Every single image from 10,000 items or less is now available as a torrent on the Pirate Bay. Quite a few people have grabbed it already so it has plenty of seeders…for now..so grab it quickly! It’s only 1gb, but it could be really fun to play around with if you’re into data visualization.
Here is the link:
http://thepiratebay.org/torrent/5827180/10_000_items_or_less_-_Every_image
Enjoy!
Thanks to my friend Rob Ray, my video piece 10,000 items or less is now in Drunken Boat issue #12. For this I finally made a new render of the piece that is much higher resolution than the original. I wish I had a few more megapixels when i took the original pictures so that it could’ve been full HD or even 4K, but ah well…
I am going to release a torrent of all of the individual images soon so that people can use the image data in their own pieces, I just have to figure out the best way to do that.
I have been sharing the code for my piece Color a Sound with whoever contacts me. Today I just got a message about someone who successfully made their own version of the patch and added an extra color! Check out Cedric’s awesome video below:
I will be performing at a few different festivals/shows during September. Here goes:
Show at EMPAC in Troy, NY on Wednesday, Sept 8th. Here is the press release:
North South Currents: Bogota/Troy/Guelph
EMPAC Theater
September 8, 2010 5:30 PM – 6:30 PM
Featured together in a telematic performance accordion legend Pauline Oliveros performs live in Guelph (ON, Canada) with Anne Bourne (cello), Guelph’s own Ben Grossman (hurdy gurdy) and Jesse Stewart (percussion). They will be connected to two other sites, where they will be joined by Ricardo Arias on balloon (in Bogota, Colombia) and by Jonas Braasch on soprano sax, Curtis Bahn on dilruba/electronics, and Doug Van Nort on laptop, and Blair Neal on video (in Troy, NY). Following is a local performance of containment and dispersence by Curtis Bahn with Jonas Braasch and Doug Van Nort and Blair Neal.
For four decades Oliveros has explored sound through improvisation, electronic music, ritual, teaching and meditation. Oliveros has been honored with awards, grants and concerts internationally. Whether performing at the John F. Kennedy Center in Washington D.C., in an underground cavern, or in the studios of West German Radio, Oliveros’ commitment to interaction with the moment is unchanged.
Curtis Bahn has composed containment and dispersence especially for this performance. He performs his work internationally and is noted for his sensor based bow technology and electronic transformations of his instruments.
Presenting organizations: RPI Arts Department, Guelph Jazz Festival, and Universidad de los Andes Arts Department
For more information: http://www.guelphjazzfestival.com/ and http://www.uniandes.edu.co/
After that, I’ll be performing at the In/Out Fest at the Tank in NYC. The festival is on September 17th and 18th. I will be performing Saturday evening around 7pm. In/Out Fest needs your support if you’re interested in contributing, check out their Kickstarter.
Finally, I’ll be performing a couple visual sets at the very first VIA PGH festival alongside !!! (aka chk chk chk) and Gangwish on Oct. 2nd and 3rd. in Pittsburg, PA
The only stuff going on after that is a residency at the Experimental Television Center at the end of October…should be a good time…
Fall 2009
In preparation for my thesis show, I began developing a series of pieces involving different uses of live visuals in relation to music. I was particularly interested in the fact that in many cases the visuals were being led by the music, that is, they were representing the music without having the music react to them. This process seems broken to me, so I tried to think of an idea that was more of a feedback loop.
Trip[tych] treats the visualist as the conductor of the overall musical action. Three musicians sit behind see through scrims that are projected on. The musicians are only allowed to play while their particular screen is lit up in front of them. While the musicians are improvising off eachother, they are also supposed to be working off of visual cues being projected in front of them. The visualist is also reacting live to what they are playing, so dynamic changes are seen and heard very fluidly. The use of scrims also solved a problem I was having with projecting on a rectangular screen and how that disconnects the projection from the performers. By setting up the projection in this way, I was able to create a multilayered space with the musicians in between. The content of the projections was based on a late night cab ride I had back from a show in NYC.
The first performance of Trip[tych] was at the West Hall Auditorium at the Fall 2009 MFA show. It featured Kyle McDonald on drums, Will Rogers on saxophone, and David Rhoderick on guitar effects pedal. It was also performed at my thesis show, Overflow.
You can read more about Trip[tych] in my thesis.
Fall 2008
Max/MSP/Jitter
I’ve always been interested in using extended exposure photography, but I was always frustrated with the lack of real time feedback and the fact that it took so long to make a single frame. I wanted to develop a way to achieve something like the lightpainting effect seen in stop motion commercials and things like that, but make it more live and interactive. It also isn’t limited to being used in a totally dark room, and could be used in more normal lighting situations.
The code for the example and more detail on the process is available here.
Mysl
Spring 2006
Custom Hardware+Max/MSP
Using a BASIC Stamp, three distance sensors, and a gutted Mac Classic, I developed an interface to use with my Max/MSP looping patch. The distance sensors on either side controlled a stereo delay time. The loops and type of delay were controlled by a midi footpedal. The BASIC stamp actually output MIDI data and could be hooked up to any MIDI controllable device.
Making this interface allowed me to experience working with musical elements in a new context and allowed for certain gestural controls not possible with other interfaces. As with any new instrument, this one required some practice to get a hold of, and I’m not sure I ever quite got it, because the distance sensors were very odd things to work with, due to the lack of force feedback (which I tried to remedy by using old vinyl records as controllers). Something to be revisited in the future though.
A-Visualists-Practice.pdf (1701 downloads ) (Right Click and select “Save As”)
A Visualist’s Practice the the culmination of my two years in the MFA program at Rensselaer Polytechnic Institute. My thesis advisor was Curtis Bahn. I focused on the history and practice of combining images and sound in live performance. I had been developing my own performance interface for several years already, but the MFA program allowed me to solidify some of my thoughts on the use of a visual performance instrument.
In the thesis I cover a brief history of light instruments, describe my visual instrument, and give a detailed outline of my thesis show Overflow. I also conducted interviews with some of the well known names in live visuals, including Tony Martin, Chris Allen (of the Light surgeons) and D-Fuse. Below is the abstract, please let me know if you’ve got some feedback on the paper.
Abstract:
This thesis investigates the use of live video performance within a musical context. Live video performance involves projected video imagery that is digitally manipulated through the use of software in real-time. A performer of live video may use hardware interfaces that permit a level of expressiveness on par with that of a musical instrument. Artists have been creating and refining different interfaces for interacting with light and images in a musical context for centuries. Early interfaces relied on an idea of directly connecting musical elements, such at pitch, with abstract visual elements, such as color. Modern methods of interacting with video do not require these direct connections to musical elements, and instead allow the video to be an independent contributor to the experience of a new kind of multimedia performance. I give an example of an interface for live video performance by detailing my own expressive visual instrument. I also outline the use of live video in the culmination of my thesis work, a performance of five multimedia pieces that explore the various relationships between projected video and music.
Spring 2007
Max/MSP/Jitter
This project was a collaboration between myself, Zane Van Dusen and Kyle McDonald. Using Max/MSP and Jitter we created a network video loop using 3 laptops and a wireless router. The first laptop would send each individual channel of video to one laptop and then to the next and then back to the first. This feedback loop would eventually degenerate into a mess of noisy pixels. This degraded transfer was achieved by sending 512-pixel packets over UDP (which is a lossier protocol than TCP).
Our source footage came from youtube star ” Lonelygirl15. ” The ambient audio and regular talking audio were added in post production. We’re not sure what causes the stripes at the end but our guess is that they result from some sort of video “harmonic.”