Jason Charney

The installation is controlled entirely in Max, using Olivier Pasquiet's [dmxusbpro] object to send DMX messages to sixteen channels of LEDs hidden in the piano debris. Algorithmic modules in the patch alter the tempos, fermata lengths, and light patterns on every repetition of the piece (which takes around 2 minutes for a full "performance").

in-futurum

In Futurum

jgastonraoul

MAX is used to grab video signal, downscale it to a 4x16 pixel matrix and convert values to DMX.

paint-controlled-pixel-mapping

Paint controlled pixel mapping

marco domenichetti

Interactive installation for children and parents.

… is a journey into a magical spaceship driven by the same children, ipad to experiment with using a real-time interaction

the lights, audio and video.Concept and production: Marco Domenichetti, David Morella.

Audio – Light – Interaction – Custom software: Marco Domenichetti, David Morella.Scenery ‘Submarí’: Glòria Moretó

Video: Manel “Litu” Mateorecreat.org27, 28, 29 12 2010 (10h – 14h / 16h a 20h)

Granollers: Parc infantil de Nadal pingra.org

Collaboration: intecat.com/​Granollersclapera.com/​Platform: MacBook Pro Software: Max-Msp-Jitter / TouchOsc / patch ReMapping (©Recreat)

Hardware: Mac Pro / DmxPro512 / 2 Dimmer 4ch / Projector / iPad / 1ch projector/ 2 ch sound – Yamaha HS80M

Duration: 08:00 loopCollaboration:pingra.orgintecat.cat/​Granollers/​clapera.comrocaumbert.cat/​

viatge-al-pais-del-pinguai

Viatge al País del Pinguai

Liza Seigido

Composer / Video Artist / Performer on Analogue Synth Modules: Lawrence W. Moore

 Live Processed Voice / Reactive Video / Interactive DMX Lighting Design ( Max /MSP ) : Liza Seigido 

Choreography / Dance Performance: Brigette Cormier 

AV Reinforcement / Interactive DXM Lighting Design: Robert Holecheck, and Jheryl Hill

Shibeth, a metaphysical musical drama, was written by composer/multimedia artist Lawrence W. Moore for Psyche Electro-Acoustic Opera Company's inaugural production on August 26, 2017. The work features Max7 in its lighting design (which was a collaboration between multimedia artists Liza Seigido, Robert Holocheck, and Jheryl Hill), and in the live processing of the vocalist's performance. The lighting design incorporated sound reactive video, automated and sound reactive DMX PAR lights, and a DMX laser fixture. All of the interactive lighting and fixed scene changes, with the exception of the laser work, was programed in Max 7 by Liza Seigido. 

PROJECT CREDITS 
Composer / Video Artist / Performer on Analogue Synth Modules: Lawrence W. Moore
 Live Processed Voice / Reactive Video / I

shibeth-a-musical-drama-for-analogue-synth-modules-interactive-lighting-processed-voice-dance-by-lawrence-w·-moore

Shibeth: a musical drama for analogue synth modules, interactive lighting, processed voice, & dance by Lawrence W. Moore

playmodes

Espills is a light sculpture. Conceived as a morphing three-dimensional geometry, Espills colonizes the space inviting the audience to move around the figures, changing its perception through the different perspectives and vanishing points. This idea of non-materiality drives the whole piece, which is presented as a sequence of different abstract moving figures which evolve over time.

The light sculpture also integrates a sonic dimension which is tightly related to the geometry and movement of light, as a result of a sonification algorithm which translates visual parameters into sound. Light which can be heard, sounds that can be seen.

Espills is possible thanks to self-made software and hardware. 
A group of pan-tilt moving mirrors allow to reflect, move and position laser beams with a very high level of precision; software draws laser geometry and controls movement of mirrors, and a set of appliances to hold static mirrors form a technically rich set of self-made technologies.

Espills is a light sculpture. Conceived as a morphing three-dimensional geometry, Espills colonizes the space inviting the audience to move 

espills

Espills

Luke Woodbury

[gallery ids="324620,324637,324639,324636,324638,324621,324626,324627,324622"]

The Pop Up Play project explored how immersive digital technology can be used to create learning opportunities for children and young people, in order to enhance their creativity, language and communication skills. The project was funded by the Digital R&D Fund for the Arts andwas a joint project between The Spark Arts for Children,De Montfort University and Dotlib Ltd (Luke Woodbury).

The Pop Up Play system is comprised of three parts - a video system, audio system and a lighting system. Each of these systems have a bank of selectable settings and media that can be linked together to provide one button scene changes. Accessible iPad controls enables the person using the technology to be mobile whilst running the session, and also for the young people themselves to be able to take control.

The visual system makes use of a 3D depth sensor, namely a Kinect camera, which can bring the participants into the screen, whilst cutting out the background. From here elements of the digital and real world can be mixed together and, due to the body tracking capabilities of the Kinect camera, it is also possible to track items onto a user's body or do full body digital puppetry. A further alpha enabled video layer allows environmental/ weather effects to be overlaid on the main visual and a USB camera can be used to bring real world items into the digital environment.

The audio system gives a bank of ambient background sounds and two further banks of sound effects that can be used, as well as microphone input. As with all parts of the system, all that is required to change or add to media is to simply add or remove things from a folder structure. The system will simply pick up new files at the press of a button. For example, users of the system could create their own body parts for a digital puppet and just copy them into a folder.

The lighting system is designed to work with 4x6 channel RGB DMX fittings, though by setting up the DMX devices with the same addresses you could have any number with four individual output colours. The lighting system is very simple to use; using a single finger a user can scroll through all the colours of the rainbow effortlessly.

Go to the Github link for the Max files, or the main website for the Windows exported application, the software is free and licensed under the MPL open source licence, though it does have some third party requirements. The main website also has some additional resources and details of the research that accompanied this project.


pop-play-mixed-reality-system

Pop Up Play Mixed Reality System

alexanderschubert

The piece is run in Max, which brings together the processing, samplers, electronics, DMX-light and DMX-strobe control and runs the open-gl video in Jitter. 

lucky-dip

Lucky Dip

kodamapixel

Max is the central 'brain' of the project. A Max patch receives proximity sensor input from Arduino to be aware of participants' arrival at the table and tracks their engagement with the surface through an infrared camera and via cv.jit objects' blob tracking. Top-down projections onto the surface are generated with OpenGL objects in Jitter and sound sample events are triggered in MSP. Internal LED lighting is also controlled from Max through DMX objects.

all-is-domain

All Is Domain

Cluster is an immersive audiovisual site-specific installation that explores relationships between space, time and perception. Geometric schematization of architecture using light instruments transforms the space into a container for the abstract language of light and sound.

Audiovisual discourse is generated in real time through a software application created specifically for the installation. This software, based on the modeling of transverse waves, generates a low frequency oscillator (LFO) for each LED. Also, the luminance of each LED is analyzed by the audio engine and transformed into a sound vibration: Cluster sound is a direct transposition of light into the audible spectrum. By altering the frequencies, amplitudes, quantization and the multiple relations existing between the thousands of oscillators, complex waves are generated that give shape to the different sequences of the audiovisual discourse.

cluster

Cluster

James Elliott

This tool hosts Afterglow, a free, open-source live-coding environment for creating light shows using any interface compatible with the Open Lighting Architecture, entirely inside Max. It allows Max patchers to control the lighting cues, including adjusting their parameters as each frame of lighting control information is generated, so you can do things like using audio analysis or vizzie to create effects on a huge lighting grid.

The tool page describes the Max objects that the package offers, and explains how to install the Open Lighting Architecture. The afterglow-max package includes Help patchers and Reference pages to help you get your bearings, but you will also want to explore Afterglow's own extensive documentation.

In addition to being designed to allow you to inject your own code right into the frame rendering process, there are other ways that Afterglow differs from other lighting control software you may have worked with. The early stages of its rendering loop can work with higher levels of abstraction than the typical DMX channel value or fixture function (although those are well supported too):

You can express your desired results in terms of an abstract color, including support for the hue-saturation-lightness model, which is great for algorithmic looks, and have it translated to whatever color channels (or color wheel) your fixture supports.

Groups of moving heads can be told to aim in particular directions by specifying parameterized vectors, or to aim at a particular point in space, and Afterglow figures out how to translate that into DMX control values given its understanding of the fixture and where, and at what angle, you hung it.

There are a variety of oscillators which can efficiently drive effect parameters.

You can also create complex effects, with parameters that can be tweaked by Max, or through a rich binding to an Ableton Push controller.

The timing of effects is pervasively influenced by a deep notion of musical time, with support for synchronization via MIDI clock or Pioneer Pro DJ Link beat grids.


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