From: Gabriel Dunne Date: Sun, 4 May 2014 01:43:25 +0000 (-0700) Subject: Adding posts. X-Git-Url: https://git.quilime.com/?a=commitdiff_plain;h=b86974ba39ad039c5fd850d564ea0ab86f53d661;p=notes.git Adding posts. --- diff --git a/_posts/1999-01-01-prev.markdown b/_posts/1999-01-01-prev.md similarity index 100% rename from _posts/1999-01-01-prev.markdown rename to _posts/1999-01-01-prev.md diff --git a/_posts/2001-07-05-troughs.markdown b/_posts/2001-07-05-troughs.md similarity index 91% rename from _posts/2001-07-05-troughs.markdown rename to _posts/2001-07-05-troughs.md index da692db..dd572aa 100755 --- a/_posts/2001-07-05-troughs.markdown +++ b/_posts/2001-07-05-troughs.md @@ -7,5 +7,6 @@ categories: projects ![]({{site.baseurl}}/m/troughs/007_sm.jpg) + 18" x 18" x 6" balsa wood diff --git a/_posts/2002-05-01-colorcalc.md b/_posts/2002-05-01-colorcalc.md new file mode 100644 index 0000000..22e174f --- /dev/null +++ b/_posts/2002-05-01-colorcalc.md @@ -0,0 +1,243 @@ +--- +layout: post +date: 2002-05-01 +title: "Color/Shape/Sound: A Ratio & Symmetry Calculator" +categories: articles +--- + + +(c) 2002 Gabriel Dunne + +Original Document: [color/shape/sound](http://portfolio.quilime.com/archive/colorcalc/) + + +## 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. + +
![]({{site.baseurl}}/m/colormuscalc/circleoffifths_star.gif)
+ +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. + + +
![]({{site.baseurl}}/m/colormuscalc/circleofnotes.gif)
+ +## 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). + +
![]({{site.baseurl}}/m/colormuscalc/colorwheel.gif)
+ +## 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. + +
![]({{site.baseurl}}/m/colormuscalc/circleofnotes_color.gif)
+ +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. + +
![]({{site.baseurl}}/m/colormuscalc/keyboard_rgb.gif)
+ +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: + +
![]({{site.baseurl}}/m/colormuscalc/circleoffifths_color.gif)
+ +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. + +
![]({{site.baseurl}}/m/colormuscalc/keyboard_spectrum.gif)
+ +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.
+ +
![]({{site.baseurl}}/m/colormuscalc/keyboard_stacked.gif)
+ +## 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: + +
![]({{site.baseurl}}/m/colormuscalc/ratio_01.gif)
+
![]({{site.baseurl}}/m/colormuscalc/ratio_02.gif)
+ + +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: + +
![]({{site.baseurl}}/m/colormuscalc/ratio_01.gif)
+
![]({{site.baseurl}}/m/colormuscalc/ratio_03.gif)
+ +...and if the length of the strings are in relation to each other 3:4, then the difference is called a fourth. + +
![]({{site.baseurl}}/m/colormuscalc/ratio_01.gif)
+
![]({{site.baseurl}}/m/colormuscalc/ratio_04.gif)
+ +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. + + +![]({{site.baseurl}}/m/colormuscalc/interface_01.gif) + +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. + +![]({{site.baseurl}}/m/colormuscalc/interface_02.gif) + + \ No newline at end of file diff --git a/_posts/2007-07-02-mask.markdown b/_posts/2007-07-02-mask.md similarity index 100% rename from _posts/2007-07-02-mask.markdown rename to _posts/2007-07-02-mask.md diff --git a/_posts/2007-08-23-prism.md b/_posts/2007-08-23-prism.md new file mode 100755 index 0000000..ca1e91c --- /dev/null +++ b/_posts/2007-08-23-prism.md @@ -0,0 +1,11 @@ +--- +layout: post +title: "Prism" +date: 2007-08-23 +categories: projects +--- + +![]({{site.baseurl}}/m/prism/3.jpg) + +oil on canvas +4' x 3' diff --git a/_posts/2009-01-06-seashell.markdown b/_posts/2009-01-06-seashell.md similarity index 100% rename from _posts/2009-01-06-seashell.markdown rename to _posts/2009-01-06-seashell.md diff --git a/_posts/2009-04-12-triangles.md b/_posts/2009-04-12-triangles.md new file mode 100755 index 0000000..8accfc8 --- /dev/null +++ b/_posts/2009-04-12-triangles.md @@ -0,0 +1,12 @@ +--- +layout: post +title: "Triangles" +date: 2009-04-13 +categories: projects +--- + +![]({{site.baseurl}}/m/triangles/triangles.jpg) +Spontaniously created sculpture of balanced hand-broken sticks with Ryan Alexander. + +![]({{site.baseurl}}/m/triangles/3440466072_f2f766bbbb.jpg) + diff --git a/_posts/2009-05-06-cymatic-organ.markdown b/_posts/2009-05-06-cymatic-organ.md similarity index 100% rename from _posts/2009-05-06-cymatic-organ.markdown rename to _posts/2009-05-06-cymatic-organ.md diff --git a/_posts/2010-10-04-seaquence.md b/_posts/2010-10-04-seaquence.md new file mode 100755 index 0000000..34a5852 --- /dev/null +++ b/_posts/2010-10-04-seaquence.md @@ -0,0 +1,26 @@ +--- +layout: post +title: "Seaquence" +categories: projects +date: 2010-10-04 +--- + +![]({{site.baseurl}}/m/seaquence/Screen Shot 2013-06-30 at 4.12.05 PM.png) + +A biologically inspired sound toy + +In collaboration with Ryan Alexander and Daniel Massey. + +Lives at [seaquence.org](http://seaquence.org) + +Built with Flash/AS3 + +![]({{site.baseurl}}/m/seaquence/Screen Shot 2013-06-30 at 4.11.56 PM.png) + +![]({{site.baseurl}}/m/seaquence/2010-02-20 18.44.19.jpg) +Installation at Gray Area, San Francisco, 2010 + + +![]({{site.baseurl}}/m/seaquence/4165032830_82ae9c9e6c_o.jpg) +Monome-inspired hardware Step-Seaquencer Controller, ie, the "Seanome" + diff --git a/_posts/2011-07-11-icosi.md b/_posts/2011-07-11-icosi.md new file mode 100755 index 0000000..08344b8 --- /dev/null +++ b/_posts/2011-07-11-icosi.md @@ -0,0 +1,67 @@ +--- +layout: post +title: "ICOSI" +date: 2011-07-11 +categories: projects +--- + +![]({{site.baseurl}}/m/icosi/4847387648_908df243cc_b.jpg) + +audiovisual performance, installation +7' x 7' x 1' projection-mapped sculpture, stereo audio +Processing, Java, OpenGL, Ableton Live, MaxMSP + +![]({{site.baseurl}}/m/icosi/4846767709_1e7503ab0b_b.jpg) +![]({{site.baseurl}}/m/icosi/4846767605_737556aa2f_b.jpg) + +more photos on [flickr](https://www.flickr.com/photos/quilime/sets/72157624499344281/) + +### rider +![]({{site.baseurl}}/m/icosi/rider_01.png) +![]({{site.baseurl}}/m/icosi/rider_02.png) +[pdf](http://media.quilime.com/files/projects/icosi/gdunne_rider_diag.pdf) + +## process +Geometrically, the form is inspired by geometric polyhedra that represent transition. The result is a fragment of an icosidodecahedron, representing a fragment of the transition between two forms and frequencies -- an icosahedron and its dual polyhedra, a dodecahedron. + + + + + + + + + + + + + +### performances + +Nov 06 2010 [Takes on Sound & Space](http://www.gaffta.org/2010/11/03/takes-on-sound-space-symposium-performances-this-saturday/), live +visual performance with music by Jeff Lubow. + +Jul 29 2010 Biennial of the Americas, Denver CO + + +
+ +
+ diff --git a/_posts/2012-04-03-ast.markdown b/_posts/2012-04-03-ast.md similarity index 70% rename from _posts/2012-04-03-ast.markdown rename to _posts/2012-04-03-ast.md index 5b7ccae..fe3ab47 100755 --- a/_posts/2012-04-03-ast.markdown +++ b/_posts/2012-04-03-ast.md @@ -9,7 +9,12 @@ thumb: "/m/audioshadertoy/thumb.png" ![]({{ site.url }}/m/audioshadertoy/IMG_3523-sm.jpg) -Live-coding GLSL editor with audio spectrum data for creating audio-reactive shaders in WebGL, created by Ryan Alexander, Reza Ali, and Gabriel Dunne. 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. +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](https://github.com/quilime/audio-shadertoy/). @@ -24,4 +29,4 @@ Audio Shader-Toy at [Creators Project SF](http://thecreatorsproject.vice.com/zh- ### performance -Live-coded visuals by Gabriel Dunne for Chris Carlson . +Live-coded visuals for Chris Carlson by Gabriel Dunne. diff --git a/_posts/2013-08-30-vaticadahlia.markdown b/_posts/2013-08-30-vaticadahlia.md similarity index 92% rename from _posts/2013-08-30-vaticadahlia.markdown rename to _posts/2013-08-30-vaticadahlia.md index 3d1a158..4efee13 100755 --- a/_posts/2013-08-30-vaticadahlia.markdown +++ b/_posts/2013-08-30-vaticadahlia.md @@ -14,8 +14,6 @@ red oak, polycarbonate plastic, GLSL, touchdesigner, rhino/grasshopper, projecto > 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 distinct ten 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](http://vaticadahlia.com) - ![](https://farm8.staticflickr.com/7416/9764034711_79fde80027_c.jpg) ![](https://farm4.staticflickr.com/3748/9764333373_a60418a665_c.jpg) diff --git a/_posts/2013-12-01-gh-td.markdown b/_posts/2013-12-01-gh-td.md similarity index 100% rename from _posts/2013-12-01-gh-td.markdown rename to _posts/2013-12-01-gh-td.md diff --git a/_posts/2014-04-24-tetra-field.markdown b/_posts/2014-04-24-tetra-field.md similarity index 99% rename from _posts/2014-04-24-tetra-field.markdown rename to _posts/2014-04-24-tetra-field.md index c8dcd1f..fff3d48 100644 --- a/_posts/2014-04-24-tetra-field.markdown +++ b/_posts/2014-04-24-tetra-field.md @@ -2,7 +2,7 @@ layout: post title: "Tetra Field" date: 2014-04-24 -categories: projects +categories: articles author: Gabriel Dunne --- diff --git a/_posts/2014-04-29-tetra-table.markdown b/_posts/2014-04-29-tetra-table.md similarity index 99% rename from _posts/2014-04-29-tetra-table.markdown rename to _posts/2014-04-29-tetra-table.md index 9c8a743..ce1b054 100644 --- a/_posts/2014-04-29-tetra-table.markdown +++ b/_posts/2014-04-29-tetra-table.md @@ -2,7 +2,7 @@ layout: post title: "Tetra Table" date: 2014-04-29 -categories: projects +categories: articles author: Gabriel Dunne --- diff --git a/css/main.css b/css/main.css index 51131f8..900f49c 100755 --- a/css/main.css +++ b/css/main.css @@ -264,7 +264,12 @@ header { border: none; } -.post img { max-width:800px; } +.post p img { + max-width:800px; + margin:2em auto; + display: block; +} + /* terminal */ .post pre.terminal {