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Figure 17. Nine stills (ordered chronologically) from the filming of an improvised demonstration of FluxNoisations in Septembe 2012, at the Columbia Computer Music Center. These show fluctuating color geometries arising from various positions and motions of the hands and body. Photos by Danielle Y. Robinson. View the video FluxNoisations Potpourri here: http://vimeo. com/fluxations/fnp.

Figure 17 Nine stills (ordered chronologically) from the filming of an improvised demonstration of FluxNoisations in Septembe 2012, at the Columbia Computer Music Center. These show fluctuating color geometries arising from various positions and motions of the hands and body. Photos by Danielle Y. Robinson. View the video FluxNoisations Potpourri here: http://vimeo. com/fluxations/fnp.

Related Figures (22)

Figure 2. Stills from “Firefly Fury” (Marathon Demonstration), filmed on June 18, 2012, at the Columbia Computer Music Center, Columbia University, New York. The picture on the right shows a higher density of foreground ellipse because the right wrist is flexed outward, as compared to the picture on the left, where it is flexed inward. Photos by Danielle Y. Robinson. View at http:// vimeo.com/fluxations/ff. Figure 1. Stills from Montreal Comprovisations No.1 and 2, filmed on June 15, 2012, at Skin—Surface—Circuit: Embodying the Improvisatory, ICASP-McGill Center for the Critical Study of Improvisation Interdisciplinary Conference, in Montreal. The first photo shows a blue-oriented bubble explosion in progress; the second shows one red-oriented bubble explosiion in progress ir the upper left and another just begun toward the center of the screen. Photos by Stephanie Khoury. View at http://vimeo.com, fluxations/mc1.
Figure 2. Stills from “Firefly Fury” (Marathon Demonstration), filmed on June 18, 2012, at the Columbia Computer Music Center, Columbia University, New York. The picture on the right shows a higher density of foreground ellipse because the right wrist is flexed outward, as compared to the picture on the left, where it is flexed inward. Photos by Danielle Y. Robinson. View at http:// vimeo.com/fluxations/ff. Figure 1. Stills from Montreal Comprovisations No.1 and 2, filmed on June 15, 2012, at Skin—Surface—Circuit: Embodying the Improvisatory, ICASP-McGill Center for the Critical Study of Improvisation Interdisciplinary Conference, in Montreal. The first photo shows a blue-oriented bubble explosion in progress; the second shows one red-oriented bubble explosiion in progress ir the upper left and another just begun toward the center of the screen. Photos by Stephanie Khoury. View at http://vimeo.com, fluxations/mc1.
The most recent version of Fluxations has up to 15 pa- rameters feeding into the music generating algorithm.
The most recent version of Fluxations has up to 15 pa- rameters feeding into the music generating algorithm.
Figure 5. The progress of two successive direct layer explosions of bubbles, first from the upper left corner: stills from Montrea Comprovisation No.1 (2012). Photos by Stephanie Khoury. View at http://vimeo.com/fluxations/mc1.
Figure 5. The progress of two successive direct layer explosions of bubbles, first from the upper left corner: stills from Montrea Comprovisation No.1 (2012). Photos by Stephanie Khoury. View at http://vimeo.com/fluxations/mc1.
most obvious when the foreground rhythm is syn- copated, an effect controlled by degree according to the bending of the left wrist. The videos Firefly Fury and Full Body Comprovisation No.2 illustrate such flux of syncopation, along with other trajectories of flux. (This is shown in three clips: http://vimeo.com/flux- ations/vida, http://vimeo.com/fluxations/vids, http:// vimeo.com/fluxations/vid6.) while providing lively motion, so the ellipses seem tc dance around the center of the screen, as shown in Figure 6.
most obvious when the foreground rhythm is syn- copated, an effect controlled by degree according to the bending of the left wrist. The videos Firefly Fury and Full Body Comprovisation No.2 illustrate such flux of syncopation, along with other trajectories of flux. (This is shown in three clips: http://vimeo.com/flux- ations/vida, http://vimeo.com/fluxations/vids, http:// vimeo.com/fluxations/vid6.) while providing lively motion, so the ellipses seem tc dance around the center of the screen, as shown in Figure 6.
Whether subscribing specifically to Harold Bloom's “anxiety of influence” theory 22 or not, it is hardly controversial to acknowledge that artists learn from appreciative-critical reception, interpretation, and analysis of previous art, even if technology is em- ‘Tnrough an intricate techne of Interactivity-to-algo- rithm parameter mapping, Fluxations provides its own musical and visual living environment; not one that mimics the everyday world exactly, but rather one that presents a flux of coherent complexity, and, in so doing, maximizes one’s ability to explore and experi- ence a coherent interweaving of sights and sounds | have found aesthetically appealing in works by great composers, painters, and visual artists. These include composers such as Wagner, Liszt, Schoenberg, Varese, Stravinsky, Crawford Seeger, Wolpe, Carter, Babbitt, Ligeti, Reich, Riley, and Partch, improvisers such as Charlie Parker, and visual artists such as Kandinsky, Moholy-Nagy, Clyffird Still, Jackson Pollock, Helen Frankenthaler, Stan Brakhage, Harry Smith, John Figure 7. Stills from “Firefly Fury” (Marathon Demonstration) (2012). In a bubble explosion, the translucent colors of the large bubbles (oriented to a blue hue) interact as they overlap, reminiscent of the early 2oth century artworks of Kandinsky and Moholy-Nagy. Because of motions of the hands and body, in the last two frames the background darkens and the small ellipses in the background particle system shift from green to lavender. Photos by Danielle Y. Robinson. View the video at http://vimeo. com/fluxations/ff.
Whether subscribing specifically to Harold Bloom's “anxiety of influence” theory 22 or not, it is hardly controversial to acknowledge that artists learn from appreciative-critical reception, interpretation, and analysis of previous art, even if technology is em- ‘Tnrough an intricate techne of Interactivity-to-algo- rithm parameter mapping, Fluxations provides its own musical and visual living environment; not one that mimics the everyday world exactly, but rather one that presents a flux of coherent complexity, and, in so doing, maximizes one’s ability to explore and experi- ence a coherent interweaving of sights and sounds | have found aesthetically appealing in works by great composers, painters, and visual artists. These include composers such as Wagner, Liszt, Schoenberg, Varese, Stravinsky, Crawford Seeger, Wolpe, Carter, Babbitt, Ligeti, Reich, Riley, and Partch, improvisers such as Charlie Parker, and visual artists such as Kandinsky, Moholy-Nagy, Clyffird Still, Jackson Pollock, Helen Frankenthaler, Stan Brakhage, Harry Smith, John Figure 7. Stills from “Firefly Fury” (Marathon Demonstration) (2012). In a bubble explosion, the translucent colors of the large bubbles (oriented to a blue hue) interact as they overlap, reminiscent of the early 2oth century artworks of Kandinsky and Moholy-Nagy. Because of motions of the hands and body, in the last two frames the background darkens and the small ellipses in the background particle system shift from green to lavender. Photos by Danielle Y. Robinson. View the video at http://vimeo. com/fluxations/ff.
Vertical position of the body: controlling music texture and particle system bubble size Viscosity (vs. fluidity) of the music texture and the size of the particle system's bubbles are both controlled by crouching vs. standing uprig! Figure 10. Vertical position of the body controlling music texture and particle system bubble size in Fluxations. Viscosity (vs. fluidity) of the music texture and the size of the particle system's bubbles are both controlled by crouching vs. standing upright Each varies on a continuum. Varying degrees of viscosity in the music texture (left column); vertical positions (center column); varying size of bubbles in the particle system (right column). Photos by Sofia Paraskeva.
Vertical position of the body: controlling music texture and particle system bubble size Viscosity (vs. fluidity) of the music texture and the size of the particle system's bubbles are both controlled by crouching vs. standing uprig! Figure 10. Vertical position of the body controlling music texture and particle system bubble size in Fluxations. Viscosity (vs. fluidity) of the music texture and the size of the particle system's bubbles are both controlled by crouching vs. standing upright Each varies on a continuum. Varying degrees of viscosity in the music texture (left column); vertical positions (center column); varying size of bubbles in the particle system (right column). Photos by Sofia Paraskeva.
Figure 12. Stills from “Firefly Fury”: Marathon Demonstration (2012) showing gradual increase of color hue variety in the foreground layer: it starts with just shades of blue (when in the farthest back position), then expands to include purple and green (as the daancer moves forward), and then expands further to include a yet broader range of hue: red, yellow, orange, the whole rainbow (as the dancer moves even closer toward the camera). Photos by Danielle Y. Robinson. View the video at http://vimeo.com/fluxations/ff.
Figure 12. Stills from “Firefly Fury”: Marathon Demonstration (2012) showing gradual increase of color hue variety in the foreground layer: it starts with just shades of blue (when in the farthest back position), then expands to include purple and green (as the daancer moves forward), and then expands further to include a yet broader range of hue: red, yellow, orange, the whole rainbow (as the dancer moves even closer toward the camera). Photos by Danielle Y. Robinson. View the video at http://vimeo.com/fluxations/ff.
Figure 13. Inverse relation between variety of hues and variety of shades, effected by varying distance from the camera.
Figure 13. Inverse relation between variety of hues and variety of shades, effected by varying distance from the camera.
In such systems, typically the improvising algorithm is responding to sounds or individual notes played by the human improviser, as diagrammed in Figure 14c. In an interactive composition system, by contrast, such as Chadabe’s or a comprovisational system such as
In such systems, typically the improvising algorithm is responding to sounds or individual notes played by the human improviser, as diagrammed in Figure 14c. In an interactive composition system, by contrast, such as Chadabe’s or a comprovisational system such as
the performer directly steer many qualitative trajec- tories of the complexity it produces purely through its algorithms. Fluxations, things works a bit differently, since the performer is not actually producing individual sounds or playing individual notes on an instrument. Instead, actions of the performer feed directly into computa- tions which produce sound (or visuals) without pass- ing through an intermediate stage that might be heard or seen by an observer. Figure 14d and 14e diagram this situation, the situation of interactive composing or comprovisation (of music or visuals). Indeed it is this very aspect that enables such systems to give the direct expressive control of emergent flux. Since all actions are mediated by the system, none of their side effects can distract from or interfere with the performer's expressive projection of emergent flux trajectories. Rather than using source sounds (or source images) from the performer, the system lets
the performer directly steer many qualitative trajec- tories of the complexity it produces purely through its algorithms. Fluxations, things works a bit differently, since the performer is not actually producing individual sounds or playing individual notes on an instrument. Instead, actions of the performer feed directly into computa- tions which produce sound (or visuals) without pass- ing through an intermediate stage that might be heard or seen by an observer. Figure 14d and 14e diagram this situation, the situation of interactive composing or comprovisation (of music or visuals). Indeed it is this very aspect that enables such systems to give the direct expressive control of emergent flux. Since all actions are mediated by the system, none of their side effects can distract from or interfere with the performer's expressive projection of emergent flux trajectories. Rather than using source sounds (or source images) from the performer, the system lets
Figure 16. 16 stills (ordered chronologically) from the filming of an improvised demonstration of FluxNoisations in September 2012, at the Columbia Computer Music Center. These show fluctuating color geometries arising from various positions and motions of the hands and body. Photos by Danielle Y. Robinson. View the video FluxNoisations Potpourri here: http://vimeo. com/fluxations/fnp.
Figure 16. 16 stills (ordered chronologically) from the filming of an improvised demonstration of FluxNoisations in September 2012, at the Columbia Computer Music Center. These show fluctuating color geometries arising from various positions and motions of the hands and body. Photos by Danielle Y. Robinson. View the video FluxNoisations Potpourri here: http://vimeo. com/fluxations/fnp.
Related topics:
Applied MathematicsSet TheoryAlgorithmsHuman Computer InteractionHumanities Computing (Digital Humanities)MusicMusicologyPhilosophy of MindVisual StudiesExperimental philosophy
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