An amazing artist with an amazing range of work, read the interview of Noriko Matsumoto by Greg Taylor.
I will try to summarize here what I thought were some of the highlights of NIME 2009...
Last week, we put on our first conference. Now that Expo '74 is history, I've been asked to share my thoughts about the experience...
Between the tutorials, Jitter Recipes, and all of the example content, there are many Jitter patches floating around that each do one thing pretty well, but very few of them give a sense of how to scale up into a more complex system. Inspired by a recent patching project and Darwin Grosse's guitar processing articles, this series of tutorials will present a Jitter-based live video processing system using simple reusable modules, a consistent control interface, and optimized GPU-based processes wherever possible. The purpose of these articles is to provide an over-the-shoulder view of my creative process in building more complex Jitter patches for video processing.
When you think of multimedia technology you think mostly about the technology. When you experience Dana Karwas' work you think of the rich organic layers of experience. Dana is working in the nebulous grey area between art and design. As a trained architect she is commissioned to do design works for giants such as Knoll, yet as an artist she creates amazingly tactile and organic performances like her work Party Dress and the installation Fursicle. Although based in architecture, Dana’s work uses high-end technology such as Max/MSP to explore social interaction and levels of identity within public space.
These days it seems that everyone wants to be an artist so I found it refreshing to meet someone who see himself as an engineer that wanted to create tools for artists. Mattijs Kneppers spoke to me by phone from his home in Holland.
Last week, Siggraph 2008 took over the Los Angeles Convention Center, and Cycling '74 was there to bravely represent Jitter to a huge crowd of CG enthusiasts, production professionals, and academics. For anyone who hasn't been to a Siggraph show, it is a huge, over-stimulating event for the computer graphics community, complete with academic talks, screenings, an exhibition hall, an art show, competitions, and a job fair.
Recently, CNMAT at UC Berkeley held their annual MaxMSP/Jitter summer school classes at their beautiful Arch St. facility just off the UC campus. This year, for the second year in a row, I had the pleasure of teaching the Jitter Night School - a 3-night intensive of focussed tutorials covering a variety of Jitter topics.
Recently I bumped into composer and performer Pauline Oliveros (PO) in San Diego. We got to talking about one of her current projects, the Adaptive Use Musical Instruments for the Physically Challenged. This project introduces software designed to be used in therapy sessions to give children with limited motor skills the opportunity to participate in music, and offer them an outlet for musical expression. I arranged for a follow-up interview by email so that we could learn more about what this project involves. Joining us is Zevin Polzin (ZP), the technical lead in the project.
Sometimes when you are programming, you need to be able to configure some information about how your computer will do its job. Over the years, programmers have come up with a number of different terms for these little pieces of information -- parameters, properties, fields, etc. In Max, we call them attributes. Attributes were first introduced in Jitter, where they make it convenient to manage the state of complex objects such as jit.qt.movie. In Max 4.5, a few Max objects such as pattr (which is short for "patcher attributes" by the way) and js began to make use of attributes.
Daevlmakr sells a suite of plug-ins created in Max/MSP. I was able to spend a lot of time with Vlad Spears for this interview because he lives nearby in San Francisco...
Typically, when I talk to Jitter users about writing one's own shader programs for use with jit.gl.slab, I usually get glazed-over eyes and this sort of distant look of wonder. When I try to explain how easy it is, that look typically turns to one of annoyed disbelief. So, for a long time now I've been thinking about writing an article to de-mystify the process of writing your own GLSL shaders, and to help everyone avoid some common frustrations.
Networking is a sometimes confusing world. There are many networking options built into Max, and this article will endeavour to make clear which option is best for your application.
Matthew Lewis: Education through synesthetic study and play.
Many people already know that Jitter can be a fantastic tool for video processing, but what about audio? Used with a bit of cleverness, a matrix can be just the thing for that patching impasse. Following is a set of simple examples to get you started thinking about a matrix when you've run thin on patching ideas or need a more elegant way to manage your numbers.
The majority of these recipes are specific implementations of a more general patching concept. As with any collection of recipes, you will want to take these basic techniques and personalize them for your own uses.
Turntablism takes on the visual dimension.
Book 1 contains some clever solutions, advanced trans-coding techniques, groovy audio/visual toys, and basic building blocks for more complex processing.