gld

Ethereal Signal

Fri, 15 Oct 2032 00:00:00 -0700

Audiovisual Performance

ETHEREAL SIGNAL
2023-10-15
Oakland, CA

A live performance iteration of Subspectral.

Audio

Gearlist — clockwise from the laptop.

Intel-based 2015 Macbook Pro
Motu Ultralite mk-5
Modular Synthesizer
Korg XD Module
Moog Minitaur
Ableton Push 2
Empress Reverb
FMR Audio RNC1773 Compressor
Shure SM57

Visuals

Pre-Rendered visuals were created using a custom generative model based on Stable Diffusion and several accomanying LoRAs. Post, editing in Davinci Resolve.

subspectral

Sun, 05 Feb 2023 00:00:00 -0800

Full Length Album released under my musical alias Stripe of Mirrors

14 tracks – 1 hour, 14 minutes

Listen: album.link/subspectral

Subspectral is an introspective, internal journey through landscapes and architectures of temporal ruminations and emotions pertaining to the Other world. A labyrinthine of time, textures, and spaces, that resonate between the finite experience of life and infinite experience of death, settling and leaning deep into the void that one leaves when they move into the next plane, only to find acceptance, familiarity, and hope.

Title A
Heartbeats
Terra Cycle
Taps
Sayon
Grinds
Whisps
Title B
Peliculated
Shimmers
Columns
Regions
Births
Title C

More tracks and live streams on Stripe of Mirrors

Music Videos

Shimmers

Featuring Adam Roth’s world of “Astramid”, hyperreal time/space astronauts appear to be created from an amalgamation of elements from ancient Earth history and a far, imagined future. His hand drawn character illustrations were used to generate what appears to be a hyper-realistic future-past fashion look-book. To complete this process, we collaborated on custom animation tools built upon Stable Diffusion, an open-source AI image model, to develop a stop-animation look that contributed to a filmic presence and realism, giving the characters even more form and life to compliment the ethereal and transient percussive sounds in the track. Throughout this creative process we would generate thousands of image “gens” exploring the results and selecting our picks, sometimes running them through the model again and again as way to achieving a certain (im)materiality through image, coaxing and pulling out what we wanted to see in the final characters.

So much of the process is a discovery. A single diamond in the rough of a deluge image gens can sometimes take days. We began to discover the edges of our visual processing abilities, and the creative process becomes somewhat of a waking, shared dream. The “three” of us — Adam, myself, and the AI – dreaming to create something we hadn’t seen before.

Adam Roth’s world of “Astramid” continues to be developed in the realm of print, motion, and a physical toy line.

Video Link: https://youtu.be/EE_GrevFDFI
Video by Archive of Discoveries
Artist: Adam Roth
Directed and Edited by Gabriel Dunne
Audio: “Shimmers” by Stripe of Mirrors
Length: 2:46
Format: 7680 x 4320 (8k), 60fps, 16:9

Peliculated

The video for “Pelicuated” is a personal homage – a collaboration with my dad post-mortem. This video is created from footage of his color 16mm short film of the same name, and the audio track was original composed with this footage in mind, as it was always a goal of ours to do audio/visual collaborations. The original 12 minute short was part of his graduate thesis at SFAI in the late 70’s, depicting slice-of-life scenes from San Francisco, incorporated many of his original transfer and exposure inventions. The film won the 1978 New York Independent Film Festival. Since then, the original print has been lost. This video is my way of incorporating some of my favorite of his film visuals with my sounds, hopefully elevating both in the process. The entire piece was remastered and upscaled to 2k – far more clear than the original NTSC/VGA footage telecine – offering a glimpse of details in the footage that is chromatic, vivid, and painterly.

Some of my earliest memories are of the creative chaos of my dads studio, exploring snippets of 8 and 16mm celluloid frame strips strewn on the floor edits or playing with the splicers, eventually learning how to clean film reels and learn the telecine for film to video transfer. Never one to be a medium purist, he would always dive head-first into new creative processes. He introduced me very early on to using computers as creative tool via an Amiga 1000 with Deluxe Paint, and later the Video Toaster. While computing can be conceived of as just an other tool in the toolbox, even since those early moments I contextualized computing as a creative method, a form of literacy, and a way of processing and thinking, which I continuing to embody to this day.

Video link https://youtu.be/nOc6E8JCF0w
Featuring footage from the original short film “PELICULATED MOVY mit Wipe, Tint & Flutterlap” © 1978 by David Michael Dunne
Edit and 2k Remaster by Gabriel Dunne
Audio: “Peliculated” by Stripe of Mirrors
Length: 4:04
Resolution: 1920 x 1440 (2k), 12fps, 4:3

Taps

“Taps” is one of the longer, internal and contemplative tracks on Subspectral featuring many rhythmic ringing overtones and layers. The animation for this piece was created by traveling within the latent space of the Stable Diffusion image model, but I never allow the model to resolve a specific image or recognizable object, nor use any color, so the result is an aimlessly transient spectral exploration that never arrives at a conclusion. Just as the brain thinks it recognizes an object or form, the image has moved on. In my process I generated thousands of images, and then explored the results and curated moments that to me resembled flora, ink blots, Rorschach tests, clouds, moods, spaces, and strange forms that seem uncomfortably inhuman but evocative. The piece is a metaphor for the undulating discomfort of growth and infinite introspection between spaces. It’s a subliminal and subtle hallucination, like a synthetic dream that can’t be shared with words but still resonates a feeling upon waking. I found glimpses of beauty in this strange uncomfortable unknown. I would ask myself what would happen if I were to intentionally steer directly into these strange areas, could I ever be comfortable within them? Perhaps the recognition of various generative procedures resolves in my mind as a type of process as I am exploring a new visual literacy with these new image models. After a while, the aesthetic artifacts and tendencies of the sampling method do became familiar, but still remain entirely synthetic, alien, and mysterious.

Video link: https://youtu.be/R-uWxH40T-k
Animation by Gabriel Dunne
Audio: “Taps” by Stripe of Mirrors
Length: 9:46 Resolution: 4096 x 4096 (True 4k), 12fps, 1:1

Kala

Sun, 30 Oct 2022 00:00:00 -0700

An interface for relative galactic timekeeping 🌍🌎🌏⏳

~ Work in progress draft/dump as the project takes shape ~

Last Edit: Tue Apr 28 14:41:00 2020

Thesis

Cycles are the core principal of the universe, and are all pervasive. We are thoroughly enmeshed in cycles and the periodic rhythms, which span the frequencies of space and time. Some are of the most obvious on a daily basis: our sleep patterns, the weather, the seasons, sunrise, sunset, the moon phases, and more. On a larger magnitude: the age of our bodies, the rise and decline of species, the life cycle of stars. On a smaller, our breathing rate, our heart rate, the audio spectrum of music, speaking, the visible light spectrum, radio waves, cosmic rays, and ultimately the smallest measurable amount of time we can comprehend (Planck time). The appearance of the entire world and all existence with its natural and technological cycles are rooted in archetypal, sinusoidal principals.

Relativity

Most modern calendars organize our relationship to these time cycles and allow for a shared agreement and experience across the globe of our shared temporal reality. Temporal Relativity can be defined in Kāla defined by the user as a demarcation of where Future and Past “begin”, ie, the present moment, as relative to a user-defined Epoch. When using existing models, such as Gregorian, Epoch is defined as Year 0. In Kāla, a user can define epoch(s) as they see fit, ideally creating various timescales that are relative to their timekeeping desires. In line with special relativity, we conclude that the user is therefore and “observer”, and this definition of epoch and present moment is the “frame of reference”. Reference frames are inherently nonlocal constructs, and according to this usage of the term, it does not make traditionally speak of an observer as having a location, but Kāla’s time-frame reference requires for a location to be included. This specification is necessarily defined as a geolocation on Earth, or a TimeZone. Kāla is a Terrestrial (Earthly) time-keeper.

Etymology

Via Wikipeda, Kāla (Sanskrit: काल, translit. kālá, [kaːlɐ]) is a word used in Sanskrit to mean “time”. It is often used as one of the various names or forms of Yama.

The word “calendar” originates from the Latin word “calendarium,”. The root of the word is the Latin verb “calare,” which means “to call out” or “announce,” reflecting the practice of announcing important dates on the calends.

Calendar Reform

In no way is Kāla intended to contribute to an idea of Calendar Reform, but one of spacetime-reference to the Universe upon which theoretically any calendar can be applied as a time “model” or quantization at the users discretion.

Proposal

Kāla is a graphical interface for high-precision timekeeping and reference. It is a clock as well as a calendar. Use-cases include:

Source of “relative temporal truth” based on research-grade astronomical computation
Graphical representations that can be exported as PDF for print
Support for user-create events and repeating cycles of any periodicity
Sidereal Time support
Graphical visualizations of user-created as well as natural occurring cycles, including astronomical cycles and the Moon and other celestial objects in the galaxy.
Support for various calendar types such as:
- Gregorian
- Julian
- Lunar
- Egyptian
- Umma
- Roman
- Haab’
- Mayan
- Inuit
- Chinese
- Japanese
- Islamic
- Nepalese
- Dreamspell
- Holocene
- Symmetry454
- … and user-created custom types
Integration of Other Temporal Types:
- Death Year (assumed)
- Local Almanac / Weather Patterns
- Zodiac
- Personal Health and body Patterns
- … and others
Support and integrate traditional digital calendar API’s and interfaces such as:
- Google Calendar
- iCal
- CalDAV
- cal (UNIX)
- Outlook
- … and others

References

Prior Work

Technology

Skyfield

Reference Links

Images

Monad 2010 - Gabriel Dunne

https://helixtime.io/

Circular motion as space-time helix

time dilation using a light-pulse clock in the book ‘Concepts of modern physics’ by Arthur Beiser

Sound Systems Psychoacoustics

Sat, 26 Feb 2022 00:00:00 -0800

what: audio performance when: Saturday, February 26, 2022 at 8pm PST where: Indexical tickets: tickets

Sound, Systems, and Psychoacoustics

Sound, Systems and Psychoacoustics spans two back-to-back days of performance at Indexical, presented in collaboration with Nada. The mini-festival outlines a contemporary practice in the tradition of electronic music while dramatizing the auditory process as material in itself. The artists featured in this festival foreground the act of listening, offering a means of better understanding the dynamic systems (whether auditory, musical, or human-machine) at play, as well as opening space for aesthetic exploration and meaningful critique. These five featured artists work in aesthetic and theoretical threads spanning psychoacoustics, visual and auditory illusions, and generative systems of sound synthesis and composition.

This series of performances is curated by Michael Masaru Flora, who lives in Ben Lomond and co-runs Nada with Christian Langheinrich.

Stripe of Mirrors

Fri, 01 Jan 2021 00:00:00 -0800

Stripe of Mirrors (SoM) an experimental audio and video streaming channel.

stripeofmirrors.com

KZSU Day of Noise

Sat, 08 Feb 2020 00:00:00 -0800

Subspectral Live Performance for KZSU “Day of Noise”

modulations 2019

Sat, 05 Oct 2019 00:00:00 -0700

Multi-channel Sound Performance @ CCRMA Modulations. In memoriam for Carr Wilkerson

CCRMA presents a Modulations concert in loving memory of longtime CCRMA staff member Carr Wilkerson (1966-2019). Carr was responsible for organizing CCRMA’s previous Modulations festivals. Friends of Carr will present live performances and fixed media works of electronic music.

Works and performances by:

Constantin Basica live
Bruce Bennett
Eoin Callery
Luke Dahl & Colin Sullivan live
Mark Fell
Rob Hamilton
Holly Herndon
Lauchlan Casey live
Fernando Lopez-Lezcano live
Peter Nyboer live
Gabriel Dunne (audio) w/Stephanie Sherriff (Visuals) live
Halosar Traps (Cullen Miller & James Jano) live
Kurt James Werner
Matt Wright live

Photogrammetry

Thu, 25 Jul 2019 00:00:00 -0700

Intro to Photogrammetry

source on github
Author: gabriel dunne
twitter: @gabrieldunne
ig: @gabrieldunne

Headlands Bunker Scan (Dense Cloud with Image Planes), Agisoft Screenshot. Source: Okaynokay, Twilight Engines 2019

What is Photogrammetry?

Photogrammetry is the process of creating 3D objects from 2D photographs. The process can be used to scan anything from objects and people, to architecture, terrain and landscapes. There are various strategies you can use when taking photos to produce accurate models. This document includes photography techniques, ideal camera settings and lighting, photogrammetry software, and further resources to create 3D models from photos.

Structure from Motion (SfM) photogrammetric principle. Source: theia-sfm.org 2016

Definition

Photogrammetry [noun] The science or technique for obtaining reliable information on the natural environment or physical objects by recording, measuring and interpreting photographic images.

Greek:

“photos” (light)
“gramma” (something written or drawn)
“metron” (measure)

Typical Outputs

A map, a drawing, a 3D model of a real-world object, scene, or terrain.

Remote Sensing, GIS, Stereoscopy

Main Tasks of Photogrammetry

To measure something without touching it
To measure something that may no longer exist, or may only exist in photographs
To measure something too large to measure with traditional methods, i.e., landscape, a megalithic structure
Quantitative data from photographs, the science of measuring in photos.

Comparison to Laser Scanning (LIDAR)

Laser scanning is great in cases where photogrammetric techniques often fail – such as when objects have low texture, or shiny/reflective. However, laser scanning is expensive, time consuming, and can’t be used with moving objects like Photogrammetry can. That said, Laser Scanning and Photogrammetry can be considered complimentary to eachother.

Abridged Photogrammetry History

Illustration from Oculus artificialis teledioptricus sive Telescopium, Johann Zahn 1685, Source: Public Domain

1046 BC - 256 BC Discovery and capture of natural optical phenomena. Perforated gnomons projecting a pinhole image of the sun were described in the Chinese Zhoubi Suanjing writings. Some ancient sightings of gods and spirits, especially in temple worship, are thought to possibly have been conjured up by means of camera obscura projections.
300 BC Geometry, perspective, pinhole camera model — Euclid
500 BC Camera Obscura. (500 BC in China, 350 BC Aristote, 1000 Al-Haytham, 1500 Léonard de Vinci)
1430 Leon Battista Alberti, “Rerum Mathematicarum et Descriptio Urbis Romae”. Developments of topographic mapping.
1611 First documents of Camera Lucida, eventually Patented in 1806 by William Hyde Wollaston.
1836 Daguerreotype, “gift to the world” from French Academy. First publicly available photographic process.
1851 French officer Aime Laussedat develops the first photogrammetrical devices and methods.
1858 The German architect A. Meydenbauer develops photogrammetrical techniques for the documentation of buildings.
1866 The Viennese physicist Ernst Mach publishes the idea to use the stereoscope to estimate volumetric measures.
1885 The ancient ruins of Persepolis were the first archaeological object recorded photogrammetrically.
1889 The first German manual of photogrammetry was published by C. Koppe.
1893 Meydenbauer coined the word “Photogrammetry”.
1896 Eduard Gaston and Daniel Deville present the first stereoscopic instrument for vectorized mapping.
1910 The ISP (International Society for Photogrammetry), now ISPRS, was founded by E. Dolezal in Austria.
1911 Aerial photogrammetry with rectified photographs by Theodor Scheimpflug.
1924 Relative orientation determined by 6 points in overlapping images — von Gruber points.
1957 Analytical plotter (Helava) - Image-map coordinate transformation by electronic computation & servocontrol.
1964 First architectural tests with the new stereometric camera-system, which had been invented by Carl Zeiss, Oberkochen and Hans Foramitti, Vienna.
1980 Due to improvements in computer hardware and software, digital photogrammetry gains more and more accessibility.
2000’s Increasing accessibiulity of photography drones

Image Capture Technique

Illustration from Oculus artificialis teledioptricus sive Telescopium, Johann Zahn 1685, Source: Public Domain

Camera

The best camera is the one you have that offers the sharpest image
RAW format if possible for best quality
Large storage if you take a lot of pictures, especially if you shoot in RAW
Pixel count is less important than physical optics (lens) quality and clarity.
Use a fixed focal length during the whole session. Avoid lens distortion. If you have a physical zoom, make sure it doesn’t shift during your session.
ISO: As low as possible
Shutter speed: As fast as possible
Aperture: F8, higher is better
50mm (35mm equiv) Optimal Focal Length
White Balance: Manual
Bokeh is bad! Increase aperture for larger DOF for sharper photos.
Overcast/foggy/diffuse lighting is ideal — Soft shadows & low contrast for evenly lit images.

Optional Equipment

Tripod/Monopod for stable shots
Color Checker For color accuracy
Scale Bar for measurement
Ground control points for picture overlap
Spray: Water or paint for reflective surfaces
Turntable for small objects in a controlled environment)
Drone for large swaths of terrain, autonomous aerial scans

Guidelines

Source: Agisoft Photoscan Manual

Don’t worry about taking too many photos. Remove bad ones later.
Use the highest resolution possible
Prioritize a sharp, focused image. Avoid movement, motion blur, or out of focus areas.
Use a remote trigger for your camera when possible for an even sharper image.
Enable GPS on your camera if supported (improves alignment in software)
Each point on the scene must be seen in at least TWO images, and you should aim for THREE. Optimal overlap is about 80%
Take a note of a measurement of an element in the scene, or include a ruler or measuring tool somewhere in the scan.
Always physically move when taking photos. DO NOT just rotate.
Rotate the camera on both axis, not just one
Don’t change a rotational viewpoint more than 30 degrees in a series
Prioritize object texture.
Avoid plain/monotonous or glittering/reflective surfaces.
Avoid harsh shadows or high contrast areas. These may be confused with geometry by the alignment software.
Avoid shiny, glittery surfaces.
Avoid anything with a specular highlight that changes as the camera view moves
Start with the entire scene or object, and gradually hone in on details
Complete loops. Go around objects and end up where you started
Pictures are processed in order, so stay organized
Don’t just take one loop, take multiples from various angles
Turntable Method: Object moves, camera stays still
Walk-Around Method: Object stays still, camera moves
Go with your instincts, break rules, test ideas!

Practice

Headlands Rock Scan, (Sparse Point Cloud). Agisoft Screenshot. Source: Gabriel Dunne 2019

The best way to learn is to practice. Here are some ideas for things to scan.

A rock
Statue or a monument
Building facade
Fire hydrant
A curb or urban object
A vehicle like a car or a bicycle or skateboard
Shoe
Handbag or backpack
Tunnel or some stairs
Room, interior scene
Building Exterior
A reflective surface, a mirror in a room (will break spectacularly!)
Someones head or body (they have to be still!)
An Insect
A plant
Food
Terrain with a Drone

Photogrammatry Solutions/Apps/Software

AliceVision - Free, Open Source
COLMAP - Free, Open Source
Meshroom - Free, Open Source
MicMac - Free, Open Source
Regard3D - Free, Open Source
OpenMVG - Free, Open Source
VisualSFM - Free for Non profit & personal use
Agisoft Metashape - Commercial
RealityCapture, Commercial
Autodesk ReCap, Commercial
Bentley ContextCapture, Commercial
IMAGINE Photogrammetry, Commercial
iWitnessPRO, Commercial
DroneDeploy, Commercial
Pix4D, Commercial
Photomodeler, Commercial
3DF Zephyr, Commercial
Trnio, iOS
3D Scanner for ARCore, Android
In3D, Body Scanning

Free 3D Modeling, Mesh Manipulation Software Suggestions

Meshlab, Free, Open Source
Blender, Free, Open Source
Meshmixer, Free

Articles and References

Illustration from Oculus artificialis teledioptricus sive Telescopium, Johann Zahn 1685, Source: Public Domain

These articles are for reference and educational use. I claim no ownership or rights to this material.

Twilight Engines

Sun, 03 Mar 2019 00:00:00 -0800

Twilight Engines with artist Vishal K Dar is a part of an ambitious global project: Edge of See. The app activates a series of site-specific sculptures that push our senses of vision, scale, motion, and time. Dar brings his primary question — What is the edge of sight? — to the abandoned structures of the Marin Headlands, using technology to overlay former military batteries with these “engines”. The app augments the disconnect between the site’s past and present to insert sculptural experiences that change the way the viewer sees, thinks about, and relates to the location. Moving through the liminal spaces of military sites and screen, Dar’s “engines” unlock a world of other realities.

Created by Okaynokay (Gabriel Dunne & Ryan Alexander)

Site-Specific AR activated sites and sculptures at the Marin Headlands

http://appstore.com/twilightengines

http://www.headlands.org/event/edge-of-see-twilight-engines/

METAFLUX

Fri, 10 Aug 2018 00:00:00 -0700

META
FLUX
of Present Futures

Works By

Nicole Aptekar
Ryan Alexander
Harvey Moon
Gabriel Dunne
Mike Jacobs

About

meta (a) pertaining to or noting an abstract, high-level analysis or commentary, especially one that consciously references something of its own type.

flux (n) continuous change, passage, or movement

Framing understanding through routines and systems, Metaflux is a body of procedure-oriented artworks based on system-focused approaches and integrations. The processes examined by the artists featured in Metaflux are intrinsic to navigating shifts and changes by establishing routines and frameworks. The artifacts of these personal frameworks, as well as the frameworks themselves, represent the efforts to create reliable variables and constructs in a life defined by constant transition and flux.

When

Public Opening September 22nd, 3-8pm

Upcoming dates
Saturday, Nov 10th, 2p - 5:00pm (open hours)
Saturday, Nov 17th, 2p - 5:00pm (closing reception)

Additional visiting hours available by appointment through Nov 17th. Email studio@gabrieldunne.com to set up appointment

Where

1410 62nd St, Emeryville, CA 94608
(second floor, buzz ‘Gabriel Dunne Studio’ from the callbox up the ramp to the right of the 1410 address)

Catalogue

Download latest catalog PDF

Purchasing

Requests for purchasing works can be made in person at the gallery, or via email.

Artists

NICOLE APTEKAR

https://nicolation.net/

My work harnesses basic shapes from the digital world, reifying them in physical reality to expand the liminal space between. Through a wide range of techniques ranging from custom software crafted for each piece to careful composition and contemporary CNC fabrication methods, my process itself continuously evolves in order to realize complex and graceful forms in our tangible reality. I am fascinated by the transitionary state humanity has found itself in, where the boundaries of digital and physical, virtual and real, having only just been established, are almost immediately washing away. My work lives on this tenuous divide, confusing the notion of a render and a photo, handmade and computer-fabricated.

RYAN ALEXANDER

http://onecm.com

The work presented here is an attempt to move past doubts about the value in personal artistic practice. An excuse to enjoy the process of discovering pleasing aesthetic forms.

Sketches

The result of several nights spent in VR sketching human-sized gestures. These models were exported, stylized and rendered from several viewpoints in multiple colored markers.

Spirals

Experiments with rendering shaded forms with a single line, or two interfering lines. These spirals were created in the online code sketching environment sketch.paperjs.org and rendered in several types of pen and marker.

HARVEY MOON

http://harvey-moon.com

This work is always in progress. During the duration of the exhibition the machine will produce a new drawing each week. The drawings are informed by live data transmitted remotely from the artist. The works will reveal an iterative process of production. The generative drawings are an artifact of the artistic practice and experimentation. Each week when a new drawing is started it will be altered and informed by the previ ous piece. This work intends to reveal the constantly evolving modes of artistic practice. The collaboration between the artistic intention and the robotic output is revealed by this series of unique drawings.

Harvey Moon is a new media artist and a creator of tools and machines. His work centers around the ways technology mediates our perception of the world. Technology has always been used to extend our abilities beyond our human potential. With this inspiration, Moon creates custom software, electronics or kinetic systems to produce new and unique works of art.

MICHAEL JACOBS

http://mjacobs.me

By trade, I am a software designer and programmer, where I take care in designing technology with precise functionality for specific needs. As an artist — practicing in imagery, sound, and interaction — I am compelled to break out of these rigid relationships with our technologies, repurpose them to do things for which they were not designed, and find beauty in their limitations and failures. Along with this playful disrespect, my process utilizes chance, generative systems, and shoddily constructed custom software and hardware as a way to arrive at unexpected outcomes, which I then curate, or use as starting points to build into final pieces.

GABRIEL DUNNE

http://gabrieldunne.com

My work for METAFLUX represents a view into my continuous investigations of visual, audible, and physical frequencies of natural and technological perceptual and imperceptible realities. Through my work I am exploring a cosmotechnical approach of pythagorean axioms that can harmonize beauty, wisdom, and truth through resonance, geometry, celestial mechanics in an effort to establish metaphysical methodologies for understanding form, shape, function, materiality, and ephemerality. I work with various methods of sculpture, photogrammetry, and traditional and mechanical drawing and painting, which represent my meditations and explorations of the perceivable and imperceivable natures of the universe.

Claves Angelicae

Fri, 10 Aug 2018 00:00:00 -0700

https://clavesangelicae.com

Claves Angelicæ is an installation and procedural system that enables a participant to inscribe a magical Word onto the Ethereum network.

The seven step process is designed to collect and transmute the participants’ input data into an encrypted message. For the participant to cast their Word they must transmit Ether to a preselected set of charities. Once the spell has been cast and verified by the consensus pool, the transaction signature’s hash is returned, parsed, and passed into a sigil generating algorithm. The participant receives an inked paper talisman authored by a mechanical drawing machine as a tokenized sigil of their spell.

Cryptography and magic have a deep, intertwined history dating back to the origins of writing. During the European dark ages monastic sects bore the responsibility of keeping the rites of the sacred ancient mystery cults of Egypt and Greece intact. However, in doing so they ran the risk of being burned at the stake for committing crimes of heresy. Some of them developed cryptographic systems to encode these secrets into their manuscripts. It was not only the monks working with ciphers but also natural magicians and occultists. The latter groups weren’t only using cryptography to obfuscate sensitive information, but also to devise keys and linguistic frameworks for communicating into the Ethereal realms. By devising new linguistic schemata these magicians believed that they could access the preternatural realms outside the worlds they were exploring in their scientific pursuits. Although the blockchain space is largely secularized, the principles of the Ethereum network is a manifest dream of the ancient magi. Magicians are the original cipherpunks. Solidity, Serpent, and LLL are grimoires (Latin ‘grammaire’) or books of magical grammar. Smart contracts are daemons invoked to enact our Will. DAOs (Decentralized Autonomous Organizations) are archons governing and managing resources from the Ether. Pentacles are cryptographic tokens for binding daemons and storing value. Magical codes of ethics are emblematized in protocol authorship. Salt, one of the alchemical primes, is also used in cryptography where it serves as random data that is used as an additional input to a one-way function that ‘hashes’ the Word. Sigils are graphical databases used for storing enciphered information.

For common parlance let’s define what a sigil is: the encoding of desire or intent into a symbol. The Latin sigillum, means ‘seal’, though it may also be related to the Hebrew הלוגס (segula meaning ‘word, action, or talisman’). A few examples of sigils are Johannes Trithemius’ experiments in ‘Steganographia’, Giordano Bruno’s mnemonic devices, and John Dee’s Sigillum Dei Aemaeth.

Centralized authorities and trusted-third parties (churches & banks) shape our cultures into monotheistic tendencies (e.g. “In God We Trust”) where priests or bankers arbitrate and broker access to the value system. Whereas decentralized systems allow for a plurality of deities to inhabit the Ether and entrust magicians to enact their Will without intermediation.

Video

Watch on Vimeo

Images

Download All

Experience

o. Initiation

Claves Angelicæ is a seven step process to guide one through the process of securely constructing a Word with an ‘Alphabet of Desire.’ This Alphabet of Desire is a mediation with one’s own libidinal framework. Magic has many aspects, but it primarily acts as a dramatized system of psychology. It is the science and art of causing change to occur in conformity with one’s Will. A magical spell is quite literally the spelling out of a Word. Once the Word is constructed within oneself it is set in motion by bringing it forth into grammar and sound. When completed one must seal it and cast it out into the Ethereum network.

i. Banishing

Everyone has a natural fortress within themselves: the Soul impregnable. However beyond this central citadel, one also has outerworks which are vulnerable and susceptible to violation. Banishing rites are twofold: Firstly, it provides a cleansing and maintenance of the walls of the fortress. Secondly, it operates as a firewall for the body and the space surrounding it. This allows for secure outbound transmissions of magical Words (spells) while fortifying and consecrating the Magician in a bastion away from exploits and malicious attacks.

ii. Logos

“In the beginning there was the Word (Logos).” A Word is twofold: internal and uttered. An internal Word is a conception of the mind, and motion of the soul, which is made without a voice. The Word is to be silently contemplated. The Logos is the generative principle with which impregnates potentiality. The semiotics of magic are thus: the map is not the territory. The Name is the thing itself.

iii. Incantation

The Word is twofold: internal and uttered. An uttered word is the internal Word brought forth through breath into vibration. Through this act of locution the Will sets the Word in motion. Incantation is derived from the Latin ‘incantare’ meaning “to enchant, cast a spell.” The infamous magical word ‘Abracadabra’ is derived from the Aramaic meaning “I create as I speak.” All communication contains sorcery because humans use a variety of noises to create a semantic grid projected upon incidents and events. These grids are generally called languages. Language is the material mediation between subconscious desires and the conscious mind. And Will is encoded into language for transmission. It is by Will alone that the Word is set in motion.

iv. Seal

Sealing is the act of encrypting a message. This is done through the process of transmuting the Word into a graphical sigil by tracing the path on the map of the Alphabet of Desire. The map that underlies the path that the line follows is defined by the Rosy Cross and holds the majestic alphabet of the ancient magi.

v. Casting

Once the Word has been synthesized and prepared for secure transmission on the network it must be activated by casting it out. Once the spell is cast a smart contract daemon is invoked to route the Word to its destination. This destination address is assigned by selecting a cardinal direction to where the Word is to be cast. After the spell is completed the Word is inscribed onto the distributed ledger of the Ethereum network.

vi. Sigil

The daemon listening for the cryptographically signed acknowledgement of transfer is animated to draw the Sigil onto a paper talisman with a mechanical writing machine when it can verify that the Word has been authored. The Sigil is both sign and signifier of the encrypted Word’s transaction record on Ethereum’s public ledger.

Sigil

Sigils are generated with a graphical encryption algorithm based on the Rosy Cross.

Word or phrase is constructed by the participant.
The Word is hashed with a sha256 function.
Every 10th character of the hash is appended to a new string until the string is 10 characters long.
This 10-char string is used to trace a path to form a graphical sigil with the Alphabet of Desire, as shown below.

Installation Format

Physical installation comprises of a podium within a 12’ chalk circle.

Download

Experience Requirements for Attendees

In order to cast their Word or desire to Ethereum’s distributed ledger and complete the experience, the participant is required to prepare and be familiar with using a mobile wallet that allows them to send an amount of Ether that, at minimum, covers the costs of the transaction, which will vary depending on the network load. Some mobile Ethereum wallet solutions include Trust Wallet, Toshi, Ethereum Wallet by Freewallet, Coinbase, and more.

Installation Rider / Requirements

Dedicated internet connection
Power drop (1x 120v AC)
Folding table with 2x black chairs and black tablecloth
Installation area with floorspace of minimum 14 sq feet

Collective Statement

Gabriel Dunne and Cullen Miller are collaborators often found working within the confines of art. Respectively drawing from their backgrounds in design and music composition their practice is an assemblage of various forms of media finding mutuality in a search for the Outside.

Their projects and performances are typified by creating technical systems that defy bounded rationality. Their work probes into subconscious immaterial processes by leveraging computational materials as a vehicle into complexity. Their aesthetics are typically not constrained by a controlled practice but, rather, tend to be emergent unknowns retrieved from systems. Rather than setting forth to construct a preordained form their practice typically involves tending generative machine processes as a way of excavating ideas from the Outside.

Biography

Cullen Miller

Cullen Miller is a sound-system artist, spatial-media designer, and curator. His projects vary in nature but typically fall within the spectrum of sound design, installation, composition, and systems design. Reared in Detroit, he relocated to San Francisco pursuing curatorial work with Gray Area Foundation, SFCMP, and to teach digital signal processing at San Francisco State University. He currently spends his days designing and constructing technical systems at Obscura Digital. He has released recordings under numerous aliases and organizes the concert series, FINITE. His performances and installations have been exhibited internationally in museums, galleries, and clubs.

Download CV (PDF)
pointlinesurface.com
@cullenmiller

Gabriel Dunne

Gabriel Dunne’s work represents his continuous exploration of visual, audible, and physical frequencies of natural and technological perceptual and imperceptible realities. His process utilizes design, music, sound, architecture, and materiality. Other facets of his practice synthesize and integrate structures and rhythms of the natural world. His work ranges from custom software and hardware systems, performance tools, and physical installations and public intervention. He was born in San Francisco.

Download CV (PDF)
gabrieldunne.com
@gabrieldunne

Credits

Creation, Design, and Development

Cullen Miller
pointlinesurface.com
@cullenmiller

Gabriel Dunne
gabrieldunne.com
@gabrieldunne

Interactive programming

Harvey Moon

Documentation Photography / Video

Eric Fernandez

Created with

Ethereum, Solidity, Python, JavaScript, Node.js, TouchDesigner, Leap Motion, EMSL AxiDrawV3

Assets

Download All (ZIP)

Exhibition History

2021, Dec 16, Claves Angelicae ERC-721 Release
2018, May 11, Ethereal Summit, Brooklyn NY USA
2018, June 23, Distributed Systems, San Francisco CA USA
2018, Oct 22, Web3 Summit, Funkhaus, Berlin Germany
2018, Nov 17, {PERFECT & PRICELESS}, Kate Vass Galerie, Zurich Switzerland

Project Support

ETH: 0xBd78EB42c0A6db5EcD523Ce794c2B66aF3874ceF

Latency

Thu, 02 Nov 2017 00:00:00 -0700

Who: Cullen Miller & Gabriel Dunne
What: Soundwave Festival presents ‘Networked Utopias’
When: 8pm | 2 November 2017
Where: Contemporary Jewish Museum, San Francisco, CA

“Latency”, a performance by Gabriel Dunne and Cullen Miller, delves into the experience of discontinuity in mediated digital communications. The piece builds a sonic narrative produced through affects of networks, computing, and daily devices. Foreign proxies, Ethereum mining, noise, geopolitics, reliance on private infrastructure, packet hop metadata, surveillance capitalism, and data loss are sonified through bespoke software and hardware. The piece instrumentalizes custom software applications that sonifies and visualizes network packets into unique scales as data hops through various geopolitical network topologies. Making use of an Ethereum mining rig, Miller and Dunne created an event model that converts the hash rate, block size, transaction hash, and kW/hour into modulation sources for various parameters in their synthesis model. The final movement consists of a live accompaniment from a pre-trained Amazon Alexa with inquiries about gendered labor and sous-veillance.

Night Rounds

Sat, 14 Oct 2017 00:00:00 -0700

GDSS (Stephanie Sherriff + Gabriel Dunne) (sound)

Steve Dye (visual)

Live A/V performance

NIGHT ROUNDS: LIVE FILM + SOUND FEATURING DANNY PAUL GRODY (MUSIC) + BILL BASQUIN (FILM), STEVE DYE (FILM) + GDSS (MUSIC), JOHN DAVIS (MUSIC) + LORI VARGA (FILM), JORGE BACHMANN (MUSIC) + ANNA GEYER (FILM), THE LAB, SAN FRANCISCO, CA, 10/14/2017

An evening of live film and music performances featuring eight Bay Area visual artists and musicians whose work ranges from experiments with light and film to algorithmic music composition. These energetic collaborations bring a dynamic array of sound and image to The Lab.

Oct 14 2017

Ethereal Channels

Thu, 10 Aug 2017 00:00:00 -0700

Paul Clipson (visual) 16mm Film Tryptic
GDSS (Stephanie Sherriff + Gabriel Dunne) (sound)

ETHEREAL CHANNELS: EXPERIMENTAL FILM + PERFORMANCE

PAUL CLIPSON + GDSS
JOHN DAVIS + JOSHUA CHURCHILL
BOBBY ENGLISH JR

EMERYVILLE, CA, 8/20/2017

Ethereal Channels is an evening of experimental film and performance showcasing new time-based works by Paul Clipson + Gabriel Dunne + Stephanie Sherriff, Joshua Churchill + John Davis, and Bobby English, Jr. Accessing evocative, subconscious channels through mediated audio/visual/bodily systems.

Live A/V performance @ StudioSpace, Emeryville

Empathetic Waves

Sat, 10 Jun 2017 00:00:00 -0700

Paul Clipson (visual)
Gabriel Dunne (sound)

Live A/V performance at “Empathetic Waves” @ Artists’ Television Access June 10 2017

Ribbon

Fri, 05 May 2017 00:00:00 -0700

“Ribbon” is a series of 3D scans of un-fired clay forms that I’ve used in various plots and sculptures.

Using traditional clay sculpting methods, 3D scanning, and further manipulated with digital sculpting tools, “Ribbon’s” virtual body now occupies a liminal space as a ghost-like spectral shadow, echoing its original hand-sculpted clay form, augmented by an animated surface.

Exhibition

2022 NFT
2018 06 April, “If, So, What?”

Pocketchip

Thu, 01 Dec 2016 00:00:00 -0800

I worked with NTC to create the boot/launch process and intro/launcher UI Design and UI Framework for PocketCHIP. Written in C/C++.

PocketCHIP is an open source game console, a portable synthesizer, and a Linux field terminal. PocketCHIP, by Next Thing Co, includes a CHIP, a case with a 4.3 inch 480×272 pixel resistive touchscreen, a clicky keyboard, GPIO headers on the top of the device, and GPIO soldering pads inside of the injection molded case. A 5-hour battery is included.

Aestral Orient

Fri, 05 Aug 2016 00:00:00 -0700

Aestral Orient (2016)
Audio/Visual Performance
Soundwave ((7)) Biennial: Architecture
Grace cathedral, San Francisco, California

A site-specific audio/visual performance in collaboration between Stephanie Sherriff and Gabriel Dunne. audio for the piece is spatialized and comprised of numerous field recordings and is controlled using a micro-controller, conductive tape, and max msp/jitter. textural, prismatic video is projected and mapped onto a tile labyrinth.

TXT_STRCT

Fri, 03 Jun 2016 00:00:00 -0700

By Cullen Miller & Gabriel Dunne
16 June 2016, 7:30 p.m.
Exploratorium, Pier 15 San Francisco, CA, Kanbar Forum

TXT_STRCT is a performance system for particle sonification created and performed by Cullen Miller and Gabriel Dunne. Navigating concepts such as emergence, fluid dynamics, and complexity it is a piece that attempts to steer and instrumentalize chaotic algorithmic processes for potentially aesthetic outcomes. Orienting itself towards a process rather than artifact the elements of the piece are spatialized and recombined into morphogenetic forms.

Fixed sculptural architectures and mutable particles dynamics interact in a virtual landscape creating angular liquids, clustering spheres, flocks of triangles, and other aggregate forms that evolve with labyrinthine complexity. Dunne and Miller navigate these permutations sonifying and spatializing collision events with analog audio in the Exploratorium’s 96 channel array, exploring the dichotomous relationships between the virtual and physical, ephemeral and solid, material and immaterial, mind and body.

Seaquence.App

Tue, 15 Mar 2016 00:00:00 -0700

A beautiful and playful multi-voice synthesizer

Created by oknk.studio (Ryan Alexander and Gabriel Dunne)

https://seaquence.app

furtris

Fri, 25 Dec 2015 00:00:00 -0800

A hand-inked velum w custom frames, various dimensions, modular installation

Projection Mapping

Tue, 18 Aug 2015 00:00:00 -0700

Intro to Projection Mapping

Projection-mapping techniques allow you use software to paint with projected light onto physical shapes. Projection mapping is an effect of Chiaroscuro, which is an art that “uses of contrasts of light to achieve a sense of volume in modelling three-dimensional objects and figures.”

Instructor:

Gabriel Dunne gabe@gabrieldunne.com gabrieldunne.com

Workshop History

2014 Summer, Gray Area Creative Code Immersive
2014 Fall, Gray Area Creative Code Immersive

Meeting Times

6 - 9pm, Tue, Dec 2 2014
6 - 9pm, Thu, Dec 4 2014
12 - 4pm, Sat, Dec 6 2014

Day 1

Quad Mapping

Typically the light cast from a typical projector is a rectangle, representing an rectangular screen output, a most content built for screens are in a rectangle shape. To throw a rectangular imagine into a specific area, we “corner pin” the quad, with four movable points. Using this hand-mapping technique, we can draw a series of rectangles that are aligned onto a space or object. This is great for:

Images
Videos
Emulation of multiple “screens”
Placing “screens” of content where ever you like

Using Processing

In the examples/ folder, you will find a few Processing sketches. One of which is an example that uses Projected Quads, based on a processing sketch by Marcin Ignac. Navigate to the examples/ folder in this repo and open ProjectedQuadsGLShaders, for example.

Features:

Using OpenGL (hardware accellerated)
Live Video Textures
GLSL Shaders
Shader Uniforms are passed into the shaders-
Live Shader Reloading

Key Commands

'SPACE' toggle debug mode
's' save settings
'l' load settings
',' select next quad in debug mode
'.' select prev quad in debug mode
'1', '2', '3', '4' select one of selected quad's corners
Arrow keys (left, right, up, down) move selected corner's position (you can also use mouse for that)

Demo of this sketch in action, as used by Stephanie Sherriff for her “Whitish Paintings” series.

Exercise

Load your own content into these sketches, and quad-map the content.

Day 2

Mesh Mapping

By manipulating a mesh, we begin interleaving physical form and software geometry. Starting with a 3D object, which can be created in a variety of ways. You can use 3D modeling software, like Sketchup or Rhinoceros 3D, Maya, Cinema4D.

There are a variety of methods to scan forms, using a depth camera, 2D camera vision, or 3D laser scanners. Even DIY methods.

OpenFrameworks

Computer Vision

Computer Vision techniques use matrix transformations to approzimate focal distortion through a lense. This method distorts the frame of reference based on a pattern, or markers on a physical object, usually read by a camera, sensors, or manual input.

ProCamToolkit is a modular toolkit developed with YCAM Interlab by Kyle Mcdonald, built with OpenFrameworks. It’s collection software and code for openFrameworks that uses camera vision to aid in projection mapping tasks.

Mapamok is a module of ProCamToolkit used for for exploring projection mapping. It includes features for matching geometry to space using camera vision and calibration tools.

Optical Mapping with Mapamok

Download Mapamok

After downloading Mapamok, grab the grandtheater.dae file in the assets/ folder of this repo, and put it inside Mapamok data folder. Rename the “grandtheater.dae” to “model.dae”. You’ll have to rename the original “model.dae” to something else.

Then, follow along with the [Mapamok Tutorial](https://github.com/YCAMInterlab/ProCamToolkit/wiki/mapamok-(English).

The concept of Mapamok has been ported to Touch Designer with CamSchnappr

Exercise

Align a 3D object to a physical shape via projection. Choose a simple elements such as a corner, or a window, or a doorway. Deconstruct your shape down to its component parts and try to use modeling primitives in a modular way.

Day 3

Projectors

DLP

DLP stands for Digital Light Processing. These projectors use an array of tiny mirrors to reflect light toward the screen (an “on” pixel) or away (an “off” pixel). A informative video on the technology. Most use a color wheel – literally a spinning wheel with color filters – to create sequential color. Some high-end models use three DLP chips; one each for red, green, and blue. DLP projectors range in price from a few hundred dollars to tens of thousands, and more. Most projectors in movie theaters use DLP. A challenge imposed by DLP projectors is that unless you are filming them with a high-end camera, you will see banding on most consumer digital cameras.

Pros of DLP:

Great color accuracy
Great contrast.
Best contrast ratios and shadow detail.
Same technology as projectors installed in digital theaters.

Cons of DLP:

On some projectors, viewers can detect a color breakup effect called the “rainbow” effect.
Sometimes color saturation is not as good as LCD or home theater DLP projectors.

LCD

LCD, i.e., liquid crystal display, is the technology found in most TVs. LCD projectors use three liquid crystal panels, each tasked with creating an image using just one of the primary colors (red, green, and blue). All three are projected on the screen at once, so you see a full color image. LCD projectors range in price from a few hundred to several thousand dollars. LCD projectors will film properly with hand-held and consumer cameras, they are ideal for documenting projection works.

Pros of LCD

Very bright
True high definition models are the least costly of any technologies with 720p models starting at under $2k.
Great color saturation.
1000 lumen and lower models will usually have long lasting lamps.
Cna be filmed with consumer cameras w/out banding.

Cons of LCD

Dead pixels
Contrast ratios are lower than those on DLP projectors
Shadow detail and absolute black levels are worse than DLP
Panel convergence problems (where the three LCD panels don’t align properly producing a noticeable color halo around each pixel) are common.
LCD panels are organic and lose image quality over time. The less the machine is used each day, the less of a problem this is. Projectors that are used for over eight (8) hours a day can exhibit problems fairly quickly.
Color uniformity across the image is lower than that of DLP powered projectors.

LCoS

LCoS, or liquid crystal on silicone projectors, came along at about the same time as DLP powered projectors. It is a bit of a hybrid between LCD and DLP LCoS technology is also referred to as reflective LCD, while individual manufacturers use their own names. Sony and JVC are the primary manufacturers of LCoS projectors, which they call SXRD and D-ILA, respectively. LCoS projectors range in price from a few thousand dollars to a few models that are in the tens-of-thousands range.

Pros of LCoS:

LCoS resolutions tend to start at SXGA enabling native 720p high definition images to be shown.
Like LCD, LCoS machines can be very bright.
Offers a very smooth, film-like image due to its pixel structure.
Great color saturation and accuracy.

Cons:

Can be pricey, although based on resolution, the cost is not much more than that of DLP.
Dead pixels are more visible than with other technologies and happen as often as with LCD’s.

====

Projector References:

http://www.projectorcentral.com/
http://www.theprojectorpros.com/learn-s-learn-p-theater_dlp_vs_lcd_vs_lcos.htm
http://www.cnet.com/news/dlp-vs-lcd-vs-lcos-projector-tech-pros-and-cons/

In-Class Lab

Consider which architectural elements in the theater you want to map
Use the toolkit of your choice to map the element
Use mesh mapping, quad mapping, CV methods, mapamok, or combination.
Balance your the time spent modeling, content, calibration
Group work is encouraged! Divide up tasks, share amongst teams.

Examples

Pablo Valbuena

Xavier Chassaing

SCINTILLATION

Dev Harlan

Works

AntiVJ

Obscura Digital

Bot & Dolly

Nobumichi Asai

OMOTE

Masaru Ozaki

Chair

Kyle Mcdonald, Jonas Jongejan

Light Leaks

More…

Software

Any software is usable if it can create, distort, and texture geometry and/or flat planes.

Code Frameworks

Software Packages

Automatic Calibration

Hyper Terra

Wed, 21 Jan 2015 00:00:00 -0800

Hyper Terra

A projection-mapped sculpture with an integrated projector, computer, and power supply. The sculpture is a mountain with simulated solar and lunar lighting that can be set up with any lat/long on Earth and a point in time. The graphics software has controls for time advancement towards the past or future, the long/lat on Earth, solar/lunar positioning, light color, and more. The result is both a sculpture and a dynamic visual timepiece.

Instructable: http://www.instructables.com/id/Hyper-Terra/

Process Photos: https://www.flickr.com/photos/quilime/sets/72157647947813024/

In my research I became interested in traditional Chinese model landscapes call 山水盆景, or “Penjing”, which represent small landscape models and/or living sculptures. Sometimes these sculptures include practical effects such as real water, plants, smoke, and lighting. One thing I especially like about these small landscapes is that you could view it from all angles. I felt this was extremely important, so I ditched any ideas that involved putting the project in a box.

Goals

The projection should work decently when there is bright ambient light.
The object should be viewable from all angles.
The projection computer should have a fast start-up time, allowing the sculpture to be turn on and off quickly seamlessly.
Software settings should be easily set an controlled from a tablet or phone, or other seamless interface.

Base Visual Concepts

Color gradient of the sky.
Color temperature (Kelvin) throughout the day.
Calendar events and cycles. Movement of the Earth the sun, the moon, and the stars, based on actual astrological positions, using a localized ephemeris table .

photo by Charlie Nordstrom

Okaynokay

Thu, 01 Jan 2015 00:00:00 -0800

Okaynokay is a creative studio founded by Gabriel Dunne and Ryan Alexander.

oknk.studio

Notable Projects by OKNK

Twilight Engines, with Vishal K Dar
Seaquence, a musical iOS App

Tetra Table

Tue, 29 Apr 2014 00:00:00 -0700

Originally posted on instructables.com
Download PDF
Download Rhino File (.3DM)

Table Top

Inner Triangles: Mahogany
Inner Triangle Edges: Purple Heart
Outer Middle Parallelograms: Mahogany
3x Hexagon Edge: Walnut
Outer Octagon: Red Oak

Table Base

3/4” Birch Ply
1” Steel Bar Custom Brackets

The concept for this tabletop came from a floor design for a geodesic dome. I wanted to geometrically transition from 3 (the triangle in the middle), to 8 (the octagon on the outside). I started by cutting shapes from scrap materials, and the project transformed into the following table design with a complimentary base. For future projects I would attach the table-top pieces with biscuits for added strength.

Tetra Field

Thu, 24 Apr 2014 00:00:00 -0700

Tetra Field
Gabriel Dunne
2014
laser-cut plywood, grasshopper, touchdesigner, python

A series of algorhythmically generated projection-mapped truncated tetrahedrons laser-cut from 10mm ply. All vary in size, orientation, truncation, and all have a boolean intersection with the wall as if each object is embedded within it. After manual assembly, the generated geometry is utilized as a base for projection mapping.

This project was realized as an experiment in creating a fast, efficient solution for a tightly-linked fabrication and projection-mapping workflow. Sculptural form, build plans, material cut files, and projected graphics are all generated from software and parametrically linked.

Software

Fabrication Tools

4x2 LaserSaur Laser Cutter

Materials

10mm Plywood
Cyanoacrylate Super Glue
Neodynimum Magnets
Angle Brackets
Gap-filling primer
White Silicon Caulk
Gaffers Tape
L-Brackets

Installation Hardware

LCD Projector
PC

Design & Fabrication

Geometry was created in Grasshopper/Rhino via the gHowl LunchBox toolkit and GhPython.

Supports

Gometry and supports layed out for cutting.

Laser Cutting

Forms were cut with a LaserSaur laser cutter from sheets of lightweight, low-grade 10mm ply.

Panels are superglued together by hand. The interior support structure relies on two angle wedges, which are attached on the interior of the forms.

After glue-up multiple coats of white primer is applied. I did a light hand sanding of the laser-cut plywood edges, as the laser-braze is a tough surface to get paint to adhere to, and therefor coat well enough so it appears completely white. Grey would have looked nice and worked well.

Installation

Ultra strong neodynium magnets attracted to large-headed nails or screws into the wall were used as a mounting solution.

Projection Mapping

Geometry is piped into TouchDesigner via OSC

Once geometry is generated in TouchDesigner, the projected meshes can be aligned onto the sculpture.

Graphics

Shaders applied to the mesh faces. This installation was part of a group show, and I used the audio-input from the sound generated from Sasha’s Drum Piece.

Final Thoughts

Software

This project did not attempt to solve the task of of aligning projections to the physical objects. Because of their simple geometric shape, I had planned to first install them on a surface and register the projections manually. For future iterations, I’d am considering ideas that include embedded fiber-optics in the verticies that would be tracked with an IR camera for a precise, real-time alignment. A huge challenge involved in projection mapping objects is the sheer amount of time it takes to align projections, and creating a real-time mapping solution allows for articulated and or moving installations.

Fabrication

This iteration does not include a solution mitered corners, due to the physical tendancies of the laser cutter. However, the lack of mitres simplified the fabrication process considerably and was a benifit – as this design reveals a channel between faces that makes a perfect area highlight the polygon edge when mapping.

Phi

Thu, 24 Apr 2014 00:00:00 -0700

Article written during an artist residency at Autodesk/Pier9. Originally published at Instructables.com, as part of a series of generative form and fabrication projects.

Download PDF

Phi and The Golden Proportion

When creating things that have form, the process typically does not depend on a singular methodology when generating, perceiving and manipulating a shape. Among these methods are the intuitive sense, a behavioral response, observation of patterns, mathematics, and many more in many combinations. The observation of natural phenomena is commonly used as base for modeling form, but when observing the universe, one finds an enormous variety of phenomena to chose from! The beauty, order and variety in nature is readily visible. The golden proportion, or golden ratio is a classic pattern you’ve most likely seen that occurs in nature and demonstrates certain commonalities and relationships between various areas of physical, biological worlds. At the simplest level, it is a mathematical relationship between two quantities that is intrinsic to various fundamental geometries and forms. By definition, two quantities are in the golden proportion (aka, the golden mean, golden section, golden number) if their ratio is the same as the ratio of their sum to the larger of the two quantities.

the ratio of A + B
is to A as
A is to B

In math, the ratio is commonly referred to as the greek letter Phi , As a decimal, it is represented as 1.6180339887498948482… It is an irrational number, ie, has an infinite number of decimal places that never repeat, like e or PI. Phi is curious because in order to square it, you can just add 1. Incidentally, phi denoted in lowercase means just the numbers after the decimal.

Some proofs that show the uniqueness of the number.

Phi = 1.6180339

phi = 0.6180339

Phi * phi = 1

Phi - phi = 1

Phi = 1 + phi

phi = Phi – 1

Phi = 1 / phi

phi = 1 / Phi

Phi * 2 = Phi + 1

phi * 2 = 1 – phi

(–phi) * 2 = –phi + 1

Phi ^ 2 = Phi + 1

Phi ^ 2 – Phi – 1 = 0

Phi + phi = √5

Phi = (√5 + 1) / 2

phi = (√5 – 1) / 2

Ok, now that we’ve seen the math of the number, let’s see how to find it with geometry. The proportion becomes prevalent when describing symmetry and descriptions of polyhedra and polygons, as the ratio appears in many forms as as a fundamental geometric building block.

Mathematicians, designers and artists throughout history have studied the properties of the golden ratio, including its appearance in the dimensions of a regular pentagon and the golden rectangle, which can be cut into a square and a smaller rectangle with the same aspect ratio (as in the image in the title). It’s a classic, right up there with Pi.

So, this article will demonstrate some distinct methods I’ve found for finding the proof of Phi with geometry. If you were doing this by hand, the tools you need are a straightedge and a compass. With a computer, you can use any drawing program that can do lines and arcs, and point-snapping is a big help too.

The proportion is useful in the description of symmetry, as well as descriptions of polyhedra and polygons, as the ratio appears as a fundamental building block to base geometric solids. Mathematicians, designers and artists throughout history have studied the properties of the golden ratio, including its appearance in the dimensions of a regular pentagon and the golden rectangle, which can be cut into a square and a smaller rectangle with the same aspect ratio. The golden ratio has also been used to analyze the proportions of natural objects as well as man-made systems.

This article documents some distinct methods I’ve found for deriving the ratio with geometry, and will be updated with new methods as I come across them.

The Golden Rectangle

Possibly the most common and widely used method to find the golden ratio is within the golden rectangle. The ratio of the short side of the rectangle to the long side is Phi. This is commonly seen when describing the Fibonacci sequence as a series of golden rectangles embedded within each other.

Draw a square that has sides that are 1 unit long
Place a compass point at 1/2 of the bottom side of the square
Rotate the compass clockwise it is on the same horizontal plane as the base of the square.
Where there compass arc and the base of the rectangle meet is Phi

Single Known Length

The simplest way to find Phi that I know of is not the traditional Golden Rectangle method. We can actually derive Phi from a single known length. In this method, we have a line that has a known length, in this case it has a length of 1.

Align the known length vertically (A)
Align another line of the same length to one end to the midpoint of the vertical length, and the other end to the horizontal plane. (B)
With a third duplicate length, align one end to the midpoint of the second length, and then other end to the horizontal plane. (G)
The ratio of (AB) to (AG) is Phi

Triangle in a Circle

We can find the golden ratio when inscribing a triangle inside a circle. This step assumes you can draw a perfect equilateral triangle within a circle. There are a few ways to draw a triangle without a computer or other devices that I listed in the requirements, such as this article on drawing an Equilateral Triangle

Draw a circle.
Align an equilateral triangle so it fits within the circle bounds.
Draw a horizontal line that starts from the 1/2 point of the left edge of the triangle (A)
Continue the line to the other side of the triangle (B) until it intersects with the edge of the circle (G)

Square in a Circle

The square-in-circle method is similar to the triangle, and related. It’s interesting to see the pattern and relationships between these shapes emerge.

Draw a circle
Divide the circle in half with a horizontal line
Draw a square that rests on the horizontal line, and is scaled vertically so its two top corners intersect the edge of the circle.
The length one side of the square (AB) to the distance to the right or left edge of the circumference of the circle (AG) is Phi

Pentagon in a Circle

The pentagon in a circle method is similar to triangle and square.

Draw a circle
Within the bounds of the circle, draw a pentagon, and intersect the vertices with the edge of the circle.
Draw two lines that emanate from the bottom vertices of the pentagon, and intersect at the top vertex of the pentagon.
Draw a horizontal line from the leftmost vertex (A) of the pentagon to the rightmost vertex (B) of the pentagon.
The ratio of (AB) to (AG) is Phi

Pentagon in a Circle 2

If you’ve already inscribed a pentagon in a circle, the ratio actually exists in another measurable place.

Connect all the vertices into a 5 pointed star.
If the edge of the pentagon is 1, then the length of the connecting star lines in Phi
Additionally, the length of the smaller lines within the star are also related. They are 1 / Phi, or phi

1/2 Square

The 1/2 square method

Draw a side of a rectangle with length 1 on the horizontal, and a height of 1/2 on the vertical.
Draw a diagonal line within the rectangle (xy)
Place your compass point at (y) and set it to length (yz)
Inscribe an arc until it intersects with the diagonal line. (w)
Place your compass point at (x) and set it to length (xw)
Inscribe an arc that starts at (w), and intersects with the bottom of the rectangle (u)
(xu) is 1/Phi

Conclusion

There are a myriad of ways to find and utilize this unique numeric ratio with geometry. I’ve included the following reference files for all methods as AI, DXF, Solidworks, and PDF.

Additionally, in Processing.js: Phi in Processing JS

// Phi / Golden Ratio example written in Processing.
// online at http://studio.sketchpad.cc/7e3hFRhlhV
size(600, 400); smooth(); strokeWeight(2); background(255); stroke(0); noFill();

float phi = (sqrt(5) + 1) / 2;
float scale = width / phi / phi;
translate(scale / 2, scale / phi / 2);

// draw guides
stroke(50);

// golden rectangle
rect(0, 0, scale * phi, scale);

// guides
strokeWeight(1);
rect(0, 0, scale, scale);
line(scale / 2, scale, scale, 0);
ellipse( scale / 2, scale, scale * phi + (scale / phi), scale * phi + (scale / phi) );

Also posted on instructables.com

GH -> TD

Wed, 23 Apr 2014 00:00:00 -0700

Abstract

A proof-of-concept collection of patches that shares polygon mesh geometry from Grasshopper to TouchDesigner in realtime via OSC. The ability to share mesh data between Grasshopper and TouchDesigner allows for a streamlined workflow when projection-mapping geometry. It eliminates a mesh export/import step, and doesn’t rely on TouchDesigner’s mesh editing tools. It streamlines the process of fabricating objects, as it closely links the fabrication process of the form to the projection mapping process. Grasshopper, a parametric geometry environment, allows for great control over the verticies, planes, and normals of a 3D mesh, which gets sent to the TouchDesigner graphics environment. Any changes to a mesh done in Grasshopper translates to TouchDesigner in real time. This is a proof of concept and unoptomized for large meshes.

Software

Screenshots

Rhino/Grasshopper

TouchDesigner

Source

https://github.com/quilime/gh-td

Vatica Dahlia

Fri, 30 Aug 2013 00:00:00 -0700

Vatica Dahlia - “Rites”

“Ritual is the primary method of programming the human organism.”

Sam Webster

Much like creating a piece of software, a ritual is crafted procedurally and when compiled correctly, there are results based upon what constituted the contents of the procedure. Vatica Dahlia’s Rites is a custom time-based system designed to port, compress, and obfuscate the Knowledge that has been handed down throughout the ages by the mages, sages, shamans, and initiates. Structured into ten distinct Chapters, each element utilizes a combination of networked performance, spatial sound, projection-mapped architecture, fashion, and ceremonial magic as a vehicle for transmutation and transmission.

Vatica Dahlia is artist, environmental systems designer, and a Magister of Ceremony. His work focuses largely on the various uses of ritual in reprogramming the human psyche. Vatica Dahlia’s performances utilize signal processing, immersive media, Hermetic techne, and algorithmic design principles as a means of probing low-level aspects of the human constitution.

Project Team

Cullen Miller - Project Lead, Audio
Gabriel Dunne - Sculpture Design, Fabrication, Projection
Stephanie Sherriff - Production, Fabrication, Installation, Secret Weapon
Lara Grant - Fashion Design
Ryan Alexander - Table Design

Special Thanks

Barry Threw
Mary Franck
Keith Pasko
Daniel Screen

Screen Fabrication

Procedurally designed sculpture for live performance
Dimensions: 8’ x 8’ x 3’
Materials: red oak, polycarbonate screens, rhino/grasshopper

exhibition

2014 San Francisco CA 2013 Brookly NY

more via flickr

process

More info: vaticadahlia.com

NAAG

Thu, 20 Dec 2012 00:00:00 -0800

projection sculpture
concrete, plaster, multiuple projectors, computer, custom software
12’ x 3.5’ x 3.5’
2 channel projection
Site Specific, New Dehli
In collaboration with Vishal K. Dar

Release - New Delhi, 2012

When artists, Vishal K Dar and Gabriel L Dunne, presented their work in a small space in Mehrauli, on the fringe of the community’s development, the children of this neighborhood had immediately made up their minds about the creature’s true nature and the reasons for its appearance. To them it was a wish fulfilling sea-serpent, silent and evocative, which had found abode in this unused space to hibernate during the cold winter months of Delhi.

Interestingly, we found how myths originate in such communities that are untouched by contemporary art and technology. Their chancing upon an object that is beyond comprehension, allows them to put their faith in notions of folk-lore and myth making.

Vishal K Dar / Gabriel L Dunne wanted to challenge the notion of sculpture as a static object. Their organic sculptural form has its roots in CAD software and is further skinned with a generative algorithm. Different parts of the sculpture move differently, as if a form had coiled onto itself. The viewer is liberated since the sculpture does not rely on prescribed grammar and the experience helps resolve a paradigm shift in our viewing registers.

The sculptural form wraps itself around an existing architectural column. The surface texture is similar in material and color to that of the existing walls. During the day it appears to be sedentary, but after sun down, the surface starts to glimmer and move. The projected animations are mapped onto the surface from two positions, covering a 360 degree viewing angle. The projections move in tandem with the surface segments, creating a mesmerizing rhythm.

Mehrauli, South-West district of Delhi

NAAG Z - Mumbai 2015

Gabriel Dunne gabrieldunne.com
Vishal K Dar vishalkdar.com

NAAG Z
4’ x 4’ x 14’
Plaster of Paris, EPS Foam, Steel, Custom Software, Computer, Projectors
Mumbai, 2015

NAAG XY - San Francisco, 2015

NAAG XY
Gabriel Dunne gabrieldunne.com
Vishal K Dar vishalkdar.com
EPS foam, plaster of paris, custom software, multiple projectors, computer
14’ x 8’ x 4’

http://neat.thecjm.org/dunne/
http://www.instructables.com/id/NAAG-XY/

exhibition

NEAT: New Experiments in Art and Technology
Contemporary Jewish Museum, San Francisco
Oct 15, 2015 – Jan 17, 2016
http://neat.thecjm.org/

more info: http://www.thecjm.org/on-view/currently/neat-new-experiments-in-art-and-technology/about

selected press

modulations 2012

Wed, 02 May 2012 00:00:00 -0700

Visual Performer: Gabriel Dunne, Music Performer: Chris Carlson @ CCRMA Modulations 2012

Vimeo

this visual set was based on live-coding experiments with non-periodic tiling patterns. I’m still fascinated with the forms. Towards the end of the night I started using color.

visual software created with: audio-shadertoy

for this setup, the live audio was analyzed by ChucK through the built-in mic on my macbook air. the ChucK script routes osc to Node, and the client receives via web sockets.

because osx-style full-screen multi-monitor support is completely broken in OSX Lion, we couldn’t use chrome. so we stripped out all the chrome-only webaudioapi stuff, and replaced it with an osc receiver. This allowed us to analyze the audio with an external interface and use any browser that supports webgl canvas, and does multi-monitory fullscreen correctly on osx. we ended up using firefox.

live-audio branch with float-sliders ui [warning:totally hacky] : http://github.com/quilime/audio-shadertoy/tree/live-audio-ff-datgui

Mandalas

Tue, 01 May 2012 00:00:00 -0700

Manadala series

Projection sculpture. Based on a 7-symmetry interference function.

Audio-ShaderToy

Tue, 03 Apr 2012 00:00:00 -0700

Live-coding GLSL editor with audio spectrum data for creating audio-reactive shaders in WebGL. Coded numbers in the shader become converted into performance sliders as they are typed, allowing any variable to be performed. Live audio data is made avaiable as a variable to affect visuals.

created by

Ryan Alexander, Reza Ali, Gabriel Dunne

Source on Github.

exhibition

Audio Shader-Toy at Creators Project SF

performance

Live-coded visuals for Chris Carlson by Gabriel Dunne.

screenshot

sriyantra

Wed, 28 Sep 2011 00:00:00 -0700

The Sri Chakra or Shri Yantra of Tripura Sundari is a yantra or mandala formed by nine interlocking triangles surrounding the bindu. Four of these triangles are orientated upright representing Shiva or the Masculine. Five of these triangles are inverted triangles represent Shakti or the Feminine. Because it is composed of nine triangles, it is also known as the Navayoni Chakra.

Kali → goddess of eternal energy. The goddess of time and change. The ultimate reality.

sri yantra guides

Together the nine triangles are interlaced in such a way as to form 43 smaller triangles in a web symbolic of the entire cosmos or a womb symbolic of creation. Together they express Advaita or non-duality. This is surrounded by a lotus of eight petals, a lotus of sixteen petals, and an earth square resembling a temple with four doors.[1]

The Shri Chakra is also known as the nava chakra because it can also be seen as having nine levels. Each level corresponds to a mudra, a yogini, and a specific form of the deity Tripura Sundari along with her mantra. These levels starting from the outside or bottom layer are:[1]

Trailokya Mohana or Bhupara, a square of three lines with four portals
Sarvasa Paripuraka, a sixteen-petal lotus
Sarva Sankshobahana, an eight-petal lotus
Sarva Saubhagyadayaka, composed of fourteen small triangles
Sarvarthasadhaka, composed of ten small triangles
Sarva Rakshakara, composed of ten small triangles
Sarva Rohahara, composed of eight small triangles
Sarva siddhi prada, composed of 1 small triangle
Sarvanandamaya, composed of a point or bindu

The Sri Chakra (called the Shri Yantra) is the symbol of Hindu tantra, which is based on the Hindu philosophy of Kashmir Shaivism.

Vijnanamaya — spiritual body composed of prayer and fortified by meditation

Anandamaya — body of the joy of union with god

—he who realizes the truth of the body can then come to tknow the truth of the universe

Payodhi-jala — primordial waters, force of the manifested universe

A fourth dimension of aesthetic sense, where all is in ourselves, ourselves in all —Aurobindo

Tantra: analogies between the individual and the cosmos, and the life forces which govern them

reflections of what is taking place in real life and reminding thought visions of our true nature

ICOSI

Mon, 11 Jul 2011 00:00:00 -0700

audiovisual performance, installation
7’ x 7’ x 1’ projection-mapped sculpture, stereo audio
Processing/Java, OpenGL, Ableton Live, MaxMSP

ICOSI represents my practice and experiences in regards to my own growth and experience. Geometrically, the form is inspired by sacred polyhedra that represent forms of transition. The form is composed of 7 panels trimmed and scaled from a full icosidodecahedron. The choice of an icosidodecahedron represents transition of two forms and frequencies, represented by an icosahedron and its dual polyhedron, a dodecahedron.

Software and audio toolsets for ICOSI are procedurally generated from the form. A factor I didn’t anticipate was how this project dramatically split my focus into two realms (sound and visuals), which was a juggle that I didn’t anticipate as I was developing the visual software on one split-screen before the performance. My goal was to create a unified performance tool, yet still resulted in a focus split. I am inspired to continue pursuing interfaces and controllers to overcome the separation of creating audio and visuals simultaneously.

The multiple mediums (sculpture, sound, visual media) of this particular project was fascinating. Each iteration represents a process of my curiosities in technology, consciousness, spirituality, design, and fabrication.

exhibitions

Nov 06 2010 Takes on Sound & Space, live w/Jeff Lubow.
Jul 29 2010 Biennial of the Americas, Denver CO

more photos on flickr

Process

Software Control Schema

sends
  low pass | overall complexity
  delay    | overall trails
  reverb   | overall softness

mode presets
  ctrl via /monome128

each
  (16 arpvis/clips)
  (16 effect automations)
  (1 mute)

[VERTS]

desc            | rhythm, clicks, pulses quarks, photos, static, stars
timbre          | percussive, clicks, bells
inst            | collision (synthesis)
pulse           | note
pulse len       | note length, decay
radius          | band pass filter amt (thick = lows, thin = highs)
trail number    | decay feedback
trail length    | decay wetness
reverb          | softness
left/right pos  | pan
alpha           | vel
rotation (xy)   | auto-pan
          
arp vis:
  all hold
  all pulse
  directional
  random
  multiple pulse modes (can link with edges)

[EDGES]

desc            | voices, chants, drones, rhythms, tones, frequencies
timbre          | bass, synth, drone
inst            | korg / guit (live, recordings)
pulse           | note
dir pulse       | note w/length, decay
dir pulse len   | note length, decay
thickness       | band pass filter amt (thick = lows, thin = highs)
envelope        | adsr
trail number    | decay feedback
trail length    | decay wetness
reverb          | softness
left/right pos  | pan
alpha           | vel
rotation (xy)   | auto-pan

arp vis:
  all hold
  all pulse / all verts of one plane pulse
  8x directions
  random placement, tree growth
  multiple pulse modes (can link with verts)

[PLANES]

desc            | ambience, low freq, textures, rhythms, pulses, orbiting
timbre          | gong, cymbal, bell
inst            | sampler (recordings)
pulse           | hit w/decay
pulse in/out    | attack envelope
pulse from edge | hits w/decay
light revs      | panning, auto pan
color           | reverb, detail
left/right pos  | pan
alpha           | vel
rotation (xy)   | auto-pan
rotate mask     | auto-pan

arp vis: 
  all hold
  all pulse
  8x directions
  random placements, pulse
  colors
  revolutions with orbiting light colors
  glow

Rider

pdf

Monad

Mon, 20 Dec 2010 00:00:00 -0800

projection sculpture
7’ x 7’ x 8”
Wood, Fabric, Java/Processing, Ableton Live, Max/MSP

A one dimensional visualization of the universe represented as varying length of vibration and time cycles. concentric rings representing lengths of time oscillate between the age of the universe, planck time, and the current moment.

statement

the central point of a circle is the beginning of a one-dimensional universal construct. the steps involved in creating any circle is a metaphor for the ongoing creating process itself. anywhere you place a center you can radiate a circle and symbolically create the space of the universe. a true point is impossible to create, having no dimension. consider the center point of monad as the current consciousness of the present moment, and the edge of the circle as an infinite expansion of the universe.

natures forms are represented to us by invisible forces that make them visible. these forces are vibratory cycles that oscillate through all matter. as we explore frequencies of vibration on a universal scale, we are metaphorically repeating the principal of the Monad: the opening of light, space, and time in all directions.

cycles are the core principal of the universe, and are all pervasive. we are thoroughly enmeshed in cycles and the periodic rhythms, which span the frequencies of space and time, are of only the most obvious on a daily basis: our sleep patterns, the weather, the seasons, sunrise, sunset, the rising and falling of emotion. On a larger magnitude: the age of our bodies, the rise and decline of species, the life cycle of stars. On a smaller, our breathing rate, our heart rate, the audio spectrum of music, speaking, the visible light spectrum, radio waves, cosmic rays, and ultimately the smallest measurable amount of time we can comprehend, described as Planck time. The appearance of the entire world and all existence with its natural and technological cycles are rooted in the archetypal, cyclical sinusoidal principals of the monad.

installation

each ring that moves across the surface represents a length of a time cycle. as they bass by, audible ticks are heard. higher pitched, rapid clicks count the current order of magnitude, ranging from 10^-18 to 10^-43. When passing the visual spectrum, it is show as color, while passing the audible spectrum, frequencies of the chakras are heard.

thanks to

Miles Stemper, Stephanie Sherriff for fabrication assistance.
Jeff Lubow for audio engineering assistance.
Ryan Alexander for projection-alignment coding assistance.

Seaquence.org

Mon, 04 Oct 2010 00:00:00 -0700

A biologically inspired sound toy

In collaboration with Ryan Alexander and Daniel Massey.

Lives at seaquence.org

Built with Flash/AS3

Installation at Gray Area, San Francisco, 2010

Monome-inspired hardware Step-Seaquencer Controller, ie, the “Seanome”

Stars

Thu, 20 Aug 2009 00:00:00 -0700

C++/OpenGL Software Projection
Dimensions and length variable

An exploration of infinite/finite space. The user transitions between macro and micro environments of mathematically infinite scale, limited only by computer processing power. As the viewer moves through multiple spaces, their scope and perspective widends and transcends while space becoms infinitely big and infinitely small simultaneously.

Exhibition at SomaARTs “NightLight”, 2013

Installation at Gray Area “Powers of Ten”

studio process

Bay Area Transit

Sun, 09 Aug 2009 00:00:00 -0700

Interactive Software developed by Gabriel Dunne with Stamen and SOM Architects for a conceptual route-map display proposal for the San Francisco Transbay Terminal project. Bay Area transit visualizations show public transit on an interactive map created from transit stations. Each route is a represented as its geographic path, the height of the shape representing time. Early morning routes are closer to the map base getting later in the day the higher they rise. Bart routes are colored blue, SFMTA/MUNI routes are colored in red.

Cymatic Organ

Fri, 05 Jun 2009 00:00:00 -0700

Cymatic (Wave Form) Organ
6 Channel Audio Installation
speakers, water, arduino, processing, chuck, audio interface
dimensions variable

Speakers are suspended and filled with water. Speakers emit a frequency based on user-interaction that results in a visual and interactive display of vibrations. Each speaker is waterproofed, facing upward, and filled with water. Speakers are fitted with individual sensors, allowing viewers to interact with the emitted frequency as they would a Theramin. Multiple speakers are suspended at various heights throughout the space, operating as generative musical instruments. Synth and software created with Arduino, Processing and ChucK.

Three distinct vibrations are present: light waves, sound waves, and the physical vibration of water.

Each speaker vibrates with tones that vibrating the water visually in geometric cymatic patterns. The tones are synthesized in real time, and vary in pitch depending on user interaction.

Installation PDF

Mekstension

Wed, 08 Apr 2009 00:00:00 -0700

Animation software created with Processing.

MEKSTENSION - (c) Gabriel Dunne 2009

Abstract

Visual Software to be used stop animation animation tool. Software allows an animator to extends geometric objects into space and modify their parameters. Animation optomised for a display resolution of 2560 x 1600

Created at Mekanism for a lofi/hifi stop-motion opener for CAT 2011 conference.

Design Document

init shapes
  square
  triangle
  circle
        
variables
  depth
  line thickness
  solid / wire
  edge color
  dotted lines
  points (no lines)
      
interface
  translate
  direction
  rotation
  scale
  depth
  direction ( degrees )
  length ( float )
  strokeWeight ( float )            
  fillColor ( uint )
  strokeColor ( uint )            

global
  color (front, back)
  stroke color
  transparency
  stroke transparency
  segments
  camera view angle

App (OSX)
Source Code

Press

Creativity Magazine
Behind The Work: Cat Opening Animation

Synonymovement

Mon, 02 Feb 2009 00:00:00 -0800

audiovisual software experiment

c++, ableton live, max/msp

Swim Tank

Sun, 05 Oct 2008 00:00:00 -0700

Swim Tank
Interactive graphics software
C++/OpenGL

A form follows an infinite, oscillating path drawn by the user. The user controls the direction a “fish” on two axis, while the depth of the path follows a sinusoidal rhythm that is affected by paths previously drawn.

Cabspotting

Sat, 05 Jul 2008 00:00:00 -0700

Using realtime GPS data to visualize the journeys of Yellow Cabs in San Francisco

“Cabspotting” San Francisco Taxi-Cab Visualization

Among the first uses of realtime data in a visualization of any kind on the web, Cabspotting was shown in the Design and the Elastic Mind exhibition at the Museum of Modern Art in 2008, was shown at NighTime Dreamreal at the Shanghai Power Station of Art (November 2013–March 2014), and is now in the permanent collection of MoMA. In these frame-by-frame maps of the locations of cabs in the Bay Area, taken from GPS data from Yellow Cabs in San Francisco, the city pulses like a beating heart.

Scott Snibbe originally invited Stamen Design to collaborate with him on this project. It was part of a research project called Invisible Dynamics, sponsored by The Exploratorium of San Francisco.

Credits

Stamen Design
Eric Rodenbeck
Scott Snibbe
Tomas Apodeca
Amy Balkin
Michal Migurski
Shawn Allen
Gabriel Dunne

Cabspotting on Stamen’s website
Cabspotting in MoMA

Cab Trails

Development Screenshot

Forest Web

Sun, 04 May 2008 00:00:00 -0700

c++/OpenGL
Interactive software

A network of dots and lines interacts with itself as enmeshed physically-simulated chains. Depth determines audio volume. Intersections, connections and line-length determine tones. Similar tones and chord groups are designated with additional web lines and connections. You are able to interact with each web line as the strings of an instrument, each tone resonating through its connections.

Created during development using JTNimoy’s JTToolkit.

Rattle

Fri, 02 May 2008 00:00:00 -0700

Rattle software synth controller proof-of-concept

A digital software rattle experiment. Rattles and shakers can be instanced and embedded into one another, allowing for a wide rage of sensitivity, sonic subtlety, and layers when making sound. Interaction with the digital rattle done through wii-mote. Rattle impulses trigger a synth via OSC, triggering ChucK or Ableton Live.

Various experiments created with C++, Processing, ChucK, Ableton Live, MaxMSP

Jellies

Thu, 01 May 2008 00:00:00 -0700

Organic forms react to the user and each other. Their motions and position in space create and/or affect audio. A tenticles depth in space is correlated to volume, while its color is linked to a tone in the audio spectrum. Interaction with the tentacle instrument is smooth, undulating, jellyfish-like.

c++, OpenGL

github

Tue, 01 Jan 2008 00:00:00 -0800

View more public code projects on Github

Prism

Thu, 23 Aug 2007 00:00:00 -0700

oil on canvas
4’ x 3’

dots

Wed, 02 May 2007 00:00:00 -0700

“Dots” is an interaction between human and computational order and chaos. Notes are generated in an circular ordered, repetitive pattern. Connection lines represent human-played audio tones, line length representing pitch. While notes are played by the human musician, the notes wander away from their original places, warping and distorting the connecting lines, resulting in a more chaotic and unusual soundscape as time passes.

Human generated tones are rendered with lines. The software manipulates these tones via random visual noise, making both audio and visual more chaotic of time. Tones start rigid and rhythmic, slowly degenerating into an organic, complex and chaotic system of overlapping frequencies and polyrhythms.

interactive software written in c++

Celestial Mechanics

Fri, 05 May 2006 00:00:00 -0700

Animation for Planetarium Dome, 30min
By D. Scott Hessels and Gabriel L. Dunne

Celestial Mechanics is a planetarium-based artwork installation that visualizes the statistics, data, and protocols of manmade aerial technologies, conceived of in 2005 and first released in 2006. One of the first of its kind in the realm of software-based Data Visualization, a graphic display of the paths and functions of the machines hovering, flying, and drifting above our planet. The sky is filled with aircraft that transport people from place to place, perform utilitarian duties, assist in communications, enact military missions, or wander above us as debris. Celestial Mechanics combines science, statistical display, and contemporary art by presenting these mechanical patterns and behaviors as a celestial mythology. The artwork is intended to be viewed in a planetarium dome, and as time permits the authors, it is updated.

more info https://celestialmechanics.info

Statement

At any given moment, there can be over 30,000 manmade objects in the sky above us: Planes, helicopters, satellites, weather balloons, space debris, and other diverse technologies. They watch, they guide, they protect, they communicate, they transport, they predict, they look out into the stars. In less than 100 years, the deep blue has become a complex web of machinery.

Our lives are closely tied to these networks in the sky, but a disjunction has occurred between us and the aerial technologies we use every day. We rarely consider the hulking, physical machines that have now become core to our lifestyle. By not being aware of the hardware we use every day, we may also not be aware of the social, economic, cultural, and political importance of these technologies. By visualizing them, it may lead to a better understanding of the forces that are shaping our future.

However, our understanding of this mechanical chaos is so closely tied to the scale of it all - beyond global - that visualization proves limiting. Computers can now collect massive amounts of data, but our display systems are struggling to keep up. Scale is part of information, yet we continue to reduce and enlarge everything in our increasingly well-documented world to small resolutions. Our glowing screens cannot present any of the phenomenology of the data… that awe that scale inspires. Planetariums give us a way to visualize a complex system without losing the emotion of the data. Scale creates wonder, and we should not separate our feelings from the statistics… they help us understand them.

Essay: THE MACHINES ABOVE US:

AN OVERVIEW OF THE ‘CELESTIAL MECHANICS’ NEW MEDIA ARTWORK

By Scott Hessels, Aug 2017

INTRODUCTION

The mechanical chaos above our heads affects us directly in an astounding array of ways. The technologies we take for granted, as banal as the GPS in our cars and our mobile phones, are nearly all airborne. Our communications, our media, our military, our science, our security, and our safety are all tied to mechanical superstructures drifting silently above us. Although we can’t see them or touch them, they too are part of what N. Katherine Hayles describes as the post-human tendency to physically extend ourselves through technology.

However, constant use does not equal constant awareness…we use these technologies without being directly conscious of them. In his introduction to Gene Youngblood’s Expanded Cinema, Buckminster Fuller explains that “thus has man been advantaged by the few who have thought and acted to produce the instruments, as yet relieving the vast majority of humans from the necessity of having to think and coordinate their sensings with the realities of cosmic mechanics” (p. 24). However, there are dangers to being ‘relieved from the necessity of thinking’. Celestial hardware is completely changing our experience with our world and each other, yet doing it invisibly, silently. To quote Fuller again, “The most important part about tomorrow is not the technology or the automation, but that man is going to come into entirely new relationships with his fellow men” (p. 45). One such relationship is invisible mediation.

THE PROBLEMATICS OF SCALE

The problem of visualizing emergent systems has been increasingly considered by both theorists and designers. Designer Bruce Mau recognizes the difficulties with displaying “quantities on a scale the world had never seen.” (Maclear & Testa, 2000, p. 497) Mau feels the core 21st century design problem relates to growth. “I increasingly believe that the future of design rests in our ability and willingness to develop new practices and theories of form that are inextricably linked to, and informed by, life and growth. “ (Maclear & Testa, 2000, p. 499). The lack of effective design tools to display complex, mutating data is a unique problem for the new millennium.

The mix of delicate tracking technologies and our expanding computing power suddenly allows us to consider massive amounts of data over vast terrains like this. However, the volume, complexity, and volatility of the statistics make traditional display difficult. On his homepage, MIT’s Ben Fry explains that “there is a space of highly complex systems for which we lack deep understanding because few techniques exist for visualization of data whose structure and content are undergoing continuous change.” (Fry, 2005)

DATA COLLECTION ON THE TECHNOLOGICAL SKY

Data was researched via the web and through interaction with government and scientific agencies. Actual path data for satellites was retrieved from the SSR Report, a public domain document supplied by NASA. Airplane path data was collected from the Federal Aviation Administration who provided longitude, latitude, and altitude for every commercial plane both airborne and grounded, every three minutes, over 12 hours. Weather balloon data was collected via the National Oceanic and Atmospheric Administration who supplied worldwide launch sites and times. ‘Non-path’ aerial technologies (balloons, helicopters, model rockets) were collected as protocols. ABC News, Los Angeles Sheriffs Department, Los Angeles Police Department, Los Angeles Fire Department, US Coast Guard, private charter companies, and private medical transport companies were contacted and interviewed regarding steps of action during specific events. Model Rocketry data was researched via user groups and the web.

A total of 46 different technologies were researched and incorporated into the script. Eight different technologies were selected for the prototype presentation, based on their potential for visual representation and as a cross section of each altitude level. As the project evolved, it was clear that entropy was built into its design. Within weeks after the artwork had shifted from research to design, new technologies were introduced into the sky. “Celestial Mechanics” is a snapshot of the airborne hardware at one moment in man’s history and is almost immediately a historical artifact.

PRODUCTION

Once compiled, the data was parsed into MEL, a scripting language used by the 3D animation program Maya or parsed through the programming language Processing. A virtual dome was created that comprised of a 5-camera rig—looking north, south, east, west, and directly up. A team of animators in Design/ Media Arts at UCLA each tackled a different data set, with the artists overseeing the design and making adjustments for aesthetic choices—speeding things up, changing point-of-view, etc. “Celestial Mechanics” was not meant as a scientific tool but an artwork, and creative license was taken to increase the power and emotion of overall piece.

The animations were rendered and then, using a proprietary software courtesy of Evans and Sutherland, the five camera views were ‘stitched’ together into round dome originals. Skywalker Sound, having read about the project online, volunteered to create the sound design for the project. The resulting artwork premiered concurrently in portable domes at UCLA and Siggraph in Los Angeles in the summer of 2005.

CONCERNS ABOUT EMERGENCE AND CHAOS

The systems above require great cultural, economic, and political coordination yet there seems to be no singular control. The statistics for “Celestial Mechanics”—air traffic paths, satellite movement, weather hardware trajectories, helicopter protocols—came in separately, in exclusive datasets that eerily ignored the other competing systems that were in the sky. The most complete tracking is done by NASA which disseminates some of the data, conceals some, and ignores some. However, tracking these systems is very different than controlling them. Even the frequent launches of communication satellites are ‘guessed’ to avoid the thousands of space debris fragments. Collisions have occurred, but the sky is still treated with the same cavalier attitude of the American west in the 1800s…the celestial real estate is too big an expanse to worry about congestion yet.

Once the technologies were plotted, relationships became visible that were never shown in the individual datasets. Technologies are adjusting in relation to other technologies, systems are resetting paths, applications are reinventing themselves, machines are decaying in manners never predicted. The hardware and software in the sky are demonstrating behaviors that were never coded into their original design. The complex generation of patterns and chaos above is symptomatic of some flavor of emergent system. Partially human-controlled, it is a human/emergent hybrid, a gradient system that is evolving both by human interaction and its own intelligence.

MACHINES, MEDIA, MYTHOLOGY, AND METAPHOR

“Celestial Mechanics” shows a dynamic system of independent yet interacting parts—the aesthetics of emergence as a collage. Using the technology, architecture, and media experience of the planetarium, the piece attempts to investigate the cultural meaning attached to the machines above us…and find the emotional and social meaning as well. By seeing relationships evolve above us, it becomes an emerging cultural mythology.

Many of the machine behaviors and patterns in the artwork are already part of our semiotic language. The shaky blue circle of light from a police helicopter is as culturally coded as the military planes flying in perfect V formation, the stacked planes over LAX, and the melancholy dissipation of distant jet trails. Just like the mythologies created centuries ago by seeing patterns in the stars, we again are applying cultural significance to pattern and new ‘constellations’ are being formed by airborne machinery.

Technology is generating a mythology. “We’re developing all these fabulous hardware systems that soon will make life a process of continual myth-generation for the individual as well as the collective ego” (Youngblood, 1970, pg. 349). By applying the patterns, cycles, and trails of aerial technologies in such a radically different context, the planetarium has allowed us to both create and find new meaning in the data.

References

Fuller, R. Buckminster (1970). Expanded Cinema (Introduction). New York: E.P. Dutton and Co.
Fry, Ben. (2005) From his homepage. Retrieved January 29, 2005 from www.benfry.com
Maclear, K., & Testa, B. (Eds.). (2000). Life Style: Bruce Mau London: Phaidon
Youngblood, Gene (1970). Expanded Cinema. New York: E.P. Dutton and Co. PAGE

Flight Patterns

Aaron Koblin’s “Flight Patterns” and all its various forms and iterations was derived from the 2005 copyrighted artwork “Celestial Mechanics” created by Scott Hessels and Gabriel Dunne.

IMAGES

Geostationary Satelites

GPS Satelites

Installation for UCLA MFA Show

Installation for SIGGRAPH NVidia Dome

Credits

Created By

D. Scott Hessels
Gabriel Dunne

Animation

Gabriel Dunne
Eric Keller
Aaron Koblin
Christopher McKee
Jarrett Quon

Sound Design

Christopher Barnett

Poster Design

Matthew Goldman

Thanks To

UCLA Design | Media Arts
Evans and Sutherland
NASA
The Federal Aviation Administration
Glendale Community College Planetarium
The Griffith Observatory
RLM Software and FlightView Data
The Elumenati, LLC
Aircraft Data derived from FlightView data of RLM Software

City Sun Path

Fri, 05 May 2006 00:00:00 -0700

Digital City Concept Proposal SUN/SHADE MAP

Concept

An interactive map concept that uses the San Francisco Digital City 3D model to search for directions in the city, and lets the user know how much sunlight or shade they receive during their travel. Depending on time of day, certain streets (especially streets downtown near high buildings) will only have direct sunlight on the street level during mid day, while neighborhoods with shorter buildings (such as the Mission or the Sunset) will have much more direct sunlight. Light can change depending on both the hills of SF and structures such as buildings, bridges, and tunnels. Users would also be able to select a specific area of the city or neighborhood, and see the shade/sun on all streets in that area depending on current time. There is a subtle irony in the concept due to the foggy nature of San Francisco – days with direct sunlight with no fog or clouds are rare and treasured.

Result

There is a wealth of information to be gathered by sun and shade calculations, and it would be interesting for us to see which parts of the city get the most sun and shade during the entire year. They would be able to view the result as an interactive Google Map, a 3D image, a sequence of stills, or an animation of shadows. It would also be interesting to be able to download a screensaver that shows all the shadows in the city for the current time of day. Unfortunately the map does not take fog or clouds into account. It will be up to the user to look outside and determine if it’s actually a sunny day.

Technical

Calculations of shade and direct sunlight would be based on time of day and the season, which users can change when searching. The route will be drawn as a line that changes between two colors. One color signifies sunlight, while another color signifies shade. The route will be created with Google Maps, so users will have the ability to drag and modify the suggested route depending if they want a route with more shade, or more sun. The light ratio will update as you drag the route around the city. Also, a calculation of “time travelled” will have to be included to determine how the shade will change by the time you actually reach your destination.

Many larger streets, such as Market st or Van Ness have the possibility of sun on only one side of the street. The map would take this into consideration, and render the route in that area as two stripes side by side, showing which side is sunny.

Animations of timelaps, movies, stills, RSS feeds, and illustrations of sunlight and shade movement would be incorporated into the map results. Because of the extremely detailed 3D map of SF, the resulting route could be rendered in 3D with realistic computer generated shadows, in addition to the traditional Google Map. Because sunlight and shade loops throughout a full year, the sunlight/shade data can be pre-calculated for all 365 days throughout the entire year and stored on our server. This means the main calculation being done per user is to test if a path moves through a sunny part of the city.

This map could be a useful tool to visualize how new construction projects (such as the proposed Transbay Terminal) in San Francisco would effect shade in the city. As SF’s skyline changes, so does the amount of shade being cast on the sidewalk.

Footage Fold

Thu, 05 May 2005 00:00:00 -0700

A CGI + motion-control visual effect that creates the illusion of an environment folding into itself like a popup book. Created with Motion Theory, Los Angeles.

“It Consolidates”

The effect was developed for a single scene in a Hewllet Packard commercial “It Consolidates”. A messy office appears to fold up like a pop-up book.

Role: Visual Effect Designer, Animation

Beck “Girl”

Role: Asst. Visual Effects Director, Rigging, Animation

The music video for Beck’s “Girl” featured entire scenes folding up like a popup book, transforming their meaning an resulting in visual ironies throughout the story. The music video is an homage to Al Jaffee’s “Fold In” art at the back of the classic MAD Magazine,

Foldong shelves in pharmacy with physically simulated bottle falling animation

Living Room fold scene, featured on television with Al Jaffee “commercial” gag

Pinatas scene clean plate

Pinatas scene render plate

Graphic Design for “folding map” gag

More via Motion Theory: 1, 2, 3

Fold Tests, Contepts, and Sketches

four-way fold concept art

Celestes Calendar

Wed, 12 Jun 2002 00:00:00 -0700

18” x 12”
Inkjet print, Balsa Wood

Adaptation of Galileo’s Celestes calendar.
Includes phases of the moon, equinoxes and solstices.

Color/Shape/Sound

Wed, 01 May 2002 00:00:00 -0700

Original Document: color/shape/sound

Introduction

The Color/Shape/Sound explorer generates a three-dimensional shape as a result from musical input from the user. The calculator attributes color to certain notes, creating a harmonious relationship between Shape, Color and Sound.

The Circle of Fifths

The Circle of Fifths is a way to learn the key of a given 12-note-scale musical composition. The Circle of Fifths tells you how many sharps or flats are in a given key. The key of C has no sharps or flats, for example. The diagram is called the Circle of Fifths because as you go clockwise you go up a fifth. For example, the fifth note of the C major scale is G. The fifth note of the G major scale is D, and so on.

Notice that every other note is succeeded by the one before. C, skip G, D, skip D, A, etc. Also notice how there are twelve notes corresponding to twelve numbers on a clock. C is in he 12 noon position. G is in the 1 o’clock position (likewise has one sharp; F in the 11 o’clock position.) D is in the two o’clock position (likewise has sharps; F and C). A is in the 3 o’clock position (likewise has 3 sharps; F, C, G). E is in the four o’clock position and has 4 sharps (F, C, G, D). B is in the 5 o’clock position and has 5 sharps (F,C,G,D,A). F# is in the 6 o’clock position and has 6 sharps (F,C,G,D,A,E; everything is sharp except B; notice also how this corresponds with the key of F in which it has one flat, Bb). If you follow the gray lines of the inner star, you can visually see how a single octave of sound is represented in this circular fashion.

As we move clockwise around the wheel, we begin to see a pattern of the amount of sharps contained in each major key. There are no sharps in the key of C. There is one sharp in the key of G, and two in the key of D, etc.

C :
G : F#
D : F#, C#
A : F#, C#, G#
E : F#, C#, G#, D#
B : F#, C#, G#, D#, A#
F#: F#, C#, G#, D#, A#, E#
C#: F#, C#, G#, D#, A#, E#, B#

To count the number of flats, we move counterclockwise along the wheel. There are no flats in the key of C, one in the key of F, two in the key of Bb, etc. Because it’s neater, we write everything as flats.

C :
F : Bb
Bb: Bb, Eb
Eb: Bb, Eb, Ab
Ab: Bb, Eb, Ab, Db
Db: Bb, Eb, Ab, Db, Gb
Gb: Bb, Eb, Ab, Db, Gb, Cb
Cb: Bb, Eb, Ab, Db, Gb, Cb, Fb

The Circle of Notes

The Circle of Notes is something I came up with to describe arranging the notes chromatically around a circle. The only relationship between the notes is the actual distance in which they are spaced from each other on the keyboard. C is spaced away from C# the same distance as A is spaced from Bb, etc. Hence, the Circle of Notes is simply a representation of a single octave wrapped to 360 degrees.

The Color Wheel

The Color Wheel describes the relationships between colors. It is laid out so that any two primary (red, yellow, blue) are separated by the secondary colors (orange, violet, and green).

The Color Wheel In Relation to the Circle of Notes

When we composite the Color Wheel behind the Circle of Notes, we can create a working relationship between the two. As we move along the wheel clockwise, we can relate specific notes to specific colors, eventually looping through an octave will also loop through the entire spectrum of color.

According to this model, C relates to Yellow. E relates to Red, and Ab relates to Blue, (the primary colors). If we look at these notes on a keyboard, we can see that they are spaced two tones (steps) apart, or four semi-tones (half steps) apart. An octave consists of twelve semi-tones total, so four semitones is an exact third of an octave. Exactly the same relationship that the primary colors have to the color wheel – they are spaced apart in perfect thirds. By this model, C, E and Ab are the ‘primary notes’ of the octave.

If we rearrange the notes on the Circle of Notes so that the wheel becomes the Circle of Fifths, and let the corresponding colors follow the move, the result is a very dissonant color wheel:

According to this model, a very interesting relationship is illustrated, simply because of the dissonance between certain notes. Complimentary colors stay in the same, but their arrangement in a circular fashion is distorted to follow the Circle of Fifths model.

Secondary Colors In Relation to the Circle of Notes

The notes in between the ‘primary notes’ then represent the secondary and tertiary colors represented in the color wheel.

While the keyboard is beginning to look more like Fisher-Price, we begin to notice a definite pattern and relationship. As we move up and down the octaves of the keyboard, the color wheel loops 360 degrees, managing to assign a specific color to each note in the octave.

Notes, and Their Relationship to Ratio & Symmetry

Pythagoras observed that when the blacksmith struck his anvil, different notes were produced according to the weight of the hammer. Number (in this case "amount of weight") seemed to govern musical tone. Further, he observed that if you take two strings in the same degree of tension, and then divide one of them exactly in half, when they are plucked the pitch of the shorter string is exactly one octave higher than the longer:

Again, number (in this case "amount of space") seemed to govern musical tone. Or does musical tone govern number? He also discovered that if the length of the two strings are in relation to each other 2:3, the difference in pitch is called a fifth:

…and if the length of the strings are in relation to each other 3:4, then the difference is called a fourth.

Thus the musical notation of the Greeks, which we have inherited can be expressed mathematically as 1:2:3:4

All this above can be summarized in the following, with some other additional ratios and their names:

	Whole Note	1:1
Diapason	Octave	2:1
Diapason Diapente	1.5 Octaves	3:1
Disdiapason	2 Octaves	4:1
Diepente	The 5th	3:2
Biatessera	The 4th	4:3
Tonus	Whole Tone	9:8

Represented visually:

Whole Note (1:1) :
Diapason (2:1) :
Diapason Diapente (3:1) :
Disdiapason (4:1) :
Diepente (3:2) :
Biatessera (4:3) :
(5:4) :
(4:9) :
Tonus (9:8) :

Notes, and Their Relationship to Ratio & Symmetrym, Combined with the Relationship of Color.

To develop an interface that would allow interaction between shape, color and tone involves an initial choice. Which aspect would the user interact with? Would they chose colors and have the program draw a shape, and play the relating sound? Would the user draw a shape, and have the program chose the appropriate color in the relationship, and play the corresponding notes? The third possibility would be to have the user play a piece of music, and have it relate directly to shape and color. I have decided that this will be the initial implementation of the first version of this application.

Essentially, the user will play a sequence of notes, the program will calculate the ratios between these notes and draw a shape, as well as attribute each note to a corresponding color on the color wheel.

In the future, it’s possible that additional versions of the program will allow the user to interact with all three, and see how the different factors of shape, color, and sound relate to each other no matter which aspect is modified.

Interface Design

Initial concepts of interface design include implementation of both color/note wheels, and an interactive keyboard. The large area above will contain the form that results from the ratios designated by the notes played on the keyboard.

The shapes drawn must be cubic in order to relate to the ratios in three dimensions, but future implementation in other geometries will be possible.

In this demonstration, the user picked the notes C, F and A in succession, drawing a cube that relates to the ratios of space that exists between the notes, and coloring the cube appropriately. If the user was to hit a fourth note, it will override the first note pressed in the sequence. In this case, if the user decides to hit D, it will override C, and change the yellow to orange, as well as change the shape of the cube.

Architecture Mythos

Thu, 05 Jul 2001 00:00:00 -0700

Architectural Models depicting various greek mythos and themes

Troughs
18” x 18” x 6”
balsa wood

Icarus & Deadalus
18” x 18” x 6”
balsa wood

Light + Heavy 18” x 18” x 18”
balsa wood, foam core

quilime.com

Tue, 20 Apr 1999 00:00:00 -0700

quilime.com is the first URL I ever registered (in 1999), and has operated as an experimental web playground, a portfolio, project hub, and code blog over the years.

These days it consists of open source projects, code snippets, and command line notes.

gld

Ethereal Signal

Audio

Visuals

subspectral

Music Videos

Shimmers

Peliculated

Taps

Kala

Thesis

Relativity

Etymology

Calendar Reform

Proposal

References

Prior Work

Technology

Reference Links

Images

Sound Systems Psychoacoustics

Sound, Systems, and Psychoacoustics

Stripe of Mirrors

KZSU Day of Noise

modulations 2019

Photogrammetry

Intro to Photogrammetry

Headlands Bunker Scan (Dense Cloud with Image Planes), Agisoft Screenshot. Source: Okaynokay, Twilight Engines 2019

What is Photogrammetry?

Structure from Motion (SfM) photogrammetric principle. Source: theia-sfm.org 2016

Definition

Typical Outputs

Related fields

Main Tasks of Photogrammetry

Comparison to Laser Scanning (LIDAR)

Abridged Photogrammetry History

Illustration from Oculus artificialis teledioptricus sive Telescopium, Johann Zahn 1685, Source: Public Domain

Image Capture Technique

Illustration from Oculus artificialis teledioptricus sive Telescopium, Johann Zahn 1685, Source: Public Domain

Camera

Optional Equipment

Guidelines

Source: Agisoft Photoscan Manual

Practice

Headlands Rock Scan, (Sparse Point Cloud). Agisoft Screenshot. Source: Gabriel Dunne 2019

Photogrammatry Solutions/Apps/Software

Free 3D Modeling, Mesh Manipulation Software Suggestions

Articles and References

Illustration from Oculus artificialis teledioptricus sive Telescopium, Johann Zahn 1685, Source: Public Domain

Emergence of Mathematical Solutions related to Photogrammetry

Twilight Engines

METAFLUX

Works By

About

When

Where

Catalogue

Purchasing

Artists

NICOLE APTEKAR

RYAN ALEXANDER

HARVEY MOON

MICHAEL JACOBS

GABRIEL DUNNE

Claves Angelicae

Video

Images

Experience

o. Initiation

i. Banishing

ii. Logos

iii. Incantation

iv. Seal

v. Casting

vi. Sigil

Sigil

Installation Format

Experience Requirements for Attendees

Installation Rider / Requirements

Collective Statement