origami hiroko terasawa, grace leslie. today’s talk motivation & aesthetics musical goal links...
TRANSCRIPT
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OrigamiOrigami
Hiroko Terasawa, Grace LeslieHiroko Terasawa, Grace Leslie
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Today’s talkToday’s talk
• Motivation & Aesthetics• Musical Goal• Links btw/ objects and music• Score & performance• Acoustic properties• Electronics & computer use• Controllability• Summary
• Motivation & Aesthetics• Musical Goal• Links btw/ objects and music• Score & performance• Acoustic properties• Electronics & computer use• Controllability• Summary
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Why Origami?Why Origami?
• Analogy between computer music and origami – flexible medium– complexity by processing and combining si
mple materials and parts.
• Antiphon to futurism – Fragility– Modality
• Analogy between computer music and origami – flexible medium– complexity by processing and combining si
mple materials and parts.
• Antiphon to futurism – Fragility– Modality
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Our musical goalOur musical goal• Hiroko
– Evocative / metaphoric match between parameter dimensionality, timbre and form.
– Fragility and transformation
• Grace– Clear expectations (e.g. traditional crane) – Openness in a few parameters (i.e. paper and size i
n origami)– Each performance will be slightly different but the o
verall character and integrity will be maintained.
• Hiroko– Evocative / metaphoric match between parameter d
imensionality, timbre and form.– Fragility and transformation
• Grace– Clear expectations (e.g. traditional crane) – Openness in a few parameters (i.e. paper and size i
n origami)– Each performance will be slightly different but the o
verall character and integrity will be maintained.
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Physical to sonic translationPhysical to sonic translation
Predetermined parameters
Open parameters
Physical incarnation (origami)
Fragility, form, clear boundaries
Material and size
Musical incarnation(our piece)
Form and space timbre
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Score and performanceScore and performance
• Degree of control– Score and instructions
• Predetermined form: “score” - origami itself.• Causality with limitations in: physical medium and musica
l possibilities. • These limitations exist in the number and types of folds p
ossible, and the final form of the origami.– Improvisation
• The performer is able to choose the material and size of the origami they create, which in turn affects the timbral characteristics of the piece.
• Degree of control– Score and instructions
• Predetermined form: “score” - origami itself.• Causality with limitations in: physical medium and musica
l possibilities. • These limitations exist in the number and types of folds p
ossible, and the final form of the origami.– Improvisation
• The performer is able to choose the material and size of the origami they create, which in turn affects the timbral characteristics of the piece.
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Acoustic propertyAcoustic property
• Source - Filter Model• Source - Filter Model
Excitation Resonance Sound
• Tapping
• Rubbing
• Blowing
static
pulse
• large - small
• thick - thin
• elastic - stiff
• folded - plain
• large cavity - small cavity
low high
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Electronics and Musical MaterialsElectronics and Musical Materials• Folds / objects and filters
– “an analogy between combinations of paper folds and both traditional and extended permutations of musical materials (that is, not only invertibility etc, but also a particular sequence of folds as a filter.)” (J. Berger)
• Max/MSP patch – translate the physical sounds of making origami into a sonic reali
zation of the process.
• Signal and controller– Contact and condenser microphones and a digital audio interfac
e (origami to the computer)– Switches, variable capacitors
• Folds / objects and filters – “an analogy between combinations of paper folds and both traditi
onal and extended permutations of musical materials (that is, not only invertibility etc, but also a particular sequence of folds as a filter.)” (J. Berger)
• Max/MSP patch – translate the physical sounds of making origami into a sonic reali
zation of the process.
• Signal and controller– Contact and condenser microphones and a digital audio interfac
e (origami to the computer)– Switches, variable capacitors
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External controlExternal control
• Switch– Mute when folded
• Variable capacitors?
• Switch– Mute when folded
• Variable capacitors?
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Time controlTime control
• The length of the piece– determined by the speed of the folds – how long performers meditate upon the final
product.
• The form – determined by the types and complexities of
the folds. – Origami: translation of physical space from
simple to complex and chaotic to ordered.– Our mappings will reflect these
transformations.
• The length of the piece– determined by the speed of the folds – how long performers meditate upon the final
product.
• The form – determined by the types and complexities of
the folds. – Origami: translation of physical space from
simple to complex and chaotic to ordered.– Our mappings will reflect these
transformations.
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Spatialization controlSpatialization control
• Boundaries / discreteness• Grace’s head
• Boundaries / discreteness• Grace’s head
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An open end.. An open end..
• What we covered today– Aesthetics, musical style, form, technology,
control. • More details
– To be determined upon more prototyping / discussion / feedback
• What we covered today– Aesthetics, musical style, form, technology,
control. • More details
– To be determined upon more prototyping / discussion / feedback