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MOVEMENT AS MIND

 

 

Sitting meditation is based on the principle that the mind and body are intrinsically connected, and thus act as continual reflections of one another. According to this belief, the degree of agitation or of stillness in the mind can be measured by the observed agitation or stillness of the body. This installation looked to create an interactive meditation space for participants to explore this idea by producing movement-based generative visualizations and audio. Movement was measured using a pressure sensor underneath a meditation pillow along with framne difference detection. This resulted in generative audiovisual processing of a projection of the meditator, along with a compositional representation of the jhanic factors and their hindrances.

W A T C H

 

HEARTBEAT GAMELAN

 

 

This installation sought to use the natural rhythms of participants' bodies to create an interactive musical and communal experience. This was realized by using the participant's pulse to control a solenoid, which in turn activated a gamelan, thus creating a dialogue between the participant's bodily interior and the installation's sound production. When two participants' heartbeats synchronously beat, a third gong is struck.

W A T C H

 

GENERATIE COMPOSITION FROM SEMANTIC AURAL REPRESENTATIONS OF CHINESE CHARACTERS

 

This project seeks to create generative, sonic worlds based on the radicals of Chinese characters, accompanied by corresponding reactive visuals. This is accomplished by first reducing Chinese characters to their corresponding radical, whose semantic meaning is translated into an aural object. This object's playback is synchronized with graphics displaying the radical, providing multimodal associations with the character. In this way, the work can function as either a compositional system, or as a unique educational tool for learning about radicals and their meanings. The inspiration for this project comes from a range of eclectic interests of mine, including composition, Chinese language and culture, generative music, musique concrete, synthesis, programming, and audiovisual synchresis.

D O W N L O A D

 

EVOLUTION OF HIPHOP AND R&B USING MUSIC INFORMATION RETRIEVAL

 

For this research, conducted under th supervision of Michael Caseyfor his course "Music, Information, Neuroscience", I used MATLAB to track how spectral and amplitude features of R&B and HipHop evolved over the last 30 years. The 30 features I anlayzed had their dimensionality reduced using principal component analysis (PCA), which was then compared through time. How these features have progressed reveals shifting consumer tastes and this particular genre's stylistic developments.

D O W N L O A D

 

GENERATIVE SERIALISM

 

 

These two patches, one rhythmic and one melodic, are inspired by the compositional techniques of Karlheinz Stockhausen. Stockhausen sought in his compositions to create transcendental structures, whereby a unifying pattern is applied to the musical form at every level, from the microform of ADSR to the macrostructure of sections and development. For example, Gesange der Jungelinge applies the temporal and spectral envelopes of speech to macrostructures within the work, creating a parallel timbral and rhythmic world spanning between the immediate perception of the piece and its overarching architecture. Given Stockahusen's early employment of total serialism, and that his teacher, Olivier Messiaen, was one of the leaders in the practice of total serialism, it is clear that this holistic compositional approach has its roots in total serialism. Furthermore, total serialism is an algorithmic, data-driven compsotional process, qualities that lend themselves very well to a software implementation. These two patches, along with a small piece inspired by Steve Reich's phasing techniques, are part of my final project for the seminar History of Electroacoustic Music.

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THREE SHAPES: GENERATIVE VISUALS

 

 

This patch was made after my lines patch. I found through my lines patch that the use of OpenGL could create wonderful, hi resolution graphics, but found my lines patch to be too convoluted and one dimensional. For this patch, I wanted to make something both extremely simple and extraordinarily versatile. This was realized through creating a matrix linking openGL parameters to audio analysis and LFO, in combination with unconstrained scaling and offsetting of any mapping. Video examples can be found here.

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TIME STRETCHING & ANALYSIS BASED COMPOSITIONAL TOOLS

 

This was my final project for MUMT501 Digital Signal Processing, taught by Philippe Depaule. The main portion of this project, within the folder timestretching, ported code from master's student Blake Markle's thesis on granular time stretching from MatLAB into Max/MSP. The harmonic characteristics of this time stretching algorithm were then compared to spectrally based time stretching algorithms; I further expanded on his granular algorithm through developing a rhythmically based version, whereby grainsize is relative to the BPM. In addition, I developed several other compositional tools based on principles of beat and frequency analysis learned during the course. Further explanation can be found within the project's report.

D O W N L O A D

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MAX/MSP EXTERNAL DEVELOPMENT

 

 

I learned to code externals during the course MUMT402 Advanced Multimedia Develoment, taught by Mark Zadel and Harry Saitis. The max externals were desgined for common functions in creating generative rhythms, such as dealing with probabilities, swing fluctuation, and evolving rhythms. The two msp~ externals are two granular oscillators whose signal rate input values are designed for rhythmic manipualtion.

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PHYSICAL ANALYSIS AND MODELING OF PIANO

 

 

This was my final report for PHYS225 Musical Acoustics. For this report, I decomposed the strings and soundboard of the piano into matematical models of simple physical objects with predictable spectra. These predicted harmonic characteristics were then compared to an actual piano's spectrum, and the differences between these spectra were analyzed and explained.

 

D O W N L O A D

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LINES: GENERATIVE VISUALS

 

 

This patch was the result of extended experimentation with basic OpenGL objects and parameters. The intention was to make a patch of a unified asesthetic, to act as a generative backdrop for performances. Examples of the patch can be found on my performance videos page as well as my ximen project page.

D O W N L O A D


MUSICAL LEGOS

 

 

This collection of patches was completed in 2008 and was my first project in max/msp. It was realized for mumt306 Intro to Audio Computing, taught by gary scavone. There is a huge array of patchers contained within this file, each meant to fulfill a certain musical function, such as sequencing, synthesis, processing or midi. These patches can then be re-arranged and connected together in novel ways. The patches are all heavily commented, and the Example Descriptions text file provides explanations of the provided examples. The variety of the patches and the explanations provided makes it a useful series of patches for those learning Max/MSP.

 

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