...had a theme song. It's pretty self-explanatory in concept. I kept falling asleep everytime I listened to it....so I guess it serves it's purpose well.
I used repitition to emphasize boredom in all its glory. I also squeezed in some sounds I gathered in my room to liven things up, but in the end....the song is still pretty uneventful.
Enjoy your nap.
Wednesday, April 16, 2008
Wednesday, April 2, 2008
Rise of the Machines
I began this project with the idea of using machines today to metaphorically represent 'Dinosaurs' and their gigantic presence back in their time. I figured that I would use sounds created by planes, cranes, tanks, mechanical sharpeners, staplers and other machines that dominate our world today much like how the dinosaurs dominated the land of their own time. Apart from manipulating sounds created by machines, I also experimented with a few objects that could potentially create sounds that are similar to giant footsteps and other environmental elements.
My main goal for this project is to create a soundscape of machines in rivalry with each other. I wanted to create an environment of both chaos and confusion, but my main focus is to simply experiment and see what I get.
Here's my sound piece:
My main goal for this project is to create a soundscape of machines in rivalry with each other. I wanted to create an environment of both chaos and confusion, but my main focus is to simply experiment and see what I get.
Here's my sound piece:
Wednesday, March 19, 2008
Silence
I decided to experiment with silence for this project because I've never had the opportunity to incorporate the absence of sound in any of my projects. I decided to record sounds of a normal day in my life once again. As for the numbers of that we had to use for these projects, I chose to work with the numbers 20, 52.5, 153.7, 36.6, 51.2, 93.2, 30.7, and 3. Those are statistical numbers I calculated from information I have gathered from the World Health Organization. Here are what those numbers correspond to.
-1 child under 5 years old will die every 20 seconds due to illnesses and conditions that could have been prevented if they were supplied with proper medicine and treatment. (East Mediterranean Region)
-1 woman will die for every 52.5 seconds due to pregnancy related problems if birth conditions are not improved.
-1 woman dies for every 153.7 seconds due to unsafe abortions.
-1 child under five years old dies every 36.6 seconds due to diarrhoeal diseases. (Estimates for 1996 India)
-1 child under five years old dies every 51.2 seconds due to acute respiratory infections. (Estimates for 1996 India)
-1 child under five years old dies every 93.2 seconds due to measles. (Estimates for 1996 India)
-1 child under 5 years old dies every 30.7 seconds of Malaria in sub-Saharan Africa.
-1 child dies every 3 seconds due to lack of proper treatments and nourishments in low-income countries like sub-Saharan Africa and South Asia.
During my sound piece, I will play 1 second of silence for everytime those numbers occur in seconds. The silence will be a way of mourning for those who have perished in this world due to the lack of aid and support. I hope that these statistics will one day change for the better.
"Silence"
Sources:
1 http://www.who.int/mdg/goals/goal4/en/ Child mortality calculated from 1990 to 2015.
2 http://www.searo.who.int/EN/Section1243/Section1310/Section1343/Section1344/Section1352_5262.htm
Mothers mortality due to birth related situations.
3 http://www.searo.who.int/en/Section1257/Section2263/Section2301_12190.htm
Children under 5 in India who die from Diarrhoeal diseases, acute respiratory infections and measles.
4 http://www.emro.who.int/whd2005/PDF/Brochure-English.pdf Birth related issues regarding mother and children.
5 http://www.who.int/mediacentre/factsheets/fs272/en/ Children in unhealthy environments.
-1 child under 5 years old will die every 20 seconds due to illnesses and conditions that could have been prevented if they were supplied with proper medicine and treatment. (East Mediterranean Region)
-1 woman will die for every 52.5 seconds due to pregnancy related problems if birth conditions are not improved.
-1 woman dies for every 153.7 seconds due to unsafe abortions.
-1 child under five years old dies every 36.6 seconds due to diarrhoeal diseases. (Estimates for 1996 India)
-1 child under five years old dies every 51.2 seconds due to acute respiratory infections. (Estimates for 1996 India)
-1 child under five years old dies every 93.2 seconds due to measles. (Estimates for 1996 India)
-1 child under 5 years old dies every 30.7 seconds of Malaria in sub-Saharan Africa.
-1 child dies every 3 seconds due to lack of proper treatments and nourishments in low-income countries like sub-Saharan Africa and South Asia.
During my sound piece, I will play 1 second of silence for everytime those numbers occur in seconds. The silence will be a way of mourning for those who have perished in this world due to the lack of aid and support. I hope that these statistics will one day change for the better.
"Silence"
Sources:
1 http://www.who.int/mdg/goals/goal4/en/ Child mortality calculated from 1990 to 2015.
2 http://www.searo.who.int/EN/Section1243/Section1310/Section1343/Section1344/Section1352_5262.htm
Mothers mortality due to birth related situations.
3 http://www.searo.who.int/en/Section1257/Section2263/Section2301_12190.htm
Children under 5 in India who die from Diarrhoeal diseases, acute respiratory infections and measles.
4 http://www.emro.who.int/whd2005/PDF/Brochure-English.pdf Birth related issues regarding mother and children.
5 http://www.who.int/mediacentre/factsheets/fs272/en/ Children in unhealthy environments.
Monday, March 10, 2008
I Wonder What I Would Sound Like???
For this assignment, I decided to simply have fun with Max MSP to create a fun program that generates and manipulates sound, to some extent. Due to the fact that this is a new program for me, I stayed away from creating complicated projects and instead focused more on experimenting with the program's capabilities.
I decided to create a program that is similar to profile questionaires. The program I have created will, hopefully, generate numbers that have been input by the viewers, such as birthdates and height. These numbers are connected to pitch, midi instrument and tempo modifiers. The program has four loop systems that is attached to the numbers that have been input by the viewers. Once, the viewers have completely filled out the profile questionnaire, there will be a play button that generates all the numbers to create sound in loops. I wanted to create an unplanned method of generating music with information that is a reflection of ourselves. I wanted to play with the idea of what we would sound like if we were sound.
My project is fairly simple and I think that I was successful in many areas. One element of the program that I was not able to fix was how the height controlled pitch levels. I wanted the pitch to be lower as the height got higher but the opposite occured. The higher the height numbers, the higher the pitch levels. Overall, it was an interesting experience to have an in depth view into how programs are created.
Screenshot of program:
What I apparently sound like:
Sample
max v2;
#N vpatcher -3 44 1149 796;
#P origin 51 3;
#P user radiogroup 482 337 18 32;
#X size 2;
#X offset 16;
#X inactive 0;
#X itemtype 0;
#X flagmode 0;
#X set 1;
#X done;
#P window setfont Palatino 24.;
#P comment 501 296 73 1048600 Sex;
#B frgb 255 255 255;
#P window setfont Verdana 9.;
#P comment 507 332 100 472055817 Female;
#B frgb 255 255 255;
#P comment 507 347 100 472055817 Male;
#B frgb 255 255 255;
#P user panel 454 264 150 150;
#X brgb 229 215 167;
#X frgb 0 0 0;
#X border 0;
#X rounded 360;
#X shadow 0;
#X done;
#P user panel 448 257 170 170;
#X brgb 0 0 0;
#X frgb 0 0 0;
#X border 0;
#X rounded 360;
#X shadow 0;
#X done;
#P window setfont Verdana 10.;
#P window linecount 6;
#P comment 83 504 100 472055818 Fill in the Profile Questionnaire and then press the play button to find out what you sound like.;
#P user panel 54 473 150 150;
#X brgb 255 255 255;
#X frgb 0 0 0;
#X border 0;
#X rounded 360;
#X shadow 0;
#X done;
#P user radiogroup 602 470 18 32;
#X size 2;
#X offset 16;
#X inactive 0;
#X itemtype 0;
#X flagmode 0;
#X set 1;
#X done;
#P window setfont Verdana 9.;
#P window linecount 1;
#P comment 619 472 100 472055817 Cat;
#B frgb 255 255 255;
#P comment 619 487 100 472055817 Dog;
#B frgb 255 255 255;
#P user radiogroup 400 441 18 96;
#X size 6;
#X offset 16;
#X inactive 0;
#X itemtype 0;
#X flagmode 0;
#X set 0;
#X done;
#P user panel 425 488 15 15;
#X brgb 162 106 0;
#X frgb 0 0 0;
#X border 1;
#X rounded 0;
#X shadow 0;
#X done;
#P user panel 425 456 15 16;
#X brgb 115 115 115;
#X frgb 0 0 0;
#X border 1;
#X rounded 0;
#X shadow 0;
#X done;
#P user panel 425 503 15 15;
#X brgb 0 188 208;
#X frgb 0 0 0;
#X border 1;
#X rounded 0;
#X shadow 0;
#X done;
#P user panel 425 518 15 15;
#X brgb 30 104 0;
#X frgb 0 0 0;
#X border 1;
#X rounded 0;
#X shadow 0;
#X done;
#P user panel 425 472 15 16;
#X brgb 84 47 0;
#X frgb 0 0 0;
#X border 1;
#X rounded 0;
#X shadow 0;
#X done;
#P user panel 425 440 15 16;
#X brgb 14 8 0;
#X frgb 0 0 0;
#X border 1;
#X rounded 0;
#X shadow 0;
#X done;
#P window setfont Palatino 24.;
#P comment 356 406 141 1048600 Eye Colour;
#B frgb 255 255 255;
#P window linecount 3;
#P comment 591 379 139 1048600 Are You a Dog or a Cat person?;
#B frgb 255 255 255;
#P user panel 309 351 250 250;
#X brgb 237 204 192;
#X frgb 0 0 0;
#X border 0;
#X rounded 500;
#X shadow 0;
#X done;
#P user panel 295 344 270 270;
#X brgb 0 0 0;
#X frgb 0 0 0;
#X border 0;
#X rounded 500;
#X shadow 0;
#X done;
#P user panel 518 318 250 250;
#X brgb 141 199 221;
#X frgb 0 0 0;
#X border 0;
#X rounded 400;
#X shadow 0;
#X done;
#P user panel 513 314 270 270;
#X brgb 0 0 0;
#X frgb 0 0 0;
#X border 0;
#X rounded 400;
#X shadow 0;
#X done;
#P window setfont "Sans Serif" 9.;
#P window linecount 1;
#P comment 638 275 71 196617 Play;
#P button 611 268 25 0;
#P user panel 589 231 100 100;
#X brgb 255 255 255;
#X frgb 0 0 0;
#X border 0;
#X rounded 360;
#X shadow 0;
#X done;
#P hidden newex 731 168 53 196617 tempo;
#P hidden newex 497 173 53 196617 tempo;
#P hidden newex 726 653 51 196617 pgmout 4;
#P hidden newex 637 652 51 196617 pgmout 4;
#P hidden number 1023 458 35 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
#P hidden newex 1023 482 53 196617 bendout 4;
#P hidden user uslider 1023 385 22 49 128 1 0 0;
#P hidden number 963 459 35 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
#P hidden newex 963 483 53 196617 bendout 3;
#P hidden user uslider 963 386 22 49 128 1 0 0;
#P hidden number 904 458 35 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
#P hidden newex 904 482 53 196617 bendout 2;
#P hidden user uslider 904 385 22 49 128 1 0 0;
#P hidden number 844 462 35 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
#P hidden newex 844 486 53 196617 bendout 1;
#P hidden user uslider 844 389 22 49 128 1 0 0;
#P hidden toggle 672 147 15 0;
#P hidden newex 671 256 32 196617 print;
#P hidden number 694 212 35 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
#P hidden newex 709 257 52 196617 noteout 4;
#P hidden newex 671 231 94 196617 makenote 700 200;
#P hidden button 671 191 15 0;
#P hidden newex 671 169 53 196617 tempo;
#P window linecount 3;
#P hidden comment 30 523 100 196617 controls midi instruments in the center;
#P window linecount 1;
#P hidden newex 355 169 53 196617 tempo;
#P hidden comment 938 364 37 196617 Loop 3;
#P hidden comment 888 364 37 196617 Loop 2;
#P hidden number 206 636 35 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
#P hidden user uslider 206 525 19 90 128 1 0 0;
#P user panel 627 100 30 30;
#X brgb 34 31 0;
#X frgb 0 0 0;
#X border 1;
#X rounded 0;
#X shadow 0;
#X done;
#P hidden newex 971 234 65 196617 prepend brgb;
#P hidden button 413 194 15 0;
#P hidden toggle 555 150 15 0;
#P hidden button 814 229 15 0;
#P hidden number 835 257 35 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
#P hidden user dial 836 279 40 40 128 1 0 0 159 270 1 1. 170 170 170 221 221 221 120 120 120 225 225 225 0 0 0 0 0 0;
#P hidden newex 836 326 51 196617 pgmout 2;
#P user swatch 546 136 181 78;
#P hidden message 878 256 71 196617 34 31 0;
#P hidden newex 837 227 60 196617 prepend set;
#P window setfont Palatino 24.;
#P comment 490 101 130 1048600 Hair Colour;
#B frgb 255 255 255;
#P window setfont "Sans Serif" 9.;
#P hidden newex 535 658 51 196617 pgmout 3;
#P hidden newex 438 668 51 196617 pgmout 3;
#P hidden number 726 605 35 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
#P hidden newex 726 579 27 196617 +;
#P hidden number 756 558 35 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
#P hidden newex 737 537 58 196617 random 40;
#P hidden number 715 558 35 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
#P hidden newex 726 629 53 196617 bendout 3;
#N counter 20 50;
#X flags 0 0;
#P hidden newobj 715 513 74 196617 counter 20 50;
#P hidden number 633 598 35 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
#P hidden newex 633 577 27 196617 +;
#P hidden number 663 556 35 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
#P hidden newex 644 535 58 196617 random 40;
#P hidden number 622 556 35 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
#P hidden newex 634 627 53 196617 bendout 3;
#N counter 50 100;
#X flags 0 0;
#P hidden newobj 622 511 80 196617 counter 50 100;
#P hidden newex 674 435 52 196617 route 0 1;
#P hidden message 674 462 14 196617 0;
#P hidden message 700 463 14 196617 1;
#P hidden number 674 415 35 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
#P hidden button 663 483 15 0;
#P hidden button 705 483 15 0;
#P hidden newex 555 260 32 196617 print;
#P hidden number 578 216 35 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
#P hidden newex 593 261 52 196617 noteout 3;
#P hidden newex 555 235 94 196617 makenote 700 200;
#P hidden button 555 195 15 0;
#P hidden newex 555 173 53 196617 tempo;
#P hidden newex 283 488 105 196617 route 0 1 2 3 4 5 6;
#P hidden number 293 468 35 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
#P hidden message 293 575 61 196617 162 106 0;
#P hidden message 293 534 68 196617 115 115 115;
#P hidden message 292 599 71 196617 0 188 208;
#P hidden message 292 623 52 196617 28 104 0;
#P hidden message 293 555 46 196617 86 47 0;
#P hidden message 293 513 36 196617 14 8 0;
#P hidden number 534 607 35 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
#P hidden newex 534 579 27 196617 +;
#P hidden number 564 558 35 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
#P hidden newex 545 537 58 196617 random 40;
#P hidden number 523 558 35 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
#P hidden newex 534 636 53 196617 bendout 2;
#N counter 0 50;
#X flags 0 0;
#P hidden newobj 523 513 68 196617 counter 0 50;
#P hidden number 441 604 35 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
#P hidden newex 441 577 27 196617 +;
#P hidden number 471 556 35 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
#P hidden newex 452 535 58 196617 random 40;
#P hidden number 430 556 35 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
#P hidden newex 441 646 53 196617 bendout 2;
#N counter 50 100;
#X flags 0 0;
#P hidden newobj 430 511 80 196617 counter 50 100;
#P hidden newex 490 434 52 196617 route 0 1;
#P hidden message 482 462 14 196617 0;
#P hidden message 508 463 14 196617 1;
#P hidden number 482 415 35 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
#P hidden button 471 483 15 0;
#P hidden button 513 483 15 0;
#P hidden newex 413 267 32 196617 print;
#P hidden number 413 235 35 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
#P hidden newex 451 268 52 196617 noteout 2;
#P hidden newex 420 247 94 196617 makenote 700 200;
#P hidden newex 413 169 53 196617 tempo;
#P number 395 222 24 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
#P number 413 222 27 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
#P hidden toggle 413 129 15 0;
#P hidden newex 18 304 32 196617 * 12;
#P hidden number 18 329 35 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
#P hidden button 1 305 15 0;
#P hidden button 69 305 15 0;
#P hidden newex 37 352 27 196617 +;
#P hidden number 37 377 35 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
#P hidden number 58 328 35 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
#P number 294 334 21 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
#P number 322 334 24 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
#P hidden button 153 462 15 0;
#P hidden number 166 496 35 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
#P hidden newex 206 660 51 196617 pgmout 1;
#P hidden user swatch 129 353 138 104;
#P hidden message 217 489 71 196617 14 8 0;
#P hidden newex 176 460 60 196617 prepend set;
#P hidden newex 232 296 32 196617 print;
#P hidden number 232 252 35 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
#P hidden newex 270 297 52 196617 noteout 1;
#P hidden newex 232 271 94 196617 makenote 700 200;
#P hidden button 232 231 15 0;
#P hidden newex 227 202 53 196617 tempo;
#P hidden toggle 232 167 15 0;
#P number 364 222 23 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
#P number 332 222 25 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
#P hidden number 37 473 35 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
#P hidden newex 37 497 50 196617 bendout 1;
#P window linecount 5;
#P hidden comment 16 67 116 196617 The number after bendout corresponds to the number after noteout (the numbers are midi channels);
#P window setfont Verdana 9.;
#P window linecount 1;
#P comment 331 207 25 472055817 Day;
#B frgb 255 255 255;
#P comment 362 206 41 472055817 Month;
#B frgb 255 255 255;
#P comment 404 207 28 472055817 Year;
#B frgb 255 255 255;
#P window setfont "Sans Serif" 20.;
#P hidden comment 318 70 146 196628 THE CENTER;
#P window setfont Palatino 24.;
#P comment 289 298 100 1048600 Height;
#B frgb 255 255 255;
#P hidden user uslider 37 400 22 49 128 1 0 0;
#P window setfont "Sans Serif" 12.;
#P comment 314 330 100 196620 ';
#P window setfont Palatino 24.;
#P comment 312 174 229 1048600 Date of Birth;
#B frgb 255 255 255;
#P window setfont "Sans Serif" 9.;
#P hidden comment 836 365 46 196617 Loop 1;
#P user panel 234 266 200 200;
#X brgb 229 215 167;
#X frgb 0 0 0;
#X border 0;
#X rounded 600;
#X shadow 0;
#X done;
#P user panel 220 256 220 220;
#X brgb 0 0 0;
#X frgb 0 0 0;
#X border 0;
#X rounded 600;
#X shadow 0;
#X done;
#P user panel 236 140 300 300;
#X brgb 141 199 221;
#X frgb 0 0 0;
#X border 0;
#X rounded 360;
#X shadow 0;
#X done;
#P user panel 226 109 320 320;
#X brgb 0 0 0;
#X frgb 0 0 0;
#X border 0;
#X rounded 360;
#X shadow 0;
#X done;
#P user panel 581 216 120 120;
#X brgb 252 190 110;
#X frgb 0 0 0;
#X border 0;
#X rounded 360;
#X shadow 0;
#X done;
#P user panel 379 51 400 400;
#X brgb 233 191 180;
#X frgb 0 0 0;
#X border 0;
#X rounded 600;
#X shadow 0;
#X done;
#P user panel 381 22 420 420;
#X brgb 0 0 0;
#X frgb 0 0 0;
#X border 0;
#X rounded 600;
#X shadow 0;
#X done;
#P user panel 39 465 170 170;
#X brgb 0 0 0;
#X frgb 0 0 0;
#X border 0;
#X rounded 360;
#X shadow 0;
#X done;
#P hidden connect 36 0 41 0;
#P hidden connect 36 0 43 0;
#P hidden connect 43 0 42 0;
#P hidden connect 41 0 42 0;
#P hidden connect 37 0 39 0;
#P hidden connect 39 0 38 0;
#P hidden connect 38 0 11 0;
#P hidden connect 11 0 19 0;
#P hidden connect 19 0 18 0;
#P hidden connect 42 0 39 1;
#P hidden connect 35 0 37 0;
#P hidden connect 40 0 37 0;
#P hidden connect 35 0 40 0;
#P hidden fasten 73 0 31 0 298 574 379 574 379 350 134 350;
#P hidden fasten 76 0 31 0 298 554 379 554 379 354 134 354;
#P hidden fasten 77 0 31 0 379 592 379 354 134 354;
#P hidden fasten 74 0 31 0 378 640 378 354 134 354;
#P hidden fasten 75 0 31 0 378 616 378 354 134 354;
#P hidden fasten 72 0 31 0 379 530 379 353 134 353;
#P hidden fasten 29 0 34 0 181 484 175 484 175 450 158 450;
#P hidden connect 29 0 33 0;
#P hidden fasten 30 0 33 0 222 511 214 511 214 484 171 484;
#P hidden fasten 34 0 33 0 158 485 171 485;
#P hidden connect 31 0 29 0;
#P hidden connect 33 0 120 0;
#P hidden connect 120 0 121 0;
#P hidden connect 121 0 32 0;
#P hidden fasten 29 0 30 0 181 483 222 483;
#P hidden connect 22 0 23 0;
#P hidden fasten 150 0 22 0 616 117 237 117;
#P hidden connect 23 0 24 0;
#P hidden fasten 64 0 27 0 411 613 411 305 349 305 349 248 237 248;
#P hidden fasten 71 0 27 0 408 615 408 306 349 306 349 249 237 249;
#P hidden connect 24 0 27 0;
#P hidden connect 27 0 25 0;
#P hidden connect 25 0 28 0;
#P hidden fasten 20 0 23 1 337 218 214 218 214 183 246 183;
#P hidden connect 25 0 26 0;
#P hidden connect 78 0 79 0;
#P hidden connect 25 1 26 1;
#P hidden connect 79 4 75 0;
#P hidden connect 79 5 74 0;
#P hidden connect 164 0 78 0;
#P hidden connect 79 0 72 0;
#P hidden connect 79 1 76 0;
#P hidden connect 79 2 73 0;
#P hidden connect 79 3 77 0;
#P hidden fasten 44 0 124 0 338 144;
#P hidden fasten 45 0 124 1 189 210 189 144 374 144;
#P hidden fasten 150 0 44 0 616 117 418 117;
#P hidden connect 44 0 47 0;
#P hidden connect 124 0 117 0;
#P hidden connect 47 0 117 0;
#P hidden fasten 105 0 50 0 620 615 620 284 508 284 509 208 419 215;
#P hidden fasten 98 0 50 0 620 613 620 286 510 286 510 213 418 213;
#P hidden connect 117 0 50 0;
#P hidden connect 48 0 51 0;
#P hidden connect 50 0 48 0;
#P hidden fasten 21 0 47 1 369 206 298 206 298 107 432 107;
#P hidden connect 53 0 58 0;
#P hidden connect 58 0 60 0;
#P hidden fasten 64 0 106 0 428 613 428 640;
#P hidden connect 60 0 63 0;
#P hidden connect 63 0 64 0;
#P hidden connect 64 0 59 0;
#P hidden connect 48 0 49 0;
#P hidden fasten 53 0 61 0 476 506 514 506 514 534 457 534;
#P hidden connect 62 0 63 1;
#P hidden connect 56 0 53 0;
#P hidden connect 61 0 62 0;
#P hidden connect 48 1 49 1;
#P hidden connect 175 0 54 0;
#P hidden connect 57 0 56 0;
#P hidden connect 54 0 57 0;
#P hidden fasten 116 0 147 0 502 165;
#P hidden connect 57 1 55 0;
#P hidden fasten 36 0 147 1 299 301 214 301 214 112 516 112;
#P hidden connect 55 0 52 0;
#P hidden connect 52 0 65 0;
#P hidden connect 65 0 67 0;
#P hidden connect 67 0 70 0;
#P hidden connect 70 0 71 0;
#P hidden connect 71 0 66 0;
#P hidden fasten 71 0 107 0 523 622 523 652;
#P hidden fasten 52 0 68 0 518 506 596 506 596 535 550 535;
#P hidden connect 69 0 70 1;
#P hidden fasten 150 0 116 0 616 116 560 116;
#P hidden connect 116 0 80 0;
#P hidden connect 147 0 81 0;
#P hidden connect 80 0 81 0;
#P hidden connect 84 0 82 0;
#P hidden connect 82 0 85 0;
#P hidden connect 68 0 69 0;
#P hidden fasten 46 0 80 1 400 215 201 215 201 130 574 130;
#P hidden connect 81 0 84 0;
#P hidden fasten 38 0 84 0 42 396 114 396 114 317 655 317 655 210 583 210;
#P hidden connect 82 0 83 0;
#P hidden connect 82 1 83 1;
#P hidden connect 87 0 92 0;
#P hidden connect 92 0 94 0;
#P hidden connect 118 0 119 0;
#P hidden connect 94 0 97 0;
#P hidden connect 97 0 98 0;
#P hidden connect 98 0 93 0;
#P hidden fasten 98 0 145 0 627 627 627 649 642 649;
#P hidden fasten 87 0 95 0 668 506 706 506 706 534 649 534;
#P hidden connect 96 0 97 1;
#P hidden connect 90 0 87 0;
#P hidden connect 95 0 96 0;
#P hidden connect 132 0 126 0;
#P hidden connect 148 0 127 0;
#P hidden connect 126 0 127 0;
#P hidden connect 130 0 128 0;
#P hidden connect 128 0 131 0;
#P hidden fasten 150 0 132 0 616 117 677 117;
#P hidden connect 167 0 88 0;
#P hidden connect 88 0 91 0;
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I decided to create a program that is similar to profile questionaires. The program I have created will, hopefully, generate numbers that have been input by the viewers, such as birthdates and height. These numbers are connected to pitch, midi instrument and tempo modifiers. The program has four loop systems that is attached to the numbers that have been input by the viewers. Once, the viewers have completely filled out the profile questionnaire, there will be a play button that generates all the numbers to create sound in loops. I wanted to create an unplanned method of generating music with information that is a reflection of ourselves. I wanted to play with the idea of what we would sound like if we were sound.
My project is fairly simple and I think that I was successful in many areas. One element of the program that I was not able to fix was how the height controlled pitch levels. I wanted the pitch to be lower as the height got higher but the opposite occured. The higher the height numbers, the higher the pitch levels. Overall, it was an interesting experience to have an in depth view into how programs are created.
Screenshot of program:
What I apparently sound like:
Sample
max v2;
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Thursday, March 6, 2008
Questionaire for Sound Class
1.What is your earliest memory of sound? How do you feel about it now?
I think that one of my earliest memory of sound would probably be connected to my earliest visual memory, which was when my dad bought me a red remote control truck. So, I guess one of my earliest memory of sound would have to be the my truck speeding along the hallways.
2. When do you notice your breath?
When I close my eyes.
3. What is attention?
Attention is choosing which information, that the senses collect, one should focus on.
4. Can you imagine composing or improvising a piece based on breath rhythms?
Sure, anyone can compose music with any kind of sound.
5. What sound reminds you of home?
Either the dogs barking or the constant reminder of my parents that "IT'S TIME TO EAT!!!"
6. Do you listen for sound in your dreams? What do you hear? How does it
affect you?
Actually, I've never thought of sound in my dreams. My dream's have always been a visual experience for me.
7. The distinguished historian, Wiliam H. McNeil, has recently argued in his
book Keeping Together in Time that "coordinated rhythmical activity is
fundamental to life in society."
Can you imagine tracking a rhythm pattern in your daily life and writing about
it?
Sure, I always have a "rhythmic pattern" for all my daily activities. I think everyone has one.
8. Can you imagine rhythm pattern for the rhythm circle with your own form of
notation?
Sure.
9. Can you imagine composing or improvising a piece for voices using attention
patterns?
Sure.
10. What is sound?
Sound is the information that our ears collect.
11. What is listening?
Listening is processing the sounds being heard.
12. What action(s) is usually synchronized with sound?
Dancing.
13. When do you feel sound in your body?
When I hear loud fast paced music.
14. What sound fascinates you?
The sound of crashing waves or simply just water flowing.
15. What is a soundscape?
The collection of sounds that create the environment.
16. What are you hearing right now? How is it changing?
The sounds the buzzing of the tower of the computer. It's not really changing.
17. How many sounds can you hear all at once?
Right now, around 8.
18. How far can you hear sounds?
Beats me.
19. Are you sure that you are hearing every thing that is to hear?
Nope.
20. What more could you hear if you had bigger ears? (or smaller)
I don't know if having bigger or smaller ears affect one's hearing capabilities. I think hearing different sounds is a reflection of what kind of environment a person has been exposed to. I would think that an individual who has grown up in a quiet farm would hear the busy sounds of a city better than an individual who has grown up in the city and vice versa.
21. Can you hear more sounds if you are quiet? How many more?
Right now, still about 8.
22. How long can you listen?
Probably half an hour before I start falling asleep.
23. When are you not listening?
When I have more important things to think about.
24. Can you not listen when something is sounding?
Yup, that's called hearing.
25. Try not listen to anything. What happens?
I start to think about not listening to any sound but the opposite happens. The more I think about not listening, the more I end up listening.
26. How can you not listen if your ears never close?
Because our brains prioritize what information is more important than others?
27. What meaning does any sound have for you?
Well, some sounds remind me of past memories but other sounds just do not mean anything for me.
28. What is favourite sound? How is it made? When can you hear it? Are you
hearing it now?
1 Ocean waves. 2 By the winds. 3 When I'm in the beach. 4. Nope.
29. What is the soundscape of the space you are now occupying?
It's very distracting because the noises that are being produced by the ventilation is annoying.
30. How is the soundscape shaped? or what makes a soundscape?
It's the elements of sound that create our environment.
31. What is the soundscape of your neighborhood?
It is mostly composed of the train passing by, cars driving by, people jogging and conversing with one another, birds chirping and the rustling of leaves on windy days.
32. What is the soundscape of your city?
It's a busy collection of mobile phones ringing; trains, busses and cars passing by; people talking on their phones; people walking quickly on hard floors; elevators going up and down; and an explosion of sound in food courts.
33. How many different soundscapes can you imagine?
Is it enough to say many?
34. What would you like to have in your own soundscape?
I would like peaceful, smooth and tranquil kinds of sounds such as flowing river, a gentle breeze, a dog or two, and the gentle rustling of leaves and grass.
35. What would you record to represent your soundscape?
Exactly what's written above.
36. What sound makes you speculative?
Unexpected bangs.
37. What sounds gives you chills?
Undetermined animal noises.
38. What sound ruffles your scalp?
Ruffles my scalp? None that I know of...yet.
39. What sound changes your breathing?
Any sounds that excite or scare me.
40. What sound would you like whispered in your ear?
The crashing of waves...if that's possible.
I think that one of my earliest memory of sound would probably be connected to my earliest visual memory, which was when my dad bought me a red remote control truck. So, I guess one of my earliest memory of sound would have to be the my truck speeding along the hallways.
2. When do you notice your breath?
When I close my eyes.
3. What is attention?
Attention is choosing which information, that the senses collect, one should focus on.
4. Can you imagine composing or improvising a piece based on breath rhythms?
Sure, anyone can compose music with any kind of sound.
5. What sound reminds you of home?
Either the dogs barking or the constant reminder of my parents that "IT'S TIME TO EAT!!!"
6. Do you listen for sound in your dreams? What do you hear? How does it
affect you?
Actually, I've never thought of sound in my dreams. My dream's have always been a visual experience for me.
7. The distinguished historian, Wiliam H. McNeil, has recently argued in his
book Keeping Together in Time that "coordinated rhythmical activity is
fundamental to life in society."
Can you imagine tracking a rhythm pattern in your daily life and writing about
it?
Sure, I always have a "rhythmic pattern" for all my daily activities. I think everyone has one.
8. Can you imagine rhythm pattern for the rhythm circle with your own form of
notation?
Sure.
9. Can you imagine composing or improvising a piece for voices using attention
patterns?
Sure.
10. What is sound?
Sound is the information that our ears collect.
11. What is listening?
Listening is processing the sounds being heard.
12. What action(s) is usually synchronized with sound?
Dancing.
13. When do you feel sound in your body?
When I hear loud fast paced music.
14. What sound fascinates you?
The sound of crashing waves or simply just water flowing.
15. What is a soundscape?
The collection of sounds that create the environment.
16. What are you hearing right now? How is it changing?
The sounds the buzzing of the tower of the computer. It's not really changing.
17. How many sounds can you hear all at once?
Right now, around 8.
18. How far can you hear sounds?
Beats me.
19. Are you sure that you are hearing every thing that is to hear?
Nope.
20. What more could you hear if you had bigger ears? (or smaller)
I don't know if having bigger or smaller ears affect one's hearing capabilities. I think hearing different sounds is a reflection of what kind of environment a person has been exposed to. I would think that an individual who has grown up in a quiet farm would hear the busy sounds of a city better than an individual who has grown up in the city and vice versa.
21. Can you hear more sounds if you are quiet? How many more?
Right now, still about 8.
22. How long can you listen?
Probably half an hour before I start falling asleep.
23. When are you not listening?
When I have more important things to think about.
24. Can you not listen when something is sounding?
Yup, that's called hearing.
25. Try not listen to anything. What happens?
I start to think about not listening to any sound but the opposite happens. The more I think about not listening, the more I end up listening.
26. How can you not listen if your ears never close?
Because our brains prioritize what information is more important than others?
27. What meaning does any sound have for you?
Well, some sounds remind me of past memories but other sounds just do not mean anything for me.
28. What is favourite sound? How is it made? When can you hear it? Are you
hearing it now?
1 Ocean waves. 2 By the winds. 3 When I'm in the beach. 4. Nope.
29. What is the soundscape of the space you are now occupying?
It's very distracting because the noises that are being produced by the ventilation is annoying.
30. How is the soundscape shaped? or what makes a soundscape?
It's the elements of sound that create our environment.
31. What is the soundscape of your neighborhood?
It is mostly composed of the train passing by, cars driving by, people jogging and conversing with one another, birds chirping and the rustling of leaves on windy days.
32. What is the soundscape of your city?
It's a busy collection of mobile phones ringing; trains, busses and cars passing by; people talking on their phones; people walking quickly on hard floors; elevators going up and down; and an explosion of sound in food courts.
33. How many different soundscapes can you imagine?
Is it enough to say many?
34. What would you like to have in your own soundscape?
I would like peaceful, smooth and tranquil kinds of sounds such as flowing river, a gentle breeze, a dog or two, and the gentle rustling of leaves and grass.
35. What would you record to represent your soundscape?
Exactly what's written above.
36. What sound makes you speculative?
Unexpected bangs.
37. What sounds gives you chills?
Undetermined animal noises.
38. What sound ruffles your scalp?
Ruffles my scalp? None that I know of...yet.
39. What sound changes your breathing?
Any sounds that excite or scare me.
40. What sound would you like whispered in your ear?
The crashing of waves...if that's possible.
Thursday, February 7, 2008
An Orchestra I Call "My Room"
For this project, I experimented with sound through the use of Mic World, one of the Ixi Programs. These Ixi Programs manipulate and combine sounds through interactive means. With Mic World, the user is able to create loops of sound through the manipulation of 3d objects. This program contains several objects in a space alongwith a microphone. The 3d objects and the mic are created in a manner that is reminiscent of how planets appear in space.
First, the user has to import sounds into these 3d objects. Once this is done, you can move the microphone around the space. The closer the mic is to a 3d object, the louder the sound will be. The user also has the choice of placing the mic into an orbital path, which would mean that one would be able to rearrange the objects to create different combinations of sounds. It does not take a long time for one to get comfortable with the controls. Once you familiarize yourself with the interface of Mic World, you'll be on your way to creating some very interesting loops, some of which may cause one to feel rather dizzy.
My inspiration for these samples was that I wanted to create loops through sounds that I could record in my room. I recorded sounds of closets opening and closing, my keys, coins, a toy car, pillows, bag zippers, drawers, an alarm clock, glass bobble heads and many more. Since this project encourages us to experiment with various programs, I too wanted to experiment on the possibilities of creating rythmic loops through the use of simple objects that one would find in their rooms. After having completed several loops, some successful and some not, I learned that the origin of music is present everywhere.
Sample 1
Sample 2
Sample 3
Sample 4
Sample 5
Sample 6
Sample 7
First, the user has to import sounds into these 3d objects. Once this is done, you can move the microphone around the space. The closer the mic is to a 3d object, the louder the sound will be. The user also has the choice of placing the mic into an orbital path, which would mean that one would be able to rearrange the objects to create different combinations of sounds. It does not take a long time for one to get comfortable with the controls. Once you familiarize yourself with the interface of Mic World, you'll be on your way to creating some very interesting loops, some of which may cause one to feel rather dizzy.
My inspiration for these samples was that I wanted to create loops through sounds that I could record in my room. I recorded sounds of closets opening and closing, my keys, coins, a toy car, pillows, bag zippers, drawers, an alarm clock, glass bobble heads and many more. Since this project encourages us to experiment with various programs, I too wanted to experiment on the possibilities of creating rythmic loops through the use of simple objects that one would find in their rooms. After having completed several loops, some successful and some not, I learned that the origin of music is present everywhere.
Sample 1
Sample 2
Sample 3
Sample 4
Sample 5
Sample 6
Sample 7
Wednesday, January 30, 2008
Flow of Life (Footsteps)
My sound piece reflects upon the continuous flow of life and how one would experience it by standing still and observing people in their mundane tasks. I wanted to portray life as a straight path in which people move to get to their destinations. To achieve this, I planned to sit and listen in one spot for several minutes and record sounds of people walking and engaging in conversations as they passed by in various locations. My goal for this project was to create an environment in which one would experience the feeling of stopping in time and observing various sounds of footsteps and voices of people passing by as a way of experiencing the flow of life.
In terms of process, I went to various spots in Calgary that would allow me to record people walking and talking in a linear path. I tried to achieve this by recording sounds in hallways and parts of malls in which people are inclined to walk in straight paths. I placed the sound recording device on the floor to capture the sounds of footsteps because I discovered through experimentation that this produced more efficient sounds of footsteps. While I was recording, I read a book so that I would never visually see the people walking. I became aware of how my sense of hearing was elevated by simply removing my sense of sight.
It was an interesting experience to conduct this project because it allowed me the opportunity to listen to sounds I was never aware of. I started to experience the fleeting conversations of people, which reminded me of randomly flipping channels on the television. I also became aware of various manners of walking. Since I was reading a book avoiding to look at the passers by, I began to imagine a variety of people in relation to their manner of walking and through the conversations they were engaged in. Also, when I would place and remove the sound recorder from the floor, I would often look up and discover the weird looks that were on the people’s faces when they saw what I was doing. Overall, it was a fun process that may lead and influence the creation of future projects.
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