Writing
Grainflow: a New Granular Synthesis Package for Max
Grainflow is a sample accurate granulation package for Max which utilizes Max 8’s multichannel abilities to both generate and bus unique grains. Despite other granulators such as [mubu.granular~] having multichannel support for outputted grains, Grainflow uniquely outputs data about each grain allowing users to program decisions based on parameters unique to the grain. The package is also built entirely within the Max environment using [gen~] and [poly~] which innately allows for integration of data structures that are already supported in Max. Grainflow supports buffer and live granulation methods and contains a suite of effects which can be used out of the box, or as an inspiration for a new creative tool. The package is designed to both be flexible and intuitive for sound designers and artists to create dynamic, complex, and interactive granular textures. In Grainflow it is simple to build real-time effects such as stutter, harmonizer, and sustain using the [grainflow.live~] abstraction. These effects can be manipulated and extended to become part of a larger effect or patch.
Grainflow is a sample accurate granulation package for Max which utilizes Max 8’s multichannel abilities to both generate and bus unique grains. Despite other granulators such as [mubu.granular~] having multichannel support for outputted grains, Grainflow uniquely outputs data about each grain allowing users to program decisions based on parameters unique to the grain. The package is also built entirely within the Max environment using [gen~] and [poly~] which innately allows for integration of data structures that are already supported in Max. Grainflow supports buffer and live granulation methods and contains a suite of effects which can be used out of the box, or as an inspiration for a new creative tool. The package is designed to both be flexible and intuitive for sound designers and artists to create dynamic, complex, and interactive granular textures. In Grainflow it is simple to build real-time effects such as stutter, harmonizer, and sustain using the [grainflow.live~] abstraction. These effects can be manipulated and extended to become part of a larger effect or patch.
Designing a VR arena: Integrating virtual environments and physical spaces for social sensorial data-driven virtual experiences
Data-driven use scenarios for virtual and augmented reality are increasingly social, multiplayer and integrated in real world environments, yet these remain limited player experiences in that each player wears a device that enables their immersion and removes them in some sense from the broader physical space and social interactions in which it is occurring. Our work explores one possibility for overcoming these limitations by integrating the virtual environment with the physical space it is occupying through the use of a VR Arena design. We explore the design and development of blended virtual– physical spaces for local multiplayer experiences in which players collaboratively interact with a virtual world created from digital data, and simultaneously perform that data as a soundscape for attendees in a physical space.
Data-driven use scenarios for virtual and augmented reality are increasingly social, multiplayer and integrated in real world environments, yet these remain limited player experiences in that each player wears a device that enables their immersion and removes them in some sense from the broader physical space and social interactions in which it is occurring. Our work explores one possibility for overcoming these limitations by integrating the virtual environment with the physical space it is occupying through the use of a VR Arena design. We explore the design and development of blended virtual– physical spaces for local multiplayer experiences in which players collaboratively interact with a virtual world created from digital data, and simultaneously perform that data as a soundscape for attendees in a physical space.
Music as a Woven Narrative in Act 1 of the Metamorphosis
Act one of The Metamorphosis is based on the novella by Franza Kafka of the same title. In the writing of the act, George Benjamin’s Into the Little Hill and Oliver Knussen’s Where the Wild Things Are provide a model of using musical material as a storytelling device. The Benjamin emphasizes the parallel nature of Crimp’s text through the manipulation of similar music between the acts. The Knussen uses form and color to emphasize Max’s childlike energy and his desire to return home. In act one of The Metamorphosis these approaches are combined to enhance Kafka’s absurd narrative through a rapid collage of texture and form that is influenced by both events and characters in the opera.
Act one of The Metamorphosis is based on the novella by Franza Kafka of the same title. In the writing of the act, George Benjamin’s Into the Little Hill and Oliver Knussen’s Where the Wild Things Are provide a model of using musical material as a storytelling device. The Benjamin emphasizes the parallel nature of Crimp’s text through the manipulation of similar music between the acts. The Knussen uses form and color to emphasize Max’s childlike energy and his desire to return home. In act one of The Metamorphosis these approaches are combined to enhance Kafka’s absurd narrative through a rapid collage of texture and form that is influenced by both events and characters in the opera.