always seemed a given to me since I had been engaging with various forms of media together even before I started this degree. The nature of this rabbit hole had always seemed a natural path, as starting out with music led me to start making album covers which led me to start making music videos, and this sequence kept building up till I ended up with video games, installations, websites or short films. However, realizing that this amorphousness of mediums is a relatively new turn of events which was spearheaded by experimental practitioners, I have gained a new appreciation and understanding of the depth of our medium

It was interesting to see the background / history of how the definition or range of art and music were pushed further. I think the part that stood out most to me was the turning point where art schools provided the environment in which students could try new things, becoming “the point of origin for interdisciplinary and multidisciplinary work.”

It’s also interesting to see how pop started, with “the principle that a good punk song only needed three chords applied just as much as the do-it-yourself attitude.” I think this is a mindset that still prevails, even in our course right now. It’s noteworthy that the combination of a good environment and a shift in people’s perspectives opened the field to new definitions of musicians and artists, and what they could do.

In this essay, the authors discuss the mutual influences between art and music and interdisciplinary artist-musicians (or musician-artists). The writing covers the brief history of modern art from the early 20th-century paintings to the latest computer art with relevant musical movements. It was interesting how music and musical movements have influenced fine art by providing new languages and opening up new possibilities. The authors also consider the social aspects by discussing some musicians who studied at art school and artists who produced works in art and music. Thus, the art school could become a hub for both musicians and artists in diverse mediums. I agree that there is a deep connection between the media art and music in its nature. Especially, as the cultural impact of music is significant, I think the musical influences are in the foundation of various domains, including visual art.

Live Coding, tidal cycles to be specific, is a series of algorithms made to manipulate a series of sounds for us to listen to. It is interesting, however, that if we look at the numbers being manipulated we will see, as humans, a drawing like a textile that we cannot read.

computational algorithms and patterns culturally situated in textiles, music, and dance seem closely related

A pattern is a textile we stitch, a table we set, an algorithm we loop through even an etiquette we learn. Hence the relationship between algorithms, patterns, and music may be something we have long realized, like many other algorithms we use today. It is interesting, however, to relate and compare those patterns together. Following patterns of a stitched rug, replacing, maybe colors with notes? swapping between the 2 mediums is a beautiful revelation, especially when connected with live coding, and creating on the go; you can change your carpet design at any moment you wish.

Looking away from the binary algorithmic representation of how things work, bringing in the “what if”. Live coding will bring a what-if question with every new line you will begin to question, doubt, or not like 100%. There is always a better version, a different wave pattern, a frequency, or an order that will work, so what if this algorithmic manipulation works better, what if this order of notes (or colors in the rug) works better. What if it also works better now but never will work again, at least in the same way.

The save button is not a familiar concept for a live coder. It is scary writing something you cannot save. It is even more scary knowing a well-practiced performance piece will never be played the same way twice. Recordings are like drawing on a plate and hanging it, while live coding is like smashing it to let out all the pent-up energy. It is scary sometimes, but that is an artistic scary that comes with knowledge. You threw away your plate, but the next one will look better because you learned something today. Your code is not meant to be saved, but u do learn, remember, and keep experiences and memories alive, even if u have no digital 1s and 0s to show for proof.

The reading reminded me of Allan Kaprow’s Happenings because it seems like multimedia artists focus more on the overall experience of an art piece rather than perfecting individual elements. In engaging multiple senses through a variety of artistic mediums, the end result can be more engaging and pull in the person experiencing the piece. I also see this reflected in Live Coding as we use both audio and visuals to create an all-encompassing experience, with the improvisational nature of the Live Coding medium moving our notion of what an art piece is away from a perfected sequence of events to a more holistic experience. I hope to keep making my Live Coding pieces through this high-level view, focusing on the person’s overall experience of the performance.