If you haven’t tried it yet, the HAP codec provides fast realtime playback of videos directly to OpenGL textures for a streamlined display. To pick up the object, visit Rob’s jit.gl.hap Toolbox Page.
Our CEO, David Zicarelli happened to be in attendance during the Tate’s Hack the Space event and got to see a Max project take home one of the prizes. David says, “It was pretty random walking into the Tate and seeing the presentation of a cool Max project. The work was both sophisticated and disturbing. You can’t ask for much more than that.” The work in question was created by Adam John Williams and Robert Wollner, and featured two projection-mapped heads showing Barack Obama and Vladimir Putin. To learn more about the event and catch a glimpse of the work, check out The Guardian Article.
It’s not often Max is mentioned in The New Yorker. Last week, we were interested to read about Arto Lindsay’s “Encyclopedia of Arto” — drawn from previous solo works — and then excited to learn that he uses Max.
If you want to learn more about Arto Lindsay, watch him here.
Our friends Peter Dowling and Matt Jackson have teamed up as Surreal Machines, and today released a new Live pack called Dub Machines. This pack consists of two analog-inspired devices – Magnetic and Diffuse – that combine classic functionality with some modern tweakability. Dub Machines is available directly from the Ableton site.
Magnetic, on first viewing, will recall Space Echoes from times past, including the unique multi-head selection design that makes delay selection both intuitive and inspiring. Diffuse is less emulation than imagination, and features a delay-and-reverb network with massive feedback capabilities. Imagine some of the famous “Bloom” sounds of old digital hardware and you’ll be in the right neighborhood.
In addition to honoring the past, these two devices also provide some adventurous advanced options. Magnetic’s most impressive “non-vintage” function is the ability to change the processing chain, allowing you to swap the order of the reverb and echo for distinctly different sounds. A favorite Diffuse tweak is the ability to exceed 100% regeneration – at which point the internal feedback system comes alive with screams and moans.
As with all Max for Live devices, you can hit the edit button to see some clean and creative coding, much of which is accomplished using the Gen system. It’s not only educational to review Peter and Matt’s coding, but it also leaves the door open for modification. Much fun to be had…
Also, check into the Art + Music + Technology podcast this weekend for an interview with the Surreal Machines folks.
Two of my friends (and long-time Max users), Barry Threw and Meara O’Reilly have unveiled their new collaboration Frequent Sea at the Exploratorium’s Kanbar Auditorium in San Francisco. The sound installation was specially designed for the auditorium’s advanced Meyer Sound Constellation sound system.
Tuesdays, 2:00–5:00 p.m.
Fridays, 1:00–5:00 p.m.
First and third Sundays, 10:00 a.m.–5:00 p.m. (subject to change)
by Meara O’Reilly and Barry Threw
May 2–July 1, 2014
Most of the time we think of listening as a static act. Yet changing positions can greatly affect our perceptions of sound and space. A room’s architecture and its resonances can create radically different listening experiences in different places. And many of the principles of hearing that help us locate objects or navigate a space also influence how we hear music.
Specifically designed for the Kanbar Forum’s Meyer Sound Constellation acoustic system, Frequent Sea is a dynamic composition that visitors perceptually co-create by walking through the space and standing in various locations. As steady, pure tones are gradually introduced at different points around the room, increasingly complex polyrhythms and melodies emerge from the physical collision of sound waves in both space and ears, providing each listener with a singular, embodied experience.