2009 ITP Thesis » D’Arcangelo, Gideon

Zannah Marsh

Wed, 30 Nov -0001 00:00:00 +0000

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Mitch Said

Wed, 30 Nov -0001 00:00:00 +0000

StreetForms is a web and mobile-based platform/toolset that hopes to encourage new forms of creative intervention in urban space. By integrating Google’s “Street View” service with a custom creative interface, I want to expand the notion of ‘public art’ to include digital visual augmentation and annotation.

Natacha Diels

Wed, 30 Nov -0001 00:00:00 +0000

SuperPamplemousse consists of three distinct elements. These are: a microphone array for each instrument (flute, violin, cello, percussion, piano); wearable speakers; and the composition, which includes processing of each instrument. Each microphone array will consist of between 2 and 6 powered electret microphones, designed in such a manner as to maximize the noise capabilities of each instrument. Each ensemble member’s microphone array will plug into his/her respective sound card and computer, and output to the wearable speakers. The speakers will be networked to allow each performer’s sound to be sent to any other performer’s speakers. The wearable speakers will consist of an array of miniature 1-watt speakers (used only for noise) and 4 small 10W speakers, until the flat speaker technology which has recently emerged becomes available to consumers. The composition will be structured as to maximally demonstrate the potential of the mic arrays and localized speakers, and will using the processing capabilities of Pure Data.

Xiaoyang Feng

Wed, 30 Nov -0001 00:00:00 +0000

Irregular Incurve has a similar construction structure as acoustic guitar. Instead of mounting strings on the neck, each string is mounted on an independent steel pipe. The steel pipes are fixed onto a curved shower rod by 3 pieces acrylic panels. Twelve controllable arms are mounted on the shower rod as well, which can pluck the strings by moving guitar picks. A homemade bridge transfers the vibration of the string to a spruce-wood sound box that sits under all the steel pipes. There are no nuts for different frets on each string. It only produces 12 simple tones. With the ability to change different strings and tuning manually, it can be used to perform different music.

Tim Szetela

Wed, 30 Nov -0001 00:00:00 +0000

Imagined Location is a collection of expressive tools that allow for the generation and alteration of geographic imagery. These tools highlight the rich, complex visual language of aerial photography and satellite imagery and encourage the examination and manipulation of natural, political, and man-made borders, patterns, and constructs. This interaction, in turn, questions the relationship between this imagery, its practical representation in mapping, and resulting effect on geographic perception.

Dominique Ahkong

Wed, 30 Nov -0001 00:00:00 +0000

\”Opening Up\” is an exploration of public shyness in two parts. Shyness takes the form of paper in \”Unseen,\” a book that invites participants, through pop-ups, flaps and tiny poems, to engage in the tangibility of a complex subject. \”A Kit for Friends of Publicly Shy People\” includes \”In Case of Nervous Speaker,\” a safety card, and the Tug Shirt, a garment that embodies conflicting desires. Intended for informal social settings, it allows for communication between friends. Tugging the bottom seam of the shirt triggers lights to brighten in the collar; the stronger the tug, the brighter the lights, thus mapping the level of urgency in the wearer\’s desire for conversational inclusion.

Eun Jung(EJ) Park

Wed, 30 Nov -0001 00:00:00 +0000

Mechanical Storytelling is a contemporary automaton depicting an animated scene and featuring a clown character with a unique personality. My focus in this work is the creation of mechanisms that are appropriate to the animations necessary for giving personality and “life” to this wooden object.

Joseph Mariglio

Wed, 30 Nov -0001 00:00:00 +0000

I will present a genealogy of related original pieces intended to bring up questions of representation, as well as facilitate collaboration and theft. Conventional roles for notation, especially in music, are normative and may not expose anything about the initial affinities that guided the composition. In addition, work that addresses recent technologies faces constant devaluation because of the transiency of that technology. These are very real threats to the legitimacy of many new media forms, including computer music. I explore how new ideas about notation might improve the standing power and transparency of realized forms, and furthermore may give the creative community a protocol for sharing ideas across disciplines.

Steven Litt

Wed, 30 Nov -0001 00:00:00 +0000

CrudLabs is an organization dedicated to new research into combining traditional electronic music interfaces with methods of electroacoustic and electromechanical sound creation in new and unexplored contexts. It’s first major endeavor is the fabrication and open sourcing of CrudBox, a 16 step, 8 channel step sequencer which replaces digitally created or analog synthesized sounds typically associated with sequencers and electronic music with the amplified sounds of whatever electronic or electromechanical devices are plugged into it.

Michael Clemow

Wed, 30 Nov -0001 00:00:00 +0000

I am both a performer of improvised music as well as a composer of algorithmic music. Often the goals of these two activities seem at odds with each other. “Outis” is a piece that is intended to bridge these two rather disparate methodologies by providing algorithmic constraints to otherwise free-form improvisation. In “Outis,” the interpretation of the score is divided into layers. At the base, there is the source material, consisting of an individual or set of video loops or a live camera feed, which is “read” by a computer-vision program. The program attempts to “make sense” of the image by extracting features from it through a blob-detection routine (explained below). The blob-detection routine makes certain information about the image available to the program, which then uses a rule-set to decide which features on which to focus its attention and attempts to create a generalization of that data in a form that is musical and auralize that form. The point at which the derived data is auralized is where the performer(s) can lay their hand on the process and, within the constraints of the system, improvise. Because the program has agency in the interpretation of the score, the program can itself be seen as a performer. The author goes one step further in his conception of the performance situation, seeing the performance as an act of one agent in which the human and machine elements are participating for the duration of the performance act, which is at once algorithmic and improvised, or algo-improvisized.