joshua goldberg

It's an OpenGL engine running into a Syphon server, recorded with the Syphon recorder.

dervish-meditation-2012

dervish-meditation 2012

Jazer Giles

spil|over is comprised of contiguous footage of a live performance. The  generative computer video utilizes a mixture of edge detection,  fractional Brownian motion, and polynomic functions to determine the  2-dimensional direction of video warping. The luminosity of the  projected video (after it's downsampled) is used to drive oscillators  and modulate FM variables to generate the audio. This audio in turn  determines the magnitude of the warping factor, which will generate more  audio, etc. There are multiple levels of feedforward and feedback in  both the colorspace and sample coordinates, employing an algorithm based  on a chaotic oscillator. A webcam captures the projected image  to introduce direct video feedback. The live performance utilized a  small midi controller to modify 20 parameters across the video and audio  domains.

spil|over comprises contiguous footage of a live performance. The  generative computer video utilizes a mixture of edge detection,  fraction

spilover

spil|over

rbrt

WROOM is a device to create harsh,brutal feedback or dreamy, softly oscillating drones or whatever else you make it do.

WROOM consists of a 'sender' and a 'receiver' ,setting up a feedback-chain in between them.
Inside that chain,you may drop whatever FX , an Overdrive for the 'harsh' or a Reverb for the 'dreamy' .

There's a feedback-limiting-circuitry ,working just as if you would be pulling down the feedback-knob in panic because things got 'out of hand'.
By using the attack and release controls, you can create complex ducking and self-oscillating structures.

You may use several instances of WROOM in your LIVE-set, each sender/receiver pair is unique to a track or an effect-rack.

WROOM requires Ableton Live 9 and Max/Msp 7.

click the 'tool site' link, there's a demo working for 5 -10 minutes and a full version as well.

-WROOM would not sound exactly the same when reloading the live-set.this is due to plugsend~/receive pairs having different latencies each time the set or device is loaded.I'll eventually write a post about that issue and how to work around this.

-a fix for the filter 'exploding' when 'FB limit' is set to 'FLT'

-added a peak-limiter to the feedback-chain to manage extreme feedback settings

wroom

WROOM

Andrew Benson

Other tutorials in this series:Book 1 (Recipes 00-12), Book 2 (Recipes 14-25), Book 3 (Recipes 26-43), Book 4 (Recipes 44-49)

Using 3D cameras and feedback to create complex patterns

Working with multiple jit.gl.camera objects and capturing to textures

This patch takes 4 different camera views of the same 3D scene and maps it onto 4 different videoplanes. By altering the relationship between the cameras and their output planes, we can get some pretty stunning feedback. The result is exquisite and complex repetitive visual patterns without any inputs, similar to a house of mirrors or kaleidoscope.

To begin with, we have 4 jit.gl.videoplane objects arranged in a cross pattern and each rotated inward 45 degrees.  For each videoplane, there is a jit.gl.camera feeding textures to it. Each of these cameras has capturing turned on, and is outputting a texture of the scene.  By default, these cameras are in the same position and rotation, but move the pictsliders and you'll be able to spread them out and reorient the cameras.

The texture output of the jit.gl.camera objects is passed through a jit.gl.slab object with a color scale-bias effect loaded.  The jit.gl.slab provides some basic color manipulation, but is also necessary to add another texture capture stage so that the feedback doesn't glitch out.  OpenGL doesn't like it when you try to capture to a texture that you are also rendering in the scene.  Passing the texture through jit.gl.slab avoids that situation.

Finally, we have another jit.gl.camera in the scene with no capturing happening, just to render it onscreen.


Create complex repetitive visual patterns similar to a kaleidoscope.

recipe-55-mirrorhouse

Recipe 55: MirrorHouse

Ben Houge

Photographs of street vendor wares are loaded into Jitter as jxf files and moved from the top to the bottom of the screen, interpolating to a new rotation on each frame as they "fall."  For each pass, a random hue and size are chosen, according to a table of possible values.  A simple feedback mechanism (using the max operator) ensures that the screen is slowly fading to white, while the objects are constantly writing darker values.

The audio uses a similar process, a simple delay (with varying feedback) on small chunks of recorded interviews with street vendors.

shanghai-traces

Shanghai Traces

IFUCUF

Saturday 8th of April | 17 hs.
 Auditorium Jorge Luis Borges

 Cycle of contemporary music concerts, organized by the National  Library. On this occasion UCR0N1C4 is presented, an interactive  audiovisual installation by Eduardo Imasaka.

#UCR0N1C4  refers to terms applied in the science fiction literature, as in the  use of a time machine that travels between paradoxes from the very  moment it was created and set in motion. In this case it is manifested  as an interactive audiovisual installation, of post apocalyptic  character developed in real time on different technical emitters  stimulated by robots and custom applications produced in Max/Msp by the author.

Contemporary Library
Saturday 8th of April | 17 hs.
 Auditorium Jorge Luis Borges
 Cycle of contemporary music concerts, organized by the Na

ucr0n1c4

#UCR0N1C4

Mike S

The standard distribution was used exclusively for creating the suite. 

the-lorelei-suite

The Lorelei Suite

Alex Drosen

Pivoted Limbs is an electronic music EP recorded at my home studio. My main focuses in its creation included algorithmic generative processes, feedback and other loops, and the intentional creation and recontextualization of artifacts and unwanted sounds.

project62-pivoted-limbs

Pivoted Limbs

fredyeah

This is a project created as a part of a creative programming course. This project is based around a 5 channel signal flow. The patch takes in one mono channel of audio and outputs 5 stereo channels to channels 1-10 of the user's audio hardware. The signal starts with a delay with feedback control and randomised tap positions. The signal move into a selectable low pass or high pass filter before moving to the saturation stage. The saturation is where the audio is "destroyed." The saturator can be constantly sequenced through two saturation algorithms, or bypassed completely. The audio is then processed through a stereo resonator which is where the left and right channels are generated. The result is a sometimes harsh, sometimes smooth and flowing, granulator-like output. 

This is a project created as a part of a creative programming course. This project is based around a 5 channel signal flow. The patch takes 

5-channels-audio-destroyer

5 Channel Audio Destroyer

The video process utilizes feedback and texture displacement. GLSL coded trochet tiles, 2D/3D fractals, FBM, and polynomic/tetration chaos  are used as "control" matrices that displace the images just a little bit  (or a lot) on each render. The audio is made by sampling  the video using jit.peek~ (after down-sampling and converting to hsl) in  a few stationary spots and and then accumulating those values in gen~  to synthesize audio. 

There are a few more steps to each of those processes but that gives the gist. Everything was made in Max.

The video process utilizes feedback and texture displacement. GLSL coded trochet tiles, 2D/3D fractals, FBM, and polynomic/tetration chaos  

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