nime final performance and documentation

So I kind of dropped the ball on documenting my NIME work during the second half of the semester leading up to the actual performance.  I’m going to use the concept presentation that we did mid semester to show the process I went through in creating the music and the interface and I’ll write a little about how I developed the actual software and wearables for the show.

You can hear an example of the arduino based synth I made in the soundtrack to this piece: The Life of Cranes.

Continue reading “nime final performance and documentation”

Advertisements

nime week 3, butt control

Control hadn’t really entered my thoughts in terms of creating an instrument until this week, because I had to think about it.  I had a lot of different ideas about sculptural/physical controllers before realizing that the most compelling movement I could create was just using my body with the FSRs.  It was extremely easy to just tape the FSRs onto my body at different points and then make contact with surfaces to activate the sensors.  I then had the idea of using my butt, which kind of works naturally because people are usually sitting when they work on computers, so I can change the code while still wiggling my butt, and because moving your butt is an essential element of music.  Merche pointed out today that the butt movements in this video are actually not that different from my regular body movements when I’m just using the control surface.  I also built a little control surface to do what I was controlling on the computer before, adding new tracks, triggering the recording part, and switching between channels, so I could get my hands of the computer entirely.  It would be nice to integrate the controller into whatever outfit I eventually (might) build for the FSRs, but I also like the idea of having a little controller surface attached to your hot shorts.

nime week 2, further work on week 1 instrument

This actually sounds more interesting to me now than it did when I performed it, which is encouraging.  I haven’t had the opportunity yet to really work with the suggestions I got from Greg and Tony after this performance to try to make the samples sound less glitchy and more like music.  I really want this to be a composition tool, and to create music, music that people would enjoy listening to outside of the context of a particular technology or performance.  I like the ideas of glitch, but want to avoid “glitch aesthetic” if that makes sense.  If I can use a glitch idea, playing a sample over and over like a scratched CD, but make it sound pretty like a single tone or harmony, that would be my ideal.