Press "Enter" to skip to content

Tag: generative

Mapping Study 3 by Stephen Callear

The third in a series of case studies exploring parameter mapping techniques between granular synthesis and particle systems. The primary aim of the video was to establish the success of opaque mappings between particle and granular synthesis systems. Particle behaviour was controlled using the same input data as the previous studies. The resultant visual parameters were then sent to a custom granular synthesiser built in Max/MSP. [1]



Flicker by Jon McCormack

Flicker is an immersive electronic environment of generative image and sound. A collaborative work with Oliver Bown. Based on biological models of firefly behaviour, Flicker generates an ever shifting rhythmic, meditative environment to the viewer.
Flicker uses 4 channels of synchronised high definition video and 8 channels of sound to immerse the viewer in a phenomenologically rich environment of artificial life.

This video shows a computer generated simulation of the final work. [1]

More work by Jon McCormack.



Slow-Fi Generative Music Environment by Jason Soares

Slow-Fi is a generative self correcting audio/visual environment. Original concept and software by Jason Soares 2004. Modified in 2009 by Jason Soares & JFRE Coad. Download for Mac/PC. Slow-Fi EP release August 24th, 2010 on imputor? Records.

Once running, the emitter (pulsing circle) will launch hexagon shapes from itself. These hexagons with be assigned a random note and will move around randomly and intermittently. If a hexagon moves onto the emitter, it will kill that hexagon and launch two new hexagons in its place. There are three lines in the upper left corner which show the status of the system. The middle light grey line represents the current amount of hexagons. The left and right dark grey lines are the randomly chosen maximum and minimum triggers for the emitter to react to. Once the amount of hexagons reaches the maximum amount (left line), the emitter will start moving around the screen bouncing off the walls at different random speeds and directions killing off hexagons. It will do this until it reaches the minimum amount (right line). Then new amounts will be chosen and the process will start over. [1]



FRICTION by Steffen Kasperavicius

A random constructive 4-channel video, built in PureData/Flash, automatically creating a neverending dark thriller based in a fictitious hotel by using short snippets of high-tensioned and looping Hollywood-found-footage. [1]



POND LIFE III by Patrick Sanan and Sam Salem

Pond Life III: Following on from our success with Pond Life II, we plan to create a new version of the work, developing the themes and technologies of the piece further. Pond Life is a generative audiovisual laboratory that encourages audience exploration and participation. Pond Life II has been exhibited in Montreal (ICMC 2010) and in New York (NYCEMF2). [1]



Audio Palimpsest by Anis Haron

Audio Palimpsest (2010) is an interactive sound-based installation that explores applications of indeterminacy and randomness in an interactive platform. The piece is based on a hacked cassette recorder, where the device functionalities are reconfigured to work in a different context. Audio Palimpsest is an auditory art system that allows multi-point interaction by synthesizing data inputs collectively and emphasizing the thought of open-endedness in its execution — opening up content generation to sources beyond the traditional expectations. [1]



More from Anis Haron

Pattern Recognition by Kamran Sadeghi

Pattern Recognition is an animated graphical score created in tandem with the music through a finely tuned generative and performative process. Each shape has a dedicated relationship to its corresponding sound, much like notes written on a stave. Each tick, pulse and tone is represented within a labyrinth of grids as it plays with our ear to eye recognition.



More work by Kamran Sadeghi