https://ccrma.stanford.edu/mediawiki/api.php?action=feedcontributions&user=Stephanie&feedformat=atomCCRMA Wiki - User contributions [en]2024-03-29T10:30:49ZUser contributionsMediaWiki 1.24.1https://ccrma.stanford.edu/mediawiki/index.php?title=Colloquium&diff=23965Colloquium2022-10-04T18:59:09Z<p>Stephanie: /* Fall Quarter (2022) */</p>
<hr />
<div>'''Wednesday 5:30pm PT (CCRMA Classroom & Zoom)<br />
<br />
The CCRMA Colloquium is a weekly gathering of CCRMA students, faculty, staff, and guests. It is an opportunity for members of the CCRMA community and invited speakers to share the work that they are doing in the fields of Computer Music, Audio Signal Processing and Music Information Retrieval, Psychoacoustics, and related fields. The colloquium traditionally happens every Wednesday during the academic year from 5:30 - 7:00pm and meets in the CCRMA Classroom, Knoll 217, often also with a Zoom presence.<br />
<br />
= Fall Quarter (2022)=<br />
<br />
*'''09/28 (Week 1) New Student Introductions<br />
**Speaker 1: Sneha Shah<br />
**Speaker 2: Josh Mitchell<br />
**Speaker 3: Emily Kuo<br />
**Speaker 4: Balazs & Truls<br />
**Speaker 5: Julia Yu<br />
**Speaker 6: Senyuan Fan<br />
**Speaker 7: Celeste Betancur<br />
**Speaker 8: Victoria Litton<br />
**Speaker 9: Yiheng Dong<br />
**Speaker 10 Eito Murakami<br />
**Speaker 11 Soohyun Kim<br />
**Speaker 12 Luna Valentin<br />
**Speaker 13 Terry Feng<br />
**Speaker 14 Alex Han<br />
**Speaker 15 Benny Zhang<br />
**Speaker 16 Sami Wurm<br />
**Speaker 17 Neha Rajagopalan<br />
<br />
<br />
*'''10/05 (Week 2) Faculty and Staff Rapid Fire<br />
**Speaker 1 Chris Chafe<br />
**Speaker 2 Ge Wang<br />
**Speaker 3 Patricia Alessandrini<br />
**Speaker 4 Marina Bosi<br />
**Speaker 5 Julius Smith<br />
**Speaker 6 Jarek Kapuściński<br />
**Speaker 7<br />
**Speaker 8<br />
**Speaker 9<br />
**Speaker 10 Mark Rau<br />
**Speaker 11<br />
**Speaker 12<br />
**Speaker 13<br />
**Speaker 14<br />
**Speaker 15<br />
<br />
*'''10/12 (Week 3) [http://maramills.org/ Mara Mills] - The History of Pulse Code Modulation (PCM)'''<br />
<br />
*'''10/19 (Week 4) Faculty and Staff Rapid Fire, part 2<br />
**Speaker 1<br />
**Speaker 2<br />
**Speaker 3 Eleanor Selfridge-Field<br />
**Speaker 4 Craig Sapp<br />
**Speaker 5 <br />
**Speaker 6 <br />
**Speaker 7 Matt Wright<br />
**Speaker 8 Fernando Lopez-Lezcano<br />
**Speaker 9 Constantin Basica<br />
**Speaker 10 Stephanie Sherriff<br />
**Speaker 11<br />
**Speaker 12<br />
**Speaker 13<br />
**Speaker 14<br />
**Speaker 15<br />
<br />
*'''10/26 (Week 5) Romain Michon, Tanguy Risset, Maxime Popoff : High-Level Programming of FPGAs for Audio Real-Time Signal Processing Applications<br />
<br />
Field Programmable Gate Arrays (FPGAs) are notoriously hard to program, however they present significant advantages over other types of processors for real-time audio signal processing applications. In particular, they offer unparalleled performances in terms of latency, computational power, they can process very large numbers of audio channels in parallel, and run at a very high sampling rate (>10MHz). The Emeraude team at INRIA (French National Institute for Research in Digital Science and Technology) currently focuses on: (i) facilitating the programming of FPGA platforms for audio applications through the use of the Faust programming language and (ii) exploring the potential of FPGAs in this context. During this presentation, we'll give an overview of the opensource SyFaLa toolchain that we've been developing for the past three years and which allows for the programming of Xilinx FPGAs with Faust. We'll also present various projects focusing on different aspects of the potential offered by FPGAs in the context of audio applications: spatial audio, high sampling rate computing, active control of room acoustics, etc. <br />
<br />
<br />
*'''11/2 (Week 6) - TBD<br />
<br />
*'''11/9 (Week 7) - Pizza & Pegagody: Assignments and Evaluations<br />
<br />
*'''11/16 (Week 8) - TBD<br />
<br />
*'''11/23 (Week 9) - NO SEMINAR (Thanksgiving break)<br />
<br />
*'''11/30 (Week 10) - planning session for Winter and Spring colloquium<br />
<br />
<br />
<br />
<br /><br />
<br />
= Spring Quarter (2022)=<br />
<br />
*'''03/30 - Spring Welcome Dinner at Treehouse'''<br />
*'''04/06 - In-House Project and Research Updates (Everyone is encouraged to present)'''<br />
*'''04/13 - BREAK'''<br />
*'''04/19* Tuesday - Installation by J. Mills'''<br />
*'''04/27 - [http://maramills.org/ Mara Mills] (Virtual Talk)'''<br />
*'''05/04 - Inclusive Teaching Workshop (Lloyd May & CTL)'''<br />
*'''05/11 - BREAK '''<br />
*'''05/18 - BREAK'''<br />
*'''05/25 - BREAK'''<br />
*'''06/01 - BREAK'''<br />
<br />
<br />
*''' Future Colloquiums already booked:'''<br />
*10/12 Mara Mills - History of PCM<br />
<br />
= Past - Winter Quarter (2022)=<br />
*'''01/05 - BREAK'''<br />
<br />
*'''01/12 - David Kanaga''' Composer/designer behind the games: [https://store.steampowered.com/app/223450/Dyad/ Dyad], [https://store.steampowered.com/app/219680/Proteus/ Proteus], [https://store.steampowered.com/app/284260/PANORAMICAL/ PANORAMICAL], & the podcast-opera [https://player.fm/series/soft-valkyrie Soft Valkyrie] ([https://stanford.zoom.us/rec/play/mieXwoFVZvaXBeyMXjVYfECaDWF1g-cPB6crtb7F4XDWLBZd9VQrm51DGPZ4MzmkigERYPVV_fEUcpGS._UjZ93byy84C4Z8b?continueMode=true&_x_zm_rtaid=5upEGBnLQ1y0Lo9FUvcfhQ.1642105886449.38f96f3577c62100fbf9b412b90ef670&_x_zm_rhtaid=270 Recording available here])<br />
<br />
*'''01/19 - [http://www.marcevanstein.com/ Marc Evanstein]'''<br />
<br />
*'''01/26 - Walker Davis & Alex Mitchell from [https://boomy.com/ boomy] '''<br />
<br />
*'''02/02 - Social Event and Student-Only Meeting '''<br />
<br />
*'''02/09 - [http://vibeke.info/ Vibeke Sorensen] '''<br />
<br />
*'''02/16 - Unofficial Social and Welcome to WasteLAnd!'''<br />
<br />
*'''02/23 - Break'''<br />
<br />
*'''03/02 - Rapid Fire and Conference Style Talks''' (Sign-ups are open!)<br />
** (Conference Style = 15 minutes, Rapid Fire = 5 minutes)<br />
** Speaker 1: Tamilore Awosile (10 mins)<br />
** Speaker 2: Frank Mondelli (Conference Style)<br />
** Speaker 3: Lloyd May (Rapid Fire)<br />
** Speaker 4: Julia Mills (Conference Style)<br />
** Speaker 5: Nima Farzaneh (Conference Style)<br />
<br />
*'''03/09 - CCRMA Town Hall'''<br />
<br />
*'''03/16 - Break'''<br />
<br />
= Past - Autumn Quarter (2021)=<br />
<br />
*'''9/22 New Student Introductions'''<br />
** Speaker 1: Kimia Koochakzadeh-Yazdi<br />
** Speaker 2: Taylor Goss<br />
** Speaker 3: Julia Mills<br />
** Speaker 4: Kiran Gandhi<br />
** Speaker 5: Dirk Roosenburg<br />
** Speaker 6: Aaron Hodges<br />
** Speaker 7: Nick Shaheed<br />
** Speaker 8: Nima Farzaneh<br />
** Speaker 9: Noah Berrie<br />
** Speaker 10: Angela Lee<br />
<br />
* '''9/29: [https://deutsch.ucsd.edu/ Diana Deutsch] || [https://stanford.zoom.us/rec/play/BqWvlQm3A56M40R7RacsoECfgLyDBceMAKCmv-reuiF9z2vqBe2zOQkuIhYcx5yas_qaI6rNwlJuEhHC.gNOkgLaCa1MoGAwy?continueMode=true&_x_zm_rtaid=pLyEfNNkT1ehEzQ0llwZ3w.1633020343192.a1088fb5aa65f3bfc1eec9f8cd66a807&_x_zm_rhtaid=200 Recording of talk] || [https://ccrma.stanford.edu/~cc/DDeutsch_CCRMA_Video_2021c.webm Pre-recorded lecture (Lightweight)] || [https://ccrma.stanford.edu/~cc/DDeutsch_CCRMA_Video_2021c.mov Pre-recorded lecture (Full-res)]''' <br />
<br />
*'''10/6 [https://stanford.zoom.us/rec/share/-dg0kA_9aJHEPYIahSBeG-5H4Vh9R6uT7M3qBfoBXEWQ69agHXeOyAgzBLskQoaF.rtlqEmUAd8b8p4tb Faculty/Staff Introductions Part 1]'''<br />
**Speaker 1: <br />
** Speaker 2: Matt<br />
** Speaker 3: Ge<br />
** Speaker 4: Takako<br />
** Speaker 5: [https://www.youtube.com/watch?v=rNGpbxAPU1c Julius]<br />
** Speaker 6: <br />
** Speaker 7: <br />
<br />
*'''10/13 Faculty/Staff Introductions Part 2'''<br />
** Speaker 1: Constantin<br />
** Speaker 2: Nando<br />
** Speaker 3: Jonathan (B)<br />
** Speaker 4: Jarek<br />
** Speaker 5: Nick<br />
** Speaker 6: Chris C<br />
** Speaker 7: Patricia<br />
** Speaker 8: Marina<br />
<br />
*'''10/20 - CCRMA Town Hall'''<br />
<br />
*'''10/27 ''' BREAK<br />
<br />
*'''11/03 ''' Social Event (TBD)<br />
<br />
*'''11/10 Rapid Fire & Conference Style '''(Sign-ups are open!)<br />
** (Conference Style = 15 minutes, Rapid Fire = 5 minutes)<br />
** Speaker 1: Lloyd May (Rapid Fire)<br />
** Speaker 2: Chris Chafe (Rapid Fire via zoom, assuming my internet works after the storm)<br />
** Speaker 3: Mark Rau (Rapid Fire)<br />
** Speaker 4: Champ Darabundit (Conference)<br />
** Speaker 5: Eleanor Selfridge-Field (Rapid Fire)<br />
** Speaker 6: Crag Stuart Sapp (Rapid Fire)<br />
<br />
*'''11/17 ''' BREAK<br />
<br />
*'''12/1 Special Guest Talks:''' Nils Tonnätt & Victoria Shen<br />
<br />
= Past - Spring Quarter (2021)=<br />
<br />
* '''3/31: Town Hall<br />
* '''4/07: CCRMA Open House Prep<br />
* '''4/14: <br />
* '''4/21: [[12pm]] - CCRMA Colloquium Phase Shift -1.88 degrees (social hang)<br />
* '''4/28: [http://www.avneeshsarwate.com/ Avneesh Sarwate]:''' Digital Audiovisual Interactive Media <br />
* '''5/05: Break! Rapid-Fire Talks Postponed to 5/19''' <br />
* '''5/12: [http://scattershot.org/ Jeff Snyder]:''' "Unusual Embedded Instruments"<br />
* '''5/19: Rapid Fire & Conference Style Talks''' - sign up here via your CCRMA login<br />
** '''Rapid Fire Signups (5 min)'''<br />
*** Speaker 1: CC waveguide mesh, part 2, realtime wavefield output<br />
*** Speaker 2: <br />
*** Speaker 3: <br />
*** Speaker 4: <br />
*** Speaker 5: Ge "ChucK: new features, new bugs, new worlds (ChucKTrip?)"<br />
*** Speaker 6: <br />
*** Speaker 7: <br />
*** Speaker 8: <br />
** '''Conference Style Signups (15 min)'''<br />
*** Speaker 1: Marise van Zyl (rapid fire)<br />
*** Speaker 2: Prateek Verma<br />
*** Speaker 3: Fernando Lopez-Lezcano<br />
* '''5/26: [https://www.decontextualize.com/ Allison Parrish]:''' Poet and Programmer<br />
* '''6/02: [http://sashaleitman.com/about/ Sasha Leitman]:''' Physical Interaction Design for Music<br />
<br />
= Past - Winter Quarter (2021)=<br />
<br />
* 1/13: Break<br />
* '''1/20: Informal Hangout / Dance Party<br />
* '''1/27: <br />
* '''2/03: <br />
* '''2/10: CCRMA Town !! <br />
*'''2/17: Rapid-Fire Talks''' (5 min) - sign up here via your CCRMA login <br />
** Speaker 1: Kunwoo Kim<br />
** Speaker 2: John Chowning<br />
** Speaker 3: Noah Fram<br />
** Speaker 4: Camille Noufi<br />
** Speaker 5: Barbara Nerness<br />
** Speaker 6: (maybe) Julie Zhu<br />
** Speaker 7: Chris Chafe<br />
** Speaker 8: Lloyd May<br />
** Speaker 9: Mike Mulshine<br />
** Speaker 10: Ge Wang<br />
** Speaker 11: Jatin (hopefully)<br />
** Speaker 12: Alex Chechile<br />
** Speaker 13: Fernando Lopez-Lezcano<br />
** Speaker 14:<br />
** Speaker 15:<br />
* '''2/24:<br />
* '''3/03: Conference Style Talks''' (15-20 min) - sign up here via your CCRMA login<br />
** Speaker 1: Ty Sadlier<br />
** Speaker 2: Travis Skare<br />
** Speaker 3: Constantin Basica & Prateek Verma<br />
** Speaker 4: <br />
* '''3/10: Sasha Leitman<br />
* '''3/17: Break<br />
<br />
= Past - Autumn Quarter (2020)=<br />
<span style="color:red">'''In person colloquiua will not be held for the 2020 Autumn Quarter. All events will be held remotely.<br />
<br />
*'''9/16 New Student Introductions'''<br />
** Speaker 1: Lloyd May<br />
** Speaker 2: Andrew Zhu<br />
** Speaker 3: Kathleen Yuan<br />
** Speaker 4: Marise van Zyl<br />
** Speaker 5: Hannah Choi<br />
** Speaker 6: Joss Saltzman<br />
** Speaker 7: Champ Darabundit<br />
** Speaker 8: Clara Allison<br />
** Speaker 9: David Braun<br />
** Speaker 10: Austin Zambito-Valente<br />
<br />
*'''9/23 Faculty/Staff Introductions'''<br />
**Speaker 1: Jonathan Berger<br />
** Speaker 2: Ge Wang<br />
** Speaker 3: Takako Fujioka<br />
** Speaker 4: Seán O Dalaigh (new DMA)<br />
** Speaker 5: Eleanor Selfridge-Field<br />
** Speaker 6: Craig Stuart Sapp<br />
** Speaker 7: Blair Kaneshiro<br />
<br />
*'''9/30 Faculty/Staff Introductions'''<br />
** Speaker 1: Patricia Alessandrini (via video)<br />
** Speaker 2: Julius Smith<br />
** Speaker 3: Marina Bosi<br />
** Speaker 4: Nando (aka Fernando Lopez-Lezcano)<br />
** Speaker 5: Stephanie Sherriff<br />
** Speaker 6: Constantin Basica<br />
** Speaker 7: Matt Wright<br />
** Speaker 8: Chris Chafe<br />
<br />
*10/7 - Break<br />
<br />
*'''10/14 - Town Hall'''<br />
<br />
*'''10/21 - Adjunct Faculty Talks'''<br />
** Speaker 1: Malcolm Slaney<br />
** Speaker 2: Poppy Crum<br />
** Speaker 3: Paul Demarinis<br />
** Speaker 4: Jonathan Abel<br />
** Speaker 5: Doug James<br />
<br />
*11/4 - Break<br />
<br />
*'''11/11 - [https://www.justinsalamon.com/ Justin Salamon (Adobe / NYU)] [https://vimeo.com/480670893 (Watch Again)]'''<br />
<br />
*'''11/18 - Mona Shahnavaz'''<br />
<br />
ABSTRACT & BIO:<br />
Mona is an enthusiastic musician, whose focus and passion has been to<br />
share the joy of music with others. In 2018, a successful outcome of<br />
her innovative music program designed for senior citizens was the<br />
turning point for her to decide to change the course of learning piano<br />
in a less complex route. Her engineering background helped her to<br />
start working on the idea that bridges the gap between music and<br />
technology.<br />
<br />
The approach to fingering in music has always been and still is one of<br />
the major elements of success for keyboard players. Correct fingering<br />
assists the performer in delivering a better technical and musical<br />
performance. This research presents the best technique to generate<br />
fingering for any sequence of music notes. Dynamic programming and<br />
mathematics are major parts of this paper, they work alongside rules<br />
set by pianists to calculate the most practical fingerings for any<br />
musical passage.<br />
<br />
The ultimate goal is to facilitate the process of playing the piano<br />
using an AR platform. This is helpful for scaling music instructors<br />
and allows for efficient teaching. Through solving this problem,<br />
virtual instructions would be more productive and impactful. Success<br />
of this research applied in the AR field can be applied to robotic<br />
tasks in educational programs, video games, and medical fields.<br />
<br />
*11/25 - THANKSGIVING WEEK - Break</div>Stephaniehttps://ccrma.stanford.edu/mediawiki/index.php?title=Colloquium&diff=22542Colloquium2020-09-17T17:52:58Z<p>Stephanie: /* Autumn Quarter (2021) */</p>
<hr />
<div>@5:30pm in the Classroom on Wednesdays!<br />
<br />
The CCRMA Colloquium is a weekly gathering of CCRMA students, faculty, staff, and guests. It is an opportunity for members of the CCRMA community and invited speakers to share the work that they are doing in the fields of Computer Music, Audio Signal Processing and Music Information Retrieval, Psychoacoustics, and related fields. The colloquium typically happens every Wednesday during the school year from 5:30 - 7:00pm and meets in the CCRMA Classroom, Knoll 217, unless otherwise noted. <br />
<br />
The colloquium team for 2019-2020 is:<br /><br />
Camille Noufi - cnoufi@ccrma.stanford.edu <br /><br />
Barbara Nerness - bnerness@ccrma.stanford.edu <br /><br />
Kunwoo Kim - kunwoo@ccrma.stanford.edu <br /><br />
Mike Mulshine - mrmulshine@ccrma.stanford.edu <br /><br />
<br /><br />
<br />
*Note: the colloquium will not be held every Wednesday this year (20-21), please keep an eye on the notification e-mails for the dates.<br />
<br />
<br />
= Autumn Quarter (2021)=<br />
<span style="color:red">'''In person colloquiua will not be held for the 2020 Autumn Quarter. All events will be held remotely.<br />
<br />
9/16 New Student Introductions<br />
** Speaker 1: Lloyd May<br />
** Speaker 2: Andrew Zhu<br />
** Speaker 3: Kathleen Yuan<br />
** Speaker 4: Marise van Zyl<br />
** Speaker 5: Hannah Choi<br />
** Speaker 6: Joss Saltzman<br />
** Speaker 7: Champ Darabundit<br />
** Speaker 8: Clara Allison<br />
** Speaker 9: David Braun<br />
** Speaker 10: Austin Zambito-Valente<br />
** Speaker 11:<br />
** Speaker 12:<br />
** Speaker 13:<br />
** Speaker 14:<br />
** Speaker 15:<br />
<br />
9/23 Faculty/Staff Introductions<br />
**Speaker 1: Jonathan B. (flexible - can be later or next week - but prefer on early side)<br />
** Speaker 2: Ge Wang (also flex)<br />
** Speaker 3: <br />
** Speaker 4:<br />
** Speaker 5: Eleanor Selfridge-Field<br />
** Speaker 6: Craig Stuart Sapp<br />
** Speaker 7: Constantin Basica<br />
** Speaker 8:<br />
** Speaker 9:<br />
** Speaker 10:<br />
** Speaker 11:<br />
** Speaker 12:<br />
** Speaker 13:<br />
** Speaker 14:<br />
** Speaker 15:<br />
<br />
9/30 Faculty/Staff Introductions<br />
**Speaker 1:<br />
** Speaker 2:<br />
** Speaker 3: Marina Bosi<br />
** Speaker 4: Nando (aka Fernando Lopez-Lezcano)<br />
** Speaker 5: Stephanie Sherriff (any time on 9/30 is good)<br />
** Speaker 6:<br />
** Speaker 7:<br />
** Speaker 8:<br />
** Speaker 9:<br />
** Speaker 10:<br />
** Speaker 11:<br />
** Speaker 12:<br />
** Speaker 13:<br />
** Speaker 14:<br />
** Speaker 15:<br />
<br />
= Winter Quarter (2021)=<br />
<br />
* '''1/13: <br />
* '''1/20:<br />
* '''1/27:<br />
* '''2/03:<br />
* '''2/10:<br />
* '''2/17:<br />
* '''2/24:<br />
* '''3/03:<br />
* '''3/10:<br />
* '''3/17:<br />
<br />
= Fall Quarter (2019)=<br />
<br />
* '''9/25: New Student Presentations''' (Week 1)<br />
** Speaker 1: Jeremy Raven<br />
** Speaker 2: Brendan Larkin<br />
** Speaker 3: Raul Altosaar<br />
** Speaker 4: Jan Stoltenberg<br />
** Speaker 5: Vivian Chen<br />
** Speaker 6: Ty Sadlier<br />
** Speaker 7: Kunwoo Kim<br />
** Speaker 8: Andrea Baldioceda<br />
** Speaker 9: Varsha Sankar<br />
** Speaker 10: Mike Mulshine<br />
<br />
<br />
* '''10/2: Faculty Introductions''' (Week 2)<br />
** Speaker 1: Patricia Alessandrini <br />
** Speaker 2: Eleanor Selfridge Field<br />
** Speaker 3: Craig Stuart Sapp<br />
** Speaker 4: JRB<br />
** Speaker 5: Takako<br />
** Speaker 6: Ge <br />
** Speaker 7: Jarek <br />
** Speaker 8: Blair Kaneshiro <br />
** Speaker 9: Matt Wright<br />
** Speaker 10: Fernando Lopez-Lezcano<br />
** Speaker 11: Anne Hege <br />
** Speaker 12: Julius Smith<br />
** Speaker 13: Elena Georgieva<br />
** Speaker 14: Marina Bosi <br />
** Speaker 15: Hongchan Choi<br />
<br />
<br />
* '''10/9: ''' (Week 3): YOM KIPPUR - no colloquium<br />
<br />
<br />
* '''10/16: Rapid-Fire Talks''' (Week 4)<br />
** Speaker 1: Jack<br />
** Speaker 2: Jason<br />
** Speaker 3: Ge<br />
** Speaker 4: Noah<br />
** Speaker 5: Elliot<br />
** Speaker 6: Barbara<br />
** Speaker 7: Orchi<br />
** Speaker 8: Matt (the "after" of my Modulations instrument, hopefully this time with MIDI working)<br />
** Speaker 9: CCRMA composting<br />
** Speaker 10: Jatin<br />
** Speaker 11: Mark<br />
** Speaker 12: Elena<br />
** Speaker 13: Carlos<br />
<br />
<br />
* '''10/23: [http://www.arj.no/ Alexander Jensenius]''' (Week 5) <br />
<br />
* '''10/30: No Colloquium''' (Week 6) <br />
<br />
* '''11/6: [http://www.annehege.com/ Anne Hege]''' (Week 7)<br />
<br />
* '''11/13: CCRMA Town Hall''' (Week 8)<br />
<br />
* '''11/20:[https://www.donlewismusic.com/ Don Lewis]''' (Week 9)<br />
<br />
* '''Thanksgiving week''' <br />
<br />
* '''12/4: [https://ccrma.stanford.edu/groups/vr/ VR Lab Day]''' (Week 11)</div>Stephaniehttps://ccrma.stanford.edu/mediawiki/index.php?title=Sound_Art_Workshop_Resources&diff=21893Sound Art Workshop Resources2019-07-16T17:59:39Z<p>Stephanie: </p>
<hr />
<div><br />
<br />
<br />
'''Tutorials:'''<br />
<br />
[https://ccrma.stanford.edu/courses/192a/Lecture1&2-Electronics.pdf Introduction to Electronics]<br />
<br />
[https://itp.nyu.edu/physcomp/lessons/sensors-the-basics/ Sensors: The Basics]<br />
<br />
[https://learn.sparkfun.com/tutorials/how-to-use-a-multimeter How to Use a Multimeter]<br />
<br />
[https://learn.sparkfun.com/tutorials/how-to-read-a-schematic How to Read a Schematic]<br />
<br />
[https://ccrma.stanford.edu/courses/220a/resources/MicBuilding.pdf Microphone Building]<br />
<br />
<br />
<br />
'''Electronics Supplies:'''<br />
<br />
[https://www.jameco.com/webapp/wcs/stores/servlet/StoreCatalogDisplay?langId=-1&storeId=10001&catalogId=10001 Jameco]<br />
<br />
[https://www.sparkfun.com/ Sparkfun]<br />
<br />
[https://www.adafruit.com/ Adafruit]<br />
<br />
[https://www.monoprice.com/ Monoprice]<br />
<br />
[https://www.frys.com/ Fry's]<br />
<br />
<br />
<br />
'''Media:'''<br />
<br />
[https://vimeo.com/287093394 Brian House at Eyeo]<br />
<br />
[https://www.youtube.com/watch?v=SwYaL-QlCKQ Maryanne Amacher at Ars Electronica 1989]<br />
<br />
[https://www.youtube.com/user/Matthiaswandel/videos Mattias Wandel AKA Wood Gears]<br />
<br />
[https://www.youtube.com/watch?v=FC6JZDVy4VM Tim Hawkinson (water dripper+)]<br />
<br />
<br />
<br />
'''Other Bits:'''<br />
<br />
[https://www.audacityteam.org/ Audacity (free audio editing software)]<br />
<br />
[https://freesound.org/ Freesound (audio repository/archive)]<br />
<br />
[https://archive.org/ Internet Archive (archival footage+++)]</div>Stephaniehttps://ccrma.stanford.edu/mediawiki/index.php?title=Sound_Art_Workshop_Resources&diff=21892Sound Art Workshop Resources2019-07-16T01:52:21Z<p>Stephanie: </p>
<hr />
<div><br />
<br />
<br />
'''Tutorials:'''<br />
<br />
[https://ccrma.stanford.edu/courses/192a/Lecture1&2-Electronics.pdf Introduction to Electronics]<br />
<br />
[https://itp.nyu.edu/physcomp/lessons/sensors-the-basics/ Sensors: The Basics]<br />
<br />
[https://learn.sparkfun.com/tutorials/how-to-use-a-multimeter How to Use a Multimeter]<br />
<br />
[https://learn.sparkfun.com/tutorials/how-to-read-a-schematic How to Read a Schematic]<br />
<br />
[https://ccrma.stanford.edu/courses/220a/resources/MicBuilding.pdf Microphone Building]<br />
<br />
<br />
<br />
'''Electronics Supplies:'''<br />
<br />
[https://www.jameco.com/webapp/wcs/stores/servlet/StoreCatalogDisplay?langId=-1&storeId=10001&catalogId=10001 Jameco]<br />
<br />
[https://www.sparkfun.com/ Sparkfun]<br />
<br />
[https://www.adafruit.com/ Adafruit]<br />
<br />
[https://www.monoprice.com/ Monoprice]<br />
<br />
[https://www.frys.com/ Fry's]<br />
<br />
<br />
<br />
'''Media:'''<br />
<br />
[https://vimeo.com/287093394 Brian House at Eyeo]<br />
<br />
[https://www.youtube.com/watch?v=SwYaL-QlCKQ Maryanne Amacher at Ars Electronica 1989]<br />
<br />
[https://www.youtube.com/user/Matthiaswandel/videos Mattias Wandel AKA Wood Gears]<br />
<br />
<br />
<br />
'''Other Bits:'''<br />
<br />
[https://www.audacityteam.org/ Audacity (free audio editing software)]<br />
<br />
[https://freesound.org/ Freesound (audio repository/archive)]<br />
<br />
[https://archive.org/ Internet Archive (archival footage+++)]</div>Stephaniehttps://ccrma.stanford.edu/mediawiki/index.php?title=Sound_Art_Workshop_Resources&diff=21890Sound Art Workshop Resources2019-07-13T04:02:21Z<p>Stephanie: </p>
<hr />
<div><br />
<br />
<br />
'''Tutorials:'''<br />
<br />
[https://ccrma.stanford.edu/courses/192a/Lecture1&2-Electronics.pdf Introduction to Electronics]<br />
<br />
[https://itp.nyu.edu/physcomp/lessons/sensors-the-basics/ Sensors: The Basics]<br />
<br />
[https://learn.sparkfun.com/tutorials/how-to-use-a-multimeter How to Use a Multimeter]<br />
<br />
[https://learn.sparkfun.com/tutorials/how-to-read-a-schematic How to Read a Schematic]<br />
<br />
<br />
<br />
'''Electronics Supplies:'''<br />
<br />
[https://www.jameco.com/webapp/wcs/stores/servlet/StoreCatalogDisplay?langId=-1&storeId=10001&catalogId=10001 Jameco]<br />
<br />
[https://www.sparkfun.com/ Sparkfun]<br />
<br />
[https://www.adafruit.com/ Adafruit]<br />
<br />
[https://www.monoprice.com/ Monoprice]<br />
<br />
[https://www.frys.com/ Fry's]<br />
<br />
<br />
<br />
'''Media:'''<br />
<br />
[https://vimeo.com/287093394 Brian House at Eyeo]<br />
<br />
[https://www.youtube.com/watch?v=SwYaL-QlCKQ Maryanne Amacher at Ars Electronica 1989]<br />
<br />
[https://www.youtube.com/user/Matthiaswandel/videos Mattias Wandel AKA Wood Gears]<br />
<br />
<br />
<br />
'''Other Bits:'''<br />
<br />
[https://www.audacityteam.org/ Audacity (free audio editing software)]<br />
<br />
[https://freesound.org/ Freesound (audio repository/archive)]<br />
<br />
[https://archive.org/ Internet Archive (archival footage+++)]</div>Stephaniehttps://ccrma.stanford.edu/mediawiki/index.php?title=Sound_Art_Workshop_Resources&diff=21889Sound Art Workshop Resources2019-07-12T20:16:15Z<p>Stephanie: </p>
<hr />
<div><br />
<br />
<br />
'''Tutorials:'''<br />
<br />
[https://ccrma.stanford.edu/courses/192a/Lecture1&2-Electronics.pdf Introduction to Electronics]<br />
<br />
[https://itp.nyu.edu/physcomp/lessons/sensors-the-basics/ Sensors: The Basics]<br />
<br />
[https://learn.sparkfun.com/tutorials/how-to-use-a-multimeter How to Use a Multimeter]<br />
<br />
[https://learn.sparkfun.com/tutorials/how-to-read-a-schematic How to Read a Schematic]<br />
<br />
<br />
<br />
'''Electronics Supplies:'''<br />
<br />
[https://www.jameco.com/webapp/wcs/stores/servlet/StoreCatalogDisplay?langId=-1&storeId=10001&catalogId=10001 Jameco]<br />
<br />
[https://www.sparkfun.com/ Sparkfun]<br />
<br />
[https://www.adafruit.com/ Adafruit]<br />
<br />
[https://www.monoprice.com/ Monoprice]<br />
<br />
[https://www.frys.com/ Fry's]<br />
<br />
<br />
<br />
'''Media:'''<br />
<br />
[https://vimeo.com/287093394 Brian House at Eyeo]<br />
<br />
[https://www.youtube.com/watch?v=SwYaL-QlCKQ Maryanne Amacher at Ars Electronica 1989]<br />
<br />
[https://www.youtube.com/user/Matthiaswandel/videos Mattias Wandel AKA Wood Gears]</div>Stephaniehttps://ccrma.stanford.edu/mediawiki/index.php?title=Sound_Art_Workshop_Resources&diff=21888Sound Art Workshop Resources2019-07-12T20:14:00Z<p>Stephanie: </p>
<hr />
<div><br />
<br />
<br />
'''Tutorials:'''<br />
<br />
[https://ccrma.stanford.edu/courses/192a/Lecture1&2-Electronics.pdf Introduction to Electronics]<br />
<br />
[https://learn.sparkfun.com/tutorials/how-to-use-a-multimeter How to Use a Multimeter]<br />
<br />
[https://learn.sparkfun.com/tutorials/how-to-read-a-schematic How to Read a Schematic]<br />
<br />
[https://itp.nyu.edu/physcomp/lessons/sensors-the-basics/ Sensors: The Basics]<br />
<br />
<br />
'''Electronics Supplies:'''<br />
<br />
[https://www.jameco.com/webapp/wcs/stores/servlet/StoreCatalogDisplay?langId=-1&storeId=10001&catalogId=10001 Jameco]<br />
<br />
[https://www.sparkfun.com/ Sparkfun]<br />
<br />
[https://www.adafruit.com/ Adafruit]<br />
<br />
[https://www.monoprice.com/ Monoprice]<br />
<br />
[https://www.frys.com/ Fry's]<br />
<br />
<br />
<br />
'''Media:'''<br />
<br />
[https://vimeo.com/287093394 Brian House at Eyeo]<br />
<br />
[https://www.youtube.com/watch?v=SwYaL-QlCKQ Maryanne Amacher at Ars Electronica 1989]<br />
<br />
[https://www.youtube.com/user/Matthiaswandel/videos Mattias Wandel AKA Wood Gears]</div>Stephaniehttps://ccrma.stanford.edu/mediawiki/index.php?title=Sound_Art_Workshop_Resources&diff=21887Sound Art Workshop Resources2019-07-12T20:11:12Z<p>Stephanie: </p>
<hr />
<div><br />
<br />
<br />
'''Tutorials:'''<br />
<br />
[https://ccrma.stanford.edu/courses/192a/Lecture1&2-Electronics.pdf Introduction to Electronics]<br />
<br />
[https://learn.sparkfun.com/tutorials/how-to-use-a-multimeter How to Use a Multimeter]<br />
<br />
[https://learn.sparkfun.com/tutorials/how-to-read-a-schematic How to Read a Schematic]<br />
<br />
[https://itp.nyu.edu/physcomp/lessons/sensors-the-basics/ Sensors: The Basics]<br />
<br />
<br />
'''Electronics Supplies:'''<br />
<br />
[https://www.jameco.com/webapp/wcs/stores/servlet/StoreCatalogDisplay?langId=-1&storeId=10001&catalogId=10001 Jameco]<br />
<br />
[https://www.sparkfun.com/ Sparkfun]<br />
<br />
[https://www.adafruit.com/ Adafruit]<br />
<br />
[https://www.monoprice.com/ Monoprice]<br />
<br />
[https://www.frys.com/ Fry's]<br />
<br />
<br />
<br />
'''Media:'''<br />
<br />
[https://vimeo.com/287093394 Brian House at Eyeo]<br />
<br />
[https://www.youtube.com/watch?v=SwYaL-QlCKQ Maryanne Amacher at Ars Electronica 1989]</div>Stephaniehttps://ccrma.stanford.edu/mediawiki/index.php?title=Sound_Art_Workshop_Resources&diff=21886Sound Art Workshop Resources2019-07-12T20:05:07Z<p>Stephanie: </p>
<hr />
<div><br />
<br />
<br />
'''Tutorials:'''<br />
<br />
[https://learn.sparkfun.com/tutorials/how-to-use-a-multimeter How to Use a Multimeter]<br />
<br />
[https://learn.sparkfun.com/tutorials/how-to-read-a-schematic How to Read a Schematic]<br />
<br />
[https://itp.nyu.edu/physcomp/lessons/sensors-the-basics/ Sensors: The Basics]<br />
<br />
<br />
'''Electronics Supplies:'''<br />
<br />
[https://www.jameco.com/webapp/wcs/stores/servlet/StoreCatalogDisplay?langId=-1&storeId=10001&catalogId=10001 Jameco]<br />
<br />
[https://www.sparkfun.com/ Sparkfun]<br />
<br />
[https://www.adafruit.com/ Adafruit]<br />
<br />
[https://www.monoprice.com/ Monoprice]<br />
<br />
[https://www.frys.com/ Fry's]<br />
<br />
<br />
<br />
'''Media:'''<br />
<br />
[https://vimeo.com/287093394 Brian House at Eyeo]<br />
<br />
[https://www.youtube.com/watch?v=SwYaL-QlCKQ Maryanne Amacher at Ars Electronica 1989]</div>Stephaniehttps://ccrma.stanford.edu/mediawiki/index.php?title=Sound_Art_Workshop_Resources&diff=21885Sound Art Workshop Resources2019-07-12T20:04:57Z<p>Stephanie: </p>
<hr />
<div><br />
<br />
<br />
'''Tutorials:'''<br />
<br />
[https://learn.sparkfun.com/tutorials/how-to-use-a-multimeter How to Use a Multimeter]<br />
<br />
[https://learn.sparkfun.com/tutorials/how-to-read-a-schematic How to Read a Schematic]<br />
<br />
[https://itp.nyu.edu/physcomp/lessons/sensors-the-basics/ Sensors: The Basics]<br />
<br />
<br />
'''Electronics Supplies:'''<br />
<br />
[https://www.jameco.com/webapp/wcs/stores/servlet/StoreCatalogDisplay?langId=-1&storeId=10001&catalogId=10001 Jameco]<br />
<br />
[https://www.sparkfun.com/ Sparkfun]<br />
<br />
[https://www.adafruit.com/ Adafruit]<br />
<br />
[https://www.monoprice.com/ Monoprice]<br />
<br />
[https://www.frys.com/ Fry's]<br />
<br />
<br />
<br />
<br />
'''Media:'''<br />
<br />
[https://vimeo.com/287093394 Brian House at Eyeo]<br />
<br />
[https://www.youtube.com/watch?v=SwYaL-QlCKQ Maryanne Amacher at Ars Electronica 1989]</div>Stephaniehttps://ccrma.stanford.edu/mediawiki/index.php?title=Sound_Art_Workshop_Resources&diff=21884Sound Art Workshop Resources2019-07-11T23:03:56Z<p>Stephanie: </p>
<hr />
<div><br />
<br />
<br />
'''Tutorials:'''<br />
<br />
[https://learn.sparkfun.com/tutorials/how-to-use-a-multimeter How to Use a Multimeter]<br />
<br />
[https://learn.sparkfun.com/tutorials/how-to-read-a-schematic How to Read a Schematic]<br />
<br />
[https://itp.nyu.edu/physcomp/lessons/sensors-the-basics/ Sensors: The Basics]<br />
<br />
<br />
<br />
'''Media:'''<br />
<br />
[https://vimeo.com/287093394 Brian House at Eyeo]<br />
<br />
[https://www.youtube.com/watch?v=SwYaL-QlCKQ Maryanne Amacher at Ars Electronica 1989]</div>Stephaniehttps://ccrma.stanford.edu/mediawiki/index.php?title=Sound_Art_Workshop_Resources&diff=21883Sound Art Workshop Resources2019-07-11T23:03:47Z<p>Stephanie: </p>
<hr />
<div><br />
<br />
<br />
'''Tutorials:'''<br />
<br />
[https://learn.sparkfun.com/tutorials/how-to-use-a-multimeter How to Use a Multimeter]<br />
<br />
[https://learn.sparkfun.com/tutorials/how-to-read-a-schematic How to Read a Schematic]<br />
<br />
[https://itp.nyu.edu/physcomp/lessons/sensors-the-basics/ Sensors: The Basics]<br />
<br />
<br />
<br />
'''Media:'''<br />
[https://vimeo.com/287093394 Brian House at Eyeo]<br />
<br />
[https://www.youtube.com/watch?v=SwYaL-QlCKQ Maryanne Amacher at Ars Electronica 1989]</div>Stephaniehttps://ccrma.stanford.edu/mediawiki/index.php?title=Sound_Art_Workshop_Resources&diff=21882Sound Art Workshop Resources2019-07-11T22:29:51Z<p>Stephanie: </p>
<hr />
<div><br />
<br />
<br />
'''Tutorials:'''<br />
<br />
[https://learn.sparkfun.com/tutorials/how-to-use-a-multimeter How to Use a Multimeter]<br />
<br />
[https://learn.sparkfun.com/tutorials/how-to-read-a-schematic How to Read a Schematic]<br />
<br />
[https://itp.nyu.edu/physcomp/lessons/sensors-the-basics/ Sensors: The Basics]</div>Stephaniehttps://ccrma.stanford.edu/mediawiki/index.php?title=Sound_Art_Workshop_Resources&diff=21881Sound Art Workshop Resources2019-07-11T22:01:40Z<p>Stephanie: </p>
<hr />
<div><br />
<br />
<br />
'''Tutorials:'''<br />
<br />
[https://learn.sparkfun.com/tutorials/how-to-use-a-multimeter How to use a multimeter]<br />
<br />
[https://learn.sparkfun.com/tutorials/how-to-read-a-schematic How to read a schematic]<br />
<br />
[https://itp.nyu.edu/physcomp/lessons/sensors-the-basics/ Sensors: The Basics]</div>Stephaniehttps://ccrma.stanford.edu/mediawiki/index.php?title=Sound_Art_Workshop_Resources&diff=21880Sound Art Workshop Resources2019-07-11T21:51:46Z<p>Stephanie: </p>
<hr />
<div><br />
<br />
<br />
Tutorials:<br />
<br />
[https://learn.sparkfun.com/tutorials/how-to-use-a-multimeter How to use a multimeter]<br />
<br />
[https://learn.sparkfun.com/tutorials/how-to-read-a-schematic How to read a schematic]<br />
<br />
[https://itp.nyu.edu/physcomp/lessons/sensors-the-basics/ Sensors: The Basics]</div>Stephaniehttps://ccrma.stanford.edu/mediawiki/index.php?title=Sound_Art_Workshop_Resources&diff=21879Sound Art Workshop Resources2019-07-11T21:51:33Z<p>Stephanie: </p>
<hr />
<div><br />
<br />
<br />
Tutorials:<br />
<br />
[https://learn.sparkfun.com/tutorials/how-to-use-a-multimeter How to use a multimeter]<br />
[https://learn.sparkfun.com/tutorials/how-to-read-a-schematic How to read a schematic]<br />
[https://itp.nyu.edu/physcomp/lessons/sensors-the-basics/ Sensors: The Basics]</div>Stephaniehttps://ccrma.stanford.edu/mediawiki/index.php?title=Sound_Art_Workshop_Resources&diff=21878Sound Art Workshop Resources2019-07-11T21:03:43Z<p>Stephanie: Created page with " Tutorials: [https://learn.sparkfun.com/tutorials/how-to-use-a-multimeter How to use a multimeter]"</p>
<hr />
<div><br />
<br />
<br />
Tutorials:<br />
<br />
[https://learn.sparkfun.com/tutorials/how-to-use-a-multimeter How to use a multimeter]</div>Stephaniehttps://ccrma.stanford.edu/mediawiki/index.php?title=Ritualistic_Performance_System_Research&diff=21025Ritualistic Performance System Research2018-08-12T03:18:03Z<p>Stephanie: </p>
<hr />
<div><br />
[[File:Performance_img.jpg|350px]]<br />
<br />
Image Courtesy of Dave Kerr<br />
<br />
<br />
''Post-human Incursion'' is a site-specific performance piece developed for the Listening Room at CCRMA. Inspired by the writing of Bernie Krause and the work of Pauline Oliveros, the piece functions as a futuristic reflection on the evolution of sound across species, while using spacialized and manipulated field recordings to create new sonic terrain. <br />
<br />
<br />
<br />
== '''Project Overview + Development:''' ==<br />
<br />
<br />
<br />
'''Goal:'''<br />
To create a ritualistic performance system using spacialized audio signals, video, and real-time audio manipulation. <br />
<br />
<br />
'''Background:'''<br />
<br />
As part of continued research, I aim to pursue an audio/visual experience that combines spatialized field recordings, voice, video/light, and software. For this piece, I may continue to develop a proximity-based water sensor into the performance, using some sort of vessel(s), water, conductive tape, and a bare conductive microcontroller. The audio collection process will include listening, recording, and engaging with a series of natural and machine-made sounds. The piece will culminate in an audio/visual performance. <br />
<br />
<br />
'''Possible Controllers:'''<br />
<br />
[[File:water_controller.jpg|350px]]<br />
water controller prototype <br />
<br />
[[File:Mask_full.jpg|350px]]<br />
mask prototype<br />
<br />
[[File:Mask_inside.jpg|350px]]<br />
mask sensors<br />
<br />
<br />
<br />
'''WK1 -- Brainstorming + Testing'''<br />
<br />
Performance Site '''-- Listening Room'''<br />
Okay to burn / use scents? '''-- No. Issues in the past.'''<br />
Dry Ice? '''-- Could be okay. Needs ventilation.''' <br />
Max capacity in Listening Room '''-- 15-20 people'''<br />
<br />
[[File:Listening_room.jpg|350px]]<br />
<br />
<br />
'''To do:'''<br />
Bare Conductive Touch Board + Water Sensor Testing in Max <br />
Arduino code + upload to Touch Board<br />
Max MSP/Jitter + Touch Board testing<br />
Add water sensor input to video mixer patch<br />
Collect Field Recordings<br />
Fire / Machines / Energy Facility / Electrical Drone Sounds<br />
<br />
<br />
'''WK2 -- Testing + Collection'''<br />
<br />
Water Sensor Testing in Max MSP/Jitter<br />
[https://www.bareconductive.com/make/the-touch-board-maxmsp/]<br />
<br />
[[File:Bare_conductive.jpg|300px]]<br />
<br />
I managed to get data into Max from the Bare Conductive microcontroller. After a few minutes, the microcontroller seems to get overloaded and freezes. If I reload the Arduino code onto the board data starts to work in Max temporarily. This issue seems relatively consistent. My laptop also seems to be having trouble processing video and receiving data at the same time. The latency of sensor data into Max is painfully slow while video is running. Sensor response is proficient with no video processing. <br />
<br />
I will need a new laptop. This is not a surprise.<br />
<br />
<br />
'''Readings:'''<br />
<br />
<u>Keywords in Sound</u>, Chapter 15, ''Resonance'', by Veit Erlmann <br />
<br />
"...the concept of resonance, having been derived from core epistemological virtues such as intuition, observation, and experiment, names the natural mechanism governing the interaction of vibrating matter, such as strings, nerves, and air. As such, resonance is the "Other" of the self-constituting Cartesian ego as it discovers truth (of musical harmony, for instance) and reassures itself of its own existence as a thinking entity. On the other hand resonance names the very unity of body and mind that the cogitating ego must unthink before it uncovers truth."<br />
<br />
(Erlmann, page 177)<br />
<br />
<br />
<u>Keywords in Sound</u>, Chapter 17, ''Space'', by Andrew J. Eisenberg <br />
<br />
"As a phenomenon that exists at once within and beyond perceiving subjects, sound cannot but reveal social space as an artifact of material practices complexly interwoven with semiotic processes and the 'imaginations, fears, emotions, psychologies, fantasies, and dreams' that human beings bring to everything (Harvey 2006: 279; see also Lefebvre 1991)."<br />
<br />
(Eisenberg, pg 202)<br />
<br />
<br />
<u>The Soundscape: Our Sonic Environment & the Tuning of the World</u>, <br />
R. Murray Schaffer, Chapter 12, Symbolism<br />
<br />
"...water, the original life element, has the most splendid symbolism... a stream, a fountain, a river, a waterfall, the sea, each makes its unique sound but all share rich symbolism. They speak of cleansing, of purification, of refreshment, and renewal... It is symbolic of eternity... It is symbolic of change." <br />
<br />
(Schafer, page 170)<br />
<br />
<br />
"Without its tactile pressure on the face or body we cannot even tell from what direction it blows. The wind is therefore not to be trusted."<br />
<br />
(Schafer, page 170)<br />
<br />
<br />
<br />
"Modern man has sought to escape both the wind and the sea by encapsulating himself in artificial environments... The sounds of machines took on happy symbolism approximately 200 years ago, when it was realized that they could release man from his immemorial bondage to earth... power and progress... noise and power go hand in hand."<br />
<br />
(Schafer, page 178-179)<br />
<br />
<br />
'''To do:''' <br />
Research options for new laptop (2015 Macbook Pro) + Stanford support<br />
Mask controller into Max MSP/Jitter<br />
Build simple looper<br />
Edit field recordings <br />
<br />
<br />
'''WK3 -- More Testing + Collecting'''<br />
<br />
'''Simple Audio Looper Interface for Testing | Max MSP/Jitter + MIDI Controller:'''<br />
<br />
I built a simple looper patch in Max in order to start manipulating and listening to field recordings from my recent sound hunts. Lately, I've been interested in machine sounds that have similar qualities as sounds from nature... similar to how cars sound similar to the ocean, or specific electrical resonances sound like cicadas and crickets. <br />
<br />
[[File:Audio_interface.jpg|600px]]<br />
<br />
[[File:Midi_controller.jpg|600px]]<br />
<br />
[[File:audio_interface_guts.jpg|600px]]<br />
<br />
audio test -- [http://ssherriff.com/media/ritual_test.mp3]<br />
<br />
<br />
'''Readings:'''<br />
<br />
"...the wind began to funnel down from the high southern pass, gaining more forces with each passing moment... The effect wasn't a chord exactly, but rather a combination of tones, sighs, and midrange groans that played off each other, sometimes setting strange beats into resonance as they nearly matched one another in pitch... strangely dissonant. While never unpleasant, the acoustic experience was disorienting."<br />
<br />
(Krause, pg 37)<br />
<br />
<u>The Great Animal Orchestra: Finding the Origins of Music in the World's Wild Places</u>, Bernie Kraus<br />
<br />
<br />
'''To do:''' <br />
Research 2015 Macbook Pro <br />
SLAC audio recordings<br />
Research/Source dry ice<br />
Schedule Audium visit <br />
<br />
<br />
'''WK4 --''' <br />
<br />
'''Dry Ice Safety + Costs + Storage:'''<br />
<br />
[[File:Dry_ice3.jpg|600px]]<br />
<br />
[[File:Dry ice2.jpg|600px]]<br />
<br />
[http://dryiceinfo.com/safe.htm safety]<br />
<br />
<br />
[[File:Dry ice5.jpg|550px]]<br />
<br />
[https://www.howmuchisit.org/how-much-does-dry-ice-cost/ costs]<br />
<br />
<br />
[[File:Dry_ice.jpg|600px]]<br />
<br />
[[File:Dry ice4.jpg|600px]]<br />
<br />
[http://www.eatbydate.com/other/dry-ice/ storage+]<br />
<br />
<br />
'''Searchworks Audio Finds:'''<br />
<br />
Over the past week or so, I've been reading <u>Art of Immersive Soundscapes</u> which has revitalized my interest in musique concrète. Today I spent some time digging around [http://searchworks.stanford.edu/ Searchworks] for online audio files/compilations/albums. In my hunt so far, I have found several resources that rely heavily on field recordings from nature to form audio compositions. <br />
<br />
<br />
Here are a few:<br />
<br />
[https://stanford.naxosmusiclibrary.com/catalogue/item.asp?cid=INNOVA783 ''Arctic Winds,''] Maggie Payne, 2010<br />
<br />
[https://search.alexanderstreet.com/view/work/bibliographic_entity%7Crecorded_cd%7C72954 ''Gateway Summer Sound: Abstracted Animal and Other Sounds''] Ann McMillan, 1979 <br />
<br />
[http://www.dramonline.org/albums/scott-smallwood-desert-winds-six-windblown-sound-pieces-and-other-works/player ''Desert Winds: Six Windblown Sound Pieces and Other Works,''] Scott Smallwood, 2007<br />
<br />
[https://search.alexanderstreet.com/view/work/bibliographic_entity%7Crecorded_cd%7C72140 ''Highlights of Vortex''], 1959, Smithsonian Folkways Recordings [2003]<br />
<br />
<br />
'''SLAC Site Visit:'''<br />
<br />
[[File:slac.jpg|500px]]<br />
<br />
The tour of SLAC was a bit of a disappointment, but only because I didn't fully comprehend the context of the tour. I didn't realize our MFA tour was part of a larger public tour. Unfortunately, it was nearly impossible to record an audio sample without tour-talk and human ruckus. We only visited two small areas of the facilities, which didn't really give an overall impression of the scale of the accelerometer. There were, however, some exciting/uncomfortable oscillations coming from machinery that I would like to revisit under a more sound-oriented tour of SLAC. Outside of my sound hunt, it was astounding to hear about the some of the research taking place.<br />
<br />
<br />
<br />
<br />
'''Floor Plan + Spacial Thoughts:'''<br />
<br />
[[File:LR_sketch.png|600px]]<br />
<br />
<br />
<br />
'''Light + Sound + Water Experiments:'''<br />
<br />
[http://ssherriff.com/media/wide_test.MOV]<br />
<br />
[http://ssherriff.com/media/oracle_view.MOV]<br />
<br />
[http://ssherriff.com/media/shadow_projection.MOV]<br />
<br />
<br />
<br />
'''To do:'''<br />
Visit Listening Room<br />
Contact Nando for Listening Room Orientation<br />
Contact Nette for LR keycard access<br />
Book out LR rehearsal schedule<br />
Purchase 2015 Macbook Pro<br />
<br />
<br />
'''WK5 --'''<br />
<br />
I spent this week trying to iron out logistics. I met with Nando for a Listening Room orientation and am now considering the best way to execute signal routing in the space. Nando recommended I check out the Listening Room User Manual on the CCRMA website. For now, I'm thinking I'll address each speaker individually, rather than working with ambisonics. It sounds like I'll need to use Jack to interface with my computer. Speaking of computer, I bought a laptop! It should arrive next week. I was also able to arrange keycard access to the room and am still trying to pin down scheduling for rehearsal and official performance showtimes. <br />
<br />
[[File:listening rm2 no layer.jpg|500px]]<br />
<br />
<br />
'''Possible Performance Date(s)/Times:''' <br />
<br />
'''Friday, June 1''' -- 4pm doors / 4:33pm performance<br />
OR<br />
7pm doors / 7:30pm performance<br />
<br />
'''Saturday, June 2''' -- 4pm doors / 4:33pm performance <br />
AND<br />
7pm doors / 7:30pm performance<br />
<br />
<br />
<br />
''' WK6 --'''<br />
<br />
'''Listening Room Mixing + Routing Research:'''<br />
<br />
[https://ccrma.stanford.edu/room-guides/listening-room] Listening Room User Guide]<br />
<br />
[[File:Speakers.jpg|600px]]<br />
[[File:LR_mixer.jpg|500px]]<br />
<br />
[https://ccrma.stanford.edu/software/openmixer/manual Openmixer Manual]<br />
<br />
[https://ccrma.stanford.edu/software/openmixer/manual/input_sources Input Sources]<br />
<br />
[https://ccrma.stanford.edu/software/openmixer/manual/using_jack Using Jack]<br />
<br />
<br />
'''Projection/Lighting:'''<br />
<br />
After visiting the Listening Room and looking at the infrastructure in place, I've decided not to do any screen-based projection that requires hanging additional material in the space. It will likely be a lot of work and ultimately be invasive to the experience. For now, I'd like to focus on the sound and possibly incorporate some simple caustic lighting elements. I'm considering options for reflecting light onto the grid that separates the floor from the lower level of the heptagon. This will require some sort of surface/screen that could easily be placed on the grid. I will need to be sure there is airflow so as not to cause any issues with the ventilation system which feeds into the lower level.<br />
<br />
<br />
<br />
'''To do:'''<br />
Install Max MSP/Jitter<br />
Set-up 22 Channel Routing in Max<br />
Source + Set-up RSVP Platform for Performance<br />
Contact Eoin for Listening Room Consultation <br />
Dry Ice Testing<br />
<br />
<br />
''' WK7 --'''<br />
<br />
'''Signal Routing + Listening Room Consultation:'''<br />
<br />
My new computer finally arrived and I was able to schedule some time with Eoin to test routing options in the Listening Room. I've opted to use a 16ch analog interface and Jacknet, which will magically give me access to all 22 channels. I'll need to do more specific routing in Max but was able to get a signal out of my laptop and play audio over all 22 channels with minimal head-scratching and mysterious machine behavior. Eoin is awesome. I am consistently amazed at the generosity of the CCRMA community and am so grateful to have the opportunity to interact and learn from everyone. <br />
<br />
<br />
'''Listening Room Booking + Conflicts:'''<br />
<br />
I spoke to Matt Wright about any potential overlap with SLOrk rehearsal and general usage of the Listening Room. After our conversation, it seems best to bump my performance dates back one week so as to avoid any scheduling conflicts. Matt has also been kind enough to book out the space for me overnight so I will only need to set-up and teardown once. Wooo. Yay for CCRMA peeps! <br />
<br />
<br />
'''RVSP Platform + Dates'''<br />
<br />
I've decided to use Eventbrite for RSVP distribution/tracking. I've got a draft going and am seconds away from pulling the trigger. Just need to finish up my statement about the piece, and am currently wrestling with language and an official title. So close!<br />
<br />
Friday, June 8th -- 7pm doors / 7:30pm performance<br />
Saturday, June 9th -- 4pm doors / 4:30pm performance<br />
<br />
<br />
'''Dry Ice Tests:'''<br />
<br />
Working with dry ice has been waaay more fun than I could have anticipated. With that said, I'm learning that the fun comes with a heftier fee than I originally thought... and it evaporates fairly quickly. A block of dry ice lasts for approximately 2 or 3 days at about $20 each. I've also discovered that the dry ice goes bananas until it's eaten up all of the oxygen in whatever water it's dropped into, at which point, the dry ice fizzles sadly with much less gusto. This happens fairly quickly. I think it will be fine for the performance, but it's possible I will need larger containers to house the water and dry. I've been most excited about projecting onto the dry ice and am thinking about ways to use the dry ice as the projection screen/surface for the performance. <br />
<br />
<br />
'''To do:'''<br />
Set-up Signal Routing Hierarchy in Max <br />
Publish + Distribute RVSP Invite<br />
Test Dry Ice in Listening Room<br />
Test Scent Machine in Listening Room<br />
Okay to Point Listening Room Projector Straight Down Onto Grid?<br />
Order More Fans? Dry Ice Containers / Scent Containers<br />
Edit new sounds<br />
<br />
<br />
'''WK8 --'''<br />
<br />
'''Testing + Rehearsal Findings:'''<br />
<br />
I discovered that my USB MIDI controller will not work at the same time as the USB MOTU interface I am using to route sound in the Listening Room. This is a major problem. I've contacted Eoin for advice, and am hoping that using an ethernet connection will help resolve this issue. I'm also thinking about adding a second computer into the mix, mainly because of software limitations on my new computer. I'm not sure if this is going to cause a whole heap of other headaches, but mentioned my interest to Eoin. If it seems to crazy/unreliable I'll stick with one laptop. <br />
<br />
<br />
'''Testing + Rehearsal Audio:'''<br />
<br />
[http://ssherriff.com/media/post-human_rehearsal2.mp3 Recording 1]<br />
<br />
[http://ssherriff.com/media/post-human_rehearsal.mp3 Recording 2]<br />
<br />
<br />
'''Dry Ice Testing:'''<br />
<br />
My first rounds of dry ice tests in the Listening Room proved to be somewhat unsuccessful. The ventilation system below the grid sucks all of the dry ice vapors straight down and disburses them, making it difficult to see anything interesting happening. I tried placing a container of dry ice into a secondary container with edges slightly higher than the vessel holding the dry ice. This produced some really interesting behaviors, so I'm guessing I can do something similar at a larger scale -- hopefully filling the majority of the recess in the Listening Room floor. <br />
<br />
I've been spending a good lump of time searching for containers to hold the dry ice. Whatever I use needs to be fairly large to help with the longevity of the vapors... but also not so large that it will be difficult to schlep it out of the room once the performance is over. There's also a slight chance that whatever I use to house the dry ice will be visible in some capacity, so I'm also trying to find something that is fairly simple in design... and also cheapish, since I will be covering a lot of area. I've been looking at all kinds of containers and haven't really found the right thing yet. I found something that will work, but I'm not very excited about it. <br />
<br />
For the secondary 'container' I am thinking about building out a frame that will fit inside of the heptagon. I would then line the frame with a black tarp or some sort of black fabric, leaving a few inches between the frame and the interior edge of the heptagon for air flow. <br />
<br />
Speaking of air-flow, the sound of the dry ice bubbling in the water is becoming a wonderful bonus in the soundscape of my performance. Listening to the dry ice is sort of like sitting by a babbling creek, so I could have asked for a more exciting and unexpected surprise. <br />
<br />
<br />
<br />
'''Projector Testing:''' <br />
<br />
Initially, I was thinking about using the projector that is already mounted in the Listening Room. After further examination, I realized that the throw will probably not work well for my purposes. I did some tests with one of the PICO projectors and it seems like it might work okay. It probably won't be the brightest, most vivid projection... but I think that will be okay in this case. The dry ice is awesome with even just a little bit of light on it. <br />
<br />
I bought a few small clamp mounts for any of the tiny projectors that enter into the set-up. I should be able to mount the projectors fairly easily using the rigging system in the ceiling.<br />
<br />
<br />
<br />
'''Project Statement:'''<br />
<br />
Earth frequencies are the foundation of sound-making in communication and survival for all<br />
living creatures. Insects, birds, and humans have all evolved to make sound in accordance<br />
with the landscapes in which they dwell, yet humans increasingly suffocate the soundscape,<br />
turning a blind ear to the sonic residue of industry and electromagnetic poisons.<br />
<br />
''Post-human Incursion'' is a site-specific audio/visual performance that examines how<br />
natural order might adapt soncially to human impressions on the evolution of voice across<br />
species. Through the use of spatialized and processed field recordings, ''Post-human Incursion''<br />
gestures toward a futuristic bending of familiar sonic terrain twisted by the influence of<br />
machinery. Post-human Incursion is a poetic attempt to prophesize what the future may hold<br />
in relation to the expressive abilities and survival of sounding creatures on Earth. Do<br />
birds sing differently now that they are encumbered with the ruckus of industrialized human<br />
existence?''<br />
<br />
<br />
[https://www.eventbrite.com/e/post-human-incursion-tickets-46164892436 RSVP Event Link]<br />
<br />
<br />
'''To do:'''<br />
Find door person<br />
USB MIDI controller does not currently work while running USB MOTU 16ch interface<br />
Can I use two computers -- x1 for mask / x1 for field recordings?<br />
Define performance zone / altar<br />
<br />
<br />
'''WK9 --'''<br />
<br />
'''Listening Room Tech:'''<br />
<br />
There was some mystery unplugging of a bunch of stuff in the Listening Room, which was causing some strange/inconsistent behavior. With the help and head scratching of Eoin and Nando... the mystery has been solved and things seem to be relatively stable. Phew! My MIDI controller also seems to be behaving for the most part. I've been using a power USB hub, which seems to be doing the trick, although I have a feeling the USB port on my controller is starting to get a little loose. Hopefully, it hangs in there for the performances...<br />
<br />
<br />
'''Dry Ice:'''<br />
<br />
I'm still struggling with the dry ice component of the piece. I don't think I'll be able to work at the scale I'd like, mainly due to the cost of materials. I think I've found a solution on a smaller scale, but I'm not super excited about it. Because of the scale change, it's likely I'll need to abandon the projection component. Hard to say for sure at this point, but unless some miracle ah-ha moment happens much of the visual components of the piece will be far diminished from what I would like to do in an ideal world where I'm rolling in cash and have an absorbent amount of time.<br />
<br />
<br />
'''SLOrk + Set-up:''' <br />
<br />
SLOrk moves out of the Listening Room on Wednesday evening. This means I will be able to leave things set-up and start to deal with cables and placement. In the interim, I've been doing some small lighting test and think I have a fairly simple plan for lighting including the hallway leading up to the Listening Room.<br />
<br />
<br />
'''Printed Program:''' <br />
<br />
I'm nearly finished working on a program for the performances. I think I will alter my statement to better describe all of the adjustments I've had to make and use language to indicate that it's still a work in progress. I assume it's fine to print the program at CCRMA. <br />
<br />
<br />
'''Sound:'''<br />
<br />
At this point, I'm so buried in the piece that I can no longer tell heads from tails. I've introduced a piezo as part of the altar, and have been testing various vocal utterances. Compositionally, I'm not totally sure where the piece is at or how far away I've fallen from my original intent. Currently, the piece is leaning toward something more musical than I originally imagined. I've removed the glockenspiel recording and have been working with more of a droning sound that I recorded using a synth. There's a cohesiveness to the sound, but what I've been developing is seemingly less like a soundscape even though there is an abundance of field recordings incorporated into the work. I suppose I'm feeling a little confused and could use some time away from the piece for reflection, but as is the whole shebang is feeling arbitrary and far removed... but maybe I'm too immersed in the process to see/hear it for what it is? <br />
<br />
<br />
'''To do:'''<br />
Complete Program / Print -- Do I need a code for the printer?<br />
Still trying to find a door person<br />
Lighting + Set-up<br />
Rehearsal + Testing<br />
<br />
<br />
<br />
'''WK10 + Culminating Configuration --'''<br />
<br />
'''Voice:'''<br />
<br />
[[File:Mask_inside.jpg|350px]]<br />
<br />
<br />
Ultimately, I opted not to use the sensors embedded in the mask and only incorporated the microphone into the performance system, combined with some generous filtering in Ablteon Live. The signal from the microphone was passed through a MOTU interface with access to 22 discreet channels in the Listening Room. My voice occupied channels 1-8 and a handful of channels in the ceiling and floor.<br />
<br />
<br />
[[File:LIVE_voice1.png|550px]]<br />
<br />
<br />
[[File:LIVE_voice2.png|550px]]<br />
<br />
<br />
'''Piezo Instrument:'''<br />
<br />
Because of the whole debacle with my laptop, I strayed away from experimenting with the Bare Conductive Touch Board and water in this instance. Instead, I incorporated the glass bowl from my conductivity tests to make an instrument that is comprised of a piezo, the glass bowl, metal, feathers, and software. I fed the signal into Ableton for the instrument input within the same patch as my mic. I was able to output both signals as two separate channels to the MOTU interface allowing me to route the instrument signal discreetly over the 22ch system. I chose to route the instrument to channels 1-8, and the center ceiling speaker. <br />
<br />
<br />
[[File:LIVE_piezo.png|550px]]<br />
<br />
<br />
<br />
'''Field Recording Manipulation:''' <br />
<br />
[[File:Control_closed_active.png|750px]]<br />
<br />
<br />
For all of the field recordings I continued to use Max MSP/Jitter and a MIDI controller to manipulate and navigate recorded audio signals. Rather than processing the sound through filters, I built a system where I am simply manipulating the speed and direction of each recorded sample. Most sounds are configured to play at a rate well below half speed and are occasionally played backward. <br />
<br />
In addition to the field recordings, I also recorded improvisational synthesizer sessions. One of the first synth recordings I made in my process used the glockenspiel voice. After some feedback, I questioned if the glockenspiel was pulling the piece in a more musical direction and whether or not I would be okay with that in relation to my interest in the evolution of sound and soundscapes. I decided I was okay with the piece becoming more musical but felt that the synth could better match the electrical and machine-made sounds already incorporated into the piece. I believe I ultimately used some sort of electric piano voice on the synth to create a droney, circular sound. Once the synth sound was in Max MSP/Jitter, I made the happy discovery that the drone sound was a friendly match with some mosquito buzzing already incorporated into the composition and committed to using the drone sound in the composition. <br />
<br />
<br />
[[File:Control_open.png|750px]]<br />
<br />
<br />
'''Video:'''<br />
<br />
[http://ssherriff.com/media/trees_layers.mp4 treep loop video]<br />
<br />
For the video, I used a looped recording of layered trees composed in Max MSP/Jitter, along with a Nano projector, a Raspberry Pi media player, and a fancy clamp that allowed me to mount the projector off of a speaker-arm in the ceiling. The Nano projector is battery powered with a long enough life that I didn't need to bother with any cabling or power routing to the projector.<br />
<br />
[[File:Clamp.png|350px]]<br />
<br />
[https://www.amazon.com/gp/product/B000ABB4HC/ref=oh_aui_detailpage_o04_s00?ie=UTF8&psc=1 PEDCO UltraClamp]<br />
<br />
<br />
<br />
'''Dry Ice:'''<br />
<br />
The dry ice component ultimately caused me a lot of duress and in the end felt like an arbitrary gesture. I was unable to work at the scale I would have liked without having to spend a ton of extra money to combat the ventilation system under the heptagon grid. I suppose I felt obligated to incorporate it somehow after spending so much time researching and sourcing the material, but am cognizant of its kitschy nature and feel unresolved around its use in this iteration of my performance research. With that said, I love the gurgling sound of the dry ice in water and would be keen to amplify and work with the sound in some form if I continue to work with dry ice in the future. <br />
<br />
<br />
<br />
[[File:Performance_img2.jpg|550px]]<br />
<br />
Image Courtesy of Dave Kerr<br />
<br />
[http://ssherriff.com/media/PH_perf.mp4 Performance Documentation (Courtesy of David Kerr)]</div>Stephaniehttps://ccrma.stanford.edu/mediawiki/index.php?title=Ritualistic_Performance_System_Research&diff=21017Ritualistic Performance System Research2018-06-29T02:47:56Z<p>Stephanie: </p>
<hr />
<div><br />
[[File:Performance_img.jpg|350px]]<br />
<br />
Performance Image Courtesy of Dave Kerr<br />
<br />
<br />
''Post-human Incursion'' is a site-specific performance piece developed for the Listening Room at CCRMA. Inspired by the writing of Bernie Krause and the work of Pauline Oliveros, the piece functions as a futuristic reflection on the evolution of sound across species, while using spacialized and manipulated field recordings to create new sonic terrain. <br />
<br />
<br />
<br />
== '''Project Overview + Development:''' ==<br />
<br />
<br />
<br />
'''Goal:'''<br />
To create a ritualistic performance system using spacialized audio signals, video, and real-time audio manipulation. <br />
<br />
<br />
'''Background:'''<br />
<br />
As part of continued research, I aim to pursue an audio/visual experience that combines spatialized field recordings, voice, video/light, and software. For this piece, I may continue to develop a proximity-based water sensor into the performance, using some sort of vessel(s), water, conductive tape, and a bare conductive microcontroller. The audio collection process will include listening, recording, and engaging with a series of natural and machine-made sounds. The piece will culminate in an audio/visual performance. <br />
<br />
<br />
'''Possible Controllers:'''<br />
<br />
[[File:water_controller.jpg|350px]]<br />
water controller prototype <br />
<br />
[[File:Mask_full.jpg|350px]]<br />
mask prototype<br />
<br />
[[File:Mask_inside.jpg|350px]]<br />
mask sensors<br />
<br />
<br />
<br />
'''WK1 -- Brainstorming + Testing'''<br />
<br />
Performance Site '''-- Listening Room'''<br />
Okay to burn / use scents? '''-- No. Issues in the past.'''<br />
Dry Ice? '''-- Could be okay. Needs ventilation.''' <br />
Max capacity in Listening Room '''-- 15-20 people'''<br />
<br />
[[File:Listening_room.jpg|350px]]<br />
<br />
<br />
'''To do:'''<br />
Bare Conductive Touch Board + Water Sensor Testing in Max <br />
Arduino code + upload to Touch Board<br />
Max MSP/Jitter + Touch Board testing<br />
Add water sensor input to video mixer patch<br />
Collect Field Recordings<br />
Fire / Machines / Energy Facility / Electrical Drone Sounds<br />
<br />
<br />
'''WK2 -- Testing + Collection'''<br />
<br />
Water Sensor Testing in Max MSP/Jitter<br />
[https://www.bareconductive.com/make/the-touch-board-maxmsp/]<br />
<br />
[[File:Bare_conductive.jpg|300px]]<br />
<br />
I managed to get data into Max from the Bare Conductive microcontroller. After a few minutes, the microcontroller seems to get overloaded and freezes. If I reload the Arduino code onto the board data starts to work in Max temporarily. This issue seems relatively consistent. My laptop also seems to be having trouble processing video and receiving data at the same time. The latency of sensor data into Max is painfully slow while video is running. Sensor response is proficient with no video processing. <br />
<br />
I will need a new laptop. This is not a surprise.<br />
<br />
<br />
'''Readings:'''<br />
<br />
<u>Keywords in Sound</u>, Chapter 15, ''Resonance'', by Veit Erlmann <br />
<br />
"...the concept of resonance, having been derived from core epistemological virtues such as intuition, observation, and experiment, names the natural mechanism governing the interaction of vibrating matter, such as strings, nerves, and air. As such, resonance is the "Other" of the self-constituting Cartesian ego as it discovers truth (of musical harmony, for instance) and reassures itself of its own existence as a thinking entity. On the other hand resonance names the very unity of body and mind that the cogitating ego must unthink before it uncovers truth."<br />
<br />
(Erlmann, page 177)<br />
<br />
<br />
<u>Keywords in Sound</u>, Chapter 17, ''Space'', by Andrew J. Eisenberg <br />
<br />
"As a phenomenon that exists at once within and beyond perceiving subjects, sound cannot but reveal social space as an artifact of material practices complexly interwoven with semiotic processes and the 'imaginations, fears, emotions, psychologies, fantasies, and dreams' that human beings bring to everything (Harvey 2006: 279; see also Lefebvre 1991)."<br />
<br />
(Eisenberg, pg 202)<br />
<br />
<br />
<u>The Soundscape: Our Sonic Environment & the Tuning of the World</u>, <br />
R. Murray Schaffer, Chapter 12, Symbolism<br />
<br />
"...water, the original life element, has the most splendid symbolism... a stream, a fountain, a river, a waterfall, the sea, each makes its unique sound but all share rich symbolism. They speak of cleansing, of purification, of refreshment, and renewal... It is symbolic of eternity... It is symbolic of change." <br />
<br />
(Schafer, page 170)<br />
<br />
<br />
"Without its tactile pressure on the face or body we cannot even tell from what direction it blows. The wind is therefore not to be trusted."<br />
<br />
(Schafer, page 170)<br />
<br />
<br />
<br />
"Modern man has sought to escape both the wind and the sea by encapsulating himself in artificial environments... The sounds of machines took on happy symbolism approximately 200 years ago, when it was realized that they could release man from his immemorial bondage to earth... power and progress... noise and power go hand in hand."<br />
<br />
(Schafer, page 178-179)<br />
<br />
<br />
'''To do:''' <br />
Research options for new laptop (2015 Macbook Pro) + Stanford support<br />
Mask controller into Max MSP/Jitter<br />
Build simple looper<br />
Edit field recordings <br />
<br />
<br />
'''WK3 -- More Testing + Collecting'''<br />
<br />
'''Simple Audio Looper Interface for Testing | Max MSP/Jitter + MIDI Controller:'''<br />
<br />
I built a simple looper patch in Max in order to start manipulating and listening to field recordings from my recent sound hunts. Lately, I've been interested in machine sounds that have similar qualities as sounds from nature... similar to how cars sound similar to the ocean, or specific electrical resonances sound like cicadas and crickets. <br />
<br />
[[File:Audio_interface.jpg|600px]]<br />
<br />
[[File:Midi_controller.jpg|600px]]<br />
<br />
[[File:audio_interface_guts.jpg|600px]]<br />
<br />
audio test -- [http://ssherriff.com/media/ritual_test.mp3]<br />
<br />
<br />
'''Readings:'''<br />
<br />
"...the wind began to funnel down from the high southern pass, gaining more forces with each passing moment... The effect wasn't a chord exactly, but rather a combination of tones, sighs, and midrange groans that played off each other, sometimes setting strange beats into resonance as they nearly matched one another in pitch... strangely dissonant. While never unpleasant, the acoustic experience was disorienting."<br />
<br />
(Krause, pg 37)<br />
<br />
<u>The Great Animal Orchestra: Finding the Origins of Music in the World's Wild Places</u>, Bernie Kraus<br />
<br />
<br />
'''To do:''' <br />
Research 2015 Macbook Pro <br />
SLAC audio recordings<br />
Research/Source dry ice<br />
Schedule Audium visit <br />
<br />
<br />
'''WK4 --''' <br />
<br />
'''Dry Ice Safety + Costs + Storage:'''<br />
<br />
[[File:Dry_ice3.jpg|600px]]<br />
<br />
[[File:Dry ice2.jpg|600px]]<br />
<br />
[http://dryiceinfo.com/safe.htm safety]<br />
<br />
<br />
[[File:Dry ice5.jpg|550px]]<br />
<br />
[https://www.howmuchisit.org/how-much-does-dry-ice-cost/ costs]<br />
<br />
<br />
[[File:Dry_ice.jpg|600px]]<br />
<br />
[[File:Dry ice4.jpg|600px]]<br />
<br />
[http://www.eatbydate.com/other/dry-ice/ storage+]<br />
<br />
<br />
'''Searchworks Audio Finds:'''<br />
<br />
Over the past week or so, I've been reading <u>Art of Immersive Soundscapes</u> which has revitalized my interest in musique concrète. Today I spent some time digging around [http://searchworks.stanford.edu/ Searchworks] for online audio files/compilations/albums. In my hunt so far, I have found several resources that rely heavily on field recordings from nature to form audio compositions. <br />
<br />
<br />
Here are a few:<br />
<br />
[https://stanford.naxosmusiclibrary.com/catalogue/item.asp?cid=INNOVA783 ''Arctic Winds,''] Maggie Payne, 2010<br />
<br />
[https://search.alexanderstreet.com/view/work/bibliographic_entity%7Crecorded_cd%7C72954 ''Gateway Summer Sound: Abstracted Animal and Other Sounds''] Ann McMillan, 1979 <br />
<br />
[http://www.dramonline.org/albums/scott-smallwood-desert-winds-six-windblown-sound-pieces-and-other-works/player ''Desert Winds: Six Windblown Sound Pieces and Other Works,''] Scott Smallwood, 2007<br />
<br />
[https://search.alexanderstreet.com/view/work/bibliographic_entity%7Crecorded_cd%7C72140 ''Highlights of Vortex''], 1959, Smithsonian Folkways Recordings [2003]<br />
<br />
<br />
'''SLAC Site Visit:'''<br />
<br />
[[File:slac.jpg|500px]]<br />
<br />
The tour of SLAC was a bit of a disappointment, but only because I didn't fully comprehend the context of the tour. I didn't realize our MFA tour was part of a larger public tour. Unfortunately, it was nearly impossible to record an audio sample without tour-talk and human ruckus. We only visited two small areas of the facilities, which didn't really give an overall impression of the scale of the accelerometer. There were, however, some exciting/uncomfortable oscillations coming from machinery that I would like to revisit under a more sound-oriented tour of SLAC. Outside of my sound hunt, it was astounding to hear about the some of the research taking place.<br />
<br />
<br />
<br />
<br />
'''Floor Plan + Spacial Thoughts:'''<br />
<br />
[[File:LR_sketch.png|600px]]<br />
<br />
<br />
<br />
'''Light + Sound + Water Experiments:'''<br />
<br />
[http://ssherriff.com/media/wide_test.MOV]<br />
<br />
[http://ssherriff.com/media/oracle_view.MOV]<br />
<br />
[http://ssherriff.com/media/shadow_projection.MOV]<br />
<br />
<br />
<br />
'''To do:'''<br />
Visit Listening Room<br />
Contact Nando for Listening Room Orientation<br />
Contact Nette for LR keycard access<br />
Book out LR rehearsal schedule<br />
Purchase 2015 Macbook Pro<br />
<br />
<br />
'''WK5 --'''<br />
<br />
I spent this week trying to iron out logistics. I met with Nando for a Listening Room orientation and am now considering the best way to execute signal routing in the space. Nando recommended I check out the Listening Room User Manual on the CCRMA website. For now, I'm thinking I'll address each speaker individually, rather than working with ambisonics. It sounds like I'll need to use Jack to interface with my computer. Speaking of computer, I bought a laptop! It should arrive next week. I was also able to arrange keycard access to the room and am still trying to pin down scheduling for rehearsal and official performance showtimes. <br />
<br />
[[File:listening rm2 no layer.jpg|500px]]<br />
<br />
<br />
'''Possible Performance Date(s)/Times:''' <br />
<br />
'''Friday, June 1''' -- 4pm doors / 4:33pm performance<br />
OR<br />
7pm doors / 7:30pm performance<br />
<br />
'''Saturday, June 2''' -- 4pm doors / 4:33pm performance <br />
AND<br />
7pm doors / 7:30pm performance<br />
<br />
<br />
<br />
''' WK6 --'''<br />
<br />
'''Listening Room Mixing + Routing Research:'''<br />
<br />
[https://ccrma.stanford.edu/room-guides/listening-room] Listening Room User Guide]<br />
<br />
[[File:Speakers.jpg|600px]]<br />
[[File:LR_mixer.jpg|500px]]<br />
<br />
[https://ccrma.stanford.edu/software/openmixer/manual Openmixer Manual]<br />
<br />
[https://ccrma.stanford.edu/software/openmixer/manual/input_sources Input Sources]<br />
<br />
[https://ccrma.stanford.edu/software/openmixer/manual/using_jack Using Jack]<br />
<br />
<br />
'''Projection/Lighting:'''<br />
<br />
After visiting the Listening Room and looking at the infrastructure in place, I've decided not to do any screen-based projection that requires hanging additional material in the space. It will likely be a lot of work and ultimately be invasive to the experience. For now, I'd like to focus on the sound and possibly incorporate some simple caustic lighting elements. I'm considering options for reflecting light onto the grid that separates the floor from the lower level of the heptagon. This will require some sort of surface/screen that could easily be placed on the grid. I will need to be sure there is airflow so as not to cause any issues with the ventilation system which feeds into the lower level.<br />
<br />
<br />
<br />
'''To do:'''<br />
Install Max MSP/Jitter<br />
Set-up 22 Channel Routing in Max<br />
Source + Set-up RSVP Platform for Performance<br />
Contact Eoin for Listening Room Consultation <br />
Dry Ice Testing<br />
<br />
<br />
''' WK7 --'''<br />
<br />
'''Signal Routing + Listening Room Consultation:'''<br />
<br />
My new computer finally arrived and I was able to schedule some time with Eoin to test routing options in the Listening Room. I've opted to use a 16ch analog interface and Jacknet, which will magically give me access to all 22 channels. I'll need to do more specific routing in Max but was able to get a signal out of my laptop and play audio over all 22 channels with minimal head-scratching and mysterious machine behavior. Eoin is awesome. I am consistently amazed at the generosity of the CCRMA community and am so grateful to have the opportunity to interact and learn from everyone. <br />
<br />
<br />
'''Listening Room Booking + Conflicts:'''<br />
<br />
I spoke to Matt Wright about any potential overlap with SLOrk rehearsal and general usage of the Listening Room. After our conversation, it seems best to bump my performance dates back one week so as to avoid any scheduling conflicts. Matt has also been kind enough to book out the space for me overnight so I will only need to set-up and teardown once. Wooo. Yay for CCRMA peeps! <br />
<br />
<br />
'''RVSP Platform + Dates'''<br />
<br />
I've decided to use Eventbrite for RSVP distribution/tracking. I've got a draft going and am seconds away from pulling the trigger. Just need to finish up my statement about the piece, and am currently wrestling with language and an official title. So close!<br />
<br />
Friday, June 8th -- 7pm doors / 7:30pm performance<br />
Saturday, June 9th -- 4pm doors / 4:30pm performance<br />
<br />
<br />
'''Dry Ice Tests:'''<br />
<br />
Working with dry ice has been waaay more fun than I could have anticipated. With that said, I'm learning that the fun comes with a heftier fee than I originally thought... and it evaporates fairly quickly. A block of dry ice lasts for approximately 2 or 3 days at about $20 each. I've also discovered that the dry ice goes bananas until it's eaten up all of the oxygen in whatever water it's dropped into, at which point, the dry ice fizzles sadly with much less gusto. This happens fairly quickly. I think it will be fine for the performance, but it's possible I will need larger containers to house the water and dry. I've been most excited about projecting onto the dry ice and am thinking about ways to use the dry ice as the projection screen/surface for the performance. <br />
<br />
<br />
'''To do:'''<br />
Set-up Signal Routing Hierarchy in Max <br />
Publish + Distribute RVSP Invite<br />
Test Dry Ice in Listening Room<br />
Test Scent Machine in Listening Room<br />
Okay to Point Listening Room Projector Straight Down Onto Grid?<br />
Order More Fans? Dry Ice Containers / Scent Containers<br />
Edit new sounds<br />
<br />
<br />
'''WK8 --'''<br />
<br />
'''Testing + Rehearsal Findings:'''<br />
<br />
I discovered that my USB MIDI controller will not work at the same time as the USB MOTU interface I am using to route sound in the Listening Room. This is a major problem. I've contacted Eoin for advice, and am hoping that using an ethernet connection will help resolve this issue. I'm also thinking about adding a second computer into the mix, mainly because of software limitations on my new computer. I'm not sure if this is going to cause a whole heap of other headaches, but mentioned my interest to Eoin. If it seems to crazy/unreliable I'll stick with one laptop. <br />
<br />
<br />
'''Testing + Rehearsal Audio:'''<br />
<br />
[http://ssherriff.com/media/post-human_rehearsal2.mp3 Recording 1]<br />
<br />
[http://ssherriff.com/media/post-human_rehearsal.mp3 Recording 2]<br />
<br />
<br />
'''Dry Ice Testing:'''<br />
<br />
My first rounds of dry ice tests in the Listening Room proved to be somewhat unsuccessful. The ventilation system below the grid sucks all of the dry ice vapors straight down and disburses them, making it difficult to see anything interesting happening. I tried placing a container of dry ice into a secondary container with edges slightly higher than the vessel holding the dry ice. This produced some really interesting behaviors, so I'm guessing I can do something similar at a larger scale -- hopefully filling the majority of the recess in the Listening Room floor. <br />
<br />
I've been spending a good lump of time searching for containers to hold the dry ice. Whatever I use needs to be fairly large to help with the longevity of the vapors... but also not so large that it will be difficult to schlep it out of the room once the performance is over. There's also a slight chance that whatever I use to house the dry ice will be visible in some capacity, so I'm also trying to find something that is fairly simple in design... and also cheapish, since I will be covering a lot of area. I've been looking at all kinds of containers and haven't really found the right thing yet. I found something that will work, but I'm not very excited about it. <br />
<br />
For the secondary 'container' I am thinking about building out a frame that will fit inside of the heptagon. I would then line the frame with a black tarp or some sort of black fabric, leaving a few inches between the frame and the interior edge of the heptagon for air flow. <br />
<br />
Speaking of air-flow, the sound of the dry ice bubbling in the water is becoming a wonderful bonus in the soundscape of my performance. Listening to the dry ice is sort of like sitting by a babbling creek, so I could have asked for a more exciting and unexpected surprise. <br />
<br />
<br />
<br />
'''Projector Testing:''' <br />
<br />
Initially, I was thinking about using the projector that is already mounted in the Listening Room. After further examination, I realized that the throw will probably not work well for my purposes. I did some tests with one of the PICO projectors and it seems like it might work okay. It probably won't be the brightest, most vivid projection... but I think that will be okay in this case. The dry ice is awesome with even just a little bit of light on it. <br />
<br />
I bought a few small clamp mounts for any of the tiny projectors that enter into the set-up. I should be able to mount the projectors fairly easily using the rigging system in the ceiling.<br />
<br />
<br />
<br />
'''Project Statement:'''<br />
<br />
Earth frequencies are the foundation of sound-making in communication and survival for all<br />
living creatures. Insects, birds, and humans have all evolved to make sound in accordance<br />
with the landscapes in which they dwell, yet humans increasingly suffocate the soundscape,<br />
turning a blind ear to the sonic residue of industry and electromagnetic poisons.<br />
<br />
''Post-human Incursion'' is a site-specific audio/visual performance that examines how<br />
natural order might adapt soncially to human impressions on the evolution of voice across<br />
species. Through the use of spatialized and processed field recordings, ''Post-human Incursion''<br />
gestures toward a futuristic bending of familiar sonic terrain twisted by the influence of<br />
machinery. Post-human Incursion is a poetic attempt to prophesize what the future may hold<br />
in relation to the expressive abilities and survival of sounding creatures on Earth. Do<br />
birds sing differently now that they are encumbered with the ruckus of industrialized human<br />
existence?''<br />
<br />
<br />
[https://www.eventbrite.com/e/post-human-incursion-tickets-46164892436 RSVP Event Link]<br />
<br />
<br />
'''To do:'''<br />
Find door person<br />
USB MIDI controller does not currently work while running USB MOTU 16ch interface<br />
Can I use two computers -- x1 for mask / x1 for field recordings?<br />
Define performance zone / altar<br />
<br />
<br />
'''WK9 --'''<br />
<br />
'''Listening Room Tech:'''<br />
<br />
There was some mystery unplugging of a bunch of stuff in the Listening Room, which was causing some strange/inconsistent behavior. With the help and head scratching of Eoin and Nando... the mystery has been solved and things seem to be relatively stable. Phew! My MIDI controller also seems to be behaving for the most part. I've been using a power USB hub, which seems to be doing the trick, although I have a feeling the USB port on my controller is starting to get a little loose. Hopefully, it hangs in there for the performances...<br />
<br />
<br />
'''Dry Ice:'''<br />
<br />
I'm still struggling with the dry ice component of the piece. I don't think I'll be able to work at the scale I'd like, mainly due to the cost of materials. I think I've found a solution on a smaller scale, but I'm not super excited about it. Because of the scale change, it's likely I'll need to abandon the projection component. Hard to say for sure at this point, but unless some miracle ah-ha moment happens much of the visual components of the piece will be far diminished from what I would like to do in an ideal world where I'm rolling in cash and have an absorbent amount of time.<br />
<br />
<br />
'''SLOrk + Set-up:''' <br />
<br />
SLOrk moves out of the Listening Room on Wednesday evening. This means I will be able to leave things set-up and start to deal with cables and placement. In the interim, I've been doing some small lighting test and think I have a fairly simple plan for lighting including the hallway leading up to the Listening Room.<br />
<br />
<br />
'''Printed Program:''' <br />
<br />
I'm nearly finished working on a program for the performances. I think I will alter my statement to better describe all of the adjustments I've had to make and use language to indicate that it's still a work in progress. I assume it's fine to print the program at CCRMA. <br />
<br />
<br />
'''Sound:'''<br />
<br />
At this point, I'm so buried in the piece that I can no longer tell heads from tails. I've introduced a piezo as part of the altar, and have been testing various vocal utterances. Compositionally, I'm not totally sure where the piece is at or how far away I've fallen from my original intent. Currently, the piece is leaning toward something more musical than I originally imagined. I've removed the glockenspiel recording and have been working with more of a droning sound that I recorded using a synth. There's a cohesiveness to the sound, but what I've been developing is seemingly less like a soundscape even though there is an abundance of field recordings incorporated into the work. I suppose I'm feeling a little confused and could use some time away from the piece for reflection, but as is the whole shebang is feeling arbitrary and far removed... but maybe I'm too immersed in the process to see/hear it for what it is? <br />
<br />
<br />
'''To do:'''<br />
Complete Program / Print -- Do I need a code for the printer?<br />
Still trying to find a door person<br />
Lighting + Set-up<br />
Rehearsal + Testing<br />
<br />
<br />
<br />
'''WK10 + Culminating Configuration --'''<br />
<br />
'''Voice:'''<br />
<br />
[[File:Mask_inside.jpg|350px]]<br />
<br />
<br />
Ultimately, I opted not to use the sensors embedded in the mask and only incorporated the microphone into the performance system, combined with some generous filtering in Ablteon Live. The signal from the microphone was passed through a MOTU interface with access to 22 discreet channels in the Listening Room. My voice occupied channels 1-8 and a handful of channels in the ceiling and floor.<br />
<br />
<br />
[[File:LIVE_voice1.png|550px]]<br />
<br />
<br />
[[File:LIVE_voice2.png|550px]]<br />
<br />
<br />
'''Piezo Instrument:'''<br />
<br />
Because of the whole debacle with my laptop, I strayed away from experimenting with the Bare Conductive Touch Board and water in this instance. Instead, I incorporated the glass bowl from my conductivity tests to make an instrument that is comprised of a piezo, the glass bowl, metal, feathers, and software. I fed the signal into Ableton for the instrument input within the same patch as my mic. I was able to output both signals as two separate channels to the MOTU interface allowing me to route the instrument signal discreetly over the 22ch system. I chose to route the instrument to channels 1-8, and the center ceiling speaker. <br />
<br />
<br />
[[File:LIVE_piezo.png|550px]]<br />
<br />
<br />
<br />
'''Field Recording Manipulation:''' <br />
<br />
[[File:Control_closed_active.png|750px]]<br />
<br />
<br />
For all of the field recordings I continued to use Max MSP/Jitter and a MIDI controller to manipulate and navigate recorded audio signals. Rather than processing the sound through filters, I built a system where I am simply manipulating the speed and direction of each recorded sample. Most sounds are configured to play at a rate well below half speed and are occasionally played backward. <br />
<br />
In addition to the field recordings, I also recorded improvisational synthesizer sessions. One of the first synth recordings I made in my process used the glockenspiel voice. After some feedback, I questioned if the glockenspiel was pulling the piece in a more musical direction and whether or not I would be okay with that in relation to my interest in the evolution of sound and soundscapes. I decided I was okay with the piece becoming more musical but felt that the synth could better match the electrical and machine-made sounds already incorporated into the piece. I believe I ultimately used some sort of electric piano voice on the synth to create a droney, circular sound. Once the synth sound was in Max MSP/Jitter, I made the happy discovery that the drone sound was a friendly match with some mosquito buzzing already incorporated into the composition and committed to using the drone sound in the composition. <br />
<br />
<br />
[[File:Control_open.png|750px]]<br />
<br />
<br />
'''Video:'''<br />
<br />
[http://ssherriff.com/media/trees_layers.mp4 treep loop video]<br />
<br />
For the video, I used a looped recording of layered trees composed in Max MSP/Jitter, along with a Nano projector, a Raspberry Pi media player, and a fancy clamp that allowed me to mount the projector off of a speaker-arm in the ceiling. The Nano projector is battery powered with a long enough life that I didn't need to bother with any cabling or power routing to the projector.<br />
<br />
[[File:Clamp.png|350px]]<br />
<br />
[https://www.amazon.com/gp/product/B000ABB4HC/ref=oh_aui_detailpage_o04_s00?ie=UTF8&psc=1 PEDCO UltraClamp]<br />
<br />
<br />
<br />
'''Dry Ice:'''<br />
<br />
The dry ice component ultimately caused me a lot of duress and in the end felt like an arbitrary gesture. I was unable to work at the scale I would have liked without having to spend a ton of extra money to combat the ventilation system under the heptagon grid. I suppose I felt obligated to incorporate it somehow after spending so much time researching and sourcing the material, but am cognizant of its kitschy nature and feel unresolved around its use in this iteration of my performance research. With that said, I love the gurgling sound of the dry ice in water and would be keen to amplify and work with the sound in some form if I continue to work with dry ice in the future. <br />
<br />
<br />
<br />
[[File:Performance_img2.jpg|550px]]<br />
<br />
Performance Image Courtesy of Dave Kerr<br />
<br />
[http://ssherriff.com/media/PH_perf.mp4 Performance Documentation (Courtesy of David Kerr)]</div>Stephaniehttps://ccrma.stanford.edu/mediawiki/index.php?title=Ritualistic_Performance_System_Research&diff=21015Ritualistic Performance System Research2018-06-18T20:32:52Z<p>Stephanie: </p>
<hr />
<div><br />
[[File:Performance_img.jpg|350px]]<br />
<br />
Performance Image Courtesy of Dave Kerr<br />
<br />
<br />
''Post-human Incursion'' is a site-specific performance piece developed for the Listening Room at CCRMA. Inspired by the writing of Bernie Kraus and the work of Pauline Oliveros, the piece functions as a futuristic reflection on the evolution of sound across species, while using spacialized and manipulated field recordings to create new sonic terrain. <br />
<br />
<br />
<br />
== '''Project Overview + Development:''' ==<br />
<br />
<br />
<br />
'''Goal:'''<br />
To create a ritualistic performance system using spacialized audio signals, video, and real-time audio manipulation. <br />
<br />
<br />
'''Background:'''<br />
<br />
As part of continued research, I aim to pursue an audio/visual experience that combines spatialized field recordings, voice, video/light, and software. For this piece, I may continue to develop a proximity-based water sensor into the performance, using some sort of vessel(s), water, conductive tape, and a bare conductive microcontroller. The audio collection process will include listening, recording, and engaging with a series of natural and machine-made sounds. The piece will culminate in an audio/visual performance. <br />
<br />
<br />
'''Possible Controllers:'''<br />
<br />
[[File:water_controller.jpg|350px]]<br />
water controller prototype <br />
<br />
[[File:Mask_full.jpg|350px]]<br />
mask prototype<br />
<br />
[[File:Mask_inside.jpg|350px]]<br />
mask sensors<br />
<br />
<br />
<br />
'''WK1 -- Brainstorming + Testing'''<br />
<br />
Performance Site '''-- Listening Room'''<br />
Okay to burn / use scents? '''-- No. Issues in the past.'''<br />
Dry Ice? '''-- Could be okay. Needs ventilation.''' <br />
Max capacity in Listening Room '''-- 15-20 people'''<br />
<br />
[[File:Listening_room.jpg|350px]]<br />
<br />
<br />
'''To do:'''<br />
Bare Conductive Touch Board + Water Sensor Testing in Max <br />
Arduino code + upload to Touch Board<br />
Max MSP/Jitter + Touch Board testing<br />
Add water sensor input to video mixer patch<br />
Collect Field Recordings<br />
Fire / Machines / Energy Facility / Electrical Drone Sounds<br />
<br />
<br />
'''WK2 -- Testing + Collection'''<br />
<br />
Water Sensor Testing in Max MSP/Jitter<br />
[https://www.bareconductive.com/make/the-touch-board-maxmsp/]<br />
<br />
[[File:Bare_conductive.jpg|300px]]<br />
<br />
I managed to get data into Max from the Bare Conductive microcontroller. After a few minutes, the microcontroller seems to get overloaded and freezes. If I reload the Arduino code onto the board data starts to work in Max temporarily. This issue seems relatively consistent. My laptop also seems to be having trouble processing video and receiving data at the same time. The latency of sensor data into Max is painfully slow while video is running. Sensor response is proficient with no video processing. <br />
<br />
I will need a new laptop. This is not a surprise.<br />
<br />
<br />
'''Readings:'''<br />
<br />
<u>Keywords in Sound</u>, Chapter 15, ''Resonance'', by Veit Erlmann <br />
<br />
"...the concept of resonance, having been derived from core epistemological virtues such as intuition, observation, and experiment, names the natural mechanism governing the interaction of vibrating matter, such as strings, nerves, and air. As such, resonance is the "Other" of the self-constituting Cartesian ego as it discovers truth (of musical harmony, for instance) and reassures itself of its own existence as a thinking entity. On the other hand resonance names the very unity of body and mind that the cogitating ego must unthink before it uncovers truth."<br />
<br />
(Erlmann, page 177)<br />
<br />
<br />
<u>Keywords in Sound</u>, Chapter 17, ''Space'', by Andrew J. Eisenberg <br />
<br />
"As a phenomenon that exists at once within and beyond perceiving subjects, sound cannot but reveal social space as an artifact of material practices complexly interwoven with semiotic processes and the 'imaginations, fears, emotions, psychologies, fantasies, and dreams' that human beings bring to everything (Harvey 2006: 279; see also Lefebvre 1991)."<br />
<br />
(Eisenberg, pg 202)<br />
<br />
<br />
<u>The Soundscape: Our Sonic Environment & the Tuning of the World</u>, <br />
R. Murray Schaffer, Chapter 12, Symbolism<br />
<br />
"...water, the original life element, has the most splendid symbolism... a stream, a fountain, a river, a waterfall, the sea, each makes its unique sound but all share rich symbolism. They speak of cleansing, of purification, of refreshment, and renewal... It is symbolic of eternity... It is symbolic of change." <br />
<br />
(Schafer, page 170)<br />
<br />
<br />
"Without its tactile pressure on the face or body we cannot even tell from what direction it blows. The wind is therefore not to be trusted."<br />
<br />
(Schafer, page 170)<br />
<br />
<br />
<br />
"Modern man has sought to escape both the wind and the sea by encapsulating himself in artificial environments... The sounds of machines took on happy symbolism approximately 200 years ago, when it was realized that they could release man from his immemorial bondage to earth... power and progress... noise and power go hand in hand."<br />
<br />
(Schafer, page 178-179)<br />
<br />
<br />
'''To do:''' <br />
Research options for new laptop (2015 Macbook Pro) + Stanford support<br />
Mask controller into Max MSP/Jitter<br />
Build simple looper<br />
Edit field recordings <br />
<br />
<br />
'''WK3 -- More Testing + Collecting'''<br />
<br />
'''Simple Audio Looper Interface for Testing | Max MSP/Jitter + MIDI Controller:'''<br />
<br />
I built a simple looper patch in Max in order to start manipulating and listening to field recordings from my recent sound hunts. Lately, I've been interested in machine sounds that have similar qualities as sounds from nature... similar to how cars sound similar to the ocean, or specific electrical resonances sound like cicadas and crickets. <br />
<br />
[[File:Audio_interface.jpg|600px]]<br />
<br />
[[File:Midi_controller.jpg|600px]]<br />
<br />
[[File:audio_interface_guts.jpg|600px]]<br />
<br />
audio test -- [http://ssherriff.com/media/ritual_test.mp3]<br />
<br />
<br />
'''Readings:'''<br />
<br />
"...the wind began to funnel down from the high southern pass, gaining more forces with each passing moment... The effect wasn't a chord exactly, but rather a combination of tones, sighs, and midrange groans that played off each other, sometimes setting strange beats into resonance as they nearly matched one another in pitch... strangely dissonant. While never unpleasant, the acoustic experience was disorienting."<br />
<br />
(Kraus, pg 37)<br />
<br />
<u>The Great Animal Orchestra: Finding the Origins of Music in the World's Wild Places</u>, Bernie Kraus<br />
<br />
<br />
'''To do:''' <br />
Research 2015 Macbook Pro <br />
SLAC audio recordings<br />
Research/Source dry ice<br />
Schedule Audium visit <br />
<br />
<br />
'''WK4 --''' <br />
<br />
'''Dry Ice Safety + Costs + Storage:'''<br />
<br />
[[File:Dry_ice3.jpg|600px]]<br />
<br />
[[File:Dry ice2.jpg|600px]]<br />
<br />
[http://dryiceinfo.com/safe.htm safety]<br />
<br />
<br />
[[File:Dry ice5.jpg|550px]]<br />
<br />
[https://www.howmuchisit.org/how-much-does-dry-ice-cost/ costs]<br />
<br />
<br />
[[File:Dry_ice.jpg|600px]]<br />
<br />
[[File:Dry ice4.jpg|600px]]<br />
<br />
[http://www.eatbydate.com/other/dry-ice/ storage+]<br />
<br />
<br />
'''Searchworks Audio Finds:'''<br />
<br />
Over the past week or so, I've been reading <u>Art of Immersive Soundscapes</u> which has revitalized my interest in musique concrète. Today I spent some time digging around [http://searchworks.stanford.edu/ Searchworks] for online audio files/compilations/albums. In my hunt so far, I have found several resources that rely heavily on field recordings from nature to form audio compositions. <br />
<br />
<br />
Here are a few:<br />
<br />
[https://stanford.naxosmusiclibrary.com/catalogue/item.asp?cid=INNOVA783 ''Arctic Winds,''] Maggie Payne, 2010<br />
<br />
[https://search.alexanderstreet.com/view/work/bibliographic_entity%7Crecorded_cd%7C72954 ''Gateway Summer Sound: Abstracted Animal and Other Sounds''] Ann McMillan, 1979 <br />
<br />
[http://www.dramonline.org/albums/scott-smallwood-desert-winds-six-windblown-sound-pieces-and-other-works/player ''Desert Winds: Six Windblown Sound Pieces and Other Works,''] Scott Smallwood, 2007<br />
<br />
[https://search.alexanderstreet.com/view/work/bibliographic_entity%7Crecorded_cd%7C72140 ''Highlights of Vortex''], 1959, Smithsonian Folkways Recordings [2003]<br />
<br />
<br />
'''SLAC Site Visit:'''<br />
<br />
[[File:slac.jpg|500px]]<br />
<br />
The tour of SLAC was a bit of a disappointment, but only because I didn't fully comprehend the context of the tour. I didn't realize our MFA tour was part of a larger public tour. Unfortunately, it was nearly impossible to record an audio sample without tour-talk and human ruckus. We only visited two small areas of the facilities, which didn't really give an overall impression of the scale of the accelerometer. There were, however, some exciting/uncomfortable oscillations coming from machinery that I would like to revisit under a more sound-oriented tour of SLAC. Outside of my sound hunt, it was astounding to hear about the some of the research taking place.<br />
<br />
<br />
<br />
<br />
'''Floor Plan + Spacial Thoughts:'''<br />
<br />
[[File:LR_sketch.png|600px]]<br />
<br />
<br />
<br />
'''Light + Sound + Water Experiments:'''<br />
<br />
[http://ssherriff.com/media/wide_test.MOV]<br />
<br />
[http://ssherriff.com/media/oracle_view.MOV]<br />
<br />
[http://ssherriff.com/media/shadow_projection.MOV]<br />
<br />
<br />
<br />
'''To do:'''<br />
Visit Listening Room<br />
Contact Nando for Listening Room Orientation<br />
Contact Nette for LR keycard access<br />
Book out LR rehearsal schedule<br />
Purchase 2015 Macbook Pro<br />
<br />
<br />
'''WK5 --'''<br />
<br />
I spent this week trying to iron out logistics. I met with Nando for a Listening Room orientation and am now considering the best way to execute signal routing in the space. Nando recommended I check out the Listening Room User Manual on the CCRMA website. For now, I'm thinking I'll address each speaker individually, rather than working with ambisonics. It sounds like I'll need to use Jack to interface with my computer. Speaking of computer, I bought a laptop! It should arrive next week. I was also able to arrange keycard access to the room and am still trying to pin down scheduling for rehearsal and official performance showtimes. <br />
<br />
[[File:listening rm2 no layer.jpg|500px]]<br />
<br />
<br />
'''Possible Performance Date(s)/Times:''' <br />
<br />
'''Friday, June 1''' -- 4pm doors / 4:33pm performance<br />
OR<br />
7pm doors / 7:30pm performance<br />
<br />
'''Saturday, June 2''' -- 4pm doors / 4:33pm performance <br />
AND<br />
7pm doors / 7:30pm performance<br />
<br />
<br />
<br />
''' WK6 --'''<br />
<br />
'''Listening Room Mixing + Routing Research:'''<br />
<br />
[https://ccrma.stanford.edu/room-guides/listening-room] Listening Room User Guide]<br />
<br />
[[File:Speakers.jpg|600px]]<br />
[[File:LR_mixer.jpg|500px]]<br />
<br />
[https://ccrma.stanford.edu/software/openmixer/manual Openmixer Manual]<br />
<br />
[https://ccrma.stanford.edu/software/openmixer/manual/input_sources Input Sources]<br />
<br />
[https://ccrma.stanford.edu/software/openmixer/manual/using_jack Using Jack]<br />
<br />
<br />
'''Projection/Lighting:'''<br />
<br />
After visiting the Listening Room and looking at the infrastructure in place, I've decided not to do any screen-based projection that requires hanging additional material in the space. It will likely be a lot of work and ultimately be invasive to the experience. For now, I'd like to focus on the sound and possibly incorporate some simple caustic lighting elements. I'm considering options for reflecting light onto the grid that separates the floor from the lower level of the heptagon. This will require some sort of surface/screen that could easily be placed on the grid. I will need to be sure there is airflow so as not to cause any issues with the ventilation system which feeds into the lower level.<br />
<br />
<br />
<br />
'''To do:'''<br />
Install Max MSP/Jitter<br />
Set-up 22 Channel Routing in Max<br />
Source + Set-up RSVP Platform for Performance<br />
Contact Eoin for Listening Room Consultation <br />
Dry Ice Testing<br />
<br />
<br />
''' WK7 --'''<br />
<br />
'''Signal Routing + Listening Room Consultation:'''<br />
<br />
My new computer finally arrived and I was able to schedule some time with Eoin to test routing options in the Listening Room. I've opted to use a 16ch analog interface and Jacknet, which will magically give me access to all 22 channels. I'll need to do more specific routing in Max but was able to get a signal out of my laptop and play audio over all 22 channels with minimal head-scratching and mysterious machine behavior. Eoin is awesome. I am consistently amazed at the generosity of the CCRMA community and am so grateful to have the opportunity to interact and learn from everyone. <br />
<br />
<br />
'''Listening Room Booking + Conflicts:'''<br />
<br />
I spoke to Matt Wright about any potential overlap with SLOrk rehearsal and general usage of the Listening Room. After our conversation, it seems best to bump my performance dates back one week so as to avoid any scheduling conflicts. Matt has also been kind enough to book out the space for me overnight so I will only need to set-up and teardown once. Wooo. Yay for CCRMA peeps! <br />
<br />
<br />
'''RVSP Platform + Dates'''<br />
<br />
I've decided to use Eventbrite for RSVP distribution/tracking. I've got a draft going and am seconds away from pulling the trigger. Just need to finish up my statement about the piece, and am currently wrestling with language and an official title. So close!<br />
<br />
Friday, June 8th -- 7pm doors / 7:30pm performance<br />
Saturday, June 9th -- 4pm doors / 4:30pm performance<br />
<br />
<br />
'''Dry Ice Tests:'''<br />
<br />
Working with dry ice has been waaay more fun than I could have anticipated. With that said, I'm learning that the fun comes with a heftier fee than I originally thought... and it evaporates fairly quickly. A block of dry ice lasts for approximately 2 or 3 days at about $20 each. I've also discovered that the dry ice goes bananas until it's eaten up all of the oxygen in whatever water it's dropped into, at which point, the dry ice fizzles sadly with much less gusto. This happens fairly quickly. I think it will be fine for the performance, but it's possible I will need larger containers to house the water and dry. I've been most excited about projecting onto the dry ice and am thinking about ways to use the dry ice as the projection screen/surface for the performance. <br />
<br />
<br />
'''To do:'''<br />
Set-up Signal Routing Hierarchy in Max <br />
Publish + Distribute RVSP Invite<br />
Test Dry Ice in Listening Room<br />
Test Scent Machine in Listening Room<br />
Okay to Point Listening Room Projector Straight Down Onto Grid?<br />
Order More Fans? Dry Ice Containers / Scent Containers<br />
Edit new sounds<br />
<br />
<br />
'''WK8 --'''<br />
<br />
'''Testing + Rehearsal Findings:'''<br />
<br />
I discovered that my USB MIDI controller will not work at the same time as the USB MOTU interface I am using to route sound in the Listening Room. This is a major problem. I've contacted Eoin for advice, and am hoping that using an ethernet connection will help resolve this issue. I'm also thinking about adding a second computer into the mix, mainly because of software limitations on my new computer. I'm not sure if this is going to cause a whole heap of other headaches, but mentioned my interest to Eoin. If it seems to crazy/unreliable I'll stick with one laptop. <br />
<br />
<br />
'''Testing + Rehearsal Audio:'''<br />
<br />
[http://ssherriff.com/media/post-human_rehearsal2.mp3 Recording 1]<br />
<br />
[http://ssherriff.com/media/post-human_rehearsal.mp3 Recording 2]<br />
<br />
<br />
'''Dry Ice Testing:'''<br />
<br />
My first rounds of dry ice tests in the Listening Room proved to be somewhat unsuccessful. The ventilation system below the grid sucks all of the dry ice vapors straight down and disburses them, making it difficult to see anything interesting happening. I tried placing a container of dry ice into a secondary container with edges slightly higher than the vessel holding the dry ice. This produced some really interesting behaviors, so I'm guessing I can do something similar at a larger scale -- hopefully filling the majority of the recess in the Listening Room floor. <br />
<br />
I've been spending a good lump of time searching for containers to hold the dry ice. Whatever I use needs to be fairly large to help with the longevity of the vapors... but also not so large that it will be difficult to schlep it out of the room once the performance is over. There's also a slight chance that whatever I use to house the dry ice will be visible in some capacity, so I'm also trying to find something that is fairly simple in design... and also cheapish, since I will be covering a lot of area. I've been looking at all kinds of containers and haven't really found the right thing yet. I found something that will work, but I'm not very excited about it. <br />
<br />
For the secondary 'container' I am thinking about building out a frame that will fit inside of the heptagon. I would then line the frame with a black tarp or some sort of black fabric, leaving a few inches between the frame and the interior edge of the heptagon for air flow. <br />
<br />
Speaking of air-flow, the sound of the dry ice bubbling in the water is becoming a wonderful bonus in the soundscape of my performance. Listening to the dry ice is sort of like sitting by a babbling creek, so I could have asked for a more exciting and unexpected surprise. <br />
<br />
<br />
<br />
'''Projector Testing:''' <br />
<br />
Initially, I was thinking about using the projector that is already mounted in the Listening Room. After further examination, I realized that the throw will probably not work well for my purposes. I did some tests with one of the PICO projectors and it seems like it might work okay. It probably won't be the brightest, most vivid projection... but I think that will be okay in this case. The dry ice is awesome with even just a little bit of light on it. <br />
<br />
I bought a few small clamp mounts for any of the tiny projectors that enter into the set-up. I should be able to mount the projectors fairly easily using the rigging system in the ceiling.<br />
<br />
<br />
<br />
'''Project Statement:'''<br />
<br />
Earth frequencies are the foundation of sound-making in communication and survival for all<br />
living creatures. Insects, birds, and humans have all evolved to make sound in accordance<br />
with the landscapes in which they dwell, yet humans increasingly suffocate the soundscape,<br />
turning a blind ear to the sonic residue of industry and electromagnetic poisons.<br />
<br />
''Post-human Incursion'' is a site-specific audio/visual performance that examines how<br />
natural order might adapt soncially to human impressions on the evolution of voice across<br />
species. Through the use of spatialized and processed field recordings, ''Post-human Incursion''<br />
gestures toward a futuristic bending of familiar sonic terrain twisted by the influence of<br />
machinery. Post-human Incursion is a poetic attempt to prophesize what the future may hold<br />
in relation to the expressive abilities and survival of sounding creatures on Earth. Do<br />
birds sing differently now that they are encumbered with the ruckus of industrialized human<br />
existence?''<br />
<br />
<br />
[https://www.eventbrite.com/e/post-human-incursion-tickets-46164892436 RSVP Event Link]<br />
<br />
<br />
'''To do:'''<br />
Find door person<br />
USB MIDI controller does not currently work while running USB MOTU 16ch interface<br />
Can I use two computers -- x1 for mask / x1 for field recordings?<br />
Define performance zone / altar<br />
<br />
<br />
'''WK9 --'''<br />
<br />
'''Listening Room Tech:'''<br />
<br />
There was some mystery unplugging of a bunch of stuff in the Listening Room, which was causing some strange/inconsistent behavior. With the help and head scratching of Eoin and Nando... the mystery has been solved and things seem to be relatively stable. Phew! My MIDI controller also seems to be behaving for the most part. I've been using a power USB hub, which seems to be doing the trick, although I have a feeling the USB port on my controller is starting to get a little loose. Hopefully, it hangs in there for the performances...<br />
<br />
<br />
'''Dry Ice:'''<br />
<br />
I'm still struggling with the dry ice component of the piece. I don't think I'll be able to work at the scale I'd like, mainly due to the cost of materials. I think I've found a solution on a smaller scale, but I'm not super excited about it. Because of the scale change, it's likely I'll need to abandon the projection component. Hard to say for sure at this point, but unless some miracle ah-ha moment happens much of the visual components of the piece will be far diminished from what I would like to do in an ideal world where I'm rolling in cash and have an absorbent amount of time.<br />
<br />
<br />
'''SLOrk + Set-up:''' <br />
<br />
SLOrk moves out of the Listening Room on Wednesday evening. This means I will be able to leave things set-up and start to deal with cables and placement. In the interim, I've been doing some small lighting test and think I have a fairly simple plan for lighting including the hallway leading up to the Listening Room.<br />
<br />
<br />
'''Printed Program:''' <br />
<br />
I'm nearly finished working on a program for the performances. I think I will alter my statement to better describe all of the adjustments I've had to make and use language to indicate that it's still a work in progress. I assume it's fine to print the program at CCRMA. <br />
<br />
<br />
'''Sound:'''<br />
<br />
At this point, I'm so buried in the piece that I can no longer tell heads from tails. I've introduced a piezo as part of the altar, and have been testing various vocal utterances. Compositionally, I'm not totally sure where the piece is at or how far away I've fallen from my original intent. Currently, the piece is leaning toward something more musical than I originally imagined. I've removed the glockenspiel recording and have been working with more of a droning sound that I recorded using a synth. There's a cohesiveness to the sound, but what I've been developing is seemingly less like a soundscape even though there is an abundance of field recordings incorporated into the work. I suppose I'm feeling a little confused and could use some time away from the piece for reflection, but as is the whole shebang is feeling arbitrary and far removed... but maybe I'm too immersed in the process to see/hear it for what it is? <br />
<br />
<br />
'''To do:'''<br />
Complete Program / Print -- Do I need a code for the printer?<br />
Still trying to find a door person<br />
Lighting + Set-up<br />
Rehearsal + Testing<br />
<br />
<br />
<br />
'''WK10 + Culminating Configuration --'''<br />
<br />
'''Voice:'''<br />
<br />
[[File:Mask_inside.jpg|350px]]<br />
<br />
<br />
Ultimately, I opted not to use the sensors embedded in the mask and only incorporated the microphone into the performance system, combined with some generous filtering in Ablteon Live. The signal from the microphone was passed through a MOTU interface with access to 22 discreet channels in the Listening Room. My voice occupied channels 1-8 and a handful of channels in the ceiling and floor.<br />
<br />
<br />
[[File:LIVE_voice1.png|550px]]<br />
<br />
<br />
[[File:LIVE_voice2.png|550px]]<br />
<br />
<br />
'''Piezo Instrument:'''<br />
<br />
Because of the whole debacle with my laptop, I strayed away from experimenting with the Bare Conductive Touch Board and water in this instance. Instead, I incorporated the glass bowl from my conductivity tests to make an instrument that is comprised of a piezo, the glass bowl, metal, feathers, and software. I fed the signal into Ableton for the instrument input within the same patch as my mic. I was able to output both signals as two separate channels to the MOTU interface allowing me to route the instrument signal discreetly over the 22ch system. I chose to route the instrument to channels 1-8, and the center ceiling speaker. <br />
<br />
<br />
[[File:LIVE_piezo.png|550px]]<br />
<br />
<br />
<br />
'''Field Recording Manipulation:''' <br />
<br />
[[File:Control_closed_active.png|750px]]<br />
<br />
<br />
For all of the field recordings I continued to use Max MSP/Jitter and a MIDI controller to manipulate and navigate recorded audio signals. Rather than processing the sound through filters, I built a system where I am simply manipulating the speed and direction of each recorded sample. Most sounds are configured to play at a rate well below half speed and are occasionally played backward. <br />
<br />
In addition to the field recordings, I also recorded improvisational synthesizer sessions. One of the first synth recordings I made in my process used the glockenspiel voice. After some feedback, I questioned if the glockenspiel was pulling the piece in a more musical direction and whether or not I would be okay with that in relation to my interest in the evolution of sound and soundscapes. I decided I was okay with the piece becoming more musical but felt that the synth could better match the electrical and machine-made sounds already incorporated into the piece. I believe I ultimately used some sort of electric piano voice on the synth to create a droney, circular sound. Once the synth sound was in Max MSP/Jitter, I made the happy discovery that the drone sound was a friendly match with some mosquito buzzing already incorporated into the composition and committed to using the drone sound in the composition. <br />
<br />
<br />
[[File:Control_open.png|750px]]<br />
<br />
<br />
'''Video:'''<br />
<br />
[http://ssherriff.com/media/trees_layers.mp4 treep loop video]<br />
<br />
For the video, I used a looped recording of layered trees composed in Max MSP/Jitter, along with a Nano projector, a Raspberry Pi media player, and a fancy clamp that allowed me to mount the projector off of a speaker-arm in the ceiling. The Nano projector is battery powered with a long enough life that I didn't need to bother with any cabling or power routing to the projector.<br />
<br />
[[File:Clamp.png|350px]]<br />
<br />
[https://www.amazon.com/gp/product/B000ABB4HC/ref=oh_aui_detailpage_o04_s00?ie=UTF8&psc=1 PEDCO UltraClamp]<br />
<br />
<br />
<br />
'''Dry Ice:'''<br />
<br />
The dry ice component ultimately caused me a lot of duress and in the end felt like an arbitrary gesture. I was unable to work at the scale I would have liked without having to spend a ton of extra money to combat the ventilation system under the heptagon grid. I suppose I felt obligated to incorporate it somehow after spending so much time researching and sourcing the material, but am cognizant of its kitschy nature and feel unresolved around its use in this iteration of my performance research. With that said, I love the gurgling sound of the dry ice in water and would be keen to amplify and work with the sound in some form if I continue to work with dry ice in the future. <br />
<br />
<br />
<br />
[[File:Performance_img2.jpg|550px]]<br />
<br />
Performance Image Courtesy of Dave Kerr<br />
<br />
[http://ssherriff.com/media/PH_perf.mp4 Performance Documentation (Courtesy of David Kerr)]</div>Stephaniehttps://ccrma.stanford.edu/mediawiki/index.php?title=Ritualistic_Performance_System_Research&diff=21014Ritualistic Performance System Research2018-06-18T20:31:30Z<p>Stephanie: </p>
<hr />
<div><br />
[[File:Performance_img.jpg|350px]]<br />
<br />
Performance Image Courtesy of Dave Kerr<br />
<br />
<br />
''Post-human Incursion'' is a site-specific performance piece developed for the Listening Room at CCRMA. Inspired by the writing of Bernie Kraus and the work of Pauline Oliveros, the piece functions as a futuristic reflection on the evolution of sound across species, while using spacialized and manipulated field recordings to create new sonic terrain. <br />
<br />
<br />
<br />
== '''Project Overview + Development:''' ==<br />
<br />
<br />
<br />
'''Goal:'''<br />
To create a ritualistic performance system using spacialized audio signals, video, and real-time audio manipulation. <br />
<br />
<br />
'''Background:'''<br />
<br />
As part of continued research, I aim to pursue an audio/visual experience that combines spatialized field recordings, voice, video/light, and software. For this piece, I may continue to develop a proximity-based water sensor into the performance, using some sort of vessel(s), water, conductive tape, and a bare conductive microcontroller. The audio collection process will include listening, recording, and engaging with a series of natural and machine-made sounds. The piece will culminate in an audio/visual performance. <br />
<br />
<br />
'''Possible Controllers:'''<br />
<br />
[[File:water_controller.jpg|350px]]<br />
water controller prototype <br />
<br />
[[File:Mask_full.jpg|350px]]<br />
mask prototype<br />
<br />
[[File:Mask_inside.jpg|350px]]<br />
mask sensors<br />
<br />
<br />
<br />
'''WK1 -- Brainstorming + Testing'''<br />
<br />
Performance Site '''-- Listening Room'''<br />
Okay to burn / use scents? '''-- No. Issues in the past.'''<br />
Dry Ice? '''-- Could be okay. Needs ventilation.''' <br />
Max capacity in Listening Room '''-- 15-20 people'''<br />
<br />
[[File:Listening_room.jpg|350px]]<br />
<br />
<br />
'''To do:'''<br />
Bare Conductive Touch Board + Water Sensor Testing in Max <br />
Arduino code + upload to Touch Board<br />
Max MSP/Jitter + Touch Board testing<br />
Add water sensor input to video mixer patch<br />
Collect Field Recordings<br />
Fire / Machines / Energy Facility / Electrical Drone Sounds<br />
<br />
<br />
'''WK2 -- Testing + Collection'''<br />
<br />
Water Sensor Testing in Max MSP/Jitter<br />
[https://www.bareconductive.com/make/the-touch-board-maxmsp/]<br />
<br />
[[File:Bare_conductive.jpg|300px]]<br />
<br />
I managed to get data into Max from the Bare Conductive microcontroller. After a few minutes, the microcontroller seems to get overloaded and freezes. If I reload the Arduino code onto the board data starts to work in Max temporarily. This issue seems relatively consistent. My laptop also seems to be having trouble processing video and receiving data at the same time. The latency of sensor data into Max is painfully slow while video is running. Sensor response is proficient with no video processing. <br />
<br />
I will need a new laptop. This is not a surprise.<br />
<br />
<br />
'''Readings:'''<br />
<br />
<u>Keywords in Sound</u>, Chapter 15, ''Resonance'', by Veit Erlmann <br />
<br />
"...the concept of resonance, having been derived from core epistemological virtues such as intuition, observation, and experiment, names the natural mechanism governing the interaction of vibrating matter, such as strings, nerves, and air. As such, resonance is the "Other" of the self-constituting Cartesian ego as it discovers truth (of musical harmony, for instance) and reassures itself of its own existence as a thinking entity. On the other hand resonance names the very unity of body and mind that the cogitating ego must unthink before it uncovers truth."<br />
<br />
(Erlmann, page 177)<br />
<br />
<br />
<u>Keywords in Sound</u>, Chapter 17, ''Space'', by Andrew J. Eisenberg <br />
<br />
"As a phenomenon that exists at once within and beyond perceiving subjects, sound cannot but reveal social space as an artifact of material practices complexly interwoven with semiotic processes and the 'imaginations, fears, emotions, psychologies, fantasies, and dreams' that human beings bring to everything (Harvey 2006: 279; see also Lefebvre 1991)."<br />
<br />
(Eisenberg, pg 202)<br />
<br />
<br />
<u>The Soundscape: Our Sonic Environment & the Tuning of the World</u>, <br />
R. Murray Schaffer, Chapter 12, Symbolism<br />
<br />
"...water, the original life element, has the most splendid symbolism... a stream, a fountain, a river, a waterfall, the sea, each makes its unique sound but all share rich symbolism. They speak of cleansing, of purification, of refreshment, and renewal... It is symbolic of eternity... It is symbolic of change." <br />
<br />
(Schafer, page 170)<br />
<br />
<br />
"Without its tactile pressure on the face or body we cannot even tell from what direction it blows. The wind is therefore not to be trusted."<br />
<br />
(Schafer, page 170)<br />
<br />
<br />
<br />
"Modern man has sought to escape both the wind and the sea by encapsulating himself in artificial environments... The sounds of machines took on happy symbolism approximately 200 years ago, when it was realized that they could release man from his immemorial bondage to earth... power and progress... noise and power go hand in hand."<br />
<br />
(Schafer, page 178-179)<br />
<br />
<br />
'''To do:''' <br />
Research options for new laptop (2015 Macbook Pro) + Stanford support<br />
Mask controller into Max MSP/Jitter<br />
Build simple looper<br />
Edit field recordings <br />
<br />
<br />
'''WK3 -- More Testing + Collecting'''<br />
<br />
'''Simple Audio Looper Interface for Testing | Max MSP/Jitter + MIDI Controller:'''<br />
<br />
I built a simple looper patch in Max in order to start manipulating and listening to field recordings from my recent sound hunts. Lately, I've been interested in machine sounds that have similar qualities as sounds from nature... similar to how cars sound similar to the ocean, or specific electrical resonances sound like cicadas and crickets. <br />
<br />
[[File:Audio_interface.jpg|600px]]<br />
<br />
[[File:Midi_controller.jpg|600px]]<br />
<br />
[[File:audio_interface_guts.jpg|600px]]<br />
<br />
audio test -- [http://ssherriff.com/media/ritual_test.mp3]<br />
<br />
<br />
'''Readings:'''<br />
<br />
"...the wind began to funnel down from the high southern pass, gaining more forces with each passing moment... The effect wasn't a chord exactly, but rather a combination of tones, sighs, and midrange groans that played off each other, sometimes setting strange beats into resonance as they nearly matched one another in pitch... strangely dissonant. While never unpleasant, the acoustic experience was disorienting."<br />
<br />
(Kraus, pg 37)<br />
<br />
<u>The Great Animal Orchestra: Finding the Origins of Music in the World's Wild Places</u>, Bernie Kraus<br />
<br />
<br />
'''To do:''' <br />
Research 2015 Macbook Pro <br />
SLAC audio recordings<br />
Research/Source dry ice<br />
Schedule Audium visit <br />
<br />
<br />
'''WK4 --''' <br />
<br />
'''Dry Ice Safety + Costs + Storage:'''<br />
<br />
[[File:Dry_ice3.jpg|600px]]<br />
<br />
[[File:Dry ice2.jpg|600px]]<br />
<br />
[http://dryiceinfo.com/safe.htm safety]<br />
<br />
<br />
[[File:Dry ice5.jpg|550px]]<br />
<br />
[https://www.howmuchisit.org/how-much-does-dry-ice-cost/ costs]<br />
<br />
<br />
[[File:Dry_ice.jpg|600px]]<br />
<br />
[[File:Dry ice4.jpg|600px]]<br />
<br />
[http://www.eatbydate.com/other/dry-ice/ storage+]<br />
<br />
<br />
'''Searchworks Audio Finds:'''<br />
<br />
Over the past week or so, I've been reading <u>Art of Immersive Soundscapes</u> which has revitalized my interest in musique concrète. Today I spent some time digging around [http://searchworks.stanford.edu/ Searchworks] for online audio files/compilations/albums. In my hunt so far, I have found several resources that rely heavily on field recordings from nature to form audio compositions. <br />
<br />
<br />
Here are a few:<br />
<br />
[https://stanford.naxosmusiclibrary.com/catalogue/item.asp?cid=INNOVA783 ''Arctic Winds,''] Maggie Payne, 2010<br />
<br />
[https://search.alexanderstreet.com/view/work/bibliographic_entity%7Crecorded_cd%7C72954 ''Gateway Summer Sound: Abstracted Animal and Other Sounds''] Ann McMillan, 1979 <br />
<br />
[http://www.dramonline.org/albums/scott-smallwood-desert-winds-six-windblown-sound-pieces-and-other-works/player ''Desert Winds: Six Windblown Sound Pieces and Other Works,''] Scott Smallwood, 2007<br />
<br />
[https://search.alexanderstreet.com/view/work/bibliographic_entity%7Crecorded_cd%7C72140 ''Highlights of Vortex''], 1959, Smithsonian Folkways Recordings [2003]<br />
<br />
<br />
'''SLAC Site Visit:'''<br />
<br />
[[File:slac.jpg|500px]]<br />
<br />
The tour of SLAC was a bit of a disappointment, but only because I didn't fully comprehend the context of the tour. I didn't realize our MFA tour was part of a larger public tour. Unfortunately, it was nearly impossible to record an audio sample without tour-talk and human ruckus. We only visited two small areas of the facilities, which didn't really give an overall impression of the scale of the accelerometer. There were, however, some exciting/uncomfortable oscillations coming from machinery that I would like to revisit under a more sound-oriented tour of SLAC. Outside of my sound hunt, it was astounding to hear about the some of the research taking place.<br />
<br />
<br />
<br />
<br />
'''Floor Plan + Spacial Thoughts:'''<br />
<br />
[[File:LR_sketch.png|600px]]<br />
<br />
<br />
<br />
'''Light + Sound + Water Experiments:'''<br />
<br />
[http://ssherriff.com/media/wide_test.MOV]<br />
<br />
[http://ssherriff.com/media/oracle_view.MOV]<br />
<br />
[http://ssherriff.com/media/shadow_projection.MOV]<br />
<br />
<br />
<br />
'''To do:'''<br />
Visit Listening Room<br />
Contact Nando for Listening Room Orientation<br />
Contact Nette for LR keycard access<br />
Book out LR rehearsal schedule<br />
Purchase 2015 Macbook Pro<br />
<br />
<br />
'''WK5 --'''<br />
<br />
I spent this week trying to iron out logistics. I met with Nando for a Listening Room orientation and am now considering the best way to execute signal routing in the space. Nando recommended I check out the Listening Room User Manual on the CCRMA website. For now, I'm thinking I'll address each speaker individually, rather than working with ambisonics. It sounds like I'll need to use Jack to interface with my computer. Speaking of computer, I bought a laptop! It should arrive next week. I was also able to arrange keycard access to the room and am still trying to pin down scheduling for rehearsal and official performance showtimes. <br />
<br />
[[File:listening rm2 no layer.jpg|500px]]<br />
<br />
<br />
'''Possible Performance Date(s)/Times:''' <br />
<br />
'''Friday, June 1''' -- 4pm doors / 4:33pm performance<br />
OR<br />
7pm doors / 7:30pm performance<br />
<br />
'''Saturday, June 2''' -- 4pm doors / 4:33pm performance <br />
AND<br />
7pm doors / 7:30pm performance<br />
<br />
<br />
<br />
''' WK6 --'''<br />
<br />
'''Listening Room Mixing + Routing Research:'''<br />
<br />
[https://ccrma.stanford.edu/room-guides/listening-room] Listening Room User Guide]<br />
<br />
[[File:Speakers.jpg|600px]]<br />
[[File:LR_mixer.jpg|500px]]<br />
<br />
[https://ccrma.stanford.edu/software/openmixer/manual Openmixer Manual]<br />
<br />
[https://ccrma.stanford.edu/software/openmixer/manual/input_sources Input Sources]<br />
<br />
[https://ccrma.stanford.edu/software/openmixer/manual/using_jack Using Jack]<br />
<br />
<br />
'''Projection/Lighting:'''<br />
<br />
After visiting the Listening Room and looking at the infrastructure in place, I've decided not to do any screen-based projection that requires hanging additional material in the space. It will likely be a lot of work and ultimately be invasive to the experience. For now, I'd like to focus on the sound and possibly incorporate some simple caustic lighting elements. I'm considering options for reflecting light onto the grid that separates the floor from the lower level of the heptagon. This will require some sort of surface/screen that could easily be placed on the grid. I will need to be sure there is airflow so as not to cause any issues with the ventilation system which feeds into the lower level.<br />
<br />
<br />
<br />
'''To do:'''<br />
Install Max MSP/Jitter<br />
Set-up 22 Channel Routing in Max<br />
Source + Set-up RSVP Platform for Performance<br />
Contact Eoin for Listening Room Consultation <br />
Dry Ice Testing<br />
<br />
<br />
''' WK7 --'''<br />
<br />
'''Signal Routing + Listening Room Consultation:'''<br />
<br />
My new computer finally arrived and I was able to schedule some time with Eoin to test routing options in the Listening Room. I've opted to use a 16ch analog interface and Jacknet, which will magically give me access to all 22 channels. I'll need to do more specific routing in Max but was able to get a signal out of my laptop and play audio over all 22 channels with minimal head-scratching and mysterious machine behavior. Eoin is awesome. I am consistently amazed at the generosity of the CCRMA community and am so grateful to have the opportunity to interact and learn from everyone. <br />
<br />
<br />
'''Listening Room Booking + Conflicts:'''<br />
<br />
I spoke to Matt Wright about any potential overlap with SLOrk rehearsal and general usage of the Listening Room. After our conversation, it seems best to bump my performance dates back one week so as to avoid any scheduling conflicts. Matt has also been kind enough to book out the space for me overnight so I will only need to set-up and teardown once. Wooo. Yay for CCRMA peeps! <br />
<br />
<br />
'''RVSP Platform + Dates'''<br />
<br />
I've decided to use Eventbrite for RSVP distribution/tracking. I've got a draft going and am seconds away from pulling the trigger. Just need to finish up my statement about the piece, and am currently wrestling with language and an official title. So close!<br />
<br />
Friday, June 8th -- 7pm doors / 7:30pm performance<br />
Saturday, June 9th -- 4pm doors / 4:30pm performance<br />
<br />
<br />
'''Dry Ice Tests:'''<br />
<br />
Working with dry ice has been waaay more fun than I could have anticipated. With that said, I'm learning that the fun comes with a heftier fee than I originally thought... and it evaporates fairly quickly. A block of dry ice lasts for approximately 2 or 3 days at about $20 each. I've also discovered that the dry ice goes bananas until it's eaten up all of the oxygen in whatever water it's dropped into, at which point, the dry ice fizzles sadly with much less gusto. This happens fairly quickly. I think it will be fine for the performance, but it's possible I will need larger containers to house the water and dry. I've been most excited about projecting onto the dry ice and am thinking about ways to use the dry ice as the projection screen/surface for the performance. <br />
<br />
<br />
'''To do:'''<br />
Set-up Signal Routing Hierarchy in Max <br />
Publish + Distribute RVSP Invite<br />
Test Dry Ice in Listening Room<br />
Test Scent Machine in Listening Room<br />
Okay to Point Listening Room Projector Straight Down Onto Grid?<br />
Order More Fans? Dry Ice Containers / Scent Containers<br />
Edit new sounds<br />
<br />
<br />
'''WK8 --'''<br />
<br />
'''Testing + Rehearsal Findings:'''<br />
<br />
I discovered that my USB MIDI controller will not work at the same time as the USB MOTU interface I am using to route sound in the Listening Room. This is a major problem. I've contacted Eoin for advice, and am hoping that using an ethernet connection will help resolve this issue. I'm also thinking about adding a second computer into the mix, mainly because of software limitations on my new computer. I'm not sure if this is going to cause a whole heap of other headaches, but mentioned my interest to Eoin. If it seems to crazy/unreliable I'll stick with one laptop. <br />
<br />
<br />
'''Testing + Rehearsal Audio:'''<br />
<br />
[http://ssherriff.com/media/post-human_rehearsal2.mp3 Recording 1]<br />
<br />
[http://ssherriff.com/media/post-human_rehearsal.mp3 Recording 2]<br />
<br />
<br />
'''Dry Ice Testing:'''<br />
<br />
My first rounds of dry ice tests in the Listening Room proved to be somewhat unsuccessful. The ventilation system below the grid sucks all of the dry ice vapors straight down and disburses them, making it difficult to see anything interesting happening. I tried placing a container of dry ice into a secondary container with edges slightly higher than the vessel holding the dry ice. This produced some really interesting behaviors, so I'm guessing I can do something similar at a larger scale -- hopefully filling the majority of the recess in the Listening Room floor. <br />
<br />
I've been spending a good lump of time searching for containers to hold the dry ice. Whatever I use needs to be fairly large to help with the longevity of the vapors... but also not so large that it will be difficult to schlep it out of the room once the performance is over. There's also a slight chance that whatever I use to house the dry ice will be visible in some capacity, so I'm also trying to find something that is fairly simple in design... and also cheapish, since I will be covering a lot of area. I've been looking at all kinds of containers and haven't really found the right thing yet. I found something that will work, but I'm not very excited about it. <br />
<br />
For the secondary 'container' I am thinking about building out a frame that will fit inside of the heptagon. I would then line the frame with a black tarp or some sort of black fabric, leaving a few inches between the frame and the interior edge of the heptagon for air flow. <br />
<br />
Speaking of air-flow, the sound of the dry ice bubbling in the water is becoming a wonderful bonus in the soundscape of my performance. Listening to the dry ice is sort of like sitting by a babbling creek, so I could have asked for a more exciting and unexpected surprise. <br />
<br />
<br />
<br />
'''Projector Testing:''' <br />
<br />
Initially, I was thinking about using the projector that is already mounted in the Listening Room. After further examination, I realized that the throw will probably not work well for my purposes. I did some tests with one of the PICO projectors and it seems like it might work okay. It probably won't be the brightest, most vivid projection... but I think that will be okay in this case. The dry ice is awesome with even just a little bit of light on it. <br />
<br />
I bought a few small clamp mounts for any of the tiny projectors that enter into the set-up. I should be able to mount the projectors fairly easily using the rigging system in the ceiling.<br />
<br />
<br />
<br />
'''Project Statement:'''<br />
<br />
Earth frequencies are the foundation of sound-making in communication and survival for all<br />
living creatures. Insects, birds, and humans have all evolved to make sound in accordance<br />
with the landscapes in which they dwell, yet humans increasingly suffocate the soundscape,<br />
turning a blind ear to the sonic residue of industry and electromagnetic poisons.<br />
<br />
''Post-human Incursion'' is a site-specific audio/visual performance that examines how<br />
natural order might adapt soncially to human impressions on the evolution of voice across<br />
species. Through the use of spatialized and processed field recordings, ''Post-human Incursion''<br />
gestures toward a futuristic bending of familiar sonic terrain twisted by the influence of<br />
machinery. Post-human Incursion is a poetic attempt to prophesize what the future may hold<br />
in relation to the expressive abilities and survival of sounding creatures on Earth. Do<br />
birds sing differently now that they are encumbered with the ruckus of industrialized human<br />
existence?''<br />
<br />
<br />
[https://www.eventbrite.com/e/post-human-incursion-tickets-46164892436 RSVP Event Link]<br />
<br />
<br />
'''To do:'''<br />
Find door person<br />
USB MIDI controller does not currently work while running USB MOTU 16ch interface<br />
Can I use two computers -- x1 for mask / x1 for field recordings?<br />
Define performance zone / altar<br />
<br />
<br />
'''WK9 --'''<br />
<br />
'''Listening Room Tech:'''<br />
<br />
There was some mystery unplugging of a bunch of stuff in the Listening Room, which was causing some strange/inconsistent behavior. With the help and head scratching of Eoin and Nando... the mystery has been solved and things seem to be relatively stable. Phew! My MIDI controller also seems to be behaving for the most part. I've been using a power USB hub, which seems to be doing the trick, although I have a feeling the USB port on my controller is starting to get a little loose. Hopefully, it hangs in there for the performances...<br />
<br />
<br />
'''Dry Ice:'''<br />
<br />
I'm still struggling with the dry ice component of the piece. I don't think I'll be able to work at the scale I'd like, mainly due to the cost of materials. I think I've found a solution on a smaller scale, but I'm not super excited about it. Because of the scale change, it's likely I'll need to abandon the projection component. Hard to say for sure at this point, but unless some miracle ah-ha moment happens much of the visual components of the piece will be far diminished from what I would like to do in an ideal world where I'm rolling in cash and have an absorbent amount of time.<br />
<br />
<br />
'''SLOrk + Set-up:''' <br />
<br />
SLOrk moves out of the Listening Room on Wednesday evening. This means I will be able to leave things set-up and start to deal with cables and placement. In the interim, I've been doing some small lighting test and think I have a fairly simple plan for lighting including the hallway leading up to the Listening Room.<br />
<br />
<br />
'''Printed Program:''' <br />
<br />
I'm nearly finished working on a program for the performances. I think I will alter my statement to better describe all of the adjustments I've had to make and use language to indicate that it's still a work in progress. I assume it's fine to print the program at CCRMA. <br />
<br />
<br />
'''Sound:'''<br />
<br />
At this point, I'm so buried in the piece that I can no longer tell heads from tails. I've introduced a piezo as part of the altar, and have been testing various vocal utterances. Compositionally, I'm not totally sure where the piece is at or how far away I've fallen from my original intent. Currently, the piece is leaning toward something more musical than I originally imagined. I've removed the glockenspiel recording and have been working with more of a droning sound that I recorded using a synth. There's a cohesiveness to the sound, but what I've been developing is seemingly less like a soundscape even though there is an abundance of field recordings incorporated into the work. I suppose I'm feeling a little confused and could use some time away from the piece for reflection, but as is the whole shebang is feeling arbitrary and far removed... but maybe I'm too immersed in the process to see/hear it for what it is? <br />
<br />
<br />
'''To do:'''<br />
Complete Program / Print -- Do I need a code for the printer?<br />
Still trying to find a door person<br />
Lighting + Set-up<br />
Rehearsal + Testing<br />
<br />
<br />
<br />
'''WK10 -- Culminating Configuration'''<br />
<br />
'''Voice:'''<br />
<br />
[[File:Mask_inside.jpg|350px]]<br />
<br />
<br />
Ultimately, I opted not to use the sensors embedded in the mask and only incorporated the microphone into the performance system, combined with some generous filtering in Ablteon Live. The signal from the microphone was passed through a MOTU interface with access to 22 discreet channels in the Listening Room. My voice occupied channels 1-8 and a handful of channels in the ceiling and floor.<br />
<br />
<br />
[[File:LIVE_voice1.png|550px]]<br />
<br />
<br />
[[File:LIVE_voice2.png|550px]]<br />
<br />
<br />
'''Piezo Instrument:'''<br />
<br />
Because of the whole debacle with my laptop, I strayed away from experimenting with the Bare Conductive Touch Board and water in this instance. Instead, I incorporated the glass bowl from my conductivity tests to make an instrument that is comprised of a piezo, the glass bowl, metal, feathers, and software. I fed the signal into Ableton for the instrument input within the same patch as my mic. I was able to output both signals as two separate channels to the MOTU interface allowing me to route the instrument signal discreetly over the 22ch system. I chose to route the instrument to channels 1-8, and the center ceiling speaker. <br />
<br />
<br />
[[File:LIVE_piezo.png|550px]]<br />
<br />
<br />
<br />
'''Field Recording Manipulation:''' <br />
<br />
[[File:Control_closed_active.png|750px]]<br />
<br />
<br />
For all of the field recordings I continued to use Max MSP/Jitter and a MIDI controller to manipulate and navigate recorded audio signals. Rather than processing the sound through filters, I built a system where I am simply manipulating the speed and direction of each recorded sample. Most sounds are configured to play at a rate well below half speed and are occasionally played backward. <br />
<br />
In addition to the field recordings, I also recorded improvisational synthesizer sessions. One of the first synth recordings I made in my process used the glockenspiel voice. After some feedback, I questioned if the glockenspiel was pulling the piece in a more musical direction and whether or not I would be okay with that in relation to my interest in the evolution of sound and soundscapes. I decided I was okay with the piece becoming more musical but felt that the synth could better match the electrical and machine-made sounds already incorporated into the piece. I believe I ultimately used some sort of electric piano voice on the synth to create a droney, circular sound. Once the synth sound was in Max MSP/Jitter, I made the happy discovery that the drone sound was a friendly match with some mosquito buzzing already incorporated into the composition and committed to using the drone sound in the composition. <br />
<br />
<br />
[[File:Control_open.png|750px]]<br />
<br />
<br />
'''Video:'''<br />
<br />
[http://ssherriff.com/media/trees_layers.mp4 treep loop video]<br />
<br />
For the video, I used a looped recording of layered trees composed in Max MSP/Jitter, along with a Nano projector, a Raspberry Pi media player, and a fancy clamp that allowed me to mount the projector off of a speaker-arm in the ceiling. The Nano projector is battery powered with a long enough life that I didn't need to bother with any cabling or power routing to the projector.<br />
<br />
[[File:Clamp.png|350px]]<br />
<br />
[https://www.amazon.com/gp/product/B000ABB4HC/ref=oh_aui_detailpage_o04_s00?ie=UTF8&psc=1 PEDCO UltraClamp]<br />
<br />
<br />
<br />
'''Dry Ice:'''<br />
<br />
The dry ice component ultimately caused me a lot of duress and in the end felt like an arbitrary gesture. I was unable to work at the scale I would have liked without having to spend a ton of extra money to combat the ventilation system under the heptagon grid. I suppose I felt obligated to incorporate it somehow after spending so much time researching and sourcing the material, but am cognizant of its kitschy nature and feel unresolved around its use in this iteration of my performance research. With that said, I love the gurgling sound of the dry ice in water and would be keen to amplify and work with the sound in some form if I continue to work with dry ice in the future. <br />
<br />
<br />
<br />
[[File:Performance_img2.jpg|550px]]<br />
<br />
Performance Image Courtesy of Dave Kerr<br />
<br />
[http://ssherriff.com/media/PH_perf.mp4 Performance Documentation (Courtesy of David Kerr)]</div>Stephaniehttps://ccrma.stanford.edu/mediawiki/index.php?title=Ritualistic_Performance_System_Research&diff=21013Ritualistic Performance System Research2018-06-18T20:28:08Z<p>Stephanie: </p>
<hr />
<div><br />
[[File:Performance_img.jpg|350px]]<br />
<br />
Performance Image Courtesy of Dave Kerr<br />
<br />
<br />
''Post-human Incursion'' is a site-specific performance piece developed for the Listening Room at CCRMA. Inspired by the writing of Bernie Kraus and the work of Pauline Oliveros, the piece functions as a futuristic reflection on the evolution of sound across species, while using spacialized and manipulated field recordings to create new sonic terrain. <br />
<br />
<br />
<br />
== '''Project Overview + Development:''' ==<br />
<br />
<br />
<br />
'''Goal:'''<br />
To create a ritualistic performance system using spacialized audio signals, video, and real-time audio manipulation. <br />
<br />
<br />
'''Background:'''<br />
<br />
As part of continued research, I aim to pursue an audio/visual experience that combines spatialized field recordings, voice, video/light, and software. For this piece, I may continue to develop a proximity-based water sensor into the performance, using some sort of vessel(s), water, conductive tape, and a bare conductive microcontroller. The audio collection process will include listening, recording, and engaging with a series of natural and machine-made sounds. The piece will culminate in an audio/visual performance. <br />
<br />
<br />
'''Possible Controllers:'''<br />
<br />
[[File:water_controller.jpg|350px]]<br />
water controller prototype <br />
<br />
[[File:Mask_full.jpg|350px]]<br />
mask prototype<br />
<br />
[[File:Mask_inside.jpg|350px]]<br />
mask sensors<br />
<br />
<br />
<br />
'''WK1 -- Brainstorming + Testing'''<br />
<br />
Performance Site '''-- Listening Room'''<br />
Okay to burn / use scents? '''-- No. Issues in the past.'''<br />
Dry Ice? '''-- Could be okay. Needs ventilation.''' <br />
Max capacity in Listening Room '''-- 15-20 people'''<br />
<br />
[[File:Listening_room.jpg|350px]]<br />
<br />
<br />
'''To do:'''<br />
Bare Conductive Touch Board + Water Sensor Testing in Max <br />
Arduino code + upload to Touch Board<br />
Max MSP/Jitter + Touch Board testing<br />
Add water sensor input to video mixer patch<br />
Collect Field Recordings<br />
Fire / Machines / Energy Facility / Electrical Drone Sounds<br />
<br />
<br />
'''WK2 -- Testing + Collection'''<br />
<br />
Water Sensor Testing in Max MSP/Jitter<br />
[https://www.bareconductive.com/make/the-touch-board-maxmsp/]<br />
<br />
[[File:Bare_conductive.jpg|300px]]<br />
<br />
I managed to get data into Max from the Bare Conductive microcontroller. After a few minutes, the microcontroller seems to get overloaded and freezes. If I reload the Arduino code onto the board data starts to work in Max temporarily. This issue seems relatively consistent. My laptop also seems to be having trouble processing video and receiving data at the same time. The latency of sensor data into Max is painfully slow while video is running. Sensor response is proficient with no video processing. <br />
<br />
I will need a new laptop. This is not a surprise.<br />
<br />
<br />
'''Readings:'''<br />
<br />
<u>Keywords in Sound</u>, Chapter 15, ''Resonance'', by Veit Erlmann <br />
<br />
"...the concept of resonance, having been derived from core epistemological virtues such as intuition, observation, and experiment, names the natural mechanism governing the interaction of vibrating matter, such as strings, nerves, and air. As such, resonance is the "Other" of the self-constituting Cartesian ego as it discovers truth (of musical harmony, for instance) and reassures itself of its own existence as a thinking entity. On the other hand resonance names the very unity of body and mind that the cogitating ego must unthink before it uncovers truth."<br />
<br />
(Erlmann, page 177)<br />
<br />
<br />
<u>Keywords in Sound</u>, Chapter 17, ''Space'', by Andrew J. Eisenberg <br />
<br />
"As a phenomenon that exists at once within and beyond perceiving subjects, sound cannot but reveal social space as an artifact of material practices complexly interwoven with semiotic processes and the 'imaginations, fears, emotions, psychologies, fantasies, and dreams' that human beings bring to everything (Harvey 2006: 279; see also Lefebvre 1991)."<br />
<br />
(Eisenberg, pg 202)<br />
<br />
<br />
<u>The Soundscape: Our Sonic Environment & the Tuning of the World</u>, <br />
R. Murray Schaffer, Chapter 12, Symbolism<br />
<br />
"...water, the original life element, has the most splendid symbolism... a stream, a fountain, a river, a waterfall, the sea, each makes its unique sound but all share rich symbolism. They speak of cleansing, of purification, of refreshment, and renewal... It is symbolic of eternity... It is symbolic of change." <br />
<br />
(Schafer, page 170)<br />
<br />
<br />
"Without its tactile pressure on the face or body we cannot even tell from what direction it blows. The wind is therefore not to be trusted."<br />
<br />
(Schafer, page 170)<br />
<br />
<br />
<br />
"Modern man has sought to escape both the wind and the sea by encapsulating himself in artificial environments... The sounds of machines took on happy symbolism approximately 200 years ago, when it was realized that they could release man from his immemorial bondage to earth... power and progress... noise and power go hand in hand."<br />
<br />
(Schafer, page 178-179)<br />
<br />
<br />
'''To do:''' <br />
Research options for new laptop (2015 Macbook Pro) + Stanford support<br />
Mask controller into Max MSP/Jitter<br />
Build simple looper<br />
Edit field recordings <br />
<br />
<br />
'''WK3 -- More Testing + Collecting'''<br />
<br />
'''Simple Audio Looper Interface for Testing | Max MSP/Jitter + MIDI Controller:'''<br />
<br />
I built a simple looper patch in Max in order to start manipulating and listening to field recordings from my recent sound hunts. Lately, I've been interested in machine sounds that have similar qualities as sounds from nature... similar to how cars sound similar to the ocean, or specific electrical resonances sound like cicadas and crickets. <br />
<br />
[[File:Audio_interface.jpg|600px]]<br />
<br />
[[File:Midi_controller.jpg|600px]]<br />
<br />
[[File:audio_interface_guts.jpg|600px]]<br />
<br />
audio test -- [http://ssherriff.com/media/ritual_test.mp3]<br />
<br />
<br />
'''Readings:'''<br />
<br />
"...the wind began to funnel down from the high southern pass, gaining more forces with each passing moment... The effect wasn't a chord exactly, but rather a combination of tones, sighs, and midrange groans that played off each other, sometimes setting strange beats into resonance as they nearly matched one another in pitch... strangely dissonant. While never unpleasant, the acoustic experience was disorienting."<br />
<br />
(Kraus, pg 37)<br />
<br />
<u>The Great Animal Orchestra: Finding the Origins of Music in the World's Wild Places</u>, Bernie Kraus<br />
<br />
<br />
'''To do:''' <br />
Research 2015 Macbook Pro <br />
SLAC audio recordings<br />
Research/Source dry ice<br />
Schedule Audium visit <br />
<br />
<br />
'''WK4 --''' <br />
<br />
'''Dry Ice Safety + Costs + Storage:'''<br />
<br />
[[File:Dry_ice3.jpg|600px]]<br />
<br />
[[File:Dry ice2.jpg|600px]]<br />
<br />
[http://dryiceinfo.com/safe.htm safety]<br />
<br />
<br />
[[File:Dry ice5.jpg|550px]]<br />
<br />
[https://www.howmuchisit.org/how-much-does-dry-ice-cost/ costs]<br />
<br />
<br />
[[File:Dry_ice.jpg|600px]]<br />
<br />
[[File:Dry ice4.jpg|600px]]<br />
<br />
[http://www.eatbydate.com/other/dry-ice/ storage+]<br />
<br />
<br />
'''Searchworks Audio Finds:'''<br />
<br />
Over the past week or so, I've been reading <u>Art of Immersive Soundscapes</u> which has revitalized my interest in musique concrète. Today I spent some time digging around [http://searchworks.stanford.edu/ Searchworks] for online audio files/compilations/albums. In my hunt so far, I have found several resources that rely heavily on field recordings from nature to form audio compositions. <br />
<br />
<br />
Here are a few:<br />
<br />
[https://stanford.naxosmusiclibrary.com/catalogue/item.asp?cid=INNOVA783 ''Arctic Winds,''] Maggie Payne, 2010<br />
<br />
[https://search.alexanderstreet.com/view/work/bibliographic_entity%7Crecorded_cd%7C72954 ''Gateway Summer Sound: Abstracted Animal and Other Sounds''] Ann McMillan, 1979 <br />
<br />
[http://www.dramonline.org/albums/scott-smallwood-desert-winds-six-windblown-sound-pieces-and-other-works/player ''Desert Winds: Six Windblown Sound Pieces and Other Works,''] Scott Smallwood, 2007<br />
<br />
[https://search.alexanderstreet.com/view/work/bibliographic_entity%7Crecorded_cd%7C72140 ''Highlights of Vortex''], 1959, Smithsonian Folkways Recordings [2003]<br />
<br />
<br />
'''SLAC Site Visit:'''<br />
<br />
[[File:slac.jpg|500px]]<br />
<br />
The tour of SLAC was a bit of a disappointment, but only because I didn't fully comprehend the context of the tour. I didn't realize our MFA tour was part of a larger public tour. Unfortunately, it was nearly impossible to record an audio sample without tour-talk and human ruckus. We only visited two small areas of the facilities, which didn't really give an overall impression of the scale of the accelerometer. There were, however, some exciting/uncomfortable oscillations coming from machinery that I would like to revisit under a more sound-oriented tour of SLAC. Outside of my sound hunt, it was astounding to hear about the some of the research taking place.<br />
<br />
<br />
<br />
<br />
'''Floor Plan + Spacial Thoughts:'''<br />
<br />
[[File:LR_sketch.png|600px]]<br />
<br />
<br />
<br />
'''Light + Sound + Water Experiments:'''<br />
<br />
[http://ssherriff.com/media/wide_test.MOV]<br />
<br />
[http://ssherriff.com/media/oracle_view.MOV]<br />
<br />
[http://ssherriff.com/media/shadow_projection.MOV]<br />
<br />
<br />
<br />
'''To do:'''<br />
Visit Listening Room<br />
Contact Nando for Listening Room Orientation<br />
Contact Nette for LR keycard access<br />
Book out LR rehearsal schedule<br />
Purchase 2015 Macbook Pro<br />
<br />
<br />
'''WK5 --'''<br />
<br />
I spent this week trying to iron out logistics. I met with Nando for a Listening Room orientation and am now considering the best way to execute signal routing in the space. Nando recommended I check out the Listening Room User Manual on the CCRMA website. For now, I'm thinking I'll address each speaker individually, rather than working with ambisonics. It sounds like I'll need to use Jack to interface with my computer. Speaking of computer, I bought a laptop! It should arrive next week. I was also able to arrange keycard access to the room and am still trying to pin down scheduling for rehearsal and official performance showtimes. <br />
<br />
[[File:listening rm2 no layer.jpg|500px]]<br />
<br />
<br />
'''Possible Performance Date(s)/Times:''' <br />
<br />
'''Friday, June 1''' -- 4pm doors / 4:33pm performance<br />
OR<br />
7pm doors / 7:30pm performance<br />
<br />
'''Saturday, June 2''' -- 4pm doors / 4:33pm performance <br />
AND<br />
7pm doors / 7:30pm performance<br />
<br />
<br />
<br />
''' WK6 --'''<br />
<br />
'''Listening Room Mixing + Routing Research:'''<br />
<br />
[https://ccrma.stanford.edu/room-guides/listening-room] Listening Room User Guide]<br />
<br />
[[File:Speakers.jpg|600px]]<br />
[[File:LR_mixer.jpg|500px]]<br />
<br />
[https://ccrma.stanford.edu/software/openmixer/manual Openmixer Manual]<br />
<br />
[https://ccrma.stanford.edu/software/openmixer/manual/input_sources Input Sources]<br />
<br />
[https://ccrma.stanford.edu/software/openmixer/manual/using_jack Using Jack]<br />
<br />
<br />
'''Projection/Lighting:'''<br />
<br />
After visiting the Listening Room and looking at the infrastructure in place, I've decided not to do any screen-based projection that requires hanging additional material in the space. It will likely be a lot of work and ultimately be invasive to the experience. For now, I'd like to focus on the sound and possibly incorporate some simple caustic lighting elements. I'm considering options for reflecting light onto the grid that separates the floor from the lower level of the heptagon. This will require some sort of surface/screen that could easily be placed on the grid. I will need to be sure there is airflow so as not to cause any issues with the ventilation system which feeds into the lower level.<br />
<br />
<br />
<br />
'''To do:'''<br />
Install Max MSP/Jitter<br />
Set-up 22 Channel Routing in Max<br />
Source + Set-up RSVP Platform for Performance<br />
Contact Eoin for Listening Room Consultation <br />
Dry Ice Testing<br />
<br />
<br />
''' WK7 --'''<br />
<br />
'''Signal Routing + Listening Room Consultation:'''<br />
<br />
My new computer finally arrived and I was able to schedule some time with Eoin to test routing options in the Listening Room. I've opted to use a 16ch analog interface and Jacknet, which will magically give me access to all 22 channels. I'll need to do more specific routing in Max but was able to get a signal out of my laptop and play audio over all 22 channels with minimal head-scratching and mysterious machine behavior. Eoin is awesome. I am consistently amazed at the generosity of the CCRMA community and am so grateful to have the opportunity to interact and learn from everyone. <br />
<br />
<br />
'''Listening Room Booking + Conflicts:'''<br />
<br />
I spoke to Matt Wright about any potential overlap with SLOrk rehearsal and general usage of the Listening Room. After our conversation, it seems best to bump my performance dates back one week so as to avoid any scheduling conflicts. Matt has also been kind enough to book out the space for me overnight so I will only need to set-up and teardown once. Wooo. Yay for CCRMA peeps! <br />
<br />
<br />
'''RVSP Platform + Dates'''<br />
<br />
I've decided to use Eventbrite for RSVP distribution/tracking. I've got a draft going and am seconds away from pulling the trigger. Just need to finish up my statement about the piece, and am currently wrestling with language and an official title. So close!<br />
<br />
Friday, June 8th -- 7pm doors / 7:30pm performance<br />
Saturday, June 9th -- 4pm doors / 4:30pm performance<br />
<br />
<br />
'''Dry Ice Tests:'''<br />
<br />
Working with dry ice has been waaay more fun than I could have anticipated. With that said, I'm learning that the fun comes with a heftier fee than I originally thought... and it evaporates fairly quickly. A block of dry ice lasts for approximately 2 or 3 days at about $20 each. I've also discovered that the dry ice goes bananas until it's eaten up all of the oxygen in whatever water it's dropped into, at which point, the dry ice fizzles sadly with much less gusto. This happens fairly quickly. I think it will be fine for the performance, but it's possible I will need larger containers to house the water and dry. I've been most excited about projecting onto the dry ice and am thinking about ways to use the dry ice as the projection screen/surface for the performance. <br />
<br />
<br />
'''To do:'''<br />
Set-up Signal Routing Hierarchy in Max <br />
Publish + Distribute RVSP Invite<br />
Test Dry Ice in Listening Room<br />
Test Scent Machine in Listening Room<br />
Okay to Point Listening Room Projector Straight Down Onto Grid?<br />
Order More Fans? Dry Ice Containers / Scent Containers<br />
Edit new sounds<br />
<br />
<br />
'''WK8 --'''<br />
<br />
'''Testing + Rehearsal Findings:'''<br />
<br />
I discovered that my USB MIDI controller will not work at the same time as the USB MOTU interface I am using to route sound in the Listening Room. This is a major problem. I've contacted Eoin for advice, and am hoping that using an ethernet connection will help resolve this issue. I'm also thinking about adding a second computer into the mix, mainly because of software limitations on my new computer. I'm not sure if this is going to cause a whole heap of other headaches, but mentioned my interest to Eoin. If it seems to crazy/unreliable I'll stick with one laptop. <br />
<br />
<br />
'''Testing + Rehearsal Audio:'''<br />
<br />
[http://ssherriff.com/media/post-human_rehearsal2.mp3 Recording 1]<br />
<br />
[http://ssherriff.com/media/post-human_rehearsal.mp3 Recording 2]<br />
<br />
<br />
'''Dry Ice Testing:'''<br />
<br />
My first rounds of dry ice tests in the Listening Room proved to be somewhat unsuccessful. The ventilation system below the grid sucks all of the dry ice vapors straight down and disburses them, making it difficult to see anything interesting happening. I tried placing a container of dry ice into a secondary container with edges slightly higher than the vessel holding the dry ice. This produced some really interesting behaviors, so I'm guessing I can do something similar at a larger scale -- hopefully filling the majority of the recess in the Listening Room floor. <br />
<br />
I've been spending a good lump of time searching for containers to hold the dry ice. Whatever I use needs to be fairly large to help with the longevity of the vapors... but also not so large that it will be difficult to schlep it out of the room once the performance is over. There's also a slight chance that whatever I use to house the dry ice will be visible in some capacity, so I'm also trying to find something that is fairly simple in design... and also cheapish, since I will be covering a lot of area. I've been looking at all kinds of containers and haven't really found the right thing yet. I found something that will work, but I'm not very excited about it. <br />
<br />
For the secondary 'container' I am thinking about building out a frame that will fit inside of the heptagon. I would then line the frame with a black tarp or some sort of black fabric, leaving a few inches between the frame and the interior edge of the heptagon for air flow. <br />
<br />
Speaking of air-flow, the sound of the dry ice bubbling in the water is becoming a wonderful bonus in the soundscape of my performance. Listening to the dry ice is sort of like sitting by a babbling creek, so I could have asked for a more exciting and unexpected surprise. <br />
<br />
<br />
<br />
'''Projector Testing:''' <br />
<br />
Initially, I was thinking about using the projector that is already mounted in the Listening Room. After further examination, I realized that the throw will probably not work well for my purposes. I did some tests with one of the PICO projectors and it seems like it might work okay. It probably won't be the brightest, most vivid projection... but I think that will be okay in this case. The dry ice is awesome with even just a little bit of light on it. <br />
<br />
I bought a few small clamp mounts for any of the tiny projectors that enter into the set-up. I should be able to mount the projectors fairly easily using the rigging system in the ceiling.<br />
<br />
<br />
<br />
'''Project Statement:'''<br />
<br />
Earth frequencies are the foundation of sound-making in communication and survival for all<br />
living creatures. Insects, birds, and humans have all evolved to make sound in accordance<br />
with the landscapes in which they dwell, yet humans increasingly suffocate the soundscape,<br />
turning a blind ear to the sonic residue of industry and electromagnetic poisons.<br />
<br />
''Post-human Incursion'' is a site-specific audio/visual performance that examines how<br />
natural order might adapt soncially to human impressions on the evolution of voice across<br />
species. Through the use of spatialized and processed field recordings, ''Post-human Incursion''<br />
gestures toward a futuristic bending of familiar sonic terrain twisted by the influence of<br />
machinery. Post-human Incursion is a poetic attempt to prophesize what the future may hold<br />
in relation to the expressive abilities and survival of sounding creatures on Earth. Do<br />
birds sing differently now that they are encumbered with the ruckus of industrialized human<br />
existence?''<br />
<br />
<br />
[https://www.eventbrite.com/e/post-human-incursion-tickets-46164892436 RSVP Event Link]<br />
<br />
<br />
'''To do:'''<br />
Find door person<br />
USB MIDI controller does not currently work while running USB MOTU 16ch interface<br />
Can I use two computers -- x1 for mask / x1 for field recordings?<br />
Define performance zone / altar<br />
<br />
<br />
'''WK9 --'''<br />
<br />
'''Listening Room Tech:'''<br />
<br />
There was some mystery unplugging of a bunch of stuff in the Listening Room, which was causing some strange/inconsistent behavior. With the help and head scratching of Eoin and Nando... the mystery has been solved and things seem to be relatively stable. Phew! My MIDI controller also seems to be behaving for the most part. I've been using a power USB hub, which seems to be doing the trick, although I have a feeling the USB port on my controller is starting to get a little loose. Hopefully, it hangs in there for the performances...<br />
<br />
<br />
'''Dry Ice:'''<br />
<br />
I'm still struggling with the dry ice component of the piece. I don't think I'll be able to work at the scale I'd like, mainly due to the cost of materials. I think I've found a solution on a smaller scale, but I'm not super excited about it. Because of the scale change, it's likely I'll need to abandon the projection component. Hard to say for sure at this point, but unless some miracle ah-ha moment happens much of the visual components of the piece will be far diminished from what I would like to do in an ideal world where I'm rolling in cash and have an absorbent amount of time.<br />
<br />
<br />
'''SLOrk + Set-up:''' <br />
<br />
SLOrk moves out of the Listening Room on Wednesday evening. This means I will be able to leave things set-up and start to deal with cables and placement. In the interim, I've been doing some small lighting test and think I have a fairly simple plan for lighting including the hallway leading up to the Listening Room.<br />
<br />
<br />
'''Printed Program:''' <br />
<br />
I'm nearly finished working on a program for the performances. I think I will alter my statement to better describe all of the adjustments I've had to make and use language to indicate that it's still a work in progress. I assume it's fine to print the program at CCRMA. <br />
<br />
<br />
'''Sound:'''<br />
<br />
At this point, I'm so buried in the piece that I can no longer tell heads from tails. I've introduced a piezo as part of the altar, and have been testing various vocal utterances. Compositionally, I'm not totally sure where the piece is at or how far away I've fallen from my original intent. Currently, the piece is leaning toward something more musical than I originally imagined. I've removed the glockenspiel recording and have been working with more of a droning sound that I recorded using a synth. There's a cohesiveness to the sound, but what I've been developing is seemingly less like a soundscape even though there is an abundance of field recordings incorporated into the work. I suppose I'm feeling a little confused and could use some time away from the piece for reflection, but as is the whole shebang is feeling arbitrary and far removed... but maybe I'm too immersed in the process to see/hear it for what it is? <br />
<br />
<br />
'''To do:'''<br />
Complete Program / Print -- Do I need a code for the printer?<br />
Still trying to find a door person<br />
Lighting + Set-up<br />
Rehearsal + Testing<br />
<br />
<br />
<br />
'''WK10 --'''<br />
<br />
'''Culminating Voice Configuration:'''<br />
<br />
[[File:Mask_inside.jpg|350px]]<br />
<br />
<br />
Ultimately, I opted not to use the sensors embedded in the mask and only incorporated the microphone into the performance system, combined with some generous filtering in Ablteon Live. The signal from the microphone was passed through a MOTU interface with access to 22 discreet channels in the Listening Room. My voice occupied channels 1-8 and a handful of channels in the ceiling and floor.<br />
<br />
<br />
[[File:LIVE_voice1.png|550px]]<br />
<br />
<br />
[[File:LIVE_voice2.png|550px]]<br />
<br />
<br />
'''Piezo Instrument:'''<br />
<br />
Because of the whole debacle with my laptop, I strayed away from experimenting with the Bare Conductive Touch Board and water in this instance. Instead, I incorporated the glass bowl from my conductivity tests to make an instrument that is comprised of a piezo, the glass bowl, metal, feathers, and software. I fed the signal into Ableton for the instrument input within the same patch as my mic. I was able to output both signals as two separate channels to the MOTU interface allowing me to route the instrument signal discreetly over the 22ch system. I chose to route the instrument to channels 1-8, and the center ceiling speaker. <br />
<br />
<br />
[[File:LIVE_piezo.png|550px]]<br />
<br />
<br />
<br />
'''Field Recording Manipulation:''' <br />
<br />
[[File:Control_closed_active.png|750px]]<br />
<br />
<br />
For all of the field recordings I continued to use Max MSP/Jitter and a MIDI controller to manipulate and navigate recorded audio signals. Rather than processing the sound through filters, I built a system where I am simply manipulating the speed and direction of each recorded sample. Most sounds are configured to play at a rate well below half speed and are occasionally played backward. <br />
<br />
In addition to the field recordings, I also recorded improvisational synthesizer sessions. One of the first synth recordings I made in my process used the glockenspiel voice. After some feedback, I questioned if the glockenspiel was pulling the piece in a more musical direction and whether or not I would be okay with that in relation to my interest in the evolution of sound and soundscapes. I decided I was okay with the piece becoming more musical but felt that the synth could better match the electrical and machine-made sounds already incorporated into the piece. I believe I ultimately used some sort of electric piano voice on the synth to create a droney, circular sound. Once the synth sound was in Max MSP/Jitter, I made the happy discovery that the drone sound was a friendly match with some mosquito buzzing already incorporated into the composition and committed to using the drone sound in the composition. <br />
<br />
<br />
[[File:Control_open.png|750px]]<br />
<br />
<br />
'''Video:'''<br />
<br />
[http://ssherriff.com/media/trees_layers.mp4 treep loop video]<br />
<br />
For the video, I used a looped recording of layered trees composed in Max MSP/Jitter, along with a Nano projector, a Rasberry Pi media player, and a fancy clamp that allowed me to mount the projector off of a speaker-arm in the ceiling. The Nano projector is battery powered with a long enough life that I didn't need to bother with any cabling or power routing to the projector.<br />
<br />
[[File:Clamp.png|350px]]<br />
<br />
[https://www.amazon.com/gp/product/B000ABB4HC/ref=oh_aui_detailpage_o04_s00?ie=UTF8&psc=1 PEDCO UltraClamp]<br />
<br />
<br />
<br />
'''Dry Ice:'''<br />
<br />
The dry ice component ultimately caused me a lot of duress and in the end felt like an arbitrary gesture. I was unable to work at the scale I would have liked without having to spend a ton of extra money to combat the ventilation system under the heptagon grid. I suppose I felt obligated to incorporate it somehow after spending so much time researching and sourcing the material, but am cognizant of its kitschy nature and feel unresolved around its use in this iteration of my performance research. With that said, I love the gurgling sound of the dry ice in water and would be keen to amplify and work with the sound in some form if I continue to work with dry ice in the future. <br />
<br />
<br />
<br />
[[File:Performance_img2.jpg|550px]]<br />
<br />
Performance Image Courtesy of Dave Kerr<br />
<br />
[http://ssherriff.com/media/PH_perf.mp4 Performance Documentation (Courtesy of David Kerr)]</div>Stephaniehttps://ccrma.stanford.edu/mediawiki/index.php?title=Ritualistic_Performance_System_Research&diff=21012Ritualistic Performance System Research2018-06-18T20:27:38Z<p>Stephanie: </p>
<hr />
<div><br />
[[File:Performance_img.jpg|350px]]<br />
<br />
Performance Image Courtesy of Dave Kerr<br />
<br />
<br />
''Post-human Incursion'' is a site-specific performance piece developed for the Listening Room at CCRMA. Inspired by the writing of Bernie Kraus and the work of Pauline Oliveros, the piece functions as a futuristic reflection on the evolution of sound across species, while using spacialized and manipulated field recordings to create new sonic terrain. <br />
<br />
<br />
<br />
== '''Project Overview + Development:''' ==<br />
<br />
<br />
<br />
'''Goal:'''<br />
To create a ritualistic performance system using spacialized audio signals, video, and real-time audio manipulation. <br />
<br />
<br />
'''Background:'''<br />
<br />
As part of continued research, I aim to pursue an audio/visual experience that combines spatialized field recordings, voice, video/light, and software. For this piece, I may continue to develop a proximity-based water sensor into the performance, using some sort of vessel(s), water, conductive tape, and a bare conductive microcontroller. The audio collection process will include listening, recording, and engaging with a series of natural and machine-made sounds. The piece will culminate in an audio/visual performance. <br />
<br />
<br />
'''Possible Controllers:'''<br />
<br />
[[File:water_controller.jpg|350px]]<br />
water controller prototype <br />
<br />
[[File:Mask_full.jpg|350px]]<br />
mask prototype<br />
<br />
[[File:Mask_inside.jpg|350px]]<br />
mask sensors<br />
<br />
<br />
<br />
'''WK1 -- Brainstorming + Testing'''<br />
<br />
Performance Site '''-- Listening Room'''<br />
Okay to burn / use scents? '''-- No. Issues in the past.'''<br />
Dry Ice? '''-- Could be okay. Needs ventilation.''' <br />
Max capacity in Listening Room '''-- 15-20 people'''<br />
<br />
[[File:Listening_room.jpg|350px]]<br />
<br />
<br />
'''To do:'''<br />
Bare Conductive Touch Board + Water Sensor Testing in Max <br />
Arduino code + upload to Touch Board<br />
Max MSP/Jitter + Touch Board testing<br />
Add water sensor input to video mixer patch<br />
Collect Field Recordings<br />
Fire / Machines / Energy Facility / Electrical Drone Sounds<br />
<br />
<br />
'''WK2 -- Testing + Collection'''<br />
<br />
Water Sensor Testing in Max MSP/Jitter<br />
[https://www.bareconductive.com/make/the-touch-board-maxmsp/]<br />
<br />
[[File:Bare_conductive.jpg|300px]]<br />
<br />
I managed to get data into Max from the Bare Conductive microcontroller. After a few minutes, the microcontroller seems to get overloaded and freezes. If I reload the Arduino code onto the board data starts to work in Max temporarily. This issue seems relatively consistent. My laptop also seems to be having trouble processing video and receiving data at the same time. The latency of sensor data into Max is painfully slow while video is running. Sensor response is proficient with no video processing. <br />
<br />
I will need a new laptop. This is not a surprise.<br />
<br />
<br />
'''Readings:'''<br />
<br />
<u>Keywords in Sound</u>, Chapter 15, ''Resonance'', by Veit Erlmann <br />
<br />
"...the concept of resonance, having been derived from core epistemological virtues such as intuition, observation, and experiment, names the natural mechanism governing the interaction of vibrating matter, such as strings, nerves, and air. As such, resonance is the "Other" of the self-constituting Cartesian ego as it discovers truth (of musical harmony, for instance) and reassures itself of its own existence as a thinking entity. On the other hand resonance names the very unity of body and mind that the cogitating ego must unthink before it uncovers truth."<br />
<br />
(Erlmann, page 177)<br />
<br />
<br />
<u>Keywords in Sound</u>, Chapter 17, ''Space'', by Andrew J. Eisenberg <br />
<br />
"As a phenomenon that exists at once within and beyond perceiving subjects, sound cannot but reveal social space as an artifact of material practices complexly interwoven with semiotic processes and the 'imaginations, fears, emotions, psychologies, fantasies, and dreams' that human beings bring to everything (Harvey 2006: 279; see also Lefebvre 1991)."<br />
<br />
(Eisenberg, pg 202)<br />
<br />
<br />
<u>The Soundscape: Our Sonic Environment & the Tuning of the World</u>, <br />
R. Murray Schaffer, Chapter 12, Symbolism<br />
<br />
"...water, the original life element, has the most splendid symbolism... a stream, a fountain, a river, a waterfall, the sea, each makes its unique sound but all share rich symbolism. They speak of cleansing, of purification, of refreshment, and renewal... It is symbolic of eternity... It is symbolic of change." <br />
<br />
(Schafer, page 170)<br />
<br />
<br />
"Without its tactile pressure on the face or body we cannot even tell from what direction it blows. The wind is therefore not to be trusted."<br />
<br />
(Schafer, page 170)<br />
<br />
<br />
<br />
"Modern man has sought to escape both the wind and the sea by encapsulating himself in artificial environments... The sounds of machines took on happy symbolism approximately 200 years ago, when it was realized that they could release man from his immemorial bondage to earth... power and progress... noise and power go hand in hand."<br />
<br />
(Schafer, page 178-179)<br />
<br />
<br />
'''To do:''' <br />
Research options for new laptop (2015 Macbook Pro) + Stanford support<br />
Mask controller into Max MSP/Jitter<br />
Build simple looper<br />
Edit field recordings <br />
<br />
<br />
'''WK3 -- More Testing + Collecting'''<br />
<br />
'''Simple Audio Looper Interface for Testing | Max MSP/Jitter + MIDI Controller:'''<br />
<br />
I built a simple looper patch in Max in order to start manipulating and listening to field recordings from my recent sound hunts. Lately, I've been interested in machine sounds that have similar qualities as sounds from nature... similar to how cars sound similar to the ocean, or specific electrical resonances sound like cicadas and crickets. <br />
<br />
[[File:Audio_interface.jpg|600px]]<br />
<br />
[[File:Midi_controller.jpg|600px]]<br />
<br />
[[File:audio_interface_guts.jpg|600px]]<br />
<br />
audio test -- [http://ssherriff.com/media/ritual_test.mp3]<br />
<br />
<br />
'''Readings:'''<br />
<br />
"...the wind began to funnel down from the high southern pass, gaining more forces with each passing moment... The effect wasn't a chord exactly, but rather a combination of tones, sighs, and midrange groans that played off each other, sometimes setting strange beats into resonance as they nearly matched one another in pitch... strangely dissonant. While never unpleasant, the acoustic experience was disorienting."<br />
<br />
(Kraus, pg 37)<br />
<br />
<u>The Great Animal Orchestra: Finding the Origins of Music in the World's Wild Places</u>, Bernie Kraus<br />
<br />
<br />
'''To do:''' <br />
Research 2015 Macbook Pro <br />
SLAC audio recordings<br />
Research/Source dry ice<br />
Schedule Audium visit <br />
<br />
<br />
'''WK4 --''' <br />
<br />
'''Dry Ice Safety + Costs + Storage:'''<br />
<br />
[[File:Dry_ice3.jpg|600px]]<br />
<br />
[[File:Dry ice2.jpg|600px]]<br />
<br />
[http://dryiceinfo.com/safe.htm safety]<br />
<br />
<br />
[[File:Dry ice5.jpg|550px]]<br />
<br />
[https://www.howmuchisit.org/how-much-does-dry-ice-cost/ costs]<br />
<br />
<br />
[[File:Dry_ice.jpg|600px]]<br />
<br />
[[File:Dry ice4.jpg|600px]]<br />
<br />
[http://www.eatbydate.com/other/dry-ice/ storage+]<br />
<br />
<br />
'''Searchworks Audio Finds:'''<br />
<br />
Over the past week or so, I've been reading <u>Art of Immersive Soundscapes</u> which has revitalized my interest in musique concrète. Today I spent some time digging around [http://searchworks.stanford.edu/ Searchworks] for online audio files/compilations/albums. In my hunt so far, I have found several resources that rely heavily on field recordings from nature to form audio compositions. <br />
<br />
<br />
Here are a few:<br />
<br />
[https://stanford.naxosmusiclibrary.com/catalogue/item.asp?cid=INNOVA783 ''Arctic Winds,''] Maggie Payne, 2010<br />
<br />
[https://search.alexanderstreet.com/view/work/bibliographic_entity%7Crecorded_cd%7C72954 ''Gateway Summer Sound: Abstracted Animal and Other Sounds''] Ann McMillan, 1979 <br />
<br />
[http://www.dramonline.org/albums/scott-smallwood-desert-winds-six-windblown-sound-pieces-and-other-works/player ''Desert Winds: Six Windblown Sound Pieces and Other Works,''] Scott Smallwood, 2007<br />
<br />
[https://search.alexanderstreet.com/view/work/bibliographic_entity%7Crecorded_cd%7C72140 ''Highlights of Vortex''], 1959, Smithsonian Folkways Recordings [2003]<br />
<br />
<br />
'''SLAC Site Visit:'''<br />
<br />
[[File:slac.jpg|500px]]<br />
<br />
The tour of SLAC was a bit of a disappointment, but only because I didn't fully comprehend the context of the tour. I didn't realize our MFA tour was part of a larger public tour. Unfortunately, it was nearly impossible to record an audio sample without tour-talk and human ruckus. We only visited two small areas of the facilities, which didn't really give an overall impression of the scale of the accelerometer. There were, however, some exciting/uncomfortable oscillations coming from machinery that I would like to revisit under a more sound-oriented tour of SLAC. Outside of my sound hunt, it was astounding to hear about the some of the research taking place.<br />
<br />
<br />
<br />
<br />
'''Floor Plan + Spacial Thoughts:'''<br />
<br />
[[File:LR_sketch.png|600px]]<br />
<br />
<br />
<br />
'''Light + Sound + Water Experiments:'''<br />
<br />
[http://ssherriff.com/media/wide_test.MOV]<br />
<br />
[http://ssherriff.com/media/oracle_view.MOV]<br />
<br />
[http://ssherriff.com/media/shadow_projection.MOV]<br />
<br />
<br />
<br />
'''To do:'''<br />
Visit Listening Room<br />
Contact Nando for Listening Room Orientation<br />
Contact Nette for LR keycard access<br />
Book out LR rehearsal schedule<br />
Purchase 2015 Macbook Pro<br />
<br />
<br />
'''WK5 --'''<br />
<br />
I spent this week trying to iron out logistics. I met with Nando for a Listening Room orientation and am now considering the best way to execute signal routing in the space. Nando recommended I check out the Listening Room User Manual on the CCRMA website. For now, I'm thinking I'll address each speaker individually, rather than working with ambisonics. It sounds like I'll need to use Jack to interface with my computer. Speaking of computer, I bought a laptop! It should arrive next week. I was also able to arrange keycard access to the room and am still trying to pin down scheduling for rehearsal and official performance showtimes. <br />
<br />
[[File:listening rm2 no layer.jpg|500px]]<br />
<br />
<br />
'''Possible Performance Date(s)/Times:''' <br />
<br />
'''Friday, June 1''' -- 4pm doors / 4:33pm performance<br />
OR<br />
7pm doors / 7:30pm performance<br />
<br />
'''Saturday, June 2''' -- 4pm doors / 4:33pm performance <br />
AND<br />
7pm doors / 7:30pm performance<br />
<br />
<br />
<br />
''' WK6 --'''<br />
<br />
'''Listening Room Mixing + Routing Research:'''<br />
<br />
[https://ccrma.stanford.edu/room-guides/listening-room] Listening Room User Guide]<br />
<br />
[[File:Speakers.jpg|600px]]<br />
[[File:LR_mixer.jpg|500px]]<br />
<br />
[https://ccrma.stanford.edu/software/openmixer/manual Openmixer Manual]<br />
<br />
[https://ccrma.stanford.edu/software/openmixer/manual/input_sources Input Sources]<br />
<br />
[https://ccrma.stanford.edu/software/openmixer/manual/using_jack Using Jack]<br />
<br />
<br />
'''Projection/Lighting:'''<br />
<br />
After visiting the Listening Room and looking at the infrastructure in place, I've decided not to do any screen-based projection that requires hanging additional material in the space. It will likely be a lot of work and ultimately be invasive to the experience. For now, I'd like to focus on the sound and possibly incorporate some simple caustic lighting elements. I'm considering options for reflecting light onto the grid that separates the floor from the lower level of the heptagon. This will require some sort of surface/screen that could easily be placed on the grid. I will need to be sure there is airflow so as not to cause any issues with the ventilation system which feeds into the lower level.<br />
<br />
<br />
<br />
'''To do:'''<br />
Install Max MSP/Jitter<br />
Set-up 22 Channel Routing in Max<br />
Source + Set-up RSVP Platform for Performance<br />
Contact Eoin for Listening Room Consultation <br />
Dry Ice Testing<br />
<br />
<br />
''' WK7 --'''<br />
<br />
'''Signal Routing + Listening Room Consultation:'''<br />
<br />
My new computer finally arrived and I was able to schedule some time with Eoin to test routing options in the Listening Room. I've opted to use a 16ch analog interface and Jacknet, which will magically give me access to all 22 channels. I'll need to do more specific routing in Max but was able to get a signal out of my laptop and play audio over all 22 channels with minimal head-scratching and mysterious machine behavior. Eoin is awesome. I am consistently amazed at the generosity of the CCRMA community and am so grateful to have the opportunity to interact and learn from everyone. <br />
<br />
<br />
'''Listening Room Booking + Conflicts:'''<br />
<br />
I spoke to Matt Wright about any potential overlap with SLOrk rehearsal and general usage of the Listening Room. After our conversation, it seems best to bump my performance dates back one week so as to avoid any scheduling conflicts. Matt has also been kind enough to book out the space for me overnight so I will only need to set-up and teardown once. Wooo. Yay for CCRMA peeps! <br />
<br />
<br />
'''RVSP Platform + Dates'''<br />
<br />
I've decided to use Eventbrite for RSVP distribution/tracking. I've got a draft going and am seconds away from pulling the trigger. Just need to finish up my statement about the piece, and am currently wrestling with language and an official title. So close!<br />
<br />
Friday, June 8th -- 7pm doors / 7:30pm performance<br />
Saturday, June 9th -- 4pm doors / 4:30pm performance<br />
<br />
<br />
'''Dry Ice Tests:'''<br />
<br />
Working with dry ice has been waaay more fun than I could have anticipated. With that said, I'm learning that the fun comes with a heftier fee than I originally thought... and it evaporates fairly quickly. A block of dry ice lasts for approximately 2 or 3 days at about $20 each. I've also discovered that the dry ice goes bananas until it's eaten up all of the oxygen in whatever water it's dropped into, at which point, the dry ice fizzles sadly with much less gusto. This happens fairly quickly. I think it will be fine for the performance, but it's possible I will need larger containers to house the water and dry. I've been most excited about projecting onto the dry ice and am thinking about ways to use the dry ice as the projection screen/surface for the performance. <br />
<br />
<br />
'''To do:'''<br />
Set-up Signal Routing Hierarchy in Max <br />
Publish + Distribute RVSP Invite<br />
Test Dry Ice in Listening Room<br />
Test Scent Machine in Listening Room<br />
Okay to Point Listening Room Projector Straight Down Onto Grid?<br />
Order More Fans? Dry Ice Containers / Scent Containers<br />
Edit new sounds<br />
<br />
<br />
'''WK8 --'''<br />
<br />
'''Testing + Rehearsal Findings:'''<br />
<br />
I discovered that my USB MIDI controller will not work at the same time as the USB MOTU interface I am using to route sound in the Listening Room. This is a major problem. I've contacted Eoin for advice, and am hoping that using an ethernet connection will help resolve this issue. I'm also thinking about adding a second computer into the mix, mainly because of software limitations on my new computer. I'm not sure if this is going to cause a whole heap of other headaches, but mentioned my interest to Eoin. If it seems to crazy/unreliable I'll stick with one laptop. <br />
<br />
<br />
'''Testing + Rehearsal Audio:'''<br />
<br />
[http://ssherriff.com/media/post-human_rehearsal2.mp3 Recording 1]<br />
<br />
[http://ssherriff.com/media/post-human_rehearsal.mp3 Recording 2]<br />
<br />
<br />
'''Dry Ice Testing:'''<br />
<br />
My first rounds of dry ice tests in the Listening Room proved to be somewhat unsuccessful. The ventilation system below the grid sucks all of the dry ice vapors straight down and disburses them, making it difficult to see anything interesting happening. I tried placing a container of dry ice into a secondary container with edges slightly higher than the vessel holding the dry ice. This produced some really interesting behaviors, so I'm guessing I can do something similar at a larger scale -- hopefully filling the majority of the recess in the Listening Room floor. <br />
<br />
I've been spending a good lump of time searching for containers to hold the dry ice. Whatever I use needs to be fairly large to help with the longevity of the vapors... but also not so large that it will be difficult to schlep it out of the room once the performance is over. There's also a slight chance that whatever I use to house the dry ice will be visible in some capacity, so I'm also trying to find something that is fairly simple in design... and also cheapish, since I will be covering a lot of area. I've been looking at all kinds of containers and haven't really found the right thing yet. I found something that will work, but I'm not very excited about it. <br />
<br />
For the secondary 'container' I am thinking about building out a frame that will fit inside of the heptagon. I would then line the frame with a black tarp or some sort of black fabric, leaving a few inches between the frame and the interior edge of the heptagon for air flow. <br />
<br />
Speaking of air-flow, the sound of the dry ice bubbling in the water is becoming a wonderful bonus in the soundscape of my performance. Listening to the dry ice is sort of like sitting by a babbling creek, so I could have asked for a more exciting and unexpected surprise. <br />
<br />
<br />
<br />
'''Projector Testing:''' <br />
<br />
Initially, I was thinking about using the projector that is already mounted in the Listening Room. After further examination, I realized that the throw will probably not work well for my purposes. I did some tests with one of the PICO projectors and it seems like it might work okay. It probably won't be the brightest, most vivid projection... but I think that will be okay in this case. The dry ice is awesome with even just a little bit of light on it. <br />
<br />
I bought a few small clamp mounts for any of the tiny projectors that enter into the set-up. I should be able to mount the projectors fairly easily using the rigging system in the ceiling.<br />
<br />
<br />
<br />
'''Project Statement:'''<br />
<br />
Earth frequencies are the foundation of sound-making in communication and survival for all<br />
living creatures. Insects, birds, and humans have all evolved to make sound in accordance<br />
with the landscapes in which they dwell, yet humans increasingly suffocate the soundscape,<br />
turning a blind ear to the sonic residue of industry and electromagnetic poisons.<br />
<br />
''Post-human Incursion'' is a site-specific audio/visual performance that examines how<br />
natural order might adapt soncially to human impressions on the evolution of voice across<br />
species. Through the use of spatialized and processed field recordings, ''Post-human Incursion''<br />
gestures toward a futuristic bending of familiar sonic terrain twisted by the influence of<br />
machinery. Post-human Incursion is a poetic attempt to prophesize what the future may hold<br />
in relation to the expressive abilities and survival of sounding creatures on Earth. Do<br />
birds sing differently now that they are encumbered with the ruckus of industrialized human<br />
existence?''<br />
<br />
<br />
[https://www.eventbrite.com/e/post-human-incursion-tickets-46164892436 RSVP Event Link]<br />
<br />
<br />
'''To do:'''<br />
Find door person<br />
USB MIDI controller does not currently work while running USB MOTU 16ch interface<br />
Can I use two computers -- x1 for mask / x1 for field recordings?<br />
Define performance zone / altar<br />
<br />
<br />
'''WK9 --'''<br />
<br />
'''Listening Room Tech:'''<br />
<br />
There was some mystery unplugging of a bunch of stuff in the Listening Room, which was causing some strange/inconsistent behavior. With the help and head scratching of Eoin and Nando... the mystery has been solved and things seem to be relatively stable. Phew! My MIDI controller also seems to be behaving for the most part. I've been using a power USB hub, which seems to be doing the trick, although I have a feeling the USB port on my controller is starting to get a little loose. Hopefully, it hangs in there for the performances...<br />
<br />
<br />
'''Dry Ice:'''<br />
<br />
I'm still struggling with the dry ice component of the piece. I don't think I'll be able to work at the scale I'd like, mainly due to the cost of materials. I think I've found a solution on a smaller scale, but I'm not super excited about it. Because of the scale change, it's likely I'll need to abandon the projection component. Hard to say for sure at this point, but unless some miracle ah-ha moment happens much of the visual components of the piece will be far diminished from what I would like to do in an ideal world where I'm rolling in cash and have an absorbent amount of time.<br />
<br />
<br />
'''SLOrk + Set-up:''' <br />
<br />
SLOrk moves out of the Listening Room on Wednesday evening. This means I will be able to leave things set-up and start to deal with cables and placement. In the interim, I've been doing some small lighting test and think I have a fairly simple plan for lighting including the hallway leading up to the Listening Room.<br />
<br />
<br />
'''Printed Program:''' <br />
<br />
I'm nearly finished working on a program for the performances. I think I will alter my statement to better describe all of the adjustments I've had to make and use language to indicate that it's still a work in progress. I assume it's fine to print the program at CCRMA. <br />
<br />
<br />
'''Sound:'''<br />
<br />
At this point, I'm so buried in the piece that I can no longer tell heads from tails. I've introduced a piezo as part of the altar, and have been testing various vocal utterances. Compositionally, I'm not totally sure where the piece is at or how far away I've fallen from my original intent. Currently, the piece is leaning toward something more musical than I originally imagined. I've removed the glockenspiel recording and have been working with more of a droning sound that I recorded using a synth. There's a cohesiveness to the sound, but what I've been developing is seemingly less like a soundscape even though there is an abundance of field recordings incorporated into the work. I suppose I'm feeling a little confused and could use some time away from the piece for reflection, but as is the whole shebang is feeling arbitrary and far removed... but maybe I'm too immersed in the process to see/hear it for what it is? <br />
<br />
<br />
'''To do:'''<br />
Complete Program / Print -- Do I need a code for the printer?<br />
Still trying to find a door person<br />
Lighting + Set-up<br />
Rehearsal + Testing<br />
<br />
<br />
<br />
'''WK10 --'''<br />
<br />
'''Culminating Voice Configuration:'''<br />
<br />
[[File:Mask_inside.jpg|350px]]<br />
<br />
<br />
Ultimately, I opted not to use the sensors embedded in the mask and only incorporated the microphone into the performance system, combined with some generous filtering in Ablteon Live. The signal from the microphone was passed through a MOTU interface with access to 22 discreet channels in the Listening Room. My voice occupied channels 1-8 and a handful of channels in the ceiling and floor.<br />
<br />
<br />
[[File:LIVE_voice1.png|550px]]<br />
<br />
<br />
[[File:LIVE_voice2.png|550px]]<br />
<br />
<br />
'''Piezo Instrument:'''<br />
<br />
Because of the whole debacle with my laptop, I strayed away from experimenting with the Bare Conductive Touch Board and water in this instance. Instead, I incorporated the glass bowl from my conductivity tests to make an instrument that is comprised of a piezo, the glass bowl, metal, feathers, and software. I fed the signal into Ableton for the instrument input within the same patch as my mic. I was able to output both signals as two separate channels to the MOTU interface allowing me to route the instrument signal discreetly over the 22ch system. I chose to route the instrument to channels 1-8, and the center ceiling speaker. <br />
<br />
<br />
[[File:LIVE_piezo.png|550px]]<br />
<br />
<br />
<br />
'''Field Recording Manipulation:''' <br />
<br />
[[File:Control_closed_active.png|750px]]<br />
<br />
<br />
For all of the field recordings I continued to use Max MSP/Jitter and a MIDI controller to manipulate and navigate recorded audio signals. Rather than processing the sound through filters, I built a system where I am simply manipulating the speed and direction of each recorded sample. Most sounds are configured to play at a rate well below half speed and are occasionally played backward. <br />
<br />
In addition to the field recordings, I also recorded improvisational synthesizer sessions. One of the first synth recordings I made in my process used the glockenspiel voice. After some feedback, I questioned if the glockenspiel was pulling the piece in a more musical direction and whether or not I would be okay with that in relation to my interest in the evolution of sound and soundscapes. I decided I was okay with the piece becoming more musical but felt that the synth could better match the electrical and machine-made sounds already incorporated into the piece. I believe I ultimately used some sort of electric piano voice on the synth to create a droney, circular sound. Once the synth sound was in Max MSP/Jitter, I made the happy discovery that the drone sound was a friendly match with some mosquito buzzing already incorporated into the composition and committed to using the drone sound in the composition. <br />
<br />
<br />
[[File:Control_open.png|750px]]<br />
<br />
<br />
'''Video:'''<br />
<br />
[http://ssherriff.com/media/trees_layers.mp4 treep loop video]<br />
<br />
For the video, I used a looped recording of layered trees composed in Max MSP/Jitter, along with a Nano projector, a Rasberry Pi media player, and a fancy clamp that allowed me to mount the projector off of a speaker-arm in the ceiling. The Nano projector is battery powered with a long enough life that I didn't need to bother with any cabling or power routing to the projector.<br />
<br />
[[File:Clamp.png|350px]]<br />
<br />
[https://www.amazon.com/gp/product/B000ABB4HC/ref=oh_aui_detailpage_o04_s00?ie=UTF8&psc=1 PEDCO UltraClamp]<br />
<br />
<br />
<br />
'''Dry Ice:'''<br />
The dry ice component ultimately caused me a lot of duress and in the end felt like an arbitrary gesture. I was unable to work at the scale I would have liked without having to spend a ton of extra money to combat the ventilation system under the heptagon grid. I suppose I felt obligated to incorporate it somehow after spending so much time researching and sourcing the material, but am cognizant of its kitschy nature and feel unresolved around its use in this iteration of my performance research. With that said, I love the gurgling sound of the dry ice in water and would be keen to amplify and work with the sound in some form if I continue to work with dry ice in the future. <br />
<br />
<br />
<br />
[[File:Performance_img2.jpg|550px]]<br />
<br />
Performance Image Courtesy of Dave Kerr<br />
<br />
[http://ssherriff.com/media/PH_perf.mp4 Performance Documentation (Courtesy of David Kerr)]</div>Stephaniehttps://ccrma.stanford.edu/mediawiki/index.php?title=Ritualistic_Performance_System_Research&diff=21011Ritualistic Performance System Research2018-06-18T20:15:59Z<p>Stephanie: </p>
<hr />
<div><br />
[[File:Performance_img.jpg|350px]]<br />
<br />
Performance Image Courtesy of Dave Kerr<br />
<br />
<br />
''Post-human Incursion'' is a site-specific performance piece developed for the Listening Room at CCRMA. Inspired by the writing of Bernie Kraus and the work of Pauline Oliveros, the piece functions as a futuristic reflection on the evolution of sound across species, while using spacialized and manipulated field recordings to create new sonic terrain. <br />
<br />
<br />
<br />
== '''Project Overview + Development:''' ==<br />
<br />
<br />
<br />
'''Goal:'''<br />
To create a ritualistic performance system using spacialized audio signals, video, and real-time audio manipulation. <br />
<br />
<br />
'''Background:'''<br />
<br />
As part of continued research, I aim to pursue an audio/visual experience that combines spatialized field recordings, voice, video/light, and software. For this piece, I may continue to develop a proximity-based water sensor into the performance, using some sort of vessel(s), water, conductive tape, and a bare conductive microcontroller. The audio collection process will include listening, recording, and engaging with a series of natural and machine-made sounds. The piece will culminate in an audio/visual performance. <br />
<br />
<br />
'''Possible Controllers:'''<br />
<br />
[[File:water_controller.jpg|350px]]<br />
water controller prototype <br />
<br />
[[File:Mask_full.jpg|350px]]<br />
mask prototype<br />
<br />
[[File:Mask_inside.jpg|350px]]<br />
mask sensors<br />
<br />
<br />
<br />
'''WK1 -- Brainstorming + Testing'''<br />
<br />
Performance Site '''-- Listening Room'''<br />
Okay to burn / use scents? '''-- No. Issues in the past.'''<br />
Dry Ice? '''-- Could be okay. Needs ventilation.''' <br />
Max capacity in Listening Room '''-- 15-20 people'''<br />
<br />
[[File:Listening_room.jpg|350px]]<br />
<br />
<br />
'''To do:'''<br />
Bare Conductive Touch Board + Water Sensor Testing in Max <br />
Arduino code + upload to Touch Board<br />
Max MSP/Jitter + Touch Board testing<br />
Add water sensor input to video mixer patch<br />
Collect Field Recordings<br />
Fire / Machines / Energy Facility / Electrical Drone Sounds<br />
<br />
<br />
'''WK2 -- Testing + Collection'''<br />
<br />
Water Sensor Testing in Max MSP/Jitter<br />
[https://www.bareconductive.com/make/the-touch-board-maxmsp/]<br />
<br />
[[File:Bare_conductive.jpg|300px]]<br />
<br />
I managed to get data into Max from the Bare Conductive microcontroller. After a few minutes, the microcontroller seems to get overloaded and freezes. If I reload the Arduino code onto the board data starts to work in Max temporarily. This issue seems relatively consistent. My laptop also seems to be having trouble processing video and receiving data at the same time. The latency of sensor data into Max is painfully slow while video is running. Sensor response is proficient with no video processing. <br />
<br />
I will need a new laptop. This is not a surprise.<br />
<br />
<br />
'''Readings:'''<br />
<br />
<u>Keywords in Sound</u>, Chapter 15, ''Resonance'', by Veit Erlmann <br />
<br />
"...the concept of resonance, having been derived from core epistemological virtues such as intuition, observation, and experiment, names the natural mechanism governing the interaction of vibrating matter, such as strings, nerves, and air. As such, resonance is the "Other" of the self-constituting Cartesian ego as it discovers truth (of musical harmony, for instance) and reassures itself of its own existence as a thinking entity. On the other hand resonance names the very unity of body and mind that the cogitating ego must unthink before it uncovers truth."<br />
<br />
(Erlmann, page 177)<br />
<br />
<br />
<u>Keywords in Sound</u>, Chapter 17, ''Space'', by Andrew J. Eisenberg <br />
<br />
"As a phenomenon that exists at once within and beyond perceiving subjects, sound cannot but reveal social space as an artifact of material practices complexly interwoven with semiotic processes and the 'imaginations, fears, emotions, psychologies, fantasies, and dreams' that human beings bring to everything (Harvey 2006: 279; see also Lefebvre 1991)."<br />
<br />
(Eisenberg, pg 202)<br />
<br />
<br />
<u>The Soundscape: Our Sonic Environment & the Tuning of the World</u>, <br />
R. Murray Schaffer, Chapter 12, Symbolism<br />
<br />
"...water, the original life element, has the most splendid symbolism... a stream, a fountain, a river, a waterfall, the sea, each makes its unique sound but all share rich symbolism. They speak of cleansing, of purification, of refreshment, and renewal... It is symbolic of eternity... It is symbolic of change." <br />
<br />
(Schafer, page 170)<br />
<br />
<br />
"Without its tactile pressure on the face or body we cannot even tell from what direction it blows. The wind is therefore not to be trusted."<br />
<br />
(Schafer, page 170)<br />
<br />
<br />
<br />
"Modern man has sought to escape both the wind and the sea by encapsulating himself in artificial environments... The sounds of machines took on happy symbolism approximately 200 years ago, when it was realized that they could release man from his immemorial bondage to earth... power and progress... noise and power go hand in hand."<br />
<br />
(Schafer, page 178-179)<br />
<br />
<br />
'''To do:''' <br />
Research options for new laptop (2015 Macbook Pro) + Stanford support<br />
Mask controller into Max MSP/Jitter<br />
Build simple looper<br />
Edit field recordings <br />
<br />
<br />
'''WK3 -- More Testing + Collecting'''<br />
<br />
'''Simple Audio Looper Interface for Testing | Max MSP/Jitter + MIDI Controller:'''<br />
<br />
I built a simple looper patch in Max in order to start manipulating and listening to field recordings from my recent sound hunts. Lately, I've been interested in machine sounds that have similar qualities as sounds from nature... similar to how cars sound similar to the ocean, or specific electrical resonances sound like cicadas and crickets. <br />
<br />
[[File:Audio_interface.jpg|600px]]<br />
<br />
[[File:Midi_controller.jpg|600px]]<br />
<br />
[[File:audio_interface_guts.jpg|600px]]<br />
<br />
audio test -- [http://ssherriff.com/media/ritual_test.mp3]<br />
<br />
<br />
'''Readings:'''<br />
<br />
"...the wind began to funnel down from the high southern pass, gaining more forces with each passing moment... The effect wasn't a chord exactly, but rather a combination of tones, sighs, and midrange groans that played off each other, sometimes setting strange beats into resonance as they nearly matched one another in pitch... strangely dissonant. While never unpleasant, the acoustic experience was disorienting."<br />
<br />
(Kraus, pg 37)<br />
<br />
<u>The Great Animal Orchestra: Finding the Origins of Music in the World's Wild Places</u>, Bernie Kraus<br />
<br />
<br />
'''To do:''' <br />
Research 2015 Macbook Pro <br />
SLAC audio recordings<br />
Research/Source dry ice<br />
Schedule Audium visit <br />
<br />
<br />
'''WK4 --''' <br />
<br />
'''Dry Ice Safety + Costs + Storage:'''<br />
<br />
[[File:Dry_ice3.jpg|600px]]<br />
<br />
[[File:Dry ice2.jpg|600px]]<br />
<br />
[http://dryiceinfo.com/safe.htm safety]<br />
<br />
<br />
[[File:Dry ice5.jpg|550px]]<br />
<br />
[https://www.howmuchisit.org/how-much-does-dry-ice-cost/ costs]<br />
<br />
<br />
[[File:Dry_ice.jpg|600px]]<br />
<br />
[[File:Dry ice4.jpg|600px]]<br />
<br />
[http://www.eatbydate.com/other/dry-ice/ storage+]<br />
<br />
<br />
'''Searchworks Audio Finds:'''<br />
<br />
Over the past week or so, I've been reading <u>Art of Immersive Soundscapes</u> which has revitalized my interest in musique concrète. Today I spent some time digging around [http://searchworks.stanford.edu/ Searchworks] for online audio files/compilations/albums. In my hunt so far, I have found several resources that rely heavily on field recordings from nature to form audio compositions. <br />
<br />
<br />
Here are a few:<br />
<br />
[https://stanford.naxosmusiclibrary.com/catalogue/item.asp?cid=INNOVA783 ''Arctic Winds,''] Maggie Payne, 2010<br />
<br />
[https://search.alexanderstreet.com/view/work/bibliographic_entity%7Crecorded_cd%7C72954 ''Gateway Summer Sound: Abstracted Animal and Other Sounds''] Ann McMillan, 1979 <br />
<br />
[http://www.dramonline.org/albums/scott-smallwood-desert-winds-six-windblown-sound-pieces-and-other-works/player ''Desert Winds: Six Windblown Sound Pieces and Other Works,''] Scott Smallwood, 2007<br />
<br />
[https://search.alexanderstreet.com/view/work/bibliographic_entity%7Crecorded_cd%7C72140 ''Highlights of Vortex''], 1959, Smithsonian Folkways Recordings [2003]<br />
<br />
<br />
'''SLAC Site Visit:'''<br />
<br />
[[File:slac.jpg|500px]]<br />
<br />
The tour of SLAC was a bit of a disappointment, but only because I didn't fully comprehend the context of the tour. I didn't realize our MFA tour was part of a larger public tour. Unfortunately, it was nearly impossible to record an audio sample without tour-talk and human ruckus. We only visited two small areas of the facilities, which didn't really give an overall impression of the scale of the accelerometer. There were, however, some exciting/uncomfortable oscillations coming from machinery that I would like to revisit under a more sound-oriented tour of SLAC. Outside of my sound hunt, it was astounding to hear about the some of the research taking place.<br />
<br />
<br />
<br />
<br />
'''Floor Plan + Spacial Thoughts:'''<br />
<br />
[[File:LR_sketch.png|600px]]<br />
<br />
<br />
<br />
'''Light + Sound + Water Experiments:'''<br />
<br />
[http://ssherriff.com/media/wide_test.MOV]<br />
<br />
[http://ssherriff.com/media/oracle_view.MOV]<br />
<br />
[http://ssherriff.com/media/shadow_projection.MOV]<br />
<br />
<br />
<br />
'''To do:'''<br />
Visit Listening Room<br />
Contact Nando for Listening Room Orientation<br />
Contact Nette for LR keycard access<br />
Book out LR rehearsal schedule<br />
Purchase 2015 Macbook Pro<br />
<br />
<br />
'''WK5 --'''<br />
<br />
I spent this week trying to iron out logistics. I met with Nando for a Listening Room orientation and am now considering the best way to execute signal routing in the space. Nando recommended I check out the Listening Room User Manual on the CCRMA website. For now, I'm thinking I'll address each speaker individually, rather than working with ambisonics. It sounds like I'll need to use Jack to interface with my computer. Speaking of computer, I bought a laptop! It should arrive next week. I was also able to arrange keycard access to the room and am still trying to pin down scheduling for rehearsal and official performance showtimes. <br />
<br />
[[File:listening rm2 no layer.jpg|500px]]<br />
<br />
<br />
'''Possible Performance Date(s)/Times:''' <br />
<br />
'''Friday, June 1''' -- 4pm doors / 4:33pm performance<br />
OR<br />
7pm doors / 7:30pm performance<br />
<br />
'''Saturday, June 2''' -- 4pm doors / 4:33pm performance <br />
AND<br />
7pm doors / 7:30pm performance<br />
<br />
<br />
<br />
''' WK6 --'''<br />
<br />
'''Listening Room Mixing + Routing Research:'''<br />
<br />
[https://ccrma.stanford.edu/room-guides/listening-room] Listening Room User Guide]<br />
<br />
[[File:Speakers.jpg|600px]]<br />
[[File:LR_mixer.jpg|500px]]<br />
<br />
[https://ccrma.stanford.edu/software/openmixer/manual Openmixer Manual]<br />
<br />
[https://ccrma.stanford.edu/software/openmixer/manual/input_sources Input Sources]<br />
<br />
[https://ccrma.stanford.edu/software/openmixer/manual/using_jack Using Jack]<br />
<br />
<br />
'''Projection/Lighting:'''<br />
<br />
After visiting the Listening Room and looking at the infrastructure in place, I've decided not to do any screen-based projection that requires hanging additional material in the space. It will likely be a lot of work and ultimately be invasive to the experience. For now, I'd like to focus on the sound and possibly incorporate some simple caustic lighting elements. I'm considering options for reflecting light onto the grid that separates the floor from the lower level of the heptagon. This will require some sort of surface/screen that could easily be placed on the grid. I will need to be sure there is airflow so as not to cause any issues with the ventilation system which feeds into the lower level.<br />
<br />
<br />
<br />
'''To do:'''<br />
Install Max MSP/Jitter<br />
Set-up 22 Channel Routing in Max<br />
Source + Set-up RSVP Platform for Performance<br />
Contact Eoin for Listening Room Consultation <br />
Dry Ice Testing<br />
<br />
<br />
''' WK7 --'''<br />
<br />
'''Signal Routing + Listening Room Consultation:'''<br />
<br />
My new computer finally arrived and I was able to schedule some time with Eoin to test routing options in the Listening Room. I've opted to use a 16ch analog interface and Jacknet, which will magically give me access to all 22 channels. I'll need to do more specific routing in Max but was able to get a signal out of my laptop and play audio over all 22 channels with minimal head-scratching and mysterious machine behavior. Eoin is awesome. I am consistently amazed at the generosity of the CCRMA community and am so grateful to have the opportunity to interact and learn from everyone. <br />
<br />
<br />
'''Listening Room Booking + Conflicts:'''<br />
<br />
I spoke to Matt Wright about any potential overlap with SLOrk rehearsal and general usage of the Listening Room. After our conversation, it seems best to bump my performance dates back one week so as to avoid any scheduling conflicts. Matt has also been kind enough to book out the space for me overnight so I will only need to set-up and teardown once. Wooo. Yay for CCRMA peeps! <br />
<br />
<br />
'''RVSP Platform + Dates'''<br />
<br />
I've decided to use Eventbrite for RSVP distribution/tracking. I've got a draft going and am seconds away from pulling the trigger. Just need to finish up my statement about the piece, and am currently wrestling with language and an official title. So close!<br />
<br />
Friday, June 8th -- 7pm doors / 7:30pm performance<br />
Saturday, June 9th -- 4pm doors / 4:30pm performance<br />
<br />
<br />
'''Dry Ice Tests:'''<br />
<br />
Working with dry ice has been waaay more fun than I could have anticipated. With that said, I'm learning that the fun comes with a heftier fee than I originally thought... and it evaporates fairly quickly. A block of dry ice lasts for approximately 2 or 3 days at about $20 each. I've also discovered that the dry ice goes bananas until it's eaten up all of the oxygen in whatever water it's dropped into, at which point, the dry ice fizzles sadly with much less gusto. This happens fairly quickly. I think it will be fine for the performance, but it's possible I will need larger containers to house the water and dry. I've been most excited about projecting onto the dry ice and am thinking about ways to use the dry ice as the projection screen/surface for the performance. <br />
<br />
<br />
'''To do:'''<br />
Set-up Signal Routing Hierarchy in Max <br />
Publish + Distribute RVSP Invite<br />
Test Dry Ice in Listening Room<br />
Test Scent Machine in Listening Room<br />
Okay to Point Listening Room Projector Straight Down Onto Grid?<br />
Order More Fans? Dry Ice Containers / Scent Containers<br />
Edit new sounds<br />
<br />
<br />
'''WK8 --'''<br />
<br />
'''Testing + Rehearsal Findings:'''<br />
<br />
I discovered that my USB MIDI controller will not work at the same time as the USB MOTU interface I am using to route sound in the Listening Room. This is a major problem. I've contacted Eoin for advice, and am hoping that using an ethernet connection will help resolve this issue. I'm also thinking about adding a second computer into the mix, mainly because of software limitations on my new computer. I'm not sure if this is going to cause a whole heap of other headaches, but mentioned my interest to Eoin. If it seems to crazy/unreliable I'll stick with one laptop. <br />
<br />
<br />
'''Testing + Rehearsal Audio:'''<br />
<br />
[http://ssherriff.com/media/post-human_rehearsal2.mp3 Recording 1]<br />
<br />
[http://ssherriff.com/media/post-human_rehearsal.mp3 Recording 2]<br />
<br />
<br />
'''Dry Ice Testing:'''<br />
<br />
My first rounds of dry ice tests in the Listening Room proved to be somewhat unsuccessful. The ventilation system below the grid sucks all of the dry ice vapors straight down and disburses them, making it difficult to see anything interesting happening. I tried placing a container of dry ice into a secondary container with edges slightly higher than the vessel holding the dry ice. This produced some really interesting behaviors, so I'm guessing I can do something similar at a larger scale -- hopefully filling the majority of the recess in the Listening Room floor. <br />
<br />
I've been spending a good lump of time searching for containers to hold the dry ice. Whatever I use needs to be fairly large to help with the longevity of the vapors... but also not so large that it will be difficult to schlep it out of the room once the performance is over. There's also a slight chance that whatever I use to house the dry ice will be visible in some capacity, so I'm also trying to find something that is fairly simple in design... and also cheapish, since I will be covering a lot of area. I've been looking at all kinds of containers and haven't really found the right thing yet. I found something that will work, but I'm not very excited about it. <br />
<br />
For the secondary 'container' I am thinking about building out a frame that will fit inside of the heptagon. I would then line the frame with a black tarp or some sort of black fabric, leaving a few inches between the frame and the interior edge of the heptagon for air flow. <br />
<br />
Speaking of air-flow, the sound of the dry ice bubbling in the water is becoming a wonderful bonus in the soundscape of my performance. Listening to the dry ice is sort of like sitting by a babbling creek, so I could have asked for a more exciting and unexpected surprise. <br />
<br />
<br />
<br />
'''Projector Testing:''' <br />
<br />
Initially, I was thinking about using the projector that is already mounted in the Listening Room. After further examination, I realized that the throw will probably not work well for my purposes. I did some tests with one of the PICO projectors and it seems like it might work okay. It probably won't be the brightest, most vivid projection... but I think that will be okay in this case. The dry ice is awesome with even just a little bit of light on it. <br />
<br />
I bought a few small clamp mounts for any of the tiny projectors that enter into the set-up. I should be able to mount the projectors fairly easily using the rigging system in the ceiling.<br />
<br />
<br />
<br />
'''Project Statement:'''<br />
<br />
Earth frequencies are the foundation of sound-making in communication and survival for all<br />
living creatures. Insects, birds, and humans have all evolved to make sound in accordance<br />
with the landscapes in which they dwell, yet humans increasingly suffocate the soundscape,<br />
turning a blind ear to the sonic residue of industry and electromagnetic poisons.<br />
<br />
''Post-human Incursion'' is a site-specific audio/visual performance that examines how<br />
natural order might adapt soncially to human impressions on the evolution of voice across<br />
species. Through the use of spatialized and processed field recordings, ''Post-human Incursion''<br />
gestures toward a futuristic bending of familiar sonic terrain twisted by the influence of<br />
machinery. Post-human Incursion is a poetic attempt to prophesize what the future may hold<br />
in relation to the expressive abilities and survival of sounding creatures on Earth. Do<br />
birds sing differently now that they are encumbered with the ruckus of industrialized human<br />
existence?''<br />
<br />
<br />
[https://www.eventbrite.com/e/post-human-incursion-tickets-46164892436 RSVP Event Link]<br />
<br />
<br />
'''To do:'''<br />
Find door person<br />
USB MIDI controller does not currently work while running USB MOTU 16ch interface<br />
Can I use two computers -- x1 for mask / x1 for field recordings?<br />
Define performance zone / altar<br />
<br />
<br />
'''WK9 --'''<br />
<br />
'''Listening Room Tech:'''<br />
<br />
There was some mystery unplugging of a bunch of stuff in the Listening Room, which was causing some strange/inconsistent behavior. With the help and head scratching of Eoin and Nando... the mystery has been solved and things seem to be relatively stable. Phew! My MIDI controller also seems to be behaving for the most part. I've been using a power USB hub, which seems to be doing the trick, although I have a feeling the USB port on my controller is starting to get a little loose. Hopefully, it hangs in there for the performances...<br />
<br />
<br />
'''Dry Ice:'''<br />
<br />
I'm still struggling with the dry ice component of the piece. I don't think I'll be able to work at the scale I'd like, mainly due to the cost of materials. I think I've found a solution on a smaller scale, but I'm not super excited about it. Because of the scale change, it's likely I'll need to abandon the projection component. Hard to say for sure at this point, but unless some miracle ah-ha moment happens much of the visual components of the piece will be far diminished from what I would like to do in an ideal world where I'm rolling in cash and have an absorbent amount of time.<br />
<br />
<br />
'''SLOrk + Set-up:''' <br />
<br />
SLOrk moves out of the Listening Room on Wednesday evening. This means I will be able to leave things set-up and start to deal with cables and placement. In the interim, I've been doing some small lighting test and think I have a fairly simple plan for lighting including the hallway leading up to the Listening Room.<br />
<br />
<br />
'''Printed Program:''' <br />
<br />
I'm nearly finished working on a program for the performances. I think I will alter my statement to better describe all of the adjustments I've had to make and use language to indicate that it's still a work in progress. I assume it's fine to print the program at CCRMA. <br />
<br />
<br />
'''Sound:'''<br />
<br />
At this point, I'm so buried in the piece that I can no longer tell heads from tails. I've introduced a piezo as part of the altar, and have been testing various vocal utterances. Compositionally, I'm not totally sure where the piece is at or how far away I've fallen from my original intent. Currently, the piece is leaning toward something more musical than I originally imagined. I've removed the glockenspiel recording and have been working with more of a droning sound that I recorded using a synth. There's a cohesiveness to the sound, but what I've been developing is seemingly less like a soundscape even though there is an abundance of field recordings incorporated into the work. I suppose I'm feeling a little confused and could use some time away from the piece for reflection, but as is the whole shebang is feeling arbitrary and far removed... but maybe I'm too immersed in the process to see/hear it for what it is? <br />
<br />
<br />
'''To do:'''<br />
Complete Program / Print -- Do I need a code for the printer?<br />
Still trying to find a door person<br />
Lighting + Set-up<br />
Rehearsal + Testing<br />
<br />
<br />
<br />
'''WK10 --'''<br />
<br />
'''Culminating Voice Configuration:'''<br />
<br />
[[File:Mask_inside.jpg|350px]]<br />
<br />
<br />
Ultimately, I opted not to use the sensors embedded in the mask and only incorporated the microphone into the performance system, combined with some generous filtering in Ablteon Live. The signal from the microphone was passed through a MOTU interface with access to 22 discreet channels in the Listening Room. My voice occupied channels 1-8 and a handful of channels in the ceiling and floor.<br />
<br />
<br />
[[File:LIVE_voice1.png|550px]]<br />
<br />
<br />
[[File:LIVE_voice2.png|550px]]<br />
<br />
<br />
'''Piezo Instrument:'''<br />
<br />
Because of the whole debacle with my laptop, I strayed away from experimenting with the Bare Conductive Touch Board and water in this instance. Instead, I incorporated the glass bowl from my conductivity tests to make an instrument that is comprised of a piezo, the glass bowl, metal, feathers, and software. I fed the signal into Ableton for the instrument input within the same patch as my mic. I was able to output both signals as two separate channels to the MOTU interface allowing me to route the instrument signal discreetly over the 22ch system. I chose to route the instrument to channels 1-8, and the center ceiling speaker. <br />
<br />
<br />
[[File:LIVE_piezo.png|550px]]<br />
<br />
<br />
<br />
'''Field Recording Manipulation:''' <br />
<br />
[[File:Control_closed_active.png|750px]]<br />
<br />
<br />
For all of the field recordings I continued to use Max MSP/Jitter and a MIDI controller to manipulate and navigate recorded audio signals. Rather than processing the sound through filters, I built a system where I am simply manipulating the speed and direction of each recorded sample. Most sounds are configured to play at a rate well below half speed and are occasionally played backward. <br />
<br />
In addition to the field recordings, I also recorded improvisational synthesizer sessions. One of the first synth recordings I made in my process used the glockenspiel voice. After some feedback, I questioned if the glockenspiel was pulling the piece in a more musical direction and whether or not I would be okay with that in relation to my interest in the evolution of sound and soundscapes. I decided I was okay with the piece becoming more musical but felt that the synth could better match the electrical and machine-made sounds already incorporated into the piece. I believe I ultimately used some sort of electric piano voice on the synth to create a droney, circular sound. Once the synth sound was in Max MSP/Jitter, I made the happy discovery that the drone sound was a friendly match with some mosquito buzzing already incorporated into the composition and committed to using the drone sound in the composition. <br />
<br />
<br />
[[File:Control_open.png|750px]]<br />
<br />
<br />
'''Video:'''<br />
<br />
[http://ssherriff.com/media/trees_layers.mp4 treep loop video]<br />
<br />
For the video, I used a looped recording of layered trees composed in Max MSP/Jitter, along with a Nano projector, a Rasberry Pi media player, and a fancy clamp that allowed me to mount the projector off of a speaker-arm in the ceiling. The Nano projector is battery powered with a long enough life that I didn't need to bother with any cabling or power routing to the projector.<br />
<br />
[[File:Clamp.png|350px]]<br />
<br />
[https://www.amazon.com/gp/product/B000ABB4HC/ref=oh_aui_detailpage_o04_s00?ie=UTF8&psc=1 PEDCO UltraClamp]<br />
<br />
<br />
<br />
<br />
[[File:Performance_img2.jpg|550px]]<br />
<br />
Performance Image Courtesy of Dave Kerr<br />
<br />
[http://ssherriff.com/media/PH_perf.mp4 Performance Documentation (Courtesy of David Kerr)]</div>Stephaniehttps://ccrma.stanford.edu/mediawiki/index.php?title=Ritualistic_Performance_System_Research&diff=21010Ritualistic Performance System Research2018-06-18T20:14:50Z<p>Stephanie: </p>
<hr />
<div><br />
[[File:Performance_img.jpg|350px]]<br />
<br />
Performance Image Courtesy of Dave Kerr<br />
<br />
<br />
''Post-human Incursion'' is a site-specific performance piece developed for the Listening Room at CCRMA. Inspired by the writing of Bernie Kraus and the work of Pauline Oliveros, the piece functions as a futuristic reflection on the evolution of sound across species, while using spacialized and manipulated field recordings to create new sonic terrain. <br />
<br />
<br />
<br />
== '''Project Overview + Development:''' ==<br />
<br />
<br />
<br />
'''Goal:'''<br />
To create a ritualistic performance system using spacialized audio signals, video, and real-time audio manipulation. <br />
<br />
<br />
'''Background:'''<br />
<br />
As part of continued research, I aim to pursue an audio/visual experience that combines spatialized field recordings, voice, video/light, and software. For this piece, I may continue to develop a proximity-based water sensor into the performance, using some sort of vessel(s), water, conductive tape, and a bare conductive microcontroller. The audio collection process will include listening, recording, and engaging with a series of natural and machine-made sounds. The piece will culminate in an audio/visual performance. <br />
<br />
<br />
'''Possible Controllers:'''<br />
<br />
[[File:water_controller.jpg|350px]]<br />
water controller prototype <br />
<br />
[[File:Mask_full.jpg|350px]]<br />
mask prototype<br />
<br />
[[File:Mask_inside.jpg|350px]]<br />
mask sensors<br />
<br />
<br />
<br />
'''WK1 -- Brainstorming + Testing'''<br />
<br />
Performance Site '''-- Listening Room'''<br />
Okay to burn / use scents? '''-- No. Issues in the past.'''<br />
Dry Ice? '''-- Could be okay. Needs ventilation.''' <br />
Max capacity in Listening Room '''-- 15-20 people'''<br />
<br />
[[File:Listening_room.jpg|350px]]<br />
<br />
<br />
'''To do:'''<br />
Bare Conductive Touch Board + Water Sensor Testing in Max <br />
Arduino code + upload to Touch Board<br />
Max MSP/Jitter + Touch Board testing<br />
Add water sensor input to video mixer patch<br />
Collect Field Recordings<br />
Fire / Machines / Energy Facility / Electrical Drone Sounds<br />
<br />
<br />
'''WK2 -- Testing + Collection'''<br />
<br />
Water Sensor Testing in Max MSP/Jitter<br />
[https://www.bareconductive.com/make/the-touch-board-maxmsp/]<br />
<br />
[[File:Bare_conductive.jpg|300px]]<br />
<br />
I managed to get data into Max from the Bare Conductive microcontroller. After a few minutes, the microcontroller seems to get overloaded and freezes. If I reload the Arduino code onto the board data starts to work in Max temporarily. This issue seems relatively consistent. My laptop also seems to be having trouble processing video and receiving data at the same time. The latency of sensor data into Max is painfully slow while video is running. Sensor response is proficient with no video processing. <br />
<br />
I will need a new laptop. This is not a surprise.<br />
<br />
<br />
'''Readings:'''<br />
<br />
<u>Keywords in Sound</u>, Chapter 15, ''Resonance'', by Veit Erlmann <br />
<br />
"...the concept of resonance, having been derived from core epistemological virtues such as intuition, observation, and experiment, names the natural mechanism governing the interaction of vibrating matter, such as strings, nerves, and air. As such, resonance is the "Other" of the self-constituting Cartesian ego as it discovers truth (of musical harmony, for instance) and reassures itself of its own existence as a thinking entity. On the other hand resonance names the very unity of body and mind that the cogitating ego must unthink before it uncovers truth."<br />
<br />
(Erlmann, page 177)<br />
<br />
<br />
<u>Keywords in Sound</u>, Chapter 17, ''Space'', by Andrew J. Eisenberg <br />
<br />
"As a phenomenon that exists at once within and beyond perceiving subjects, sound cannot but reveal social space as an artifact of material practices complexly interwoven with semiotic processes and the 'imaginations, fears, emotions, psychologies, fantasies, and dreams' that human beings bring to everything (Harvey 2006: 279; see also Lefebvre 1991)."<br />
<br />
(Eisenberg, pg 202)<br />
<br />
<br />
<u>The Soundscape: Our Sonic Environment & the Tuning of the World</u>, <br />
R. Murray Schaffer, Chapter 12, Symbolism<br />
<br />
"...water, the original life element, has the most splendid symbolism... a stream, a fountain, a river, a waterfall, the sea, each makes its unique sound but all share rich symbolism. They speak of cleansing, of purification, of refreshment, and renewal... It is symbolic of eternity... It is symbolic of change." <br />
<br />
(Schafer, page 170)<br />
<br />
<br />
"Without its tactile pressure on the face or body we cannot even tell from what direction it blows. The wind is therefore not to be trusted."<br />
<br />
(Schafer, page 170)<br />
<br />
<br />
<br />
"Modern man has sought to escape both the wind and the sea by encapsulating himself in artificial environments... The sounds of machines took on happy symbolism approximately 200 years ago, when it was realized that they could release man from his immemorial bondage to earth... power and progress... noise and power go hand in hand."<br />
<br />
(Schafer, page 178-179)<br />
<br />
<br />
'''To do:''' <br />
Research options for new laptop (2015 Macbook Pro) + Stanford support<br />
Mask controller into Max MSP/Jitter<br />
Build simple looper<br />
Edit field recordings <br />
<br />
<br />
'''WK3 -- More Testing + Collecting'''<br />
<br />
'''Simple Audio Looper Interface for Testing | Max MSP/Jitter + MIDI Controller:'''<br />
<br />
I built a simple looper patch in Max in order to start manipulating and listening to field recordings from my recent sound hunts. Lately, I've been interested in machine sounds that have similar qualities as sounds from nature... similar to how cars sound similar to the ocean, or specific electrical resonances sound like cicadas and crickets. <br />
<br />
[[File:Audio_interface.jpg|600px]]<br />
<br />
[[File:Midi_controller.jpg|600px]]<br />
<br />
[[File:audio_interface_guts.jpg|600px]]<br />
<br />
audio test -- [http://ssherriff.com/media/ritual_test.mp3]<br />
<br />
<br />
'''Readings:'''<br />
<br />
"...the wind began to funnel down from the high southern pass, gaining more forces with each passing moment... The effect wasn't a chord exactly, but rather a combination of tones, sighs, and midrange groans that played off each other, sometimes setting strange beats into resonance as they nearly matched one another in pitch... strangely dissonant. While never unpleasant, the acoustic experience was disorienting."<br />
<br />
(Kraus, pg 37)<br />
<br />
<u>The Great Animal Orchestra: Finding the Origins of Music in the World's Wild Places</u>, Bernie Kraus<br />
<br />
<br />
'''To do:''' <br />
Research 2015 Macbook Pro <br />
SLAC audio recordings<br />
Research/Source dry ice<br />
Schedule Audium visit <br />
<br />
<br />
'''WK4 --''' <br />
<br />
'''Dry Ice Safety + Costs + Storage:'''<br />
<br />
[[File:Dry_ice3.jpg|600px]]<br />
<br />
[[File:Dry ice2.jpg|600px]]<br />
<br />
[http://dryiceinfo.com/safe.htm safety]<br />
<br />
<br />
[[File:Dry ice5.jpg|550px]]<br />
<br />
[https://www.howmuchisit.org/how-much-does-dry-ice-cost/ costs]<br />
<br />
<br />
[[File:Dry_ice.jpg|600px]]<br />
<br />
[[File:Dry ice4.jpg|600px]]<br />
<br />
[http://www.eatbydate.com/other/dry-ice/ storage+]<br />
<br />
<br />
'''Searchworks Audio Finds:'''<br />
<br />
Over the past week or so, I've been reading <u>Art of Immersive Soundscapes</u> which has revitalized my interest in musique concrète. Today I spent some time digging around [http://searchworks.stanford.edu/ Searchworks] for online audio files/compilations/albums. In my hunt so far, I have found several resources that rely heavily on field recordings from nature to form audio compositions. <br />
<br />
<br />
Here are a few:<br />
<br />
[https://stanford.naxosmusiclibrary.com/catalogue/item.asp?cid=INNOVA783 ''Arctic Winds,''] Maggie Payne, 2010<br />
<br />
[https://search.alexanderstreet.com/view/work/bibliographic_entity%7Crecorded_cd%7C72954 ''Gateway Summer Sound: Abstracted Animal and Other Sounds''] Ann McMillan, 1979 <br />
<br />
[http://www.dramonline.org/albums/scott-smallwood-desert-winds-six-windblown-sound-pieces-and-other-works/player ''Desert Winds: Six Windblown Sound Pieces and Other Works,''] Scott Smallwood, 2007<br />
<br />
[https://search.alexanderstreet.com/view/work/bibliographic_entity%7Crecorded_cd%7C72140 ''Highlights of Vortex''], 1959, Smithsonian Folkways Recordings [2003]<br />
<br />
<br />
'''SLAC Site Visit:'''<br />
<br />
[[File:slac.jpg|500px]]<br />
<br />
The tour of SLAC was a bit of a disappointment, but only because I didn't fully comprehend the context of the tour. I didn't realize our MFA tour was part of a larger public tour. Unfortunately, it was nearly impossible to record an audio sample without tour-talk and human ruckus. We only visited two small areas of the facilities, which didn't really give an overall impression of the scale of the accelerometer. There were, however, some exciting/uncomfortable oscillations coming from machinery that I would like to revisit under a more sound-oriented tour of SLAC. Outside of my sound hunt, it was astounding to hear about the some of the research taking place.<br />
<br />
<br />
<br />
<br />
'''Floor Plan + Spacial Thoughts:'''<br />
<br />
[[File:LR_sketch.png|600px]]<br />
<br />
<br />
<br />
'''Light + Sound + Water Experiments:'''<br />
<br />
[http://ssherriff.com/media/wide_test.MOV]<br />
<br />
[http://ssherriff.com/media/oracle_view.MOV]<br />
<br />
[http://ssherriff.com/media/shadow_projection.MOV]<br />
<br />
<br />
<br />
'''To do:'''<br />
Visit Listening Room<br />
Contact Nando for Listening Room Orientation<br />
Contact Nette for LR keycard access<br />
Book out LR rehearsal schedule<br />
Purchase 2015 Macbook Pro<br />
<br />
<br />
'''WK5 --'''<br />
<br />
I spent this week trying to iron out logistics. I met with Nando for a Listening Room orientation and am now considering the best way to execute signal routing in the space. Nando recommended I check out the Listening Room User Manual on the CCRMA website. For now, I'm thinking I'll address each speaker individually, rather than working with ambisonics. It sounds like I'll need to use Jack to interface with my computer. Speaking of computer, I bought a laptop! It should arrive next week. I was also able to arrange keycard access to the room and am still trying to pin down scheduling for rehearsal and official performance showtimes. <br />
<br />
[[File:listening rm2 no layer.jpg|500px]]<br />
<br />
<br />
'''Possible Performance Date(s)/Times:''' <br />
<br />
'''Friday, June 1''' -- 4pm doors / 4:33pm performance<br />
OR<br />
7pm doors / 7:30pm performance<br />
<br />
'''Saturday, June 2''' -- 4pm doors / 4:33pm performance <br />
AND<br />
7pm doors / 7:30pm performance<br />
<br />
<br />
<br />
''' WK6 --'''<br />
<br />
'''Listening Room Mixing + Routing Research:'''<br />
<br />
[https://ccrma.stanford.edu/room-guides/listening-room] Listening Room User Guide]<br />
<br />
[[File:Speakers.jpg|600px]]<br />
[[File:LR_mixer.jpg|500px]]<br />
<br />
[https://ccrma.stanford.edu/software/openmixer/manual Openmixer Manual]<br />
<br />
[https://ccrma.stanford.edu/software/openmixer/manual/input_sources Input Sources]<br />
<br />
[https://ccrma.stanford.edu/software/openmixer/manual/using_jack Using Jack]<br />
<br />
<br />
'''Projection/Lighting:'''<br />
<br />
After visiting the Listening Room and looking at the infrastructure in place, I've decided not to do any screen-based projection that requires hanging additional material in the space. It will likely be a lot of work and ultimately be invasive to the experience. For now, I'd like to focus on the sound and possibly incorporate some simple caustic lighting elements. I'm considering options for reflecting light onto the grid that separates the floor from the lower level of the heptagon. This will require some sort of surface/screen that could easily be placed on the grid. I will need to be sure there is airflow so as not to cause any issues with the ventilation system which feeds into the lower level.<br />
<br />
<br />
<br />
'''To do:'''<br />
Install Max MSP/Jitter<br />
Set-up 22 Channel Routing in Max<br />
Source + Set-up RSVP Platform for Performance<br />
Contact Eoin for Listening Room Consultation <br />
Dry Ice Testing<br />
<br />
<br />
''' WK7 --'''<br />
<br />
'''Signal Routing + Listening Room Consultation:'''<br />
<br />
My new computer finally arrived and I was able to schedule some time with Eoin to test routing options in the Listening Room. I've opted to use a 16ch analog interface and Jacknet, which will magically give me access to all 22 channels. I'll need to do more specific routing in Max but was able to get a signal out of my laptop and play audio over all 22 channels with minimal head-scratching and mysterious machine behavior. Eoin is awesome. I am consistently amazed at the generosity of the CCRMA community and am so grateful to have the opportunity to interact and learn from everyone. <br />
<br />
<br />
'''Listening Room Booking + Conflicts:'''<br />
<br />
I spoke to Matt Wright about any potential overlap with SLOrk rehearsal and general usage of the Listening Room. After our conversation, it seems best to bump my performance dates back one week so as to avoid any scheduling conflicts. Matt has also been kind enough to book out the space for me overnight so I will only need to set-up and teardown once. Wooo. Yay for CCRMA peeps! <br />
<br />
<br />
'''RVSP Platform + Dates'''<br />
<br />
I've decided to use Eventbrite for RSVP distribution/tracking. I've got a draft going and am seconds away from pulling the trigger. Just need to finish up my statement about the piece, and am currently wrestling with language and an official title. So close!<br />
<br />
Friday, June 8th -- 7pm doors / 7:30pm performance<br />
Saturday, June 9th -- 4pm doors / 4:30pm performance<br />
<br />
<br />
'''Dry Ice Tests:'''<br />
<br />
Working with dry ice has been waaay more fun than I could have anticipated. With that said, I'm learning that the fun comes with a heftier fee than I originally thought... and it evaporates fairly quickly. A block of dry ice lasts for approximately 2 or 3 days at about $20 each. I've also discovered that the dry ice goes bananas until it's eaten up all of the oxygen in whatever water it's dropped into, at which point, the dry ice fizzles sadly with much less gusto. This happens fairly quickly. I think it will be fine for the performance, but it's possible I will need larger containers to house the water and dry. I've been most excited about projecting onto the dry ice and am thinking about ways to use the dry ice as the projection screen/surface for the performance. <br />
<br />
<br />
'''To do:'''<br />
Set-up Signal Routing Hierarchy in Max <br />
Publish + Distribute RVSP Invite<br />
Test Dry Ice in Listening Room<br />
Test Scent Machine in Listening Room<br />
Okay to Point Listening Room Projector Straight Down Onto Grid?<br />
Order More Fans? Dry Ice Containers / Scent Containers<br />
Edit new sounds<br />
<br />
<br />
'''WK8 --'''<br />
<br />
'''Testing + Rehearsal Findings:'''<br />
<br />
I discovered that my USB MIDI controller will not work at the same time as the USB MOTU interface I am using to route sound in the Listening Room. This is a major problem. I've contacted Eoin for advice, and am hoping that using an ethernet connection will help resolve this issue. I'm also thinking about adding a second computer into the mix, mainly because of software limitations on my new computer. I'm not sure if this is going to cause a whole heap of other headaches, but mentioned my interest to Eoin. If it seems to crazy/unreliable I'll stick with one laptop. <br />
<br />
<br />
'''Testing + Rehearsal Audio:'''<br />
<br />
[http://ssherriff.com/media/post-human_rehearsal2.mp3 Recording 1]<br />
<br />
[http://ssherriff.com/media/post-human_rehearsal.mp3 Recording 2]<br />
<br />
<br />
'''Dry Ice Testing:'''<br />
<br />
My first rounds of dry ice tests in the Listening Room proved to be somewhat unsuccessful. The ventilation system below the grid sucks all of the dry ice vapors straight down and disburses them, making it difficult to see anything interesting happening. I tried placing a container of dry ice into a secondary container with edges slightly higher than the vessel holding the dry ice. This produced some really interesting behaviors, so I'm guessing I can do something similar at a larger scale -- hopefully filling the majority of the recess in the Listening Room floor. <br />
<br />
I've been spending a good lump of time searching for containers to hold the dry ice. Whatever I use needs to be fairly large to help with the longevity of the vapors... but also not so large that it will be difficult to schlep it out of the room once the performance is over. There's also a slight chance that whatever I use to house the dry ice will be visible in some capacity, so I'm also trying to find something that is fairly simple in design... and also cheapish, since I will be covering a lot of area. I've been looking at all kinds of containers and haven't really found the right thing yet. I found something that will work, but I'm not very excited about it. <br />
<br />
For the secondary 'container' I am thinking about building out a frame that will fit inside of the heptagon. I would then line the frame with a black tarp or some sort of black fabric, leaving a few inches between the frame and the interior edge of the heptagon for air flow. <br />
<br />
Speaking of air-flow, the sound of the dry ice bubbling in the water is becoming a wonderful bonus in the soundscape of my performance. Listening to the dry ice is sort of like sitting by a babbling creek, so I could have asked for a more exciting and unexpected surprise. <br />
<br />
<br />
<br />
'''Projector Testing:''' <br />
<br />
Initially, I was thinking about using the projector that is already mounted in the Listening Room. After further examination, I realized that the throw will probably not work well for my purposes. I did some tests with one of the PICO projectors and it seems like it might work okay. It probably won't be the brightest, most vivid projection... but I think that will be okay in this case. The dry ice is awesome with even just a little bit of light on it. <br />
<br />
I bought a few small clamp mounts for any of the tiny projectors that enter into the set-up. I should be able to mount the projectors fairly easily using the rigging system in the ceiling.<br />
<br />
<br />
<br />
'''Project Statement:'''<br />
<br />
Earth frequencies are the foundation of sound-making in communication and survival for all<br />
living creatures. Insects, birds, and humans have all evolved to make sound in accordance<br />
with the landscapes in which they dwell, yet humans increasingly suffocate the soundscape,<br />
turning a blind ear to the sonic residue of industry and electromagnetic poisons.<br />
<br />
''Post-human Incursion'' is a site-specific audio/visual performance that examines how<br />
natural order might adapt soncially to human impressions on the evolution of voice across<br />
species. Through the use of spatialized and processed field recordings, ''Post-human Incursion''<br />
gestures toward a futuristic bending of familiar sonic terrain twisted by the influence of<br />
machinery. Post-human Incursion is a poetic attempt to prophesize what the future may hold<br />
in relation to the expressive abilities and survival of sounding creatures on Earth. Do<br />
birds sing differently now that they are encumbered with the ruckus of industrialized human<br />
existence?''<br />
<br />
<br />
[https://www.eventbrite.com/e/post-human-incursion-tickets-46164892436 RSVP Event Link]<br />
<br />
<br />
'''To do:'''<br />
Find door person<br />
USB MIDI controller does not currently work while running USB MOTU 16ch interface<br />
Can I use two computers -- x1 for mask / x1 for field recordings?<br />
Define performance zone / altar<br />
<br />
<br />
'''WK9 --'''<br />
<br />
'''Listening Room Tech:'''<br />
<br />
There was some mystery unplugging of a bunch of stuff in the Listening Room, which was causing some strange/inconsistent behavior. With the help and head scratching of Eoin and Nando... the mystery has been solved and things seem to be relatively stable. Phew! My MIDI controller also seems to be behaving for the most part. I've been using a power USB hub, which seems to be doing the trick, although I have a feeling the USB port on my controller is starting to get a little loose. Hopefully, it hangs in there for the performances...<br />
<br />
<br />
'''Dry Ice:'''<br />
<br />
I'm still struggling with the dry ice component of the piece. I don't think I'll be able to work at the scale I'd like, mainly due to the cost of materials. I think I've found a solution on a smaller scale, but I'm not super excited about it. Because of the scale change, it's likely I'll need to abandon the projection component. Hard to say for sure at this point, but unless some miracle ah-ha moment happens much of the visual components of the piece will be far diminished from what I would like to do in an ideal world where I'm rolling in cash and have an absorbent amount of time.<br />
<br />
<br />
'''SLOrk + Set-up:''' <br />
<br />
SLOrk moves out of the Listening Room on Wednesday evening. This means I will be able to leave things set-up and start to deal with cables and placement. In the interim, I've been doing some small lighting test and think I have a fairly simple plan for lighting including the hallway leading up to the Listening Room.<br />
<br />
<br />
'''Printed Program:''' <br />
<br />
I'm nearly finished working on a program for the performances. I think I will alter my statement to better describe all of the adjustments I've had to make and use language to indicate that it's still a work in progress. I assume it's fine to print the program at CCRMA. <br />
<br />
<br />
'''Sound:'''<br />
<br />
At this point, I'm so buried in the piece that I can no longer tell heads from tails. I've introduced a piezo as part of the altar, and have been testing various vocal utterances. Compositionally, I'm not totally sure where the piece is at or how far away I've fallen from my original intent. Currently, the piece is leaning toward something more musical than I originally imagined. I've removed the glockenspiel recording and have been working with more of a droning sound that I recorded using a synth. There's a cohesiveness to the sound, but what I've been developing is seemingly less like a soundscape even though there is an abundance of field recordings incorporated into the work. I suppose I'm feeling a little confused and could use some time away from the piece for reflection, but as is the whole shebang is feeling arbitrary and far removed... but maybe I'm too immersed in the process to see/hear it for what it is? <br />
<br />
<br />
'''To do:'''<br />
Complete Program / Print -- Do I need a code for the printer?<br />
Still trying to find a door person<br />
Lighting + Set-up<br />
Rehearsal + Testing<br />
<br />
<br />
<br />
'''WK10 --'''<br />
<br />
'''Culminating Voice Configuration:'''<br />
<br />
[[File:Mask_inside.jpg|350px]]<br />
<br />
<br />
Ultimately, I opted not to use the sensors embedded in the mask and only incorporated the microphone into the performance system, combined with some generous filtering in Ablteon Live. The signal from the microphone was passed through a MOTU interface with access to 22 discreet channels in the Listening Room. My voice occupied channels 1-8 and a handful of channels in the ceiling and floor.<br />
<br />
<br />
[[File:LIVE_voice1.png|550px]]<br />
<br />
<br />
[[File:LIVE_voice2.png|550px]]<br />
<br />
<br />
'''Piezo Instrument:'''<br />
<br />
Because of the whole debacle with my laptop, I strayed away from experimenting with the Bare Conductive Touch Board and water in this instance. Instead, I incorporated the glass bowl from my conductivity tests to make an instrument that is comprised of a piezo, the glass bowl, metal, feathers, and software. I fed the signal into Ableton for the instrument input within the same patch as my mic. I was able to output both signals as two separate channels to the MOTU interface allowing me to route the instrument signal discreetly over the 22ch system. I chose to route the instrument to channels 1-8, and the center ceiling speaker. <br />
<br />
<br />
[[File:LIVE_piezo.png|550px]]<br />
<br />
<br />
<br />
'''Field Recording Manipulation:''' <br />
<br />
[[File:Control_closed_active.png|750px]]<br />
<br />
<br />
For all of the field recordings I continued to use Max MSP/Jitter and a MIDI controller to manipulate and navigate recorded audio signals. Rather than processing the sound through filters, I built a system where I am simply manipulating the speed and direction of each recorded sample. Most sounds are configured to play at a rate well below half speed and are occasionally played backward. <br />
<br />
In addition to the field recordings, I also recorded improvisational synthesizer sessions. One of the first synth recordings I made in my process used the glockenspiel voice. After some feedback, I questioned if the glockenspiel was pulling the piece in a more musical direction and whether or not I would be okay with that in relation to my interest in the evolution of sound and soundscapes. I decided I was okay with the piece becoming more musical but felt that the synth could better match the electrical and machine-made sounds already incorporated into the piece. I believe I ultimately used some sort of electric piano voice on the synth to create a droney, circular sound. Once the synth sound was in Max MSP/Jitter, I made the happy discovery that the drone sound was a friendly match with some mosquito buzzing already incorporated into the composition and committed to using the drone sound in the composition. <br />
<br />
<br />
[[File:Control_open.png|750px]]<br />
<br />
<br />
'''Video:'''<br />
<br />
<br />
For the video, I used a looped recording of layered trees composed in Max MSP/Jitter, along with a Nano projector, a Rasberry Pi media player, and a fancy clamp that allowed me to mount the projector off of a speaker-arm in the ceiling. The Nano projector is battery powered with a long enough life that I didn't need to bother with any cabling or power routing to the projector.<br />
<br />
[[File:Clamp.png|350px]]<br />
<br />
[https://www.amazon.com/gp/product/B000ABB4HC/ref=oh_aui_detailpage_o04_s00?ie=UTF8&psc=1 PEDCO UltraClamp]<br />
<br />
[http://ssherriff.com/media/trees_layers.mp4 treep loop]<br />
<br />
<br />
[[File:Performance_img2.jpg|550px]]<br />
<br />
Performance Image Courtesy of Dave Kerr<br />
<br />
[http://ssherriff.com/media/PH_perf.mp4 Performance Documentation (Courtesy of David Kerr)]</div>Stephaniehttps://ccrma.stanford.edu/mediawiki/index.php?title=Ritualistic_Performance_System_Research&diff=21009Ritualistic Performance System Research2018-06-18T20:10:13Z<p>Stephanie: </p>
<hr />
<div><br />
[[File:Performance_img.jpg|350px]]<br />
<br />
Performance Image Courtesy of Dave Kerr<br />
<br />
<br />
''Post-human Incursion'' is a site-specific performance piece developed for the Listening Room at CCRMA. Inspired by the writing of Bernie Kraus and the work of Pauline Oliveros, the piece functions as a futuristic reflection on the evolution of sound across species, while using spacialized and manipulated field recordings to create new sonic terrain. <br />
<br />
<br />
<br />
== '''Project Overview + Development:''' ==<br />
<br />
<br />
<br />
'''Goal:'''<br />
To create a ritualistic performance system using spacialized audio signals, video, and real-time audio manipulation. <br />
<br />
<br />
'''Background:'''<br />
<br />
As part of continued research, I aim to pursue an audio/visual experience that combines spatialized field recordings, voice, video/light, and software. For this piece, I may continue to develop a proximity-based water sensor into the performance, using some sort of vessel(s), water, conductive tape, and a bare conductive microcontroller. The audio collection process will include listening, recording, and engaging with a series of natural and machine-made sounds. The piece will culminate in an audio/visual performance. <br />
<br />
<br />
'''Possible Controllers:'''<br />
<br />
[[File:water_controller.jpg|350px]]<br />
water controller prototype <br />
<br />
[[File:Mask_full.jpg|350px]]<br />
mask prototype<br />
<br />
[[File:Mask_inside.jpg|350px]]<br />
mask sensors<br />
<br />
<br />
<br />
'''WK1 -- Brainstorming + Testing'''<br />
<br />
Performance Site '''-- Listening Room'''<br />
Okay to burn / use scents? '''-- No. Issues in the past.'''<br />
Dry Ice? '''-- Could be okay. Needs ventilation.''' <br />
Max capacity in Listening Room '''-- 15-20 people'''<br />
<br />
[[File:Listening_room.jpg|350px]]<br />
<br />
<br />
'''To do:'''<br />
Bare Conductive Touch Board + Water Sensor Testing in Max <br />
Arduino code + upload to Touch Board<br />
Max MSP/Jitter + Touch Board testing<br />
Add water sensor input to video mixer patch<br />
Collect Field Recordings<br />
Fire / Machines / Energy Facility / Electrical Drone Sounds<br />
<br />
<br />
'''WK2 -- Testing + Collection'''<br />
<br />
Water Sensor Testing in Max MSP/Jitter<br />
[https://www.bareconductive.com/make/the-touch-board-maxmsp/]<br />
<br />
[[File:Bare_conductive.jpg|300px]]<br />
<br />
I managed to get data into Max from the Bare Conductive microcontroller. After a few minutes, the microcontroller seems to get overloaded and freezes. If I reload the Arduino code onto the board data starts to work in Max temporarily. This issue seems relatively consistent. My laptop also seems to be having trouble processing video and receiving data at the same time. The latency of sensor data into Max is painfully slow while video is running. Sensor response is proficient with no video processing. <br />
<br />
I will need a new laptop. This is not a surprise.<br />
<br />
<br />
'''Readings:'''<br />
<br />
<u>Keywords in Sound</u>, Chapter 15, ''Resonance'', by Veit Erlmann <br />
<br />
"...the concept of resonance, having been derived from core epistemological virtues such as intuition, observation, and experiment, names the natural mechanism governing the interaction of vibrating matter, such as strings, nerves, and air. As such, resonance is the "Other" of the self-constituting Cartesian ego as it discovers truth (of musical harmony, for instance) and reassures itself of its own existence as a thinking entity. On the other hand resonance names the very unity of body and mind that the cogitating ego must unthink before it uncovers truth."<br />
<br />
(Erlmann, page 177)<br />
<br />
<br />
<u>Keywords in Sound</u>, Chapter 17, ''Space'', by Andrew J. Eisenberg <br />
<br />
"As a phenomenon that exists at once within and beyond perceiving subjects, sound cannot but reveal social space as an artifact of material practices complexly interwoven with semiotic processes and the 'imaginations, fears, emotions, psychologies, fantasies, and dreams' that human beings bring to everything (Harvey 2006: 279; see also Lefebvre 1991)."<br />
<br />
(Eisenberg, pg 202)<br />
<br />
<br />
<u>The Soundscape: Our Sonic Environment & the Tuning of the World</u>, <br />
R. Murray Schaffer, Chapter 12, Symbolism<br />
<br />
"...water, the original life element, has the most splendid symbolism... a stream, a fountain, a river, a waterfall, the sea, each makes its unique sound but all share rich symbolism. They speak of cleansing, of purification, of refreshment, and renewal... It is symbolic of eternity... It is symbolic of change." <br />
<br />
(Schafer, page 170)<br />
<br />
<br />
"Without its tactile pressure on the face or body we cannot even tell from what direction it blows. The wind is therefore not to be trusted."<br />
<br />
(Schafer, page 170)<br />
<br />
<br />
<br />
"Modern man has sought to escape both the wind and the sea by encapsulating himself in artificial environments... The sounds of machines took on happy symbolism approximately 200 years ago, when it was realized that they could release man from his immemorial bondage to earth... power and progress... noise and power go hand in hand."<br />
<br />
(Schafer, page 178-179)<br />
<br />
<br />
'''To do:''' <br />
Research options for new laptop (2015 Macbook Pro) + Stanford support<br />
Mask controller into Max MSP/Jitter<br />
Build simple looper<br />
Edit field recordings <br />
<br />
<br />
'''WK3 -- More Testing + Collecting'''<br />
<br />
'''Simple Audio Looper Interface for Testing | Max MSP/Jitter + MIDI Controller:'''<br />
<br />
I built a simple looper patch in Max in order to start manipulating and listening to field recordings from my recent sound hunts. Lately, I've been interested in machine sounds that have similar qualities as sounds from nature... similar to how cars sound similar to the ocean, or specific electrical resonances sound like cicadas and crickets. <br />
<br />
[[File:Audio_interface.jpg|600px]]<br />
<br />
[[File:Midi_controller.jpg|600px]]<br />
<br />
[[File:audio_interface_guts.jpg|600px]]<br />
<br />
audio test -- [http://ssherriff.com/media/ritual_test.mp3]<br />
<br />
<br />
'''Readings:'''<br />
<br />
"...the wind began to funnel down from the high southern pass, gaining more forces with each passing moment... The effect wasn't a chord exactly, but rather a combination of tones, sighs, and midrange groans that played off each other, sometimes setting strange beats into resonance as they nearly matched one another in pitch... strangely dissonant. While never unpleasant, the acoustic experience was disorienting."<br />
<br />
(Kraus, pg 37)<br />
<br />
<u>The Great Animal Orchestra: Finding the Origins of Music in the World's Wild Places</u>, Bernie Kraus<br />
<br />
<br />
'''To do:''' <br />
Research 2015 Macbook Pro <br />
SLAC audio recordings<br />
Research/Source dry ice<br />
Schedule Audium visit <br />
<br />
<br />
'''WK4 --''' <br />
<br />
'''Dry Ice Safety + Costs + Storage:'''<br />
<br />
[[File:Dry_ice3.jpg|600px]]<br />
<br />
[[File:Dry ice2.jpg|600px]]<br />
<br />
[http://dryiceinfo.com/safe.htm safety]<br />
<br />
<br />
[[File:Dry ice5.jpg|550px]]<br />
<br />
[https://www.howmuchisit.org/how-much-does-dry-ice-cost/ costs]<br />
<br />
<br />
[[File:Dry_ice.jpg|600px]]<br />
<br />
[[File:Dry ice4.jpg|600px]]<br />
<br />
[http://www.eatbydate.com/other/dry-ice/ storage+]<br />
<br />
<br />
'''Searchworks Audio Finds:'''<br />
<br />
Over the past week or so, I've been reading <u>Art of Immersive Soundscapes</u> which has revitalized my interest in musique concrète. Today I spent some time digging around [http://searchworks.stanford.edu/ Searchworks] for online audio files/compilations/albums. In my hunt so far, I have found several resources that rely heavily on field recordings from nature to form audio compositions. <br />
<br />
<br />
Here are a few:<br />
<br />
[https://stanford.naxosmusiclibrary.com/catalogue/item.asp?cid=INNOVA783 ''Arctic Winds,''] Maggie Payne, 2010<br />
<br />
[https://search.alexanderstreet.com/view/work/bibliographic_entity%7Crecorded_cd%7C72954 ''Gateway Summer Sound: Abstracted Animal and Other Sounds''] Ann McMillan, 1979 <br />
<br />
[http://www.dramonline.org/albums/scott-smallwood-desert-winds-six-windblown-sound-pieces-and-other-works/player ''Desert Winds: Six Windblown Sound Pieces and Other Works,''] Scott Smallwood, 2007<br />
<br />
[https://search.alexanderstreet.com/view/work/bibliographic_entity%7Crecorded_cd%7C72140 ''Highlights of Vortex''], 1959, Smithsonian Folkways Recordings [2003]<br />
<br />
<br />
'''SLAC Site Visit:'''<br />
<br />
[[File:slac.jpg|500px]]<br />
<br />
The tour of SLAC was a bit of a disappointment, but only because I didn't fully comprehend the context of the tour. I didn't realize our MFA tour was part of a larger public tour. Unfortunately, it was nearly impossible to record an audio sample without tour-talk and human ruckus. We only visited two small areas of the facilities, which didn't really give an overall impression of the scale of the accelerometer. There were, however, some exciting/uncomfortable oscillations coming from machinery that I would like to revisit under a more sound-oriented tour of SLAC. Outside of my sound hunt, it was astounding to hear about the some of the research taking place.<br />
<br />
<br />
<br />
<br />
'''Floor Plan + Spacial Thoughts:'''<br />
<br />
[[File:LR_sketch.png|600px]]<br />
<br />
<br />
<br />
'''Light + Sound + Water Experiments:'''<br />
<br />
[http://ssherriff.com/media/wide_test.MOV]<br />
<br />
[http://ssherriff.com/media/oracle_view.MOV]<br />
<br />
[http://ssherriff.com/media/shadow_projection.MOV]<br />
<br />
<br />
<br />
'''To do:'''<br />
Visit Listening Room<br />
Contact Nando for Listening Room Orientation<br />
Contact Nette for LR keycard access<br />
Book out LR rehearsal schedule<br />
Purchase 2015 Macbook Pro<br />
<br />
<br />
'''WK5 --'''<br />
<br />
I spent this week trying to iron out logistics. I met with Nando for a Listening Room orientation and am now considering the best way to execute signal routing in the space. Nando recommended I check out the Listening Room User Manual on the CCRMA website. For now, I'm thinking I'll address each speaker individually, rather than working with ambisonics. It sounds like I'll need to use Jack to interface with my computer. Speaking of computer, I bought a laptop! It should arrive next week. I was also able to arrange keycard access to the room and am still trying to pin down scheduling for rehearsal and official performance showtimes. <br />
<br />
[[File:listening rm2 no layer.jpg|500px]]<br />
<br />
<br />
'''Possible Performance Date(s)/Times:''' <br />
<br />
'''Friday, June 1''' -- 4pm doors / 4:33pm performance<br />
OR<br />
7pm doors / 7:30pm performance<br />
<br />
'''Saturday, June 2''' -- 4pm doors / 4:33pm performance <br />
AND<br />
7pm doors / 7:30pm performance<br />
<br />
<br />
<br />
''' WK6 --'''<br />
<br />
'''Listening Room Mixing + Routing Research:'''<br />
<br />
[https://ccrma.stanford.edu/room-guides/listening-room] Listening Room User Guide]<br />
<br />
[[File:Speakers.jpg|600px]]<br />
[[File:LR_mixer.jpg|500px]]<br />
<br />
[https://ccrma.stanford.edu/software/openmixer/manual Openmixer Manual]<br />
<br />
[https://ccrma.stanford.edu/software/openmixer/manual/input_sources Input Sources]<br />
<br />
[https://ccrma.stanford.edu/software/openmixer/manual/using_jack Using Jack]<br />
<br />
<br />
'''Projection/Lighting:'''<br />
<br />
After visiting the Listening Room and looking at the infrastructure in place, I've decided not to do any screen-based projection that requires hanging additional material in the space. It will likely be a lot of work and ultimately be invasive to the experience. For now, I'd like to focus on the sound and possibly incorporate some simple caustic lighting elements. I'm considering options for reflecting light onto the grid that separates the floor from the lower level of the heptagon. This will require some sort of surface/screen that could easily be placed on the grid. I will need to be sure there is airflow so as not to cause any issues with the ventilation system which feeds into the lower level.<br />
<br />
<br />
<br />
'''To do:'''<br />
Install Max MSP/Jitter<br />
Set-up 22 Channel Routing in Max<br />
Source + Set-up RSVP Platform for Performance<br />
Contact Eoin for Listening Room Consultation <br />
Dry Ice Testing<br />
<br />
<br />
''' WK7 --'''<br />
<br />
'''Signal Routing + Listening Room Consultation:'''<br />
<br />
My new computer finally arrived and I was able to schedule some time with Eoin to test routing options in the Listening Room. I've opted to use a 16ch analog interface and Jacknet, which will magically give me access to all 22 channels. I'll need to do more specific routing in Max but was able to get a signal out of my laptop and play audio over all 22 channels with minimal head-scratching and mysterious machine behavior. Eoin is awesome. I am consistently amazed at the generosity of the CCRMA community and am so grateful to have the opportunity to interact and learn from everyone. <br />
<br />
<br />
'''Listening Room Booking + Conflicts:'''<br />
<br />
I spoke to Matt Wright about any potential overlap with SLOrk rehearsal and general usage of the Listening Room. After our conversation, it seems best to bump my performance dates back one week so as to avoid any scheduling conflicts. Matt has also been kind enough to book out the space for me overnight so I will only need to set-up and teardown once. Wooo. Yay for CCRMA peeps! <br />
<br />
<br />
'''RVSP Platform + Dates'''<br />
<br />
I've decided to use Eventbrite for RSVP distribution/tracking. I've got a draft going and am seconds away from pulling the trigger. Just need to finish up my statement about the piece, and am currently wrestling with language and an official title. So close!<br />
<br />
Friday, June 8th -- 7pm doors / 7:30pm performance<br />
Saturday, June 9th -- 4pm doors / 4:30pm performance<br />
<br />
<br />
'''Dry Ice Tests:'''<br />
<br />
Working with dry ice has been waaay more fun than I could have anticipated. With that said, I'm learning that the fun comes with a heftier fee than I originally thought... and it evaporates fairly quickly. A block of dry ice lasts for approximately 2 or 3 days at about $20 each. I've also discovered that the dry ice goes bananas until it's eaten up all of the oxygen in whatever water it's dropped into, at which point, the dry ice fizzles sadly with much less gusto. This happens fairly quickly. I think it will be fine for the performance, but it's possible I will need larger containers to house the water and dry. I've been most excited about projecting onto the dry ice and am thinking about ways to use the dry ice as the projection screen/surface for the performance. <br />
<br />
<br />
'''To do:'''<br />
Set-up Signal Routing Hierarchy in Max <br />
Publish + Distribute RVSP Invite<br />
Test Dry Ice in Listening Room<br />
Test Scent Machine in Listening Room<br />
Okay to Point Listening Room Projector Straight Down Onto Grid?<br />
Order More Fans? Dry Ice Containers / Scent Containers<br />
Edit new sounds<br />
<br />
<br />
'''WK8 --'''<br />
<br />
'''Testing + Rehearsal Findings:'''<br />
<br />
I discovered that my USB MIDI controller will not work at the same time as the USB MOTU interface I am using to route sound in the Listening Room. This is a major problem. I've contacted Eoin for advice, and am hoping that using an ethernet connection will help resolve this issue. I'm also thinking about adding a second computer into the mix, mainly because of software limitations on my new computer. I'm not sure if this is going to cause a whole heap of other headaches, but mentioned my interest to Eoin. If it seems to crazy/unreliable I'll stick with one laptop. <br />
<br />
<br />
'''Testing + Rehearsal Audio:'''<br />
<br />
[http://ssherriff.com/media/post-human_rehearsal2.mp3 Recording 1]<br />
<br />
[http://ssherriff.com/media/post-human_rehearsal.mp3 Recording 2]<br />
<br />
<br />
'''Dry Ice Testing:'''<br />
<br />
My first rounds of dry ice tests in the Listening Room proved to be somewhat unsuccessful. The ventilation system below the grid sucks all of the dry ice vapors straight down and disburses them, making it difficult to see anything interesting happening. I tried placing a container of dry ice into a secondary container with edges slightly higher than the vessel holding the dry ice. This produced some really interesting behaviors, so I'm guessing I can do something similar at a larger scale -- hopefully filling the majority of the recess in the Listening Room floor. <br />
<br />
I've been spending a good lump of time searching for containers to hold the dry ice. Whatever I use needs to be fairly large to help with the longevity of the vapors... but also not so large that it will be difficult to schlep it out of the room once the performance is over. There's also a slight chance that whatever I use to house the dry ice will be visible in some capacity, so I'm also trying to find something that is fairly simple in design... and also cheapish, since I will be covering a lot of area. I've been looking at all kinds of containers and haven't really found the right thing yet. I found something that will work, but I'm not very excited about it. <br />
<br />
For the secondary 'container' I am thinking about building out a frame that will fit inside of the heptagon. I would then line the frame with a black tarp or some sort of black fabric, leaving a few inches between the frame and the interior edge of the heptagon for air flow. <br />
<br />
Speaking of air-flow, the sound of the dry ice bubbling in the water is becoming a wonderful bonus in the soundscape of my performance. Listening to the dry ice is sort of like sitting by a babbling creek, so I could have asked for a more exciting and unexpected surprise. <br />
<br />
<br />
<br />
'''Projector Testing:''' <br />
<br />
Initially, I was thinking about using the projector that is already mounted in the Listening Room. After further examination, I realized that the throw will probably not work well for my purposes. I did some tests with one of the PICO projectors and it seems like it might work okay. It probably won't be the brightest, most vivid projection... but I think that will be okay in this case. The dry ice is awesome with even just a little bit of light on it. <br />
<br />
I bought a few small clamp mounts for any of the tiny projectors that enter into the set-up. I should be able to mount the projectors fairly easily using the rigging system in the ceiling.<br />
<br />
<br />
<br />
'''Project Statement:'''<br />
<br />
Earth frequencies are the foundation of sound-making in communication and survival for all<br />
living creatures. Insects, birds, and humans have all evolved to make sound in accordance<br />
with the landscapes in which they dwell, yet humans increasingly suffocate the soundscape,<br />
turning a blind ear to the sonic residue of industry and electromagnetic poisons.<br />
<br />
''Post-human Incursion'' is a site-specific audio/visual performance that examines how<br />
natural order might adapt soncially to human impressions on the evolution of voice across<br />
species. Through the use of spatialized and processed field recordings, ''Post-human Incursion''<br />
gestures toward a futuristic bending of familiar sonic terrain twisted by the influence of<br />
machinery. Post-human Incursion is a poetic attempt to prophesize what the future may hold<br />
in relation to the expressive abilities and survival of sounding creatures on Earth. Do<br />
birds sing differently now that they are encumbered with the ruckus of industrialized human<br />
existence?''<br />
<br />
<br />
[https://www.eventbrite.com/e/post-human-incursion-tickets-46164892436 RSVP Event Link]<br />
<br />
<br />
'''To do:'''<br />
Find door person<br />
USB MIDI controller does not currently work while running USB MOTU 16ch interface<br />
Can I use two computers -- x1 for mask / x1 for field recordings?<br />
Define performance zone / altar<br />
<br />
<br />
'''WK9 --'''<br />
<br />
'''Listening Room Tech:'''<br />
<br />
There was some mystery unplugging of a bunch of stuff in the Listening Room, which was causing some strange/inconsistent behavior. With the help and head scratching of Eoin and Nando... the mystery has been solved and things seem to be relatively stable. Phew! My MIDI controller also seems to be behaving for the most part. I've been using a power USB hub, which seems to be doing the trick, although I have a feeling the USB port on my controller is starting to get a little loose. Hopefully, it hangs in there for the performances...<br />
<br />
<br />
'''Dry Ice:'''<br />
<br />
I'm still struggling with the dry ice component of the piece. I don't think I'll be able to work at the scale I'd like, mainly due to the cost of materials. I think I've found a solution on a smaller scale, but I'm not super excited about it. Because of the scale change, it's likely I'll need to abandon the projection component. Hard to say for sure at this point, but unless some miracle ah-ha moment happens much of the visual components of the piece will be far diminished from what I would like to do in an ideal world where I'm rolling in cash and have an absorbent amount of time.<br />
<br />
<br />
'''SLOrk + Set-up:''' <br />
<br />
SLOrk moves out of the Listening Room on Wednesday evening. This means I will be able to leave things set-up and start to deal with cables and placement. In the interim, I've been doing some small lighting test and think I have a fairly simple plan for lighting including the hallway leading up to the Listening Room.<br />
<br />
<br />
'''Printed Program:''' <br />
<br />
I'm nearly finished working on a program for the performances. I think I will alter my statement to better describe all of the adjustments I've had to make and use language to indicate that it's still a work in progress. I assume it's fine to print the program at CCRMA. <br />
<br />
<br />
'''Sound:'''<br />
<br />
At this point, I'm so buried in the piece that I can no longer tell heads from tails. I've introduced a piezo as part of the altar, and have been testing various vocal utterances. Compositionally, I'm not totally sure where the piece is at or how far away I've fallen from my original intent. Currently, the piece is leaning toward something more musical than I originally imagined. I've removed the glockenspiel recording and have been working with more of a droning sound that I recorded using a synth. There's a cohesiveness to the sound, but what I've been developing is seemingly less like a soundscape even though there is an abundance of field recordings incorporated into the work. I suppose I'm feeling a little confused and could use some time away from the piece for reflection, but as is the whole shebang is feeling arbitrary and far removed... but maybe I'm too immersed in the process to see/hear it for what it is? <br />
<br />
<br />
'''To do:'''<br />
Complete Program / Print -- Do I need a code for the printer?<br />
Still trying to find a door person<br />
Lighting + Set-up<br />
Rehearsal + Testing<br />
<br />
<br />
<br />
'''WK10 --'''<br />
<br />
'''Culminating Voice Configuration:'''<br />
<br />
[[File:Mask_inside.jpg|350px]]<br />
<br />
<br />
Ultimately, I opted not to use the sensors embedded in the mask and only incorporated the microphone into the performance system, combined with some generous filtering in Ablteon Live. The signal from the microphone was passed through a MOTU interface with access to 22 discreet channels in the Listening Room. My voice occupied channels 1-8 and a handful of channels in the ceiling and floor.<br />
<br />
<br />
[[File:LIVE_voice1.png|550px]]<br />
<br />
<br />
[[File:LIVE_voice2.png|550px]]<br />
<br />
<br />
'''Piezo Instrument:'''<br />
<br />
Because of the whole debacle with my laptop, I strayed away from experimenting with the Bare Conductive Touch Board and water in this instance. Instead, I incorporated the glass bowl from my conductivity tests to make an instrument that is comprised of a piezo, the glass bowl, metal, feathers, and software. I fed the signal into Ableton for the instrument input within the same patch as my mic. I was able to output both signals as two separate channels to the MOTU interface allowing me to route the instrument signal discreetly over the 22ch system. I chose to route the instrument to channels 1-8, and the center ceiling speaker. <br />
<br />
<br />
[[File:LIVE_piezo.png|550px]]<br />
<br />
<br />
<br />
'''Field Recording Manipulation:''' <br />
<br />
[[File:Control_closed_active.png|750px]]<br />
<br />
<br />
For all of the field recordings I continued to use Max MSP/Jitter and a MIDI controller to manipulate and navigate recorded audio signals. Rather than processing the sound through filters, I built a system where I am simply manipulating the speed and direction of each recorded sample. Most sounds are configured to play at a rate well below half speed and are occasionally played backward. <br />
<br />
In addition to the field recordings, I also recorded improvisational synthesizer sessions. One of the first synth recordings I made in my process used the glockenspiel voice. After some feedback, I questioned if the glockenspiel was pulling the piece in a more musical direction and whether or not I would be okay with that in relation to my interest in the evolution of sound and soundscapes. I decided I was okay with the piece becoming more musical but felt that the synth could better match the electrical and machine-made sounds already incorporated into the piece. I believe I ultimately used some sort of electric piano voice on the synth to create a droney, circular sound. Once the synth sound was in Max MSP/Jitter, I made the happy discovery that the drone sound was a friendly match with some mosquito buzzing already incorporated into the composition and committed to using the drone sound in the composition. <br />
<br />
<br />
[[File:Control_open.png|750px]]<br />
<br />
<br />
'''Video:'''<br />
<br />
For the video, I used a looped recording of layered trees composed in Max MSP/Jitter, along with a Nano projector, a Rasberry Pi media player, and a fancy clamp that allowed me to mount the projector off of a speaker-arm in the ceiling. The Nano projector is battery powered with a long enough life that I didn't need to bother with any cabling or power routing to the projector.<br />
<br />
[[File:Clamp.png|350px]]<br />
<br />
[https://www.amazon.com/gp/product/B000ABB4HC/ref=oh_aui_detailpage_o04_s00?ie=UTF8&psc=1 PEDCO UltraClamp]<br />
<br />
<br />
<br />
<br />
[[File:Performance_img2.jpg|550px]]<br />
<br />
Performance Image Courtesy of Dave Kerr<br />
<br />
[http://ssherriff.com/media/PH_perf.mp4 Performance Documentation (Courtesy of David Kerr)]</div>Stephaniehttps://ccrma.stanford.edu/mediawiki/index.php?title=File:Clamp.png&diff=21008File:Clamp.png2018-06-18T20:02:41Z<p>Stephanie: </p>
<hr />
<div></div>Stephaniehttps://ccrma.stanford.edu/mediawiki/index.php?title=Ritualistic_Performance_System_Research&diff=21007Ritualistic Performance System Research2018-06-18T20:01:59Z<p>Stephanie: </p>
<hr />
<div><br />
[[File:Performance_img.jpg|350px]]<br />
<br />
Performance Image Courtesy of Dave Kerr<br />
<br />
<br />
''Post-human Incursion'' is a site-specific performance piece developed for the Listening Room at CCRMA. Inspired by the writing of Bernie Kraus and the work of Pauline Oliveros, the piece functions as a futuristic reflection on the evolution of sound across species, while using spacialized and manipulated field recordings to create new sonic terrain. <br />
<br />
<br />
<br />
== '''Project Overview + Development:''' ==<br />
<br />
<br />
<br />
'''Goal:'''<br />
To create a ritualistic performance system using spacialized audio signals, video, and real-time audio manipulation. <br />
<br />
<br />
'''Background:'''<br />
<br />
As part of continued research, I aim to pursue an audio/visual experience that combines spatialized field recordings, voice, video/light, and software. For this piece, I may continue to develop a proximity-based water sensor into the performance, using some sort of vessel(s), water, conductive tape, and a bare conductive microcontroller. The audio collection process will include listening, recording, and engaging with a series of natural and machine-made sounds. The piece will culminate in an audio/visual performance. <br />
<br />
<br />
'''Possible Controllers:'''<br />
<br />
[[File:water_controller.jpg|350px]]<br />
water controller prototype <br />
<br />
[[File:Mask_full.jpg|350px]]<br />
mask prototype<br />
<br />
[[File:Mask_inside.jpg|350px]]<br />
mask sensors<br />
<br />
<br />
<br />
'''WK1 -- Brainstorming + Testing'''<br />
<br />
Performance Site '''-- Listening Room'''<br />
Okay to burn / use scents? '''-- No. Issues in the past.'''<br />
Dry Ice? '''-- Could be okay. Needs ventilation.''' <br />
Max capacity in Listening Room '''-- 15-20 people'''<br />
<br />
[[File:Listening_room.jpg|350px]]<br />
<br />
<br />
'''To do:'''<br />
Bare Conductive Touch Board + Water Sensor Testing in Max <br />
Arduino code + upload to Touch Board<br />
Max MSP/Jitter + Touch Board testing<br />
Add water sensor input to video mixer patch<br />
Collect Field Recordings<br />
Fire / Machines / Energy Facility / Electrical Drone Sounds<br />
<br />
<br />
'''WK2 -- Testing + Collection'''<br />
<br />
Water Sensor Testing in Max MSP/Jitter<br />
[https://www.bareconductive.com/make/the-touch-board-maxmsp/]<br />
<br />
[[File:Bare_conductive.jpg|300px]]<br />
<br />
I managed to get data into Max from the Bare Conductive microcontroller. After a few minutes, the microcontroller seems to get overloaded and freezes. If I reload the Arduino code onto the board data starts to work in Max temporarily. This issue seems relatively consistent. My laptop also seems to be having trouble processing video and receiving data at the same time. The latency of sensor data into Max is painfully slow while video is running. Sensor response is proficient with no video processing. <br />
<br />
I will need a new laptop. This is not a surprise.<br />
<br />
<br />
'''Readings:'''<br />
<br />
<u>Keywords in Sound</u>, Chapter 15, ''Resonance'', by Veit Erlmann <br />
<br />
"...the concept of resonance, having been derived from core epistemological virtues such as intuition, observation, and experiment, names the natural mechanism governing the interaction of vibrating matter, such as strings, nerves, and air. As such, resonance is the "Other" of the self-constituting Cartesian ego as it discovers truth (of musical harmony, for instance) and reassures itself of its own existence as a thinking entity. On the other hand resonance names the very unity of body and mind that the cogitating ego must unthink before it uncovers truth."<br />
<br />
(Erlmann, page 177)<br />
<br />
<br />
<u>Keywords in Sound</u>, Chapter 17, ''Space'', by Andrew J. Eisenberg <br />
<br />
"As a phenomenon that exists at once within and beyond perceiving subjects, sound cannot but reveal social space as an artifact of material practices complexly interwoven with semiotic processes and the 'imaginations, fears, emotions, psychologies, fantasies, and dreams' that human beings bring to everything (Harvey 2006: 279; see also Lefebvre 1991)."<br />
<br />
(Eisenberg, pg 202)<br />
<br />
<br />
<u>The Soundscape: Our Sonic Environment & the Tuning of the World</u>, <br />
R. Murray Schaffer, Chapter 12, Symbolism<br />
<br />
"...water, the original life element, has the most splendid symbolism... a stream, a fountain, a river, a waterfall, the sea, each makes its unique sound but all share rich symbolism. They speak of cleansing, of purification, of refreshment, and renewal... It is symbolic of eternity... It is symbolic of change." <br />
<br />
(Schafer, page 170)<br />
<br />
<br />
"Without its tactile pressure on the face or body we cannot even tell from what direction it blows. The wind is therefore not to be trusted."<br />
<br />
(Schafer, page 170)<br />
<br />
<br />
<br />
"Modern man has sought to escape both the wind and the sea by encapsulating himself in artificial environments... The sounds of machines took on happy symbolism approximately 200 years ago, when it was realized that they could release man from his immemorial bondage to earth... power and progress... noise and power go hand in hand."<br />
<br />
(Schafer, page 178-179)<br />
<br />
<br />
'''To do:''' <br />
Research options for new laptop (2015 Macbook Pro) + Stanford support<br />
Mask controller into Max MSP/Jitter<br />
Build simple looper<br />
Edit field recordings <br />
<br />
<br />
'''WK3 -- More Testing + Collecting'''<br />
<br />
'''Simple Audio Looper Interface for Testing | Max MSP/Jitter + MIDI Controller:'''<br />
<br />
I built a simple looper patch in Max in order to start manipulating and listening to field recordings from my recent sound hunts. Lately, I've been interested in machine sounds that have similar qualities as sounds from nature... similar to how cars sound similar to the ocean, or specific electrical resonances sound like cicadas and crickets. <br />
<br />
[[File:Audio_interface.jpg|600px]]<br />
<br />
[[File:Midi_controller.jpg|600px]]<br />
<br />
[[File:audio_interface_guts.jpg|600px]]<br />
<br />
audio test -- [http://ssherriff.com/media/ritual_test.mp3]<br />
<br />
<br />
'''Readings:'''<br />
<br />
"...the wind began to funnel down from the high southern pass, gaining more forces with each passing moment... The effect wasn't a chord exactly, but rather a combination of tones, sighs, and midrange groans that played off each other, sometimes setting strange beats into resonance as they nearly matched one another in pitch... strangely dissonant. While never unpleasant, the acoustic experience was disorienting."<br />
<br />
(Kraus, pg 37)<br />
<br />
<u>The Great Animal Orchestra: Finding the Origins of Music in the World's Wild Places</u>, Bernie Kraus<br />
<br />
<br />
'''To do:''' <br />
Research 2015 Macbook Pro <br />
SLAC audio recordings<br />
Research/Source dry ice<br />
Schedule Audium visit <br />
<br />
<br />
'''WK4 --''' <br />
<br />
'''Dry Ice Safety + Costs + Storage:'''<br />
<br />
[[File:Dry_ice3.jpg|600px]]<br />
<br />
[[File:Dry ice2.jpg|600px]]<br />
<br />
[http://dryiceinfo.com/safe.htm safety]<br />
<br />
<br />
[[File:Dry ice5.jpg|550px]]<br />
<br />
[https://www.howmuchisit.org/how-much-does-dry-ice-cost/ costs]<br />
<br />
<br />
[[File:Dry_ice.jpg|600px]]<br />
<br />
[[File:Dry ice4.jpg|600px]]<br />
<br />
[http://www.eatbydate.com/other/dry-ice/ storage+]<br />
<br />
<br />
'''Searchworks Audio Finds:'''<br />
<br />
Over the past week or so, I've been reading <u>Art of Immersive Soundscapes</u> which has revitalized my interest in musique concrète. Today I spent some time digging around [http://searchworks.stanford.edu/ Searchworks] for online audio files/compilations/albums. In my hunt so far, I have found several resources that rely heavily on field recordings from nature to form audio compositions. <br />
<br />
<br />
Here are a few:<br />
<br />
[https://stanford.naxosmusiclibrary.com/catalogue/item.asp?cid=INNOVA783 ''Arctic Winds,''] Maggie Payne, 2010<br />
<br />
[https://search.alexanderstreet.com/view/work/bibliographic_entity%7Crecorded_cd%7C72954 ''Gateway Summer Sound: Abstracted Animal and Other Sounds''] Ann McMillan, 1979 <br />
<br />
[http://www.dramonline.org/albums/scott-smallwood-desert-winds-six-windblown-sound-pieces-and-other-works/player ''Desert Winds: Six Windblown Sound Pieces and Other Works,''] Scott Smallwood, 2007<br />
<br />
[https://search.alexanderstreet.com/view/work/bibliographic_entity%7Crecorded_cd%7C72140 ''Highlights of Vortex''], 1959, Smithsonian Folkways Recordings [2003]<br />
<br />
<br />
'''SLAC Site Visit:'''<br />
<br />
[[File:slac.jpg|500px]]<br />
<br />
The tour of SLAC was a bit of a disappointment, but only because I didn't fully comprehend the context of the tour. I didn't realize our MFA tour was part of a larger public tour. Unfortunately, it was nearly impossible to record an audio sample without tour-talk and human ruckus. We only visited two small areas of the facilities, which didn't really give an overall impression of the scale of the accelerometer. There were, however, some exciting/uncomfortable oscillations coming from machinery that I would like to revisit under a more sound-oriented tour of SLAC. Outside of my sound hunt, it was astounding to hear about the some of the research taking place.<br />
<br />
<br />
<br />
<br />
'''Floor Plan + Spacial Thoughts:'''<br />
<br />
[[File:LR_sketch.png|600px]]<br />
<br />
<br />
<br />
'''Light + Sound + Water Experiments:'''<br />
<br />
[http://ssherriff.com/media/wide_test.MOV]<br />
<br />
[http://ssherriff.com/media/oracle_view.MOV]<br />
<br />
[http://ssherriff.com/media/shadow_projection.MOV]<br />
<br />
<br />
<br />
'''To do:'''<br />
Visit Listening Room<br />
Contact Nando for Listening Room Orientation<br />
Contact Nette for LR keycard access<br />
Book out LR rehearsal schedule<br />
Purchase 2015 Macbook Pro<br />
<br />
<br />
'''WK5 --'''<br />
<br />
I spent this week trying to iron out logistics. I met with Nando for a Listening Room orientation and am now considering the best way to execute signal routing in the space. Nando recommended I check out the Listening Room User Manual on the CCRMA website. For now, I'm thinking I'll address each speaker individually, rather than working with ambisonics. It sounds like I'll need to use Jack to interface with my computer. Speaking of computer, I bought a laptop! It should arrive next week. I was also able to arrange keycard access to the room and am still trying to pin down scheduling for rehearsal and official performance showtimes. <br />
<br />
[[File:listening rm2 no layer.jpg|500px]]<br />
<br />
<br />
'''Possible Performance Date(s)/Times:''' <br />
<br />
'''Friday, June 1''' -- 4pm doors / 4:33pm performance<br />
OR<br />
7pm doors / 7:30pm performance<br />
<br />
'''Saturday, June 2''' -- 4pm doors / 4:33pm performance <br />
AND<br />
7pm doors / 7:30pm performance<br />
<br />
<br />
<br />
''' WK6 --'''<br />
<br />
'''Listening Room Mixing + Routing Research:'''<br />
<br />
[https://ccrma.stanford.edu/room-guides/listening-room] Listening Room User Guide]<br />
<br />
[[File:Speakers.jpg|600px]]<br />
[[File:LR_mixer.jpg|500px]]<br />
<br />
[https://ccrma.stanford.edu/software/openmixer/manual Openmixer Manual]<br />
<br />
[https://ccrma.stanford.edu/software/openmixer/manual/input_sources Input Sources]<br />
<br />
[https://ccrma.stanford.edu/software/openmixer/manual/using_jack Using Jack]<br />
<br />
<br />
'''Projection/Lighting:'''<br />
<br />
After visiting the Listening Room and looking at the infrastructure in place, I've decided not to do any screen-based projection that requires hanging additional material in the space. It will likely be a lot of work and ultimately be invasive to the experience. For now, I'd like to focus on the sound and possibly incorporate some simple caustic lighting elements. I'm considering options for reflecting light onto the grid that separates the floor from the lower level of the heptagon. This will require some sort of surface/screen that could easily be placed on the grid. I will need to be sure there is airflow so as not to cause any issues with the ventilation system which feeds into the lower level.<br />
<br />
<br />
<br />
'''To do:'''<br />
Install Max MSP/Jitter<br />
Set-up 22 Channel Routing in Max<br />
Source + Set-up RSVP Platform for Performance<br />
Contact Eoin for Listening Room Consultation <br />
Dry Ice Testing<br />
<br />
<br />
''' WK7 --'''<br />
<br />
'''Signal Routing + Listening Room Consultation:'''<br />
<br />
My new computer finally arrived and I was able to schedule some time with Eoin to test routing options in the Listening Room. I've opted to use a 16ch analog interface and Jacknet, which will magically give me access to all 22 channels. I'll need to do more specific routing in Max but was able to get a signal out of my laptop and play audio over all 22 channels with minimal head-scratching and mysterious machine behavior. Eoin is awesome. I am consistently amazed at the generosity of the CCRMA community and am so grateful to have the opportunity to interact and learn from everyone. <br />
<br />
<br />
'''Listening Room Booking + Conflicts:'''<br />
<br />
I spoke to Matt Wright about any potential overlap with SLOrk rehearsal and general usage of the Listening Room. After our conversation, it seems best to bump my performance dates back one week so as to avoid any scheduling conflicts. Matt has also been kind enough to book out the space for me overnight so I will only need to set-up and teardown once. Wooo. Yay for CCRMA peeps! <br />
<br />
<br />
'''RVSP Platform + Dates'''<br />
<br />
I've decided to use Eventbrite for RSVP distribution/tracking. I've got a draft going and am seconds away from pulling the trigger. Just need to finish up my statement about the piece, and am currently wrestling with language and an official title. So close!<br />
<br />
Friday, June 8th -- 7pm doors / 7:30pm performance<br />
Saturday, June 9th -- 4pm doors / 4:30pm performance<br />
<br />
<br />
'''Dry Ice Tests:'''<br />
<br />
Working with dry ice has been waaay more fun than I could have anticipated. With that said, I'm learning that the fun comes with a heftier fee than I originally thought... and it evaporates fairly quickly. A block of dry ice lasts for approximately 2 or 3 days at about $20 each. I've also discovered that the dry ice goes bananas until it's eaten up all of the oxygen in whatever water it's dropped into, at which point, the dry ice fizzles sadly with much less gusto. This happens fairly quickly. I think it will be fine for the performance, but it's possible I will need larger containers to house the water and dry. I've been most excited about projecting onto the dry ice and am thinking about ways to use the dry ice as the projection screen/surface for the performance. <br />
<br />
<br />
'''To do:'''<br />
Set-up Signal Routing Hierarchy in Max <br />
Publish + Distribute RVSP Invite<br />
Test Dry Ice in Listening Room<br />
Test Scent Machine in Listening Room<br />
Okay to Point Listening Room Projector Straight Down Onto Grid?<br />
Order More Fans? Dry Ice Containers / Scent Containers<br />
Edit new sounds<br />
<br />
<br />
'''WK8 --'''<br />
<br />
'''Testing + Rehearsal Findings:'''<br />
<br />
I discovered that my USB MIDI controller will not work at the same time as the USB MOTU interface I am using to route sound in the Listening Room. This is a major problem. I've contacted Eoin for advice, and am hoping that using an ethernet connection will help resolve this issue. I'm also thinking about adding a second computer into the mix, mainly because of software limitations on my new computer. I'm not sure if this is going to cause a whole heap of other headaches, but mentioned my interest to Eoin. If it seems to crazy/unreliable I'll stick with one laptop. <br />
<br />
<br />
'''Testing + Rehearsal Audio:'''<br />
<br />
[http://ssherriff.com/media/post-human_rehearsal2.mp3 Recording 1]<br />
<br />
[http://ssherriff.com/media/post-human_rehearsal.mp3 Recording 2]<br />
<br />
<br />
'''Dry Ice Testing:'''<br />
<br />
My first rounds of dry ice tests in the Listening Room proved to be somewhat unsuccessful. The ventilation system below the grid sucks all of the dry ice vapors straight down and disburses them, making it difficult to see anything interesting happening. I tried placing a container of dry ice into a secondary container with edges slightly higher than the vessel holding the dry ice. This produced some really interesting behaviors, so I'm guessing I can do something similar at a larger scale -- hopefully filling the majority of the recess in the Listening Room floor. <br />
<br />
I've been spending a good lump of time searching for containers to hold the dry ice. Whatever I use needs to be fairly large to help with the longevity of the vapors... but also not so large that it will be difficult to schlep it out of the room once the performance is over. There's also a slight chance that whatever I use to house the dry ice will be visible in some capacity, so I'm also trying to find something that is fairly simple in design... and also cheapish, since I will be covering a lot of area. I've been looking at all kinds of containers and haven't really found the right thing yet. I found something that will work, but I'm not very excited about it. <br />
<br />
For the secondary 'container' I am thinking about building out a frame that will fit inside of the heptagon. I would then line the frame with a black tarp or some sort of black fabric, leaving a few inches between the frame and the interior edge of the heptagon for air flow. <br />
<br />
Speaking of air-flow, the sound of the dry ice bubbling in the water is becoming a wonderful bonus in the soundscape of my performance. Listening to the dry ice is sort of like sitting by a babbling creek, so I could have asked for a more exciting and unexpected surprise. <br />
<br />
<br />
<br />
'''Projector Testing:''' <br />
<br />
Initially, I was thinking about using the projector that is already mounted in the Listening Room. After further examination, I realized that the throw will probably not work well for my purposes. I did some tests with one of the PICO projectors and it seems like it might work okay. It probably won't be the brightest, most vivid projection... but I think that will be okay in this case. The dry ice is awesome with even just a little bit of light on it. <br />
<br />
I bought a few small clamp mounts for any of the tiny projectors that enter into the set-up. I should be able to mount the projectors fairly easily using the rigging system in the ceiling.<br />
<br />
<br />
<br />
'''Project Statement:'''<br />
<br />
Earth frequencies are the foundation of sound-making in communication and survival for all<br />
living creatures. Insects, birds, and humans have all evolved to make sound in accordance<br />
with the landscapes in which they dwell, yet humans increasingly suffocate the soundscape,<br />
turning a blind ear to the sonic residue of industry and electromagnetic poisons.<br />
<br />
''Post-human Incursion'' is a site-specific audio/visual performance that examines how<br />
natural order might adapt soncially to human impressions on the evolution of voice across<br />
species. Through the use of spatialized and processed field recordings, ''Post-human Incursion''<br />
gestures toward a futuristic bending of familiar sonic terrain twisted by the influence of<br />
machinery. Post-human Incursion is a poetic attempt to prophesize what the future may hold<br />
in relation to the expressive abilities and survival of sounding creatures on Earth. Do<br />
birds sing differently now that they are encumbered with the ruckus of industrialized human<br />
existence?''<br />
<br />
<br />
[https://www.eventbrite.com/e/post-human-incursion-tickets-46164892436 RSVP Event Link]<br />
<br />
<br />
'''To do:'''<br />
Find door person<br />
USB MIDI controller does not currently work while running USB MOTU 16ch interface<br />
Can I use two computers -- x1 for mask / x1 for field recordings?<br />
Define performance zone / altar<br />
<br />
<br />
'''WK9 --'''<br />
<br />
'''Listening Room Tech:'''<br />
<br />
There was some mystery unplugging of a bunch of stuff in the Listening Room, which was causing some strange/inconsistent behavior. With the help and head scratching of Eoin and Nando... the mystery has been solved and things seem to be relatively stable. Phew! My MIDI controller also seems to be behaving for the most part. I've been using a power USB hub, which seems to be doing the trick, although I have a feeling the USB port on my controller is starting to get a little loose. Hopefully, it hangs in there for the performances...<br />
<br />
<br />
'''Dry Ice:'''<br />
<br />
I'm still struggling with the dry ice component of the piece. I don't think I'll be able to work at the scale I'd like, mainly due to the cost of materials. I think I've found a solution on a smaller scale, but I'm not super excited about it. Because of the scale change, it's likely I'll need to abandon the projection component. Hard to say for sure at this point, but unless some miracle ah-ha moment happens much of the visual components of the piece will be far diminished from what I would like to do in an ideal world where I'm rolling in cash and have an absorbent amount of time.<br />
<br />
<br />
'''SLOrk + Set-up:''' <br />
<br />
SLOrk moves out of the Listening Room on Wednesday evening. This means I will be able to leave things set-up and start to deal with cables and placement. In the interim, I've been doing some small lighting test and think I have a fairly simple plan for lighting including the hallway leading up to the Listening Room.<br />
<br />
<br />
'''Printed Program:''' <br />
<br />
I'm nearly finished working on a program for the performances. I think I will alter my statement to better describe all of the adjustments I've had to make and use language to indicate that it's still a work in progress. I assume it's fine to print the program at CCRMA. <br />
<br />
<br />
'''Sound:'''<br />
<br />
At this point, I'm so buried in the piece that I can no longer tell heads from tails. I've introduced a piezo as part of the altar, and have been testing various vocal utterances. Compositionally, I'm not totally sure where the piece is at or how far away I've fallen from my original intent. Currently, the piece is leaning toward something more musical than I originally imagined. I've removed the glockenspiel recording and have been working with more of a droning sound that I recorded using a synth. There's a cohesiveness to the sound, but what I've been developing is seemingly less like a soundscape even though there is an abundance of field recordings incorporated into the work. I suppose I'm feeling a little confused and could use some time away from the piece for reflection, but as is the whole shebang is feeling arbitrary and far removed... but maybe I'm too immersed in the process to see/hear it for what it is? <br />
<br />
<br />
'''To do:'''<br />
Complete Program / Print -- Do I need a code for the printer?<br />
Still trying to find a door person<br />
Lighting + Set-up<br />
Rehearsal + Testing<br />
<br />
<br />
<br />
'''WK10 --'''<br />
<br />
'''Culminating Voice Configuration:'''<br />
<br />
[[File:Mask_inside.jpg|350px]]<br />
<br />
<br />
Ultimately, I opted not to use the sensors embedded in the mask and only incorporated the microphone into the performance system, combined with some generous filtering in Ablteon Live. The signal from the microphone was passed through a MOTU interface with access to 22 discreet channels in the Listening Room. My voice occupied channels 1-8 and a handful of channels in the ceiling and floor.<br />
<br />
<br />
[[File:LIVE_voice1.png|550px]]<br />
<br />
<br />
[[File:LIVE_voice2.png|550px]]<br />
<br />
<br />
'''Piezo Instrument:'''<br />
<br />
Because of the whole debacle with my laptop, I strayed away from experimenting with the Bare Conductive Touch Board and water in this instance. Instead, I incorporated the glass bowl from my conductivity tests to make an instrument that is comprised of a piezo, the glass bowl, metal, feathers, and software. I fed the signal into Ableton for the instrument input within the same patch as my mic. I was able to output both signals as two separate channels to the MOTU interface allowing me to route the instrument signal discreetly over the 22ch system. I chose to route the instrument to channels 1-8, and the center ceiling speaker. <br />
<br />
<br />
[[File:LIVE_piezo.png|550px]]<br />
<br />
<br />
<br />
'''Field Recording Manipulation:''' <br />
<br />
[[File:Control_closed_active.png|750px]]<br />
<br />
<br />
For all of the field recordings I continued to use Max MSP/Jitter and a MIDI controller to manipulate and navigate recorded audio signals. Rather than processing the sound through filters, I built a system where I am simply manipulating the speed and direction of each recorded sample. Most sounds are configured to play at a rate well below half speed and are occasionally played backward. <br />
<br />
In addition to the field recordings, I also recorded improvisational synthesizer sessions. One of the first synth recordings I made in my process used the glockenspiel voice. After some feedback, I questioned if the glockenspiel was pulling the piece in a more musical direction and whether or not I would be okay with that in relation to my interest in the evolution of sound and soundscapes. I decided I was okay with the piece becoming more musical but felt that the synth could better match the electrical and machine-made sounds already incorporated into the piece. I believe I ultimately used some sort of electric piano voice on the synth to create a droney, circular sound. Once the synth sound was in Max MSP/Jitter, I made the happy discovery that the drone sound was a friendly match with some mosquito buzzing already incorporated into the composition and committed to using the drone sound in the composition. <br />
<br />
<br />
[[File:Control_open.png|750px]]<br />
<br />
<br />
'''Video:'''<br />
<br />
[https://www.amazon.com/gp/product/B000ABB4HC/ref=oh_aui_detailpage_o04_s00?ie=UTF8&psc=1 PEDCO UltraClamp]<br />
<br />
<br />
[[File:Performance_img2.jpg|550px]]<br />
<br />
Performance Image Courtesy of Dave Kerr<br />
<br />
[http://ssherriff.com/media/PH_perf.mp4 Performance Documentation (Courtesy of David Kerr)]</div>Stephaniehttps://ccrma.stanford.edu/mediawiki/index.php?title=Ritualistic_Performance_System_Research&diff=21006Ritualistic Performance System Research2018-06-18T19:58:21Z<p>Stephanie: </p>
<hr />
<div><br />
[[File:Performance_img.jpg|350px]]<br />
<br />
Performance Image Courtesy of Dave Kerr<br />
<br />
<br />
''Post-human Incursion'' is a site-specific performance piece developed for the Listening Room at CCRMA. Inspired by the writing of Bernie Kraus and the work of Pauline Oliveros, the piece functions as a futuristic reflection on the evolution of sound across species, while using spacialized and manipulated field recordings to create new sonic terrain. <br />
<br />
<br />
<br />
== '''Project Overview + Development:''' ==<br />
<br />
<br />
<br />
'''Goal:'''<br />
To create a ritualistic performance system using spacialized audio signals, video, and real-time audio manipulation. <br />
<br />
<br />
'''Background:'''<br />
<br />
As part of continued research, I aim to pursue an audio/visual experience that combines spatialized field recordings, voice, video/light, and software. For this piece, I may continue to develop a proximity-based water sensor into the performance, using some sort of vessel(s), water, conductive tape, and a bare conductive microcontroller. The audio collection process will include listening, recording, and engaging with a series of natural and machine-made sounds. The piece will culminate in an audio/visual performance. <br />
<br />
<br />
'''Possible Controllers:'''<br />
<br />
[[File:water_controller.jpg|350px]]<br />
water controller prototype <br />
<br />
[[File:Mask_full.jpg|350px]]<br />
mask prototype<br />
<br />
[[File:Mask_inside.jpg|350px]]<br />
mask sensors<br />
<br />
<br />
<br />
'''WK1 -- Brainstorming + Testing'''<br />
<br />
Performance Site '''-- Listening Room'''<br />
Okay to burn / use scents? '''-- No. Issues in the past.'''<br />
Dry Ice? '''-- Could be okay. Needs ventilation.''' <br />
Max capacity in Listening Room '''-- 15-20 people'''<br />
<br />
[[File:Listening_room.jpg|350px]]<br />
<br />
<br />
'''To do:'''<br />
Bare Conductive Touch Board + Water Sensor Testing in Max <br />
Arduino code + upload to Touch Board<br />
Max MSP/Jitter + Touch Board testing<br />
Add water sensor input to video mixer patch<br />
Collect Field Recordings<br />
Fire / Machines / Energy Facility / Electrical Drone Sounds<br />
<br />
<br />
'''WK2 -- Testing + Collection'''<br />
<br />
Water Sensor Testing in Max MSP/Jitter<br />
[https://www.bareconductive.com/make/the-touch-board-maxmsp/]<br />
<br />
[[File:Bare_conductive.jpg|300px]]<br />
<br />
I managed to get data into Max from the Bare Conductive microcontroller. After a few minutes, the microcontroller seems to get overloaded and freezes. If I reload the Arduino code onto the board data starts to work in Max temporarily. This issue seems relatively consistent. My laptop also seems to be having trouble processing video and receiving data at the same time. The latency of sensor data into Max is painfully slow while video is running. Sensor response is proficient with no video processing. <br />
<br />
I will need a new laptop. This is not a surprise.<br />
<br />
<br />
'''Readings:'''<br />
<br />
<u>Keywords in Sound</u>, Chapter 15, ''Resonance'', by Veit Erlmann <br />
<br />
"...the concept of resonance, having been derived from core epistemological virtues such as intuition, observation, and experiment, names the natural mechanism governing the interaction of vibrating matter, such as strings, nerves, and air. As such, resonance is the "Other" of the self-constituting Cartesian ego as it discovers truth (of musical harmony, for instance) and reassures itself of its own existence as a thinking entity. On the other hand resonance names the very unity of body and mind that the cogitating ego must unthink before it uncovers truth."<br />
<br />
(Erlmann, page 177)<br />
<br />
<br />
<u>Keywords in Sound</u>, Chapter 17, ''Space'', by Andrew J. Eisenberg <br />
<br />
"As a phenomenon that exists at once within and beyond perceiving subjects, sound cannot but reveal social space as an artifact of material practices complexly interwoven with semiotic processes and the 'imaginations, fears, emotions, psychologies, fantasies, and dreams' that human beings bring to everything (Harvey 2006: 279; see also Lefebvre 1991)."<br />
<br />
(Eisenberg, pg 202)<br />
<br />
<br />
<u>The Soundscape: Our Sonic Environment & the Tuning of the World</u>, <br />
R. Murray Schaffer, Chapter 12, Symbolism<br />
<br />
"...water, the original life element, has the most splendid symbolism... a stream, a fountain, a river, a waterfall, the sea, each makes its unique sound but all share rich symbolism. They speak of cleansing, of purification, of refreshment, and renewal... It is symbolic of eternity... It is symbolic of change." <br />
<br />
(Schafer, page 170)<br />
<br />
<br />
"Without its tactile pressure on the face or body we cannot even tell from what direction it blows. The wind is therefore not to be trusted."<br />
<br />
(Schafer, page 170)<br />
<br />
<br />
<br />
"Modern man has sought to escape both the wind and the sea by encapsulating himself in artificial environments... The sounds of machines took on happy symbolism approximately 200 years ago, when it was realized that they could release man from his immemorial bondage to earth... power and progress... noise and power go hand in hand."<br />
<br />
(Schafer, page 178-179)<br />
<br />
<br />
'''To do:''' <br />
Research options for new laptop (2015 Macbook Pro) + Stanford support<br />
Mask controller into Max MSP/Jitter<br />
Build simple looper<br />
Edit field recordings <br />
<br />
<br />
'''WK3 -- More Testing + Collecting'''<br />
<br />
'''Simple Audio Looper Interface for Testing | Max MSP/Jitter + MIDI Controller:'''<br />
<br />
I built a simple looper patch in Max in order to start manipulating and listening to field recordings from my recent sound hunts. Lately, I've been interested in machine sounds that have similar qualities as sounds from nature... similar to how cars sound similar to the ocean, or specific electrical resonances sound like cicadas and crickets. <br />
<br />
[[File:Audio_interface.jpg|600px]]<br />
<br />
[[File:Midi_controller.jpg|600px]]<br />
<br />
[[File:audio_interface_guts.jpg|600px]]<br />
<br />
audio test -- [http://ssherriff.com/media/ritual_test.mp3]<br />
<br />
<br />
'''Readings:'''<br />
<br />
"...the wind began to funnel down from the high southern pass, gaining more forces with each passing moment... The effect wasn't a chord exactly, but rather a combination of tones, sighs, and midrange groans that played off each other, sometimes setting strange beats into resonance as they nearly matched one another in pitch... strangely dissonant. While never unpleasant, the acoustic experience was disorienting."<br />
<br />
(Kraus, pg 37)<br />
<br />
<u>The Great Animal Orchestra: Finding the Origins of Music in the World's Wild Places</u>, Bernie Kraus<br />
<br />
<br />
'''To do:''' <br />
Research 2015 Macbook Pro <br />
SLAC audio recordings<br />
Research/Source dry ice<br />
Schedule Audium visit <br />
<br />
<br />
'''WK4 --''' <br />
<br />
'''Dry Ice Safety + Costs + Storage:'''<br />
<br />
[[File:Dry_ice3.jpg|600px]]<br />
<br />
[[File:Dry ice2.jpg|600px]]<br />
<br />
[http://dryiceinfo.com/safe.htm safety]<br />
<br />
<br />
[[File:Dry ice5.jpg|550px]]<br />
<br />
[https://www.howmuchisit.org/how-much-does-dry-ice-cost/ costs]<br />
<br />
<br />
[[File:Dry_ice.jpg|600px]]<br />
<br />
[[File:Dry ice4.jpg|600px]]<br />
<br />
[http://www.eatbydate.com/other/dry-ice/ storage+]<br />
<br />
<br />
'''Searchworks Audio Finds:'''<br />
<br />
Over the past week or so, I've been reading <u>Art of Immersive Soundscapes</u> which has revitalized my interest in musique concrète. Today I spent some time digging around [http://searchworks.stanford.edu/ Searchworks] for online audio files/compilations/albums. In my hunt so far, I have found several resources that rely heavily on field recordings from nature to form audio compositions. <br />
<br />
<br />
Here are a few:<br />
<br />
[https://stanford.naxosmusiclibrary.com/catalogue/item.asp?cid=INNOVA783 ''Arctic Winds,''] Maggie Payne, 2010<br />
<br />
[https://search.alexanderstreet.com/view/work/bibliographic_entity%7Crecorded_cd%7C72954 ''Gateway Summer Sound: Abstracted Animal and Other Sounds''] Ann McMillan, 1979 <br />
<br />
[http://www.dramonline.org/albums/scott-smallwood-desert-winds-six-windblown-sound-pieces-and-other-works/player ''Desert Winds: Six Windblown Sound Pieces and Other Works,''] Scott Smallwood, 2007<br />
<br />
[https://search.alexanderstreet.com/view/work/bibliographic_entity%7Crecorded_cd%7C72140 ''Highlights of Vortex''], 1959, Smithsonian Folkways Recordings [2003]<br />
<br />
<br />
'''SLAC Site Visit:'''<br />
<br />
[[File:slac.jpg|500px]]<br />
<br />
The tour of SLAC was a bit of a disappointment, but only because I didn't fully comprehend the context of the tour. I didn't realize our MFA tour was part of a larger public tour. Unfortunately, it was nearly impossible to record an audio sample without tour-talk and human ruckus. We only visited two small areas of the facilities, which didn't really give an overall impression of the scale of the accelerometer. There were, however, some exciting/uncomfortable oscillations coming from machinery that I would like to revisit under a more sound-oriented tour of SLAC. Outside of my sound hunt, it was astounding to hear about the some of the research taking place.<br />
<br />
<br />
<br />
<br />
'''Floor Plan + Spacial Thoughts:'''<br />
<br />
[[File:LR_sketch.png|600px]]<br />
<br />
<br />
<br />
'''Light + Sound + Water Experiments:'''<br />
<br />
[http://ssherriff.com/media/wide_test.MOV]<br />
<br />
[http://ssherriff.com/media/oracle_view.MOV]<br />
<br />
[http://ssherriff.com/media/shadow_projection.MOV]<br />
<br />
<br />
<br />
'''To do:'''<br />
Visit Listening Room<br />
Contact Nando for Listening Room Orientation<br />
Contact Nette for LR keycard access<br />
Book out LR rehearsal schedule<br />
Purchase 2015 Macbook Pro<br />
<br />
<br />
'''WK5 --'''<br />
<br />
I spent this week trying to iron out logistics. I met with Nando for a Listening Room orientation and am now considering the best way to execute signal routing in the space. Nando recommended I check out the Listening Room User Manual on the CCRMA website. For now, I'm thinking I'll address each speaker individually, rather than working with ambisonics. It sounds like I'll need to use Jack to interface with my computer. Speaking of computer, I bought a laptop! It should arrive next week. I was also able to arrange keycard access to the room and am still trying to pin down scheduling for rehearsal and official performance showtimes. <br />
<br />
[[File:listening rm2 no layer.jpg|500px]]<br />
<br />
<br />
'''Possible Performance Date(s)/Times:''' <br />
<br />
'''Friday, June 1''' -- 4pm doors / 4:33pm performance<br />
OR<br />
7pm doors / 7:30pm performance<br />
<br />
'''Saturday, June 2''' -- 4pm doors / 4:33pm performance <br />
AND<br />
7pm doors / 7:30pm performance<br />
<br />
<br />
<br />
''' WK6 --'''<br />
<br />
'''Listening Room Mixing + Routing Research:'''<br />
<br />
[https://ccrma.stanford.edu/room-guides/listening-room] Listening Room User Guide]<br />
<br />
[[File:Speakers.jpg|600px]]<br />
[[File:LR_mixer.jpg|500px]]<br />
<br />
[https://ccrma.stanford.edu/software/openmixer/manual Openmixer Manual]<br />
<br />
[https://ccrma.stanford.edu/software/openmixer/manual/input_sources Input Sources]<br />
<br />
[https://ccrma.stanford.edu/software/openmixer/manual/using_jack Using Jack]<br />
<br />
<br />
'''Projection/Lighting:'''<br />
<br />
After visiting the Listening Room and looking at the infrastructure in place, I've decided not to do any screen-based projection that requires hanging additional material in the space. It will likely be a lot of work and ultimately be invasive to the experience. For now, I'd like to focus on the sound and possibly incorporate some simple caustic lighting elements. I'm considering options for reflecting light onto the grid that separates the floor from the lower level of the heptagon. This will require some sort of surface/screen that could easily be placed on the grid. I will need to be sure there is airflow so as not to cause any issues with the ventilation system which feeds into the lower level.<br />
<br />
<br />
<br />
'''To do:'''<br />
Install Max MSP/Jitter<br />
Set-up 22 Channel Routing in Max<br />
Source + Set-up RSVP Platform for Performance<br />
Contact Eoin for Listening Room Consultation <br />
Dry Ice Testing<br />
<br />
<br />
''' WK7 --'''<br />
<br />
'''Signal Routing + Listening Room Consultation:'''<br />
<br />
My new computer finally arrived and I was able to schedule some time with Eoin to test routing options in the Listening Room. I've opted to use a 16ch analog interface and Jacknet, which will magically give me access to all 22 channels. I'll need to do more specific routing in Max but was able to get a signal out of my laptop and play audio over all 22 channels with minimal head-scratching and mysterious machine behavior. Eoin is awesome. I am consistently amazed at the generosity of the CCRMA community and am so grateful to have the opportunity to interact and learn from everyone. <br />
<br />
<br />
'''Listening Room Booking + Conflicts:'''<br />
<br />
I spoke to Matt Wright about any potential overlap with SLOrk rehearsal and general usage of the Listening Room. After our conversation, it seems best to bump my performance dates back one week so as to avoid any scheduling conflicts. Matt has also been kind enough to book out the space for me overnight so I will only need to set-up and teardown once. Wooo. Yay for CCRMA peeps! <br />
<br />
<br />
'''RVSP Platform + Dates'''<br />
<br />
I've decided to use Eventbrite for RSVP distribution/tracking. I've got a draft going and am seconds away from pulling the trigger. Just need to finish up my statement about the piece, and am currently wrestling with language and an official title. So close!<br />
<br />
Friday, June 8th -- 7pm doors / 7:30pm performance<br />
Saturday, June 9th -- 4pm doors / 4:30pm performance<br />
<br />
<br />
'''Dry Ice Tests:'''<br />
<br />
Working with dry ice has been waaay more fun than I could have anticipated. With that said, I'm learning that the fun comes with a heftier fee than I originally thought... and it evaporates fairly quickly. A block of dry ice lasts for approximately 2 or 3 days at about $20 each. I've also discovered that the dry ice goes bananas until it's eaten up all of the oxygen in whatever water it's dropped into, at which point, the dry ice fizzles sadly with much less gusto. This happens fairly quickly. I think it will be fine for the performance, but it's possible I will need larger containers to house the water and dry. I've been most excited about projecting onto the dry ice and am thinking about ways to use the dry ice as the projection screen/surface for the performance. <br />
<br />
<br />
'''To do:'''<br />
Set-up Signal Routing Hierarchy in Max <br />
Publish + Distribute RVSP Invite<br />
Test Dry Ice in Listening Room<br />
Test Scent Machine in Listening Room<br />
Okay to Point Listening Room Projector Straight Down Onto Grid?<br />
Order More Fans? Dry Ice Containers / Scent Containers<br />
Edit new sounds<br />
<br />
<br />
'''WK8 --'''<br />
<br />
'''Testing + Rehearsal Findings:'''<br />
<br />
I discovered that my USB MIDI controller will not work at the same time as the USB MOTU interface I am using to route sound in the Listening Room. This is a major problem. I've contacted Eoin for advice, and am hoping that using an ethernet connection will help resolve this issue. I'm also thinking about adding a second computer into the mix, mainly because of software limitations on my new computer. I'm not sure if this is going to cause a whole heap of other headaches, but mentioned my interest to Eoin. If it seems to crazy/unreliable I'll stick with one laptop. <br />
<br />
<br />
'''Testing + Rehearsal Audio:'''<br />
<br />
[http://ssherriff.com/media/post-human_rehearsal2.mp3 Recording 1]<br />
<br />
[http://ssherriff.com/media/post-human_rehearsal.mp3 Recording 2]<br />
<br />
<br />
'''Dry Ice Testing:'''<br />
<br />
My first rounds of dry ice tests in the Listening Room proved to be somewhat unsuccessful. The ventilation system below the grid sucks all of the dry ice vapors straight down and disburses them, making it difficult to see anything interesting happening. I tried placing a container of dry ice into a secondary container with edges slightly higher than the vessel holding the dry ice. This produced some really interesting behaviors, so I'm guessing I can do something similar at a larger scale -- hopefully filling the majority of the recess in the Listening Room floor. <br />
<br />
I've been spending a good lump of time searching for containers to hold the dry ice. Whatever I use needs to be fairly large to help with the longevity of the vapors... but also not so large that it will be difficult to schlep it out of the room once the performance is over. There's also a slight chance that whatever I use to house the dry ice will be visible in some capacity, so I'm also trying to find something that is fairly simple in design... and also cheapish, since I will be covering a lot of area. I've been looking at all kinds of containers and haven't really found the right thing yet. I found something that will work, but I'm not very excited about it. <br />
<br />
For the secondary 'container' I am thinking about building out a frame that will fit inside of the heptagon. I would then line the frame with a black tarp or some sort of black fabric, leaving a few inches between the frame and the interior edge of the heptagon for air flow. <br />
<br />
Speaking of air-flow, the sound of the dry ice bubbling in the water is becoming a wonderful bonus in the soundscape of my performance. Listening to the dry ice is sort of like sitting by a babbling creek, so I could have asked for a more exciting and unexpected surprise. <br />
<br />
<br />
<br />
'''Projector Testing:''' <br />
<br />
Initially, I was thinking about using the projector that is already mounted in the Listening Room. After further examination, I realized that the throw will probably not work well for my purposes. I did some tests with one of the PICO projectors and it seems like it might work okay. It probably won't be the brightest, most vivid projection... but I think that will be okay in this case. The dry ice is awesome with even just a little bit of light on it. <br />
<br />
I bought a few small clamp mounts for any of the tiny projectors that enter into the set-up. I should be able to mount the projectors fairly easily using the rigging system in the ceiling.<br />
<br />
<br />
<br />
'''Project Statement:'''<br />
<br />
Earth frequencies are the foundation of sound-making in communication and survival for all<br />
living creatures. Insects, birds, and humans have all evolved to make sound in accordance<br />
with the landscapes in which they dwell, yet humans increasingly suffocate the soundscape,<br />
turning a blind ear to the sonic residue of industry and electromagnetic poisons.<br />
<br />
''Post-human Incursion'' is a site-specific audio/visual performance that examines how<br />
natural order might adapt soncially to human impressions on the evolution of voice across<br />
species. Through the use of spatialized and processed field recordings, ''Post-human Incursion''<br />
gestures toward a futuristic bending of familiar sonic terrain twisted by the influence of<br />
machinery. Post-human Incursion is a poetic attempt to prophesize what the future may hold<br />
in relation to the expressive abilities and survival of sounding creatures on Earth. Do<br />
birds sing differently now that they are encumbered with the ruckus of industrialized human<br />
existence?''<br />
<br />
<br />
[https://www.eventbrite.com/e/post-human-incursion-tickets-46164892436 RSVP Event Link]<br />
<br />
<br />
'''To do:'''<br />
Find door person<br />
USB MIDI controller does not currently work while running USB MOTU 16ch interface<br />
Can I use two computers -- x1 for mask / x1 for field recordings?<br />
Define performance zone / altar<br />
<br />
<br />
'''WK9 --'''<br />
<br />
'''Listening Room Tech:'''<br />
<br />
There was some mystery unplugging of a bunch of stuff in the Listening Room, which was causing some strange/inconsistent behavior. With the help and head scratching of Eoin and Nando... the mystery has been solved and things seem to be relatively stable. Phew! My MIDI controller also seems to be behaving for the most part. I've been using a power USB hub, which seems to be doing the trick, although I have a feeling the USB port on my controller is starting to get a little loose. Hopefully, it hangs in there for the performances...<br />
<br />
<br />
'''Dry Ice:'''<br />
<br />
I'm still struggling with the dry ice component of the piece. I don't think I'll be able to work at the scale I'd like, mainly due to the cost of materials. I think I've found a solution on a smaller scale, but I'm not super excited about it. Because of the scale change, it's likely I'll need to abandon the projection component. Hard to say for sure at this point, but unless some miracle ah-ha moment happens much of the visual components of the piece will be far diminished from what I would like to do in an ideal world where I'm rolling in cash and have an absorbent amount of time.<br />
<br />
<br />
'''SLOrk + Set-up:''' <br />
<br />
SLOrk moves out of the Listening Room on Wednesday evening. This means I will be able to leave things set-up and start to deal with cables and placement. In the interim, I've been doing some small lighting test and think I have a fairly simple plan for lighting including the hallway leading up to the Listening Room.<br />
<br />
<br />
'''Printed Program:''' <br />
<br />
I'm nearly finished working on a program for the performances. I think I will alter my statement to better describe all of the adjustments I've had to make and use language to indicate that it's still a work in progress. I assume it's fine to print the program at CCRMA. <br />
<br />
<br />
'''Sound:'''<br />
<br />
At this point, I'm so buried in the piece that I can no longer tell heads from tails. I've introduced a piezo as part of the altar, and have been testing various vocal utterances. Compositionally, I'm not totally sure where the piece is at or how far away I've fallen from my original intent. Currently, the piece is leaning toward something more musical than I originally imagined. I've removed the glockenspiel recording and have been working with more of a droning sound that I recorded using a synth. There's a cohesiveness to the sound, but what I've been developing is seemingly less like a soundscape even though there is an abundance of field recordings incorporated into the work. I suppose I'm feeling a little confused and could use some time away from the piece for reflection, but as is the whole shebang is feeling arbitrary and far removed... but maybe I'm too immersed in the process to see/hear it for what it is? <br />
<br />
<br />
'''To do:'''<br />
Complete Program / Print -- Do I need a code for the printer?<br />
Still trying to find a door person<br />
Lighting + Set-up<br />
Rehearsal + Testing<br />
<br />
<br />
<br />
'''WK10 --'''<br />
<br />
'''Culminating Voice Configuration:'''<br />
<br />
[[File:Mask_inside.jpg|350px]]<br />
<br />
<br />
Ultimately, I opted not to use the sensors embedded in the mask and only incorporated the microphone into the performance system, combined with some generous filtering in Ablteon Live. The signal from the microphone was passed through a MOTU interface with access to 22 discreet channels in the Listening Room. My voice occupied channels 1-8 and a handful of channels in the ceiling and floor.<br />
<br />
<br />
[[File:LIVE_voice1.png|550px]]<br />
<br />
<br />
[[File:LIVE_voice2.png|550px]]<br />
<br />
<br />
'''Piezo Instrument:'''<br />
<br />
Because of the whole debacle with my laptop, I strayed away from experimenting with the Bare Conductive Touch Board and water in this instance. Instead, I incorporated the glass bowl from my conductivity tests to make an instrument that is comprised of a piezo, the glass bowl, metal, feathers, and software. I fed the signal into Ableton for the instrument input within the same patch as my mic. I was able to output both signals as two separate channels to the MOTU interface allowing me to route the instrument signal discreetly over the 22ch system. I chose to route the instrument to channels 1-8, and the center ceiling speaker. <br />
<br />
<br />
[[File:LIVE_piezo.png|550px]]<br />
<br />
<br />
<br />
'''Field Recording Manipulation:''' <br />
<br />
[[File:Control_closed_active.png|750px]]<br />
<br />
<br />
For all of the field recordings I continued to use Max MSP/Jitter and a MIDI controller to manipulate and navigate recorded audio signals. Rather than processing the sound through filters, I built a system where I am simply manipulating the speed and direction of each recorded sample. Most sounds are configured to play at a rate well below half speed and are occasionally played backward. <br />
<br />
In addition to the field recordings, I also recorded improvisational synthesizer sessions. One of the first synth recordings I made in my process used the glockenspiel voice. After some feedback, I questioned if the glockenspiel was pulling the piece in a more musical direction and whether or not I would be okay with that in relation to my interest in the evolution of sound and soundscapes. I decided I was okay with the piece becoming more musical but felt that the synth could better match the electrical and machine-made sounds already incorporated into the piece. I believe I ultimately used some sort of electric piano voice on the synth to create a droney, circular sound. Once the synth sound was in Max MSP/Jitter, I made the happy discovery that the drone sound was a friendly match with some mosquito buzzing already incorporated into the composition and committed to using the drone sound in the composition. <br />
<br />
<br />
[[File:Control_open.png|750px]]<br />
<br />
<br />
<br />
<br />
[[File:Performance_img2.jpg|550px]]<br />
<br />
Performance Image Courtesy of Dave Kerr<br />
<br />
[http://ssherriff.com/media/PH_perf.mp4 Performance Documentation (Courtesy of David Kerr)]</div>Stephaniehttps://ccrma.stanford.edu/mediawiki/index.php?title=Ritualistic_Performance_System_Research&diff=21005Ritualistic Performance System Research2018-06-18T19:31:31Z<p>Stephanie: </p>
<hr />
<div><br />
[[File:Performance_img.jpg|350px]]<br />
<br />
Performance Image Courtesy of Dave Kerr<br />
<br />
<br />
''Post-human Incursion'' is a site-specific performance piece developed for the Listening Room at CCRMA. Inspired by the writing of Bernie Kraus and the work of Pauline Oliveros, the piece functions as a futuristic reflection on the evolution of sound across species, while using spacialized and manipulated field recordings to create new sonic terrain. <br />
<br />
<br />
<br />
== '''Project Overview + Development:''' ==<br />
<br />
<br />
<br />
'''Goal:'''<br />
To create a ritualistic performance system using spacialized audio signals, video, and real-time audio manipulation. <br />
<br />
<br />
'''Background:'''<br />
<br />
As part of continued research, I aim to pursue an audio/visual experience that combines spatialized field recordings, voice, video/light, and software. For this piece, I may continue to develop a proximity-based water sensor into the performance, using some sort of vessel(s), water, conductive tape, and a bare conductive microcontroller. The audio collection process will include listening, recording, and engaging with a series of natural and machine-made sounds. The piece will culminate in an audio/visual performance. <br />
<br />
<br />
'''Possible Controllers:'''<br />
<br />
[[File:water_controller.jpg|350px]]<br />
water controller prototype <br />
<br />
[[File:Mask_full.jpg|350px]]<br />
mask prototype<br />
<br />
[[File:Mask_inside.jpg|350px]]<br />
mask sensors<br />
<br />
<br />
<br />
'''WK1 -- Brainstorming + Testing'''<br />
<br />
Performance Site '''-- Listening Room'''<br />
Okay to burn / use scents? '''-- No. Issues in the past.'''<br />
Dry Ice? '''-- Could be okay. Needs ventilation.''' <br />
Max capacity in Listening Room '''-- 15-20 people'''<br />
<br />
[[File:Listening_room.jpg|350px]]<br />
<br />
<br />
'''To do:'''<br />
Bare Conductive Touch Board + Water Sensor Testing in Max <br />
Arduino code + upload to Touch Board<br />
Max MSP/Jitter + Touch Board testing<br />
Add water sensor input to video mixer patch<br />
Collect Field Recordings<br />
Fire / Machines / Energy Facility / Electrical Drone Sounds<br />
<br />
<br />
'''WK2 -- Testing + Collection'''<br />
<br />
Water Sensor Testing in Max MSP/Jitter<br />
[https://www.bareconductive.com/make/the-touch-board-maxmsp/]<br />
<br />
[[File:Bare_conductive.jpg|300px]]<br />
<br />
I managed to get data into Max from the Bare Conductive microcontroller. After a few minutes, the microcontroller seems to get overloaded and freezes. If I reload the Arduino code onto the board data starts to work in Max temporarily. This issue seems relatively consistent. My laptop also seems to be having trouble processing video and receiving data at the same time. The latency of sensor data into Max is painfully slow while video is running. Sensor response is proficient with no video processing. <br />
<br />
I will need a new laptop. This is not a surprise.<br />
<br />
<br />
'''Readings:'''<br />
<br />
<u>Keywords in Sound</u>, Chapter 15, ''Resonance'', by Veit Erlmann <br />
<br />
"...the concept of resonance, having been derived from core epistemological virtues such as intuition, observation, and experiment, names the natural mechanism governing the interaction of vibrating matter, such as strings, nerves, and air. As such, resonance is the "Other" of the self-constituting Cartesian ego as it discovers truth (of musical harmony, for instance) and reassures itself of its own existence as a thinking entity. On the other hand resonance names the very unity of body and mind that the cogitating ego must unthink before it uncovers truth."<br />
<br />
(Erlmann, page 177)<br />
<br />
<br />
<u>Keywords in Sound</u>, Chapter 17, ''Space'', by Andrew J. Eisenberg <br />
<br />
"As a phenomenon that exists at once within and beyond perceiving subjects, sound cannot but reveal social space as an artifact of material practices complexly interwoven with semiotic processes and the 'imaginations, fears, emotions, psychologies, fantasies, and dreams' that human beings bring to everything (Harvey 2006: 279; see also Lefebvre 1991)."<br />
<br />
(Eisenberg, pg 202)<br />
<br />
<br />
<u>The Soundscape: Our Sonic Environment & the Tuning of the World</u>, <br />
R. Murray Schaffer, Chapter 12, Symbolism<br />
<br />
"...water, the original life element, has the most splendid symbolism... a stream, a fountain, a river, a waterfall, the sea, each makes its unique sound but all share rich symbolism. They speak of cleansing, of purification, of refreshment, and renewal... It is symbolic of eternity... It is symbolic of change." <br />
<br />
(Schafer, page 170)<br />
<br />
<br />
"Without its tactile pressure on the face or body we cannot even tell from what direction it blows. The wind is therefore not to be trusted."<br />
<br />
(Schafer, page 170)<br />
<br />
<br />
<br />
"Modern man has sought to escape both the wind and the sea by encapsulating himself in artificial environments... The sounds of machines took on happy symbolism approximately 200 years ago, when it was realized that they could release man from his immemorial bondage to earth... power and progress... noise and power go hand in hand."<br />
<br />
(Schafer, page 178-179)<br />
<br />
<br />
'''To do:''' <br />
Research options for new laptop (2015 Macbook Pro) + Stanford support<br />
Mask controller into Max MSP/Jitter<br />
Build simple looper<br />
Edit field recordings <br />
<br />
<br />
'''WK3 -- More Testing + Collecting'''<br />
<br />
'''Simple Audio Looper Interface for Testing | Max MSP/Jitter + MIDI Controller:'''<br />
<br />
I built a simple looper patch in Max in order to start manipulating and listening to field recordings from my recent sound hunts. Lately, I've been interested in machine sounds that have similar qualities as sounds from nature... similar to how cars sound similar to the ocean, or specific electrical resonances sound like cicadas and crickets. <br />
<br />
[[File:Audio_interface.jpg|600px]]<br />
<br />
[[File:Midi_controller.jpg|600px]]<br />
<br />
[[File:audio_interface_guts.jpg|600px]]<br />
<br />
audio test -- [http://ssherriff.com/media/ritual_test.mp3]<br />
<br />
<br />
'''Readings:'''<br />
<br />
"...the wind began to funnel down from the high southern pass, gaining more forces with each passing moment... The effect wasn't a chord exactly, but rather a combination of tones, sighs, and midrange groans that played off each other, sometimes setting strange beats into resonance as they nearly matched one another in pitch... strangely dissonant. While never unpleasant, the acoustic experience was disorienting."<br />
<br />
(Kraus, pg 37)<br />
<br />
<u>The Great Animal Orchestra: Finding the Origins of Music in the World's Wild Places</u>, Bernie Kraus<br />
<br />
<br />
'''To do:''' <br />
Research 2015 Macbook Pro <br />
SLAC audio recordings<br />
Research/Source dry ice<br />
Schedule Audium visit <br />
<br />
<br />
'''WK4 --''' <br />
<br />
'''Dry Ice Safety + Costs + Storage:'''<br />
<br />
[[File:Dry_ice3.jpg|600px]]<br />
<br />
[[File:Dry ice2.jpg|600px]]<br />
<br />
[http://dryiceinfo.com/safe.htm safety]<br />
<br />
<br />
[[File:Dry ice5.jpg|550px]]<br />
<br />
[https://www.howmuchisit.org/how-much-does-dry-ice-cost/ costs]<br />
<br />
<br />
[[File:Dry_ice.jpg|600px]]<br />
<br />
[[File:Dry ice4.jpg|600px]]<br />
<br />
[http://www.eatbydate.com/other/dry-ice/ storage+]<br />
<br />
<br />
'''Searchworks Audio Finds:'''<br />
<br />
Over the past week or so, I've been reading <u>Art of Immersive Soundscapes</u> which has revitalized my interest in musique concrète. Today I spent some time digging around [http://searchworks.stanford.edu/ Searchworks] for online audio files/compilations/albums. In my hunt so far, I have found several resources that rely heavily on field recordings from nature to form audio compositions. <br />
<br />
<br />
Here are a few:<br />
<br />
[https://stanford.naxosmusiclibrary.com/catalogue/item.asp?cid=INNOVA783 ''Arctic Winds,''] Maggie Payne, 2010<br />
<br />
[https://search.alexanderstreet.com/view/work/bibliographic_entity%7Crecorded_cd%7C72954 ''Gateway Summer Sound: Abstracted Animal and Other Sounds''] Ann McMillan, 1979 <br />
<br />
[http://www.dramonline.org/albums/scott-smallwood-desert-winds-six-windblown-sound-pieces-and-other-works/player ''Desert Winds: Six Windblown Sound Pieces and Other Works,''] Scott Smallwood, 2007<br />
<br />
[https://search.alexanderstreet.com/view/work/bibliographic_entity%7Crecorded_cd%7C72140 ''Highlights of Vortex''], 1959, Smithsonian Folkways Recordings [2003]<br />
<br />
<br />
'''SLAC Site Visit:'''<br />
<br />
[[File:slac.jpg|500px]]<br />
<br />
The tour of SLAC was a bit of a disappointment, but only because I didn't fully comprehend the context of the tour. I didn't realize our MFA tour was part of a larger public tour. Unfortunately, it was nearly impossible to record an audio sample without tour-talk and human ruckus. We only visited two small areas of the facilities, which didn't really give an overall impression of the scale of the accelerometer. There were, however, some exciting/uncomfortable oscillations coming from machinery that I would like to revisit under a more sound-oriented tour of SLAC. Outside of my sound hunt, it was astounding to hear about the some of the research taking place.<br />
<br />
<br />
<br />
<br />
'''Floor Plan + Spacial Thoughts:'''<br />
<br />
[[File:LR_sketch.png|600px]]<br />
<br />
<br />
<br />
'''Light + Sound + Water Experiments:'''<br />
<br />
[http://ssherriff.com/media/wide_test.MOV]<br />
<br />
[http://ssherriff.com/media/oracle_view.MOV]<br />
<br />
[http://ssherriff.com/media/shadow_projection.MOV]<br />
<br />
<br />
<br />
'''To do:'''<br />
Visit Listening Room<br />
Contact Nando for Listening Room Orientation<br />
Contact Nette for LR keycard access<br />
Book out LR rehearsal schedule<br />
Purchase 2015 Macbook Pro<br />
<br />
<br />
'''WK5 --'''<br />
<br />
I spent this week trying to iron out logistics. I met with Nando for a Listening Room orientation and am now considering the best way to execute signal routing in the space. Nando recommended I check out the Listening Room User Manual on the CCRMA website. For now, I'm thinking I'll address each speaker individually, rather than working with ambisonics. It sounds like I'll need to use Jack to interface with my computer. Speaking of computer, I bought a laptop! It should arrive next week. I was also able to arrange keycard access to the room and am still trying to pin down scheduling for rehearsal and official performance showtimes. <br />
<br />
[[File:listening rm2 no layer.jpg|500px]]<br />
<br />
<br />
'''Possible Performance Date(s)/Times:''' <br />
<br />
'''Friday, June 1''' -- 4pm doors / 4:33pm performance<br />
OR<br />
7pm doors / 7:30pm performance<br />
<br />
'''Saturday, June 2''' -- 4pm doors / 4:33pm performance <br />
AND<br />
7pm doors / 7:30pm performance<br />
<br />
<br />
<br />
''' WK6 --'''<br />
<br />
'''Listening Room Mixing + Routing Research:'''<br />
<br />
[https://ccrma.stanford.edu/room-guides/listening-room] Listening Room User Guide]<br />
<br />
[[File:Speakers.jpg|600px]]<br />
[[File:LR_mixer.jpg|500px]]<br />
<br />
[https://ccrma.stanford.edu/software/openmixer/manual Openmixer Manual]<br />
<br />
[https://ccrma.stanford.edu/software/openmixer/manual/input_sources Input Sources]<br />
<br />
[https://ccrma.stanford.edu/software/openmixer/manual/using_jack Using Jack]<br />
<br />
<br />
'''Projection/Lighting:'''<br />
<br />
After visiting the Listening Room and looking at the infrastructure in place, I've decided not to do any screen-based projection that requires hanging additional material in the space. It will likely be a lot of work and ultimately be invasive to the experience. For now, I'd like to focus on the sound and possibly incorporate some simple caustic lighting elements. I'm considering options for reflecting light onto the grid that separates the floor from the lower level of the heptagon. This will require some sort of surface/screen that could easily be placed on the grid. I will need to be sure there is airflow so as not to cause any issues with the ventilation system which feeds into the lower level.<br />
<br />
<br />
<br />
'''To do:'''<br />
Install Max MSP/Jitter<br />
Set-up 22 Channel Routing in Max<br />
Source + Set-up RSVP Platform for Performance<br />
Contact Eoin for Listening Room Consultation <br />
Dry Ice Testing<br />
<br />
<br />
''' WK7 --'''<br />
<br />
'''Signal Routing + Listening Room Consultation:'''<br />
<br />
My new computer finally arrived and I was able to schedule some time with Eoin to test routing options in the Listening Room. I've opted to use a 16ch analog interface and Jacknet, which will magically give me access to all 22 channels. I'll need to do more specific routing in Max but was able to get a signal out of my laptop and play audio over all 22 channels with minimal head-scratching and mysterious machine behavior. Eoin is awesome. I am consistently amazed at the generosity of the CCRMA community and am so grateful to have the opportunity to interact and learn from everyone. <br />
<br />
<br />
'''Listening Room Booking + Conflicts:'''<br />
<br />
I spoke to Matt Wright about any potential overlap with SLOrk rehearsal and general usage of the Listening Room. After our conversation, it seems best to bump my performance dates back one week so as to avoid any scheduling conflicts. Matt has also been kind enough to book out the space for me overnight so I will only need to set-up and teardown once. Wooo. Yay for CCRMA peeps! <br />
<br />
<br />
'''RVSP Platform + Dates'''<br />
<br />
I've decided to use Eventbrite for RSVP distribution/tracking. I've got a draft going and am seconds away from pulling the trigger. Just need to finish up my statement about the piece, and am currently wrestling with language and an official title. So close!<br />
<br />
Friday, June 8th -- 7pm doors / 7:30pm performance<br />
Saturday, June 9th -- 4pm doors / 4:30pm performance<br />
<br />
<br />
'''Dry Ice Tests:'''<br />
<br />
Working with dry ice has been waaay more fun than I could have anticipated. With that said, I'm learning that the fun comes with a heftier fee than I originally thought... and it evaporates fairly quickly. A block of dry ice lasts for approximately 2 or 3 days at about $20 each. I've also discovered that the dry ice goes bananas until it's eaten up all of the oxygen in whatever water it's dropped into, at which point, the dry ice fizzles sadly with much less gusto. This happens fairly quickly. I think it will be fine for the performance, but it's possible I will need larger containers to house the water and dry. I've been most excited about projecting onto the dry ice and am thinking about ways to use the dry ice as the projection screen/surface for the performance. <br />
<br />
<br />
'''To do:'''<br />
Set-up Signal Routing Hierarchy in Max <br />
Publish + Distribute RVSP Invite<br />
Test Dry Ice in Listening Room<br />
Test Scent Machine in Listening Room<br />
Okay to Point Listening Room Projector Straight Down Onto Grid?<br />
Order More Fans? Dry Ice Containers / Scent Containers<br />
Edit new sounds<br />
<br />
<br />
'''WK8 --'''<br />
<br />
'''Testing + Rehearsal Findings:'''<br />
<br />
I discovered that my USB MIDI controller will not work at the same time as the USB MOTU interface I am using to route sound in the Listening Room. This is a major problem. I've contacted Eoin for advice, and am hoping that using an ethernet connection will help resolve this issue. I'm also thinking about adding a second computer into the mix, mainly because of software limitations on my new computer. I'm not sure if this is going to cause a whole heap of other headaches, but mentioned my interest to Eoin. If it seems to crazy/unreliable I'll stick with one laptop. <br />
<br />
<br />
'''Testing + Rehearsal Audio:'''<br />
<br />
[http://ssherriff.com/media/post-human_rehearsal2.mp3 Recording 1]<br />
<br />
[http://ssherriff.com/media/post-human_rehearsal.mp3 Recording 2]<br />
<br />
<br />
'''Dry Ice Testing:'''<br />
<br />
My first rounds of dry ice tests in the Listening Room proved to be somewhat unsuccessful. The ventilation system below the grid sucks all of the dry ice vapors straight down and disburses them, making it difficult to see anything interesting happening. I tried placing a container of dry ice into a secondary container with edges slightly higher than the vessel holding the dry ice. This produced some really interesting behaviors, so I'm guessing I can do something similar at a larger scale -- hopefully filling the majority of the recess in the Listening Room floor. <br />
<br />
I've been spending a good lump of time searching for containers to hold the dry ice. Whatever I use needs to be fairly large to help with the longevity of the vapors... but also not so large that it will be difficult to schlep it out of the room once the performance is over. There's also a slight chance that whatever I use to house the dry ice will be visible in some capacity, so I'm also trying to find something that is fairly simple in design... and also cheapish, since I will be covering a lot of area. I've been looking at all kinds of containers and haven't really found the right thing yet. I found something that will work, but I'm not very excited about it. <br />
<br />
For the secondary 'container' I am thinking about building out a frame that will fit inside of the heptagon. I would then line the frame with a black tarp or some sort of black fabric, leaving a few inches between the frame and the interior edge of the heptagon for air flow. <br />
<br />
Speaking of air-flow, the sound of the dry ice bubbling in the water is becoming a wonderful bonus in the soundscape of my performance. Listening to the dry ice is sort of like sitting by a babbling creek, so I could have asked for a more exciting and unexpected surprise. <br />
<br />
<br />
<br />
'''Projector Testing:''' <br />
<br />
Initially, I was thinking about using the projector that is already mounted in the Listening Room. After further examination, I realized that the throw will probably not work well for my purposes. I did some tests with one of the PICO projectors and it seems like it might work okay. It probably won't be the brightest, most vivid projection... but I think that will be okay in this case. The dry ice is awesome with even just a little bit of light on it. <br />
<br />
I bought a few small clamp mounts for any of the tiny projectors that enter into the set-up. I should be able to mount the projectors fairly easily using the rigging system in the ceiling.<br />
<br />
<br />
<br />
'''Project Statement:'''<br />
<br />
Earth frequencies are the foundation of sound-making in communication and survival for all<br />
living creatures. Insects, birds, and humans have all evolved to make sound in accordance<br />
with the landscapes in which they dwell, yet humans increasingly suffocate the soundscape,<br />
turning a blind ear to the sonic residue of industry and electromagnetic poisons.<br />
<br />
''Post-human Incursion'' is a site-specific audio/visual performance that examines how<br />
natural order might adapt soncially to human impressions on the evolution of voice across<br />
species. Through the use of spatialized and processed field recordings, ''Post-human Incursion''<br />
gestures toward a futuristic bending of familiar sonic terrain twisted by the influence of<br />
machinery. Post-human Incursion is a poetic attempt to prophesize what the future may hold<br />
in relation to the expressive abilities and survival of sounding creatures on Earth. Do<br />
birds sing differently now that they are encumbered with the ruckus of industrialized human<br />
existence?''<br />
<br />
<br />
[https://www.eventbrite.com/e/post-human-incursion-tickets-46164892436 RSVP Event Link]<br />
<br />
<br />
'''To do:'''<br />
Find door person<br />
USB MIDI controller does not currently work while running USB MOTU 16ch interface<br />
Can I use two computers -- x1 for mask / x1 for field recordings?<br />
Define performance zone / altar<br />
<br />
<br />
'''WK9 --'''<br />
<br />
'''Listening Room Tech:'''<br />
<br />
There was some mystery unplugging of a bunch of stuff in the Listening Room, which was causing some strange/inconsistent behavior. With the help and head scratching of Eoin and Nando... the mystery has been solved and things seem to be relatively stable. Phew! My MIDI controller also seems to be behaving for the most part. I've been using a power USB hub, which seems to be doing the trick, although I have a feeling the USB port on my controller is starting to get a little loose. Hopefully, it hangs in there for the performances...<br />
<br />
<br />
'''Dry Ice:'''<br />
<br />
I'm still struggling with the dry ice component of the piece. I don't think I'll be able to work at the scale I'd like, mainly due to the cost of materials. I think I've found a solution on a smaller scale, but I'm not super excited about it. Because of the scale change, it's likely I'll need to abandon the projection component. Hard to say for sure at this point, but unless some miracle ah-ha moment happens much of the visual components of the piece will be far diminished from what I would like to do in an ideal world where I'm rolling in cash and have an absorbent amount of time.<br />
<br />
<br />
'''SLOrk + Set-up:''' <br />
<br />
SLOrk moves out of the Listening Room on Wednesday evening. This means I will be able to leave things set-up and start to deal with cables and placement. In the interim, I've been doing some small lighting test and think I have a fairly simple plan for lighting including the hallway leading up to the Listening Room.<br />
<br />
<br />
'''Printed Program:''' <br />
<br />
I'm nearly finished working on a program for the performances. I think I will alter my statement to better describe all of the adjustments I've had to make and use language to indicate that it's still a work in progress. I assume it's fine to print the program at CCRMA. <br />
<br />
<br />
'''Sound:'''<br />
<br />
At this point, I'm so buried in the piece that I can no longer tell heads from tails. I've introduced a piezo as part of the altar, and have been testing various vocal utterances. Compositionally, I'm not totally sure where the piece is at or how far away I've fallen from my original intent. Currently, the piece is leaning toward something more musical than I originally imagined. I've removed the glockenspiel recording and have been working with more of a droning sound that I recorded using a synth. There's a cohesiveness to the sound, but what I've been developing is seemingly less like a soundscape even though there is an abundance of field recordings incorporated into the work. I suppose I'm feeling a little confused and could use some time away from the piece for reflection, but as is the whole shebang is feeling arbitrary and far removed... but maybe I'm too immersed in the process to see/hear it for what it is? <br />
<br />
<br />
'''To do:'''<br />
Complete Program / Print -- Do I need a code for the printer?<br />
Still trying to find a door person<br />
Lighting + Set-up<br />
Rehearsal + Testing<br />
<br />
<br />
<br />
'''WK10 --'''<br />
<br />
[[File:Performance_img2.jpg|550px]]<br />
<br />
Performance Image Courtesy of Dave Kerr<br />
<br />
[http://ssherriff.com/media/PH_perf.mp4 Performance Documentation (Courtesy of David Kerr)]<br />
<br />
<br />
<br />
<br />
'''Culminating Voice Configuration:'''<br />
<br />
[[File:Mask_inside.jpg|350px]]<br />
<br />
<br />
Ultimately, I opted not to use the sensors embedded in the mask and only incorporated the microphone into the performance system, combined with some generous filtering in Ablteon Live. The signal from the microphone was passed through a MOTU interface with access to 22 discreet channels in the Listening Room. My voice occupied channels 1-8 and a handful of channels in the ceiling and floor.<br />
<br />
<br />
[[File:LIVE_voice1.png|550px]]<br />
<br />
<br />
[[File:LIVE_voice2.png|550px]]<br />
<br />
<br />
'''Piezo Instrument:'''<br />
<br />
Because of the whole debacle with my laptop, I strayed away from experimenting with the Bare Conductive Touch Board and water in this instance. Instead, I incorporated the glass bowl from my conductivity tests to make an instrument that is comprised of a piezo, the glass bowl, metal, feathers, and software. I fed the signal into Ableton for the instrument input within the same patch as my mic. I was able to output both signals as two separate channels to the MOTU interface allowing me to route the instrument signal discreetly over the 22ch system. I chose to route the instrument to channels 1-8, and the center ceiling speaker. <br />
<br />
<br />
[[File:LIVE_piezo.png|550px]]<br />
<br />
<br />
<br />
'''Field Recording Manipulation:''' <br />
<br />
[[File:Control_closed_active.png|750px]]<br />
<br />
<br />
For all of the field recordings I continued to use Max MSP/Jitter and a MIDI controller to manipulate and navigate recorded audio signals. Rather than processing the sound through filters, I built a system where I am simply manipulating the speed and direction of each recorded sample. Most sounds are configured to play at a rate well below half speed and are occasionally played backward. <br />
<br />
<br />
[[File:Control_open.png|750px]]</div>Stephaniehttps://ccrma.stanford.edu/mediawiki/index.php?title=Ritualistic_Performance_System_Research&diff=21004Ritualistic Performance System Research2018-06-18T19:21:53Z<p>Stephanie: </p>
<hr />
<div><br />
[[File:Performance_img.jpg|350px]]<br />
<br />
Performance Image Courtesy of Dave Kerr<br />
<br />
<br />
''Post-human Incursion'' is a site-specific performance piece developed for the Listening Room at CCRMA. Inspired by the writing of Bernie Kraus and the work of Pauline Oliveros, the piece functions as a futuristic reflection on the evolution of sound across species, while using spacialized and manipulated field recordings to create new sonic terrain. <br />
<br />
<br />
<br />
== '''Project Overview + Development:''' ==<br />
<br />
<br />
<br />
'''Goal:'''<br />
To create a ritualistic performance system using spacialized audio signals, video, and real-time audio manipulation. <br />
<br />
<br />
'''Background:'''<br />
<br />
As part of continued research, I aim to pursue an audio/visual experience that combines spatialized field recordings, voice, video/light, and software. For this piece, I may continue to develop a proximity-based water sensor into the performance, using some sort of vessel(s), water, conductive tape, and a bare conductive microcontroller. The audio collection process will include listening, recording, and engaging with a series of natural and machine-made sounds. The piece will culminate in an audio/visual performance. <br />
<br />
<br />
'''Possible Controllers:'''<br />
<br />
[[File:water_controller.jpg|350px]]<br />
water controller prototype <br />
<br />
[[File:Mask_full.jpg|350px]]<br />
mask prototype<br />
<br />
[[File:Mask_inside.jpg|350px]]<br />
mask sensors<br />
<br />
<br />
<br />
'''WK1 -- Brainstorming + Testing'''<br />
<br />
Performance Site '''-- Listening Room'''<br />
Okay to burn / use scents? '''-- No. Issues in the past.'''<br />
Dry Ice? '''-- Could be okay. Needs ventilation.''' <br />
Max capacity in Listening Room '''-- 15-20 people'''<br />
<br />
[[File:Listening_room.jpg|350px]]<br />
<br />
<br />
'''To do:'''<br />
Bare Conductive Touch Board + Water Sensor Testing in Max <br />
Arduino code + upload to Touch Board<br />
Max MSP/Jitter + Touch Board testing<br />
Add water sensor input to video mixer patch<br />
Collect Field Recordings<br />
Fire / Machines / Energy Facility / Electrical Drone Sounds<br />
<br />
<br />
'''WK2 -- Testing + Collection'''<br />
<br />
Water Sensor Testing in Max MSP/Jitter<br />
[https://www.bareconductive.com/make/the-touch-board-maxmsp/]<br />
<br />
[[File:Bare_conductive.jpg|300px]]<br />
<br />
I managed to get data into Max from the Bare Conductive microcontroller. After a few minutes, the microcontroller seems to get overloaded and freezes. If I reload the Arduino code onto the board data starts to work in Max temporarily. This issue seems relatively consistent. My laptop also seems to be having trouble processing video and receiving data at the same time. The latency of sensor data into Max is painfully slow while video is running. Sensor response is proficient with no video processing. <br />
<br />
I will need a new laptop. This is not a surprise.<br />
<br />
<br />
'''Readings:'''<br />
<br />
<u>Keywords in Sound</u>, Chapter 15, ''Resonance'', by Veit Erlmann <br />
<br />
"...the concept of resonance, having been derived from core epistemological virtues such as intuition, observation, and experiment, names the natural mechanism governing the interaction of vibrating matter, such as strings, nerves, and air. As such, resonance is the "Other" of the self-constituting Cartesian ego as it discovers truth (of musical harmony, for instance) and reassures itself of its own existence as a thinking entity. On the other hand resonance names the very unity of body and mind that the cogitating ego must unthink before it uncovers truth."<br />
<br />
(Erlmann, page 177)<br />
<br />
<br />
<u>Keywords in Sound</u>, Chapter 17, ''Space'', by Andrew J. Eisenberg <br />
<br />
"As a phenomenon that exists at once within and beyond perceiving subjects, sound cannot but reveal social space as an artifact of material practices complexly interwoven with semiotic processes and the 'imaginations, fears, emotions, psychologies, fantasies, and dreams' that human beings bring to everything (Harvey 2006: 279; see also Lefebvre 1991)."<br />
<br />
(Eisenberg, pg 202)<br />
<br />
<br />
<u>The Soundscape: Our Sonic Environment & the Tuning of the World</u>, <br />
R. Murray Schaffer, Chapter 12, Symbolism<br />
<br />
"...water, the original life element, has the most splendid symbolism... a stream, a fountain, a river, a waterfall, the sea, each makes its unique sound but all share rich symbolism. They speak of cleansing, of purification, of refreshment, and renewal... It is symbolic of eternity... It is symbolic of change." <br />
<br />
(Schafer, page 170)<br />
<br />
<br />
"Without its tactile pressure on the face or body we cannot even tell from what direction it blows. The wind is therefore not to be trusted."<br />
<br />
(Schafer, page 170)<br />
<br />
<br />
<br />
"Modern man has sought to escape both the wind and the sea by encapsulating himself in artificial environments... The sounds of machines took on happy symbolism approximately 200 years ago, when it was realized that they could release man from his immemorial bondage to earth... power and progress... noise and power go hand in hand."<br />
<br />
(Schafer, page 178-179)<br />
<br />
<br />
'''To do:''' <br />
Research options for new laptop (2015 Macbook Pro) + Stanford support<br />
Mask controller into Max MSP/Jitter<br />
Build simple looper<br />
Edit field recordings <br />
<br />
<br />
'''WK3 -- More Testing + Collecting'''<br />
<br />
'''Simple Audio Looper Interface for Testing | Max MSP/Jitter + MIDI Controller:'''<br />
<br />
I built a simple looper patch in Max in order to start manipulating and listening to field recordings from my recent sound hunts. Lately, I've been interested in machine sounds that have similar qualities as sounds from nature... similar to how cars sound similar to the ocean, or specific electrical resonances sound like cicadas and crickets. <br />
<br />
[[File:Audio_interface.jpg|600px]]<br />
<br />
[[File:Midi_controller.jpg|600px]]<br />
<br />
[[File:audio_interface_guts.jpg|600px]]<br />
<br />
audio test -- [http://ssherriff.com/media/ritual_test.mp3]<br />
<br />
<br />
'''Readings:'''<br />
<br />
"...the wind began to funnel down from the high southern pass, gaining more forces with each passing moment... The effect wasn't a chord exactly, but rather a combination of tones, sighs, and midrange groans that played off each other, sometimes setting strange beats into resonance as they nearly matched one another in pitch... strangely dissonant. While never unpleasant, the acoustic experience was disorienting."<br />
<br />
(Kraus, pg 37)<br />
<br />
<u>The Great Animal Orchestra: Finding the Origins of Music in the World's Wild Places</u>, Bernie Kraus<br />
<br />
<br />
'''To do:''' <br />
Research 2015 Macbook Pro <br />
SLAC audio recordings<br />
Research/Source dry ice<br />
Schedule Audium visit <br />
<br />
<br />
'''WK4 --''' <br />
<br />
'''Dry Ice Safety + Costs + Storage:'''<br />
<br />
[[File:Dry_ice3.jpg|600px]]<br />
<br />
[[File:Dry ice2.jpg|600px]]<br />
<br />
[http://dryiceinfo.com/safe.htm safety]<br />
<br />
<br />
[[File:Dry ice5.jpg|550px]]<br />
<br />
[https://www.howmuchisit.org/how-much-does-dry-ice-cost/ costs]<br />
<br />
<br />
[[File:Dry_ice.jpg|600px]]<br />
<br />
[[File:Dry ice4.jpg|600px]]<br />
<br />
[http://www.eatbydate.com/other/dry-ice/ storage+]<br />
<br />
<br />
'''Searchworks Audio Finds:'''<br />
<br />
Over the past week or so, I've been reading <u>Art of Immersive Soundscapes</u> which has revitalized my interest in musique concrète. Today I spent some time digging around [http://searchworks.stanford.edu/ Searchworks] for online audio files/compilations/albums. In my hunt so far, I have found several resources that rely heavily on field recordings from nature to form audio compositions. <br />
<br />
<br />
Here are a few:<br />
<br />
[https://stanford.naxosmusiclibrary.com/catalogue/item.asp?cid=INNOVA783 ''Arctic Winds,''] Maggie Payne, 2010<br />
<br />
[https://search.alexanderstreet.com/view/work/bibliographic_entity%7Crecorded_cd%7C72954 ''Gateway Summer Sound: Abstracted Animal and Other Sounds''] Ann McMillan, 1979 <br />
<br />
[http://www.dramonline.org/albums/scott-smallwood-desert-winds-six-windblown-sound-pieces-and-other-works/player ''Desert Winds: Six Windblown Sound Pieces and Other Works,''] Scott Smallwood, 2007<br />
<br />
[https://search.alexanderstreet.com/view/work/bibliographic_entity%7Crecorded_cd%7C72140 ''Highlights of Vortex''], 1959, Smithsonian Folkways Recordings [2003]<br />
<br />
<br />
'''SLAC Site Visit:'''<br />
<br />
[[File:slac.jpg|500px]]<br />
<br />
The tour of SLAC was a bit of a disappointment, but only because I didn't fully comprehend the context of the tour. I didn't realize our MFA tour was part of a larger public tour. Unfortunately, it was nearly impossible to record an audio sample without tour-talk and human ruckus. We only visited two small areas of the facilities, which didn't really give an overall impression of the scale of the accelerometer. There were, however, some exciting/uncomfortable oscillations coming from machinery that I would like to revisit under a more sound-oriented tour of SLAC. Outside of my sound hunt, it was astounding to hear about the some of the research taking place.<br />
<br />
<br />
<br />
<br />
'''Floor Plan + Spacial Thoughts:'''<br />
<br />
[[File:LR_sketch.png|600px]]<br />
<br />
<br />
<br />
'''Light + Sound + Water Experiments:'''<br />
<br />
[http://ssherriff.com/media/wide_test.MOV]<br />
<br />
[http://ssherriff.com/media/oracle_view.MOV]<br />
<br />
[http://ssherriff.com/media/shadow_projection.MOV]<br />
<br />
<br />
<br />
'''To do:'''<br />
Visit Listening Room<br />
Contact Nando for Listening Room Orientation<br />
Contact Nette for LR keycard access<br />
Book out LR rehearsal schedule<br />
Purchase 2015 Macbook Pro<br />
<br />
<br />
'''WK5 --'''<br />
<br />
I spent this week trying to iron out logistics. I met with Nando for a Listening Room orientation and am now considering the best way to execute signal routing in the space. Nando recommended I check out the Listening Room User Manual on the CCRMA website. For now, I'm thinking I'll address each speaker individually, rather than working with ambisonics. It sounds like I'll need to use Jack to interface with my computer. Speaking of computer, I bought a laptop! It should arrive next week. I was also able to arrange keycard access to the room and am still trying to pin down scheduling for rehearsal and official performance showtimes. <br />
<br />
[[File:listening rm2 no layer.jpg|500px]]<br />
<br />
<br />
'''Possible Performance Date(s)/Times:''' <br />
<br />
'''Friday, June 1''' -- 4pm doors / 4:33pm performance<br />
OR<br />
7pm doors / 7:30pm performance<br />
<br />
'''Saturday, June 2''' -- 4pm doors / 4:33pm performance <br />
AND<br />
7pm doors / 7:30pm performance<br />
<br />
<br />
<br />
''' WK6 --'''<br />
<br />
'''Listening Room Mixing + Routing Research:'''<br />
<br />
[https://ccrma.stanford.edu/room-guides/listening-room] Listening Room User Guide]<br />
<br />
[[File:Speakers.jpg|600px]]<br />
[[File:LR_mixer.jpg|500px]]<br />
<br />
[https://ccrma.stanford.edu/software/openmixer/manual Openmixer Manual]<br />
<br />
[https://ccrma.stanford.edu/software/openmixer/manual/input_sources Input Sources]<br />
<br />
[https://ccrma.stanford.edu/software/openmixer/manual/using_jack Using Jack]<br />
<br />
<br />
'''Projection/Lighting:'''<br />
<br />
After visiting the Listening Room and looking at the infrastructure in place, I've decided not to do any screen-based projection that requires hanging additional material in the space. It will likely be a lot of work and ultimately be invasive to the experience. For now, I'd like to focus on the sound and possibly incorporate some simple caustic lighting elements. I'm considering options for reflecting light onto the grid that separates the floor from the lower level of the heptagon. This will require some sort of surface/screen that could easily be placed on the grid. I will need to be sure there is airflow so as not to cause any issues with the ventilation system which feeds into the lower level.<br />
<br />
<br />
<br />
'''To do:'''<br />
Install Max MSP/Jitter<br />
Set-up 22 Channel Routing in Max<br />
Source + Set-up RSVP Platform for Performance<br />
Contact Eoin for Listening Room Consultation <br />
Dry Ice Testing<br />
<br />
<br />
''' WK7 --'''<br />
<br />
'''Signal Routing + Listening Room Consultation:'''<br />
<br />
My new computer finally arrived and I was able to schedule some time with Eoin to test routing options in the Listening Room. I've opted to use a 16ch analog interface and Jacknet, which will magically give me access to all 22 channels. I'll need to do more specific routing in Max but was able to get a signal out of my laptop and play audio over all 22 channels with minimal head-scratching and mysterious machine behavior. Eoin is awesome. I am consistently amazed at the generosity of the CCRMA community and am so grateful to have the opportunity to interact and learn from everyone. <br />
<br />
<br />
'''Listening Room Booking + Conflicts:'''<br />
<br />
I spoke to Matt Wright about any potential overlap with SLOrk rehearsal and general usage of the Listening Room. After our conversation, it seems best to bump my performance dates back one week so as to avoid any scheduling conflicts. Matt has also been kind enough to book out the space for me overnight so I will only need to set-up and teardown once. Wooo. Yay for CCRMA peeps! <br />
<br />
<br />
'''RVSP Platform + Dates'''<br />
<br />
I've decided to use Eventbrite for RSVP distribution/tracking. I've got a draft going and am seconds away from pulling the trigger. Just need to finish up my statement about the piece, and am currently wrestling with language and an official title. So close!<br />
<br />
Friday, June 8th -- 7pm doors / 7:30pm performance<br />
Saturday, June 9th -- 4pm doors / 4:30pm performance<br />
<br />
<br />
'''Dry Ice Tests:'''<br />
<br />
Working with dry ice has been waaay more fun than I could have anticipated. With that said, I'm learning that the fun comes with a heftier fee than I originally thought... and it evaporates fairly quickly. A block of dry ice lasts for approximately 2 or 3 days at about $20 each. I've also discovered that the dry ice goes bananas until it's eaten up all of the oxygen in whatever water it's dropped into, at which point, the dry ice fizzles sadly with much less gusto. This happens fairly quickly. I think it will be fine for the performance, but it's possible I will need larger containers to house the water and dry. I've been most excited about projecting onto the dry ice and am thinking about ways to use the dry ice as the projection screen/surface for the performance. <br />
<br />
<br />
'''To do:'''<br />
Set-up Signal Routing Hierarchy in Max <br />
Publish + Distribute RVSP Invite<br />
Test Dry Ice in Listening Room<br />
Test Scent Machine in Listening Room<br />
Okay to Point Listening Room Projector Straight Down Onto Grid?<br />
Order More Fans? Dry Ice Containers / Scent Containers<br />
Edit new sounds<br />
<br />
<br />
'''WK8 --'''<br />
<br />
'''Testing + Rehearsal Findings:'''<br />
<br />
I discovered that my USB MIDI controller will not work at the same time as the USB MOTU interface I am using to route sound in the Listening Room. This is a major problem. I've contacted Eoin for advice, and am hoping that using an ethernet connection will help resolve this issue. I'm also thinking about adding a second computer into the mix, mainly because of software limitations on my new computer. I'm not sure if this is going to cause a whole heap of other headaches, but mentioned my interest to Eoin. If it seems to crazy/unreliable I'll stick with one laptop. <br />
<br />
<br />
'''Testing + Rehearsal Audio:'''<br />
<br />
[http://ssherriff.com/media/post-human_rehearsal2.mp3 Recording 1]<br />
<br />
[http://ssherriff.com/media/post-human_rehearsal.mp3 Recording 2]<br />
<br />
<br />
'''Dry Ice Testing:'''<br />
<br />
My first rounds of dry ice tests in the Listening Room proved to be somewhat unsuccessful. The ventilation system below the grid sucks all of the dry ice vapors straight down and disburses them, making it difficult to see anything interesting happening. I tried placing a container of dry ice into a secondary container with edges slightly higher than the vessel holding the dry ice. This produced some really interesting behaviors, so I'm guessing I can do something similar at a larger scale -- hopefully filling the majority of the recess in the Listening Room floor. <br />
<br />
I've been spending a good lump of time searching for containers to hold the dry ice. Whatever I use needs to be fairly large to help with the longevity of the vapors... but also not so large that it will be difficult to schlep it out of the room once the performance is over. There's also a slight chance that whatever I use to house the dry ice will be visible in some capacity, so I'm also trying to find something that is fairly simple in design... and also cheapish, since I will be covering a lot of area. I've been looking at all kinds of containers and haven't really found the right thing yet. I found something that will work, but I'm not very excited about it. <br />
<br />
For the secondary 'container' I am thinking about building out a frame that will fit inside of the heptagon. I would then line the frame with a black tarp or some sort of black fabric, leaving a few inches between the frame and the interior edge of the heptagon for air flow. <br />
<br />
Speaking of air-flow, the sound of the dry ice bubbling in the water is becoming a wonderful bonus in the soundscape of my performance. Listening to the dry ice is sort of like sitting by a babbling creek, so I could have asked for a more exciting and unexpected surprise. <br />
<br />
<br />
<br />
'''Projector Testing:''' <br />
<br />
Initially, I was thinking about using the projector that is already mounted in the Listening Room. After further examination, I realized that the throw will probably not work well for my purposes. I did some tests with one of the PICO projectors and it seems like it might work okay. It probably won't be the brightest, most vivid projection... but I think that will be okay in this case. The dry ice is awesome with even just a little bit of light on it. <br />
<br />
I bought a few small clamp mounts for any of the tiny projectors that enter into the set-up. I should be able to mount the projectors fairly easily using the rigging system in the ceiling.<br />
<br />
<br />
<br />
'''Project Statement:'''<br />
<br />
Earth frequencies are the foundation of sound-making in communication and survival for all<br />
living creatures. Insects, birds, and humans have all evolved to make sound in accordance<br />
with the landscapes in which they dwell, yet humans increasingly suffocate the soundscape,<br />
turning a blind ear to the sonic residue of industry and electromagnetic poisons.<br />
<br />
''Post-human Incursion'' is a site-specific audio/visual performance that examines how<br />
natural order might adapt soncially to human impressions on the evolution of voice across<br />
species. Through the use of spatialized and processed field recordings, ''Post-human Incursion''<br />
gestures toward a futuristic bending of familiar sonic terrain twisted by the influence of<br />
machinery. Post-human Incursion is a poetic attempt to prophesize what the future may hold<br />
in relation to the expressive abilities and survival of sounding creatures on Earth. Do<br />
birds sing differently now that they are encumbered with the ruckus of industrialized human<br />
existence?''<br />
<br />
<br />
[https://www.eventbrite.com/e/post-human-incursion-tickets-46164892436 RSVP Event Link]<br />
<br />
<br />
'''To do:'''<br />
Find door person<br />
USB MIDI controller does not currently work while running USB MOTU 16ch interface<br />
Can I use two computers -- x1 for mask / x1 for field recordings?<br />
Define performance zone / altar<br />
<br />
<br />
'''WK9 --'''<br />
<br />
'''Listening Room Tech:'''<br />
<br />
There was some mystery unplugging of a bunch of stuff in the Listening Room, which was causing some strange/inconsistent behavior. With the help and head scratching of Eoin and Nando... the mystery has been solved and things seem to be relatively stable. Phew! My MIDI controller also seems to be behaving for the most part. I've been using a power USB hub, which seems to be doing the trick, although I have a feeling the USB port on my controller is starting to get a little loose. Hopefully, it hangs in there for the performances...<br />
<br />
<br />
'''Dry Ice:'''<br />
<br />
I'm still struggling with the dry ice component of the piece. I don't think I'll be able to work at the scale I'd like, mainly due to the cost of materials. I think I've found a solution on a smaller scale, but I'm not super excited about it. Because of the scale change, it's likely I'll need to abandon the projection component. Hard to say for sure at this point, but unless some miracle ah-ha moment happens much of the visual components of the piece will be far diminished from what I would like to do in an ideal world where I'm rolling in cash and have an absorbent amount of time.<br />
<br />
<br />
'''SLOrk + Set-up:''' <br />
<br />
SLOrk moves out of the Listening Room on Wednesday evening. This means I will be able to leave things set-up and start to deal with cables and placement. In the interim, I've been doing some small lighting test and think I have a fairly simple plan for lighting including the hallway leading up to the Listening Room.<br />
<br />
<br />
'''Printed Program:''' <br />
<br />
I'm nearly finished working on a program for the performances. I think I will alter my statement to better describe all of the adjustments I've had to make and use language to indicate that it's still a work in progress. I assume it's fine to print the program at CCRMA. <br />
<br />
<br />
'''Sound:'''<br />
<br />
At this point, I'm so buried in the piece that I can no longer tell heads from tails. I've introduced a piezo as part of the altar, and have been testing various vocal utterances. Compositionally, I'm not totally sure where the piece is at or how far away I've fallen from my original intent. Currently, the piece is leaning toward something more musical than I originally imagined. I've removed the glockenspiel recording and have been working with more of a droning sound that I recorded using a synth. There's a cohesiveness to the sound, but what I've been developing is seemingly less like a soundscape even though there is an abundance of field recordings incorporated into the work. I suppose I'm feeling a little confused and could use some time away from the piece for reflection, but as is the whole shebang is feeling arbitrary and far removed... but maybe I'm too immersed in the process to see/hear it for what it is? <br />
<br />
<br />
'''To do:'''<br />
Complete Program / Print -- Do I need a code for the printer?<br />
Still trying to find a door person<br />
Lighting + Set-up<br />
Rehearsal + Testing<br />
<br />
<br />
<br />
'''WK10 --'''<br />
<br />
[[File:Performance_img2.jpg|550px]]<br />
<br />
Performance Image Courtesy of Dave Kerr<br />
<br />
[http://ssherriff.com/media/PH_perf.mp4 Performance Documentation (Courtesy of David Kerr)]<br />
<br />
<br />
<br />
<br />
'''Culminating Voice Configuration:'''<br />
<br />
[[File:Mask_inside.jpg|350px]]<br />
<br />
<br />
Ultimately, I opted not to use the sensors embedded in the mask and only incorporated the microphone into the performance system, combined with some generous filtering in Ablteon Live. The signal from the microphone was passed through a MOTU interface with access to 22 discreet channels in the Listening Room. My voice occupied channels 1-8 and a handful of channels in the ceiling and floor.<br />
<br />
<br />
[[File:LIVE_voice1.png|550px]]<br />
<br />
<br />
[[File:LIVE_voice2.png|550px]]<br />
<br />
<br />
'''Piezo Instrument:'''<br />
<br />
Because of the whole debacle with my laptop, I strayed away from experimenting with the Bare Conductive Touch Board and water in this instance. Instead, I incorporated the glass bowl from my conductivity tests to make an instrument that is comprised of a piezo, the glass bowl, metal, feathers, and software. I fed the signal into Ableton for the instrument input within the same patch as my mic. I was able to output both signals as two separate channels to the MOTU interface allowing me to route the instrument signal discreetly over the 22ch system. I chose to route the instrument to channels 1-8, and the center ceiling speaker. <br />
<br />
<br />
[[File:LIVE_piezo.png|550px]]<br />
<br />
<br />
<br />
'''Field Recording Manipulation:''' <br />
<br />
[[File:Control_closed_active.png|750px]]<br />
<br />
<br />
[[File:Control_open.png|750px]]</div>Stephaniehttps://ccrma.stanford.edu/mediawiki/index.php?title=Ritualistic_Performance_System_Research&diff=21003Ritualistic Performance System Research2018-06-18T19:16:47Z<p>Stephanie: </p>
<hr />
<div><br />
[[File:Performance_img.jpg|350px]]<br />
<br />
Performance Image Courtesy of Dave Kerr<br />
<br />
<br />
''Post-human Incursion'' is a site-specific performance piece developed for the Listening Room at CCRMA. Inspired by the writing of Bernie Kraus and the work of Pauline Oliveros, the piece functions as a futuristic reflection on the evolution of sound across species, while using spacialized and manipulated field recordings to create new sonic terrain. <br />
<br />
<br />
<br />
== '''Project Overview + Development:''' ==<br />
<br />
<br />
<br />
'''Goal:'''<br />
To create a ritualistic performance system using spacialized audio signals, video, and real-time audio manipulation. <br />
<br />
<br />
'''Background:'''<br />
<br />
As part of continued research, I aim to pursue an audio/visual experience that combines spatialized field recordings, voice, video/light, and software. For this piece, I may continue to develop a proximity-based water sensor into the performance, using some sort of vessel(s), water, conductive tape, and a bare conductive microcontroller. The audio collection process will include listening, recording, and engaging with a series of natural and machine-made sounds. The piece will culminate in an audio/visual performance. <br />
<br />
<br />
'''Possible Controllers:'''<br />
<br />
[[File:water_controller.jpg|350px]]<br />
water controller prototype <br />
<br />
[[File:Mask_full.jpg|350px]]<br />
mask prototype<br />
<br />
[[File:Mask_inside.jpg|350px]]<br />
mask sensors<br />
<br />
<br />
<br />
'''WK1 -- Brainstorming + Testing'''<br />
<br />
Performance Site '''-- Listening Room'''<br />
Okay to burn / use scents? '''-- No. Issues in the past.'''<br />
Dry Ice? '''-- Could be okay. Needs ventilation.''' <br />
Max capacity in Listening Room '''-- 15-20 people'''<br />
<br />
[[File:Listening_room.jpg|350px]]<br />
<br />
<br />
'''To do:'''<br />
Bare Conductive Touch Board + Water Sensor Testing in Max <br />
Arduino code + upload to Touch Board<br />
Max MSP/Jitter + Touch Board testing<br />
Add water sensor input to video mixer patch<br />
Collect Field Recordings<br />
Fire / Machines / Energy Facility / Electrical Drone Sounds<br />
<br />
<br />
'''WK2 -- Testing + Collection'''<br />
<br />
Water Sensor Testing in Max MSP/Jitter<br />
[https://www.bareconductive.com/make/the-touch-board-maxmsp/]<br />
<br />
[[File:Bare_conductive.jpg|300px]]<br />
<br />
I managed to get data into Max from the Bare Conductive microcontroller. After a few minutes, the microcontroller seems to get overloaded and freezes. If I reload the Arduino code onto the board data starts to work in Max temporarily. This issue seems relatively consistent. My laptop also seems to be having trouble processing video and receiving data at the same time. The latency of sensor data into Max is painfully slow while video is running. Sensor response is proficient with no video processing. <br />
<br />
I will need a new laptop. This is not a surprise.<br />
<br />
<br />
'''Readings:'''<br />
<br />
<u>Keywords in Sound</u>, Chapter 15, ''Resonance'', by Veit Erlmann <br />
<br />
"...the concept of resonance, having been derived from core epistemological virtues such as intuition, observation, and experiment, names the natural mechanism governing the interaction of vibrating matter, such as strings, nerves, and air. As such, resonance is the "Other" of the self-constituting Cartesian ego as it discovers truth (of musical harmony, for instance) and reassures itself of its own existence as a thinking entity. On the other hand resonance names the very unity of body and mind that the cogitating ego must unthink before it uncovers truth."<br />
<br />
(Erlmann, page 177)<br />
<br />
<br />
<u>Keywords in Sound</u>, Chapter 17, ''Space'', by Andrew J. Eisenberg <br />
<br />
"As a phenomenon that exists at once within and beyond perceiving subjects, sound cannot but reveal social space as an artifact of material practices complexly interwoven with semiotic processes and the 'imaginations, fears, emotions, psychologies, fantasies, and dreams' that human beings bring to everything (Harvey 2006: 279; see also Lefebvre 1991)."<br />
<br />
(Eisenberg, pg 202)<br />
<br />
<br />
<u>The Soundscape: Our Sonic Environment & the Tuning of the World</u>, <br />
R. Murray Schaffer, Chapter 12, Symbolism<br />
<br />
"...water, the original life element, has the most splendid symbolism... a stream, a fountain, a river, a waterfall, the sea, each makes its unique sound but all share rich symbolism. They speak of cleansing, of purification, of refreshment, and renewal... It is symbolic of eternity... It is symbolic of change." <br />
<br />
(Schafer, page 170)<br />
<br />
<br />
"Without its tactile pressure on the face or body we cannot even tell from what direction it blows. The wind is therefore not to be trusted."<br />
<br />
(Schafer, page 170)<br />
<br />
<br />
<br />
"Modern man has sought to escape both the wind and the sea by encapsulating himself in artificial environments... The sounds of machines took on happy symbolism approximately 200 years ago, when it was realized that they could release man from his immemorial bondage to earth... power and progress... noise and power go hand in hand."<br />
<br />
(Schafer, page 178-179)<br />
<br />
<br />
'''To do:''' <br />
Research options for new laptop (2015 Macbook Pro) + Stanford support<br />
Mask controller into Max MSP/Jitter<br />
Build simple looper<br />
Edit field recordings <br />
<br />
<br />
'''WK3 -- More Testing + Collecting'''<br />
<br />
'''Simple Audio Looper Interface for Testing | Max MSP/Jitter + MIDI Controller:'''<br />
<br />
I built a simple looper patch in Max in order to start manipulating and listening to field recordings from my recent sound hunts. Lately, I've been interested in machine sounds that have similar qualities as sounds from nature... similar to how cars sound similar to the ocean, or specific electrical resonances sound like cicadas and crickets. <br />
<br />
[[File:Audio_interface.jpg|600px]]<br />
<br />
[[File:Midi_controller.jpg|600px]]<br />
<br />
[[File:audio_interface_guts.jpg|600px]]<br />
<br />
audio test -- [http://ssherriff.com/media/ritual_test.mp3]<br />
<br />
<br />
'''Readings:'''<br />
<br />
"...the wind began to funnel down from the high southern pass, gaining more forces with each passing moment... The effect wasn't a chord exactly, but rather a combination of tones, sighs, and midrange groans that played off each other, sometimes setting strange beats into resonance as they nearly matched one another in pitch... strangely dissonant. While never unpleasant, the acoustic experience was disorienting."<br />
<br />
(Kraus, pg 37)<br />
<br />
<u>The Great Animal Orchestra: Finding the Origins of Music in the World's Wild Places</u>, Bernie Kraus<br />
<br />
<br />
'''To do:''' <br />
Research 2015 Macbook Pro <br />
SLAC audio recordings<br />
Research/Source dry ice<br />
Schedule Audium visit <br />
<br />
<br />
'''WK4 --''' <br />
<br />
'''Dry Ice Safety + Costs + Storage:'''<br />
<br />
[[File:Dry_ice3.jpg|600px]]<br />
<br />
[[File:Dry ice2.jpg|600px]]<br />
<br />
[http://dryiceinfo.com/safe.htm safety]<br />
<br />
<br />
[[File:Dry ice5.jpg|550px]]<br />
<br />
[https://www.howmuchisit.org/how-much-does-dry-ice-cost/ costs]<br />
<br />
<br />
[[File:Dry_ice.jpg|600px]]<br />
<br />
[[File:Dry ice4.jpg|600px]]<br />
<br />
[http://www.eatbydate.com/other/dry-ice/ storage+]<br />
<br />
<br />
'''Searchworks Audio Finds:'''<br />
<br />
Over the past week or so, I've been reading <u>Art of Immersive Soundscapes</u> which has revitalized my interest in musique concrète. Today I spent some time digging around [http://searchworks.stanford.edu/ Searchworks] for online audio files/compilations/albums. In my hunt so far, I have found several resources that rely heavily on field recordings from nature to form audio compositions. <br />
<br />
<br />
Here are a few:<br />
<br />
[https://stanford.naxosmusiclibrary.com/catalogue/item.asp?cid=INNOVA783 ''Arctic Winds,''] Maggie Payne, 2010<br />
<br />
[https://search.alexanderstreet.com/view/work/bibliographic_entity%7Crecorded_cd%7C72954 ''Gateway Summer Sound: Abstracted Animal and Other Sounds''] Ann McMillan, 1979 <br />
<br />
[http://www.dramonline.org/albums/scott-smallwood-desert-winds-six-windblown-sound-pieces-and-other-works/player ''Desert Winds: Six Windblown Sound Pieces and Other Works,''] Scott Smallwood, 2007<br />
<br />
[https://search.alexanderstreet.com/view/work/bibliographic_entity%7Crecorded_cd%7C72140 ''Highlights of Vortex''], 1959, Smithsonian Folkways Recordings [2003]<br />
<br />
<br />
'''SLAC Site Visit:'''<br />
<br />
[[File:slac.jpg|500px]]<br />
<br />
The tour of SLAC was a bit of a disappointment, but only because I didn't fully comprehend the context of the tour. I didn't realize our MFA tour was part of a larger public tour. Unfortunately, it was nearly impossible to record an audio sample without tour-talk and human ruckus. We only visited two small areas of the facilities, which didn't really give an overall impression of the scale of the accelerometer. There were, however, some exciting/uncomfortable oscillations coming from machinery that I would like to revisit under a more sound-oriented tour of SLAC. Outside of my sound hunt, it was astounding to hear about the some of the research taking place.<br />
<br />
<br />
<br />
<br />
'''Floor Plan + Spacial Thoughts:'''<br />
<br />
[[File:LR_sketch.png|600px]]<br />
<br />
<br />
<br />
'''Light + Sound + Water Experiments:'''<br />
<br />
[http://ssherriff.com/media/wide_test.MOV]<br />
<br />
[http://ssherriff.com/media/oracle_view.MOV]<br />
<br />
[http://ssherriff.com/media/shadow_projection.MOV]<br />
<br />
<br />
<br />
'''To do:'''<br />
Visit Listening Room<br />
Contact Nando for Listening Room Orientation<br />
Contact Nette for LR keycard access<br />
Book out LR rehearsal schedule<br />
Purchase 2015 Macbook Pro<br />
<br />
<br />
'''WK5 --'''<br />
<br />
I spent this week trying to iron out logistics. I met with Nando for a Listening Room orientation and am now considering the best way to execute signal routing in the space. Nando recommended I check out the Listening Room User Manual on the CCRMA website. For now, I'm thinking I'll address each speaker individually, rather than working with ambisonics. It sounds like I'll need to use Jack to interface with my computer. Speaking of computer, I bought a laptop! It should arrive next week. I was also able to arrange keycard access to the room and am still trying to pin down scheduling for rehearsal and official performance showtimes. <br />
<br />
[[File:listening rm2 no layer.jpg|500px]]<br />
<br />
<br />
'''Possible Performance Date(s)/Times:''' <br />
<br />
'''Friday, June 1''' -- 4pm doors / 4:33pm performance<br />
OR<br />
7pm doors / 7:30pm performance<br />
<br />
'''Saturday, June 2''' -- 4pm doors / 4:33pm performance <br />
AND<br />
7pm doors / 7:30pm performance<br />
<br />
<br />
<br />
''' WK6 --'''<br />
<br />
'''Listening Room Mixing + Routing Research:'''<br />
<br />
[https://ccrma.stanford.edu/room-guides/listening-room] Listening Room User Guide]<br />
<br />
[[File:Speakers.jpg|600px]]<br />
[[File:LR_mixer.jpg|500px]]<br />
<br />
[https://ccrma.stanford.edu/software/openmixer/manual Openmixer Manual]<br />
<br />
[https://ccrma.stanford.edu/software/openmixer/manual/input_sources Input Sources]<br />
<br />
[https://ccrma.stanford.edu/software/openmixer/manual/using_jack Using Jack]<br />
<br />
<br />
'''Projection/Lighting:'''<br />
<br />
After visiting the Listening Room and looking at the infrastructure in place, I've decided not to do any screen-based projection that requires hanging additional material in the space. It will likely be a lot of work and ultimately be invasive to the experience. For now, I'd like to focus on the sound and possibly incorporate some simple caustic lighting elements. I'm considering options for reflecting light onto the grid that separates the floor from the lower level of the heptagon. This will require some sort of surface/screen that could easily be placed on the grid. I will need to be sure there is airflow so as not to cause any issues with the ventilation system which feeds into the lower level.<br />
<br />
<br />
<br />
'''To do:'''<br />
Install Max MSP/Jitter<br />
Set-up 22 Channel Routing in Max<br />
Source + Set-up RSVP Platform for Performance<br />
Contact Eoin for Listening Room Consultation <br />
Dry Ice Testing<br />
<br />
<br />
''' WK7 --'''<br />
<br />
'''Signal Routing + Listening Room Consultation:'''<br />
<br />
My new computer finally arrived and I was able to schedule some time with Eoin to test routing options in the Listening Room. I've opted to use a 16ch analog interface and Jacknet, which will magically give me access to all 22 channels. I'll need to do more specific routing in Max but was able to get a signal out of my laptop and play audio over all 22 channels with minimal head-scratching and mysterious machine behavior. Eoin is awesome. I am consistently amazed at the generosity of the CCRMA community and am so grateful to have the opportunity to interact and learn from everyone. <br />
<br />
<br />
'''Listening Room Booking + Conflicts:'''<br />
<br />
I spoke to Matt Wright about any potential overlap with SLOrk rehearsal and general usage of the Listening Room. After our conversation, it seems best to bump my performance dates back one week so as to avoid any scheduling conflicts. Matt has also been kind enough to book out the space for me overnight so I will only need to set-up and teardown once. Wooo. Yay for CCRMA peeps! <br />
<br />
<br />
'''RVSP Platform + Dates'''<br />
<br />
I've decided to use Eventbrite for RSVP distribution/tracking. I've got a draft going and am seconds away from pulling the trigger. Just need to finish up my statement about the piece, and am currently wrestling with language and an official title. So close!<br />
<br />
Friday, June 8th -- 7pm doors / 7:30pm performance<br />
Saturday, June 9th -- 4pm doors / 4:30pm performance<br />
<br />
<br />
'''Dry Ice Tests:'''<br />
<br />
Working with dry ice has been waaay more fun than I could have anticipated. With that said, I'm learning that the fun comes with a heftier fee than I originally thought... and it evaporates fairly quickly. A block of dry ice lasts for approximately 2 or 3 days at about $20 each. I've also discovered that the dry ice goes bananas until it's eaten up all of the oxygen in whatever water it's dropped into, at which point, the dry ice fizzles sadly with much less gusto. This happens fairly quickly. I think it will be fine for the performance, but it's possible I will need larger containers to house the water and dry. I've been most excited about projecting onto the dry ice and am thinking about ways to use the dry ice as the projection screen/surface for the performance. <br />
<br />
<br />
'''To do:'''<br />
Set-up Signal Routing Hierarchy in Max <br />
Publish + Distribute RVSP Invite<br />
Test Dry Ice in Listening Room<br />
Test Scent Machine in Listening Room<br />
Okay to Point Listening Room Projector Straight Down Onto Grid?<br />
Order More Fans? Dry Ice Containers / Scent Containers<br />
Edit new sounds<br />
<br />
<br />
'''WK8 --'''<br />
<br />
'''Testing + Rehearsal Findings:'''<br />
<br />
I discovered that my USB MIDI controller will not work at the same time as the USB MOTU interface I am using to route sound in the Listening Room. This is a major problem. I've contacted Eoin for advice, and am hoping that using an ethernet connection will help resolve this issue. I'm also thinking about adding a second computer into the mix, mainly because of software limitations on my new computer. I'm not sure if this is going to cause a whole heap of other headaches, but mentioned my interest to Eoin. If it seems to crazy/unreliable I'll stick with one laptop. <br />
<br />
<br />
'''Testing + Rehearsal Audio:'''<br />
<br />
[http://ssherriff.com/media/post-human_rehearsal2.mp3 Recording 1]<br />
<br />
[http://ssherriff.com/media/post-human_rehearsal.mp3 Recording 2]<br />
<br />
<br />
'''Dry Ice Testing:'''<br />
<br />
My first rounds of dry ice tests in the Listening Room proved to be somewhat unsuccessful. The ventilation system below the grid sucks all of the dry ice vapors straight down and disburses them, making it difficult to see anything interesting happening. I tried placing a container of dry ice into a secondary container with edges slightly higher than the vessel holding the dry ice. This produced some really interesting behaviors, so I'm guessing I can do something similar at a larger scale -- hopefully filling the majority of the recess in the Listening Room floor. <br />
<br />
I've been spending a good lump of time searching for containers to hold the dry ice. Whatever I use needs to be fairly large to help with the longevity of the vapors... but also not so large that it will be difficult to schlep it out of the room once the performance is over. There's also a slight chance that whatever I use to house the dry ice will be visible in some capacity, so I'm also trying to find something that is fairly simple in design... and also cheapish, since I will be covering a lot of area. I've been looking at all kinds of containers and haven't really found the right thing yet. I found something that will work, but I'm not very excited about it. <br />
<br />
For the secondary 'container' I am thinking about building out a frame that will fit inside of the heptagon. I would then line the frame with a black tarp or some sort of black fabric, leaving a few inches between the frame and the interior edge of the heptagon for air flow. <br />
<br />
Speaking of air-flow, the sound of the dry ice bubbling in the water is becoming a wonderful bonus in the soundscape of my performance. Listening to the dry ice is sort of like sitting by a babbling creek, so I could have asked for a more exciting and unexpected surprise. <br />
<br />
<br />
<br />
'''Projector Testing:''' <br />
<br />
Initially, I was thinking about using the projector that is already mounted in the Listening Room. After further examination, I realized that the throw will probably not work well for my purposes. I did some tests with one of the PICO projectors and it seems like it might work okay. It probably won't be the brightest, most vivid projection... but I think that will be okay in this case. The dry ice is awesome with even just a little bit of light on it. <br />
<br />
I bought a few small clamp mounts for any of the tiny projectors that enter into the set-up. I should be able to mount the projectors fairly easily using the rigging system in the ceiling.<br />
<br />
<br />
<br />
'''Project Statement:'''<br />
<br />
Earth frequencies are the foundation of sound-making in communication and survival for all<br />
living creatures. Insects, birds, and humans have all evolved to make sound in accordance<br />
with the landscapes in which they dwell, yet humans increasingly suffocate the soundscape,<br />
turning a blind ear to the sonic residue of industry and electromagnetic poisons.<br />
<br />
''Post-human Incursion'' is a site-specific audio/visual performance that examines how<br />
natural order might adapt soncially to human impressions on the evolution of voice across<br />
species. Through the use of spatialized and processed field recordings, ''Post-human Incursion''<br />
gestures toward a futuristic bending of familiar sonic terrain twisted by the influence of<br />
machinery. Post-human Incursion is a poetic attempt to prophesize what the future may hold<br />
in relation to the expressive abilities and survival of sounding creatures on Earth. Do<br />
birds sing differently now that they are encumbered with the ruckus of industrialized human<br />
existence?''<br />
<br />
<br />
[https://www.eventbrite.com/e/post-human-incursion-tickets-46164892436 RSVP Event Link]<br />
<br />
<br />
'''To do:'''<br />
Find door person<br />
USB MIDI controller does not currently work while running USB MOTU 16ch interface<br />
Can I use two computers -- x1 for mask / x1 for field recordings?<br />
Define performance zone / altar<br />
<br />
<br />
'''WK9 --'''<br />
<br />
'''Listening Room Tech:'''<br />
<br />
There was some mystery unplugging of a bunch of stuff in the Listening Room, which was causing some strange/inconsistent behavior. With the help and head scratching of Eoin and Nando... the mystery has been solved and things seem to be relatively stable. Phew! My MIDI controller also seems to be behaving for the most part. I've been using a power USB hub, which seems to be doing the trick, although I have a feeling the USB port on my controller is starting to get a little loose. Hopefully, it hangs in there for the performances...<br />
<br />
<br />
'''Dry Ice:'''<br />
<br />
I'm still struggling with the dry ice component of the piece. I don't think I'll be able to work at the scale I'd like, mainly due to the cost of materials. I think I've found a solution on a smaller scale, but I'm not super excited about it. Because of the scale change, it's likely I'll need to abandon the projection component. Hard to say for sure at this point, but unless some miracle ah-ha moment happens much of the visual components of the piece will be far diminished from what I would like to do in an ideal world where I'm rolling in cash and have an absorbent amount of time.<br />
<br />
<br />
'''SLOrk + Set-up:''' <br />
<br />
SLOrk moves out of the Listening Room on Wednesday evening. This means I will be able to leave things set-up and start to deal with cables and placement. In the interim, I've been doing some small lighting test and think I have a fairly simple plan for lighting including the hallway leading up to the Listening Room.<br />
<br />
<br />
'''Printed Program:''' <br />
<br />
I'm nearly finished working on a program for the performances. I think I will alter my statement to better describe all of the adjustments I've had to make and use language to indicate that it's still a work in progress. I assume it's fine to print the program at CCRMA. <br />
<br />
<br />
'''Sound:'''<br />
<br />
At this point, I'm so buried in the piece that I can no longer tell heads from tails. I've introduced a piezo as part of the altar, and have been testing various vocal utterances. Compositionally, I'm not totally sure where the piece is at or how far away I've fallen from my original intent. Currently, the piece is leaning toward something more musical than I originally imagined. I've removed the glockenspiel recording and have been working with more of a droning sound that I recorded using a synth. There's a cohesiveness to the sound, but what I've been developing is seemingly less like a soundscape even though there is an abundance of field recordings incorporated into the work. I suppose I'm feeling a little confused and could use some time away from the piece for reflection, but as is the whole shebang is feeling arbitrary and far removed... but maybe I'm too immersed in the process to see/hear it for what it is? <br />
<br />
<br />
'''To do:'''<br />
Complete Program / Print -- Do I need a code for the printer?<br />
Still trying to find a door person<br />
Lighting + Set-up<br />
Rehearsal + Testing<br />
<br />
<br />
<br />
'''WK10 --'''<br />
<br />
[[File:Performance_img2.jpg|550px]]<br />
<br />
Performance Image Courtesy of Dave Kerr<br />
<br />
[http://ssherriff.com/media/PH_perf.mp4 Performance Documentation (Courtesy of David Kerr)]<br />
<br />
<br />
<br />
<br />
'''Culminating Voice Configuration:'''<br />
<br />
<br />
[[File:Mask_inside.jpg|350px]]<br />
<br />
<br />
Ultimately, I opted not to use the sensors embedded in the mask and only incorporated the microphone into the performance system, combined with some generous filtering in Ablteon Live. The signal from the microphone was passed through a MOTU interface with access to 22 discreet channels in the Listening Room. My voice occupied channels 1-8 and a handful of channels in the ceiling and floor.<br />
<br />
<br />
[[File:LIVE_voice1.png|550px]]<br />
<br />
<br />
[[File:LIVE_voice2.png|550px]]<br />
<br />
<br />
'''Piezo Instrument:'''<br />
<br />
Because of the whole debacle with my laptop, I strayed away from experimenting with the Bare Conductive Touch Board and water. Instead, I used the glass bowl from my conductivity tests to make an instrument that is comprised of a piezo, a glass bowl, metal, feathers, and software. I fed the signal into Ableton for this input in the same patch as my mic and output the signal as two separate channels in the MOTU interface allowing me to route the signal discreetly to the 22ch system. I chose to route the instruments sounds to channels 1-8, and the center ceiling speaker. <br />
<br />
<br />
[[File:LIVE_piezo.png|550px]]<br />
<br />
<br />
<br />
'''Field Recording Manipulation:''' <br />
<br />
<br />
[[File:Control_closed_active.png|750px]]<br />
<br />
<br />
[[File:Control_open.png|750px]]</div>Stephaniehttps://ccrma.stanford.edu/mediawiki/index.php?title=Ritualistic_Performance_System_Research&diff=21002Ritualistic Performance System Research2018-06-18T19:15:19Z<p>Stephanie: </p>
<hr />
<div><br />
[[File:Performance_img.jpg|350px]]<br />
<br />
Performance Image Courtesy of Dave Kerr<br />
<br />
<br />
''Post-human Incursion'' is a site-specific performance piece developed for the Listening Room at CCRMA. Inspired by the writing of Bernie Kraus and the work of Pauline Oliveros, the piece functions as a futuristic reflection on the evolution of sound across species, while using spacialized and manipulated field recordings to create new sonic terrain. <br />
<br />
<br />
<br />
== '''Project Overview + Development:''' ==<br />
<br />
<br />
<br />
'''Goal:'''<br />
To create a ritualistic performance system using spacialized audio signals, video, and real-time audio manipulation. <br />
<br />
<br />
'''Background:'''<br />
<br />
As part of continued research, I aim to pursue an audio/visual experience that combines spatialized field recordings, voice, video/light, and software. For this piece, I may continue to develop a proximity-based water sensor into the performance, using some sort of vessel(s), water, conductive tape, and a bare conductive microcontroller. The audio collection process will include listening, recording, and engaging with a series of natural and machine-made sounds. The piece will culminate in an audio/visual performance. <br />
<br />
<br />
'''Possible Controllers:'''<br />
<br />
[[File:water_controller.jpg|350px]]<br />
water controller prototype <br />
<br />
[[File:Mask_full.jpg|350px]]<br />
mask prototype<br />
<br />
[[File:Mask_inside.jpg|350px]]<br />
mask sensors<br />
<br />
<br />
<br />
'''WK1 -- Brainstorming + Testing'''<br />
<br />
Performance Site '''-- Listening Room'''<br />
Okay to burn / use scents? '''-- No. Issues in the past.'''<br />
Dry Ice? '''-- Could be okay. Needs ventilation.''' <br />
Max capacity in Listening Room '''-- 15-20 people'''<br />
<br />
[[File:Listening_room.jpg|350px]]<br />
<br />
<br />
'''To do:'''<br />
Bare Conductive Touch Board + Water Sensor Testing in Max <br />
Arduino code + upload to Touch Board<br />
Max MSP/Jitter + Touch Board testing<br />
Add water sensor input to video mixer patch<br />
Collect Field Recordings<br />
Fire / Machines / Energy Facility / Electrical Drone Sounds<br />
<br />
<br />
'''WK2 -- Testing + Collection'''<br />
<br />
Water Sensor Testing in Max MSP/Jitter<br />
[https://www.bareconductive.com/make/the-touch-board-maxmsp/]<br />
<br />
[[File:Bare_conductive.jpg|300px]]<br />
<br />
I managed to get data into Max from the Bare Conductive microcontroller. After a few minutes, the microcontroller seems to get overloaded and freezes. If I reload the Arduino code onto the board data starts to work in Max temporarily. This issue seems relatively consistent. My laptop also seems to be having trouble processing video and receiving data at the same time. The latency of sensor data into Max is painfully slow while video is running. Sensor response is proficient with no video processing. <br />
<br />
I will need a new laptop. This is not a surprise.<br />
<br />
<br />
'''Readings:'''<br />
<br />
<u>Keywords in Sound</u>, Chapter 15, ''Resonance'', by Veit Erlmann <br />
<br />
"...the concept of resonance, having been derived from core epistemological virtues such as intuition, observation, and experiment, names the natural mechanism governing the interaction of vibrating matter, such as strings, nerves, and air. As such, resonance is the "Other" of the self-constituting Cartesian ego as it discovers truth (of musical harmony, for instance) and reassures itself of its own existence as a thinking entity. On the other hand resonance names the very unity of body and mind that the cogitating ego must unthink before it uncovers truth."<br />
<br />
(Erlmann, page 177)<br />
<br />
<br />
<u>Keywords in Sound</u>, Chapter 17, ''Space'', by Andrew J. Eisenberg <br />
<br />
"As a phenomenon that exists at once within and beyond perceiving subjects, sound cannot but reveal social space as an artifact of material practices complexly interwoven with semiotic processes and the 'imaginations, fears, emotions, psychologies, fantasies, and dreams' that human beings bring to everything (Harvey 2006: 279; see also Lefebvre 1991)."<br />
<br />
(Eisenberg, pg 202)<br />
<br />
<br />
<u>The Soundscape: Our Sonic Environment & the Tuning of the World</u>, <br />
R. Murray Schaffer, Chapter 12, Symbolism<br />
<br />
"...water, the original life element, has the most splendid symbolism... a stream, a fountain, a river, a waterfall, the sea, each makes its unique sound but all share rich symbolism. They speak of cleansing, of purification, of refreshment, and renewal... It is symbolic of eternity... It is symbolic of change." <br />
<br />
(Schafer, page 170)<br />
<br />
<br />
"Without its tactile pressure on the face or body we cannot even tell from what direction it blows. The wind is therefore not to be trusted."<br />
<br />
(Schafer, page 170)<br />
<br />
<br />
<br />
"Modern man has sought to escape both the wind and the sea by encapsulating himself in artificial environments... The sounds of machines took on happy symbolism approximately 200 years ago, when it was realized that they could release man from his immemorial bondage to earth... power and progress... noise and power go hand in hand."<br />
<br />
(Schafer, page 178-179)<br />
<br />
<br />
'''To do:''' <br />
Research options for new laptop (2015 Macbook Pro) + Stanford support<br />
Mask controller into Max MSP/Jitter<br />
Build simple looper<br />
Edit field recordings <br />
<br />
<br />
'''WK3 -- More Testing + Collecting'''<br />
<br />
'''Simple Audio Looper Interface for Testing | Max MSP/Jitter + MIDI Controller:'''<br />
<br />
I built a simple looper patch in Max in order to start manipulating and listening to field recordings from my recent sound hunts. Lately, I've been interested in machine sounds that have similar qualities as sounds from nature... similar to how cars sound similar to the ocean, or specific electrical resonances sound like cicadas and crickets. <br />
<br />
[[File:Audio_interface.jpg|600px]]<br />
<br />
[[File:Midi_controller.jpg|600px]]<br />
<br />
[[File:audio_interface_guts.jpg|600px]]<br />
<br />
audio test -- [http://ssherriff.com/media/ritual_test.mp3]<br />
<br />
<br />
'''Readings:'''<br />
<br />
"...the wind began to funnel down from the high southern pass, gaining more forces with each passing moment... The effect wasn't a chord exactly, but rather a combination of tones, sighs, and midrange groans that played off each other, sometimes setting strange beats into resonance as they nearly matched one another in pitch... strangely dissonant. While never unpleasant, the acoustic experience was disorienting."<br />
<br />
(Kraus, pg 37)<br />
<br />
<u>The Great Animal Orchestra: Finding the Origins of Music in the World's Wild Places</u>, Bernie Kraus<br />
<br />
<br />
'''To do:''' <br />
Research 2015 Macbook Pro <br />
SLAC audio recordings<br />
Research/Source dry ice<br />
Schedule Audium visit <br />
<br />
<br />
'''WK4 --''' <br />
<br />
'''Dry Ice Safety + Costs + Storage:'''<br />
<br />
[[File:Dry_ice3.jpg|600px]]<br />
<br />
[[File:Dry ice2.jpg|600px]]<br />
<br />
[http://dryiceinfo.com/safe.htm safety]<br />
<br />
<br />
[[File:Dry ice5.jpg|550px]]<br />
<br />
[https://www.howmuchisit.org/how-much-does-dry-ice-cost/ costs]<br />
<br />
<br />
[[File:Dry_ice.jpg|600px]]<br />
<br />
[[File:Dry ice4.jpg|600px]]<br />
<br />
[http://www.eatbydate.com/other/dry-ice/ storage+]<br />
<br />
<br />
'''Searchworks Audio Finds:'''<br />
<br />
Over the past week or so, I've been reading <u>Art of Immersive Soundscapes</u> which has revitalized my interest in musique concrète. Today I spent some time digging around [http://searchworks.stanford.edu/ Searchworks] for online audio files/compilations/albums. In my hunt so far, I have found several resources that rely heavily on field recordings from nature to form audio compositions. <br />
<br />
<br />
Here are a few:<br />
<br />
[https://stanford.naxosmusiclibrary.com/catalogue/item.asp?cid=INNOVA783 ''Arctic Winds,''] Maggie Payne, 2010<br />
<br />
[https://search.alexanderstreet.com/view/work/bibliographic_entity%7Crecorded_cd%7C72954 ''Gateway Summer Sound: Abstracted Animal and Other Sounds''] Ann McMillan, 1979 <br />
<br />
[http://www.dramonline.org/albums/scott-smallwood-desert-winds-six-windblown-sound-pieces-and-other-works/player ''Desert Winds: Six Windblown Sound Pieces and Other Works,''] Scott Smallwood, 2007<br />
<br />
[https://search.alexanderstreet.com/view/work/bibliographic_entity%7Crecorded_cd%7C72140 ''Highlights of Vortex''], 1959, Smithsonian Folkways Recordings [2003]<br />
<br />
<br />
'''SLAC Site Visit:'''<br />
<br />
[[File:slac.jpg|500px]]<br />
<br />
The tour of SLAC was a bit of a disappointment, but only because I didn't fully comprehend the context of the tour. I didn't realize our MFA tour was part of a larger public tour. Unfortunately, it was nearly impossible to record an audio sample without tour-talk and human ruckus. We only visited two small areas of the facilities, which didn't really give an overall impression of the scale of the accelerometer. There were, however, some exciting/uncomfortable oscillations coming from machinery that I would like to revisit under a more sound-oriented tour of SLAC. Outside of my sound hunt, it was astounding to hear about the some of the research taking place.<br />
<br />
<br />
<br />
<br />
'''Floor Plan + Spacial Thoughts:'''<br />
<br />
[[File:LR_sketch.png|600px]]<br />
<br />
<br />
<br />
'''Light + Sound + Water Experiments:'''<br />
<br />
[http://ssherriff.com/media/wide_test.MOV]<br />
<br />
[http://ssherriff.com/media/oracle_view.MOV]<br />
<br />
[http://ssherriff.com/media/shadow_projection.MOV]<br />
<br />
<br />
<br />
'''To do:'''<br />
Visit Listening Room<br />
Contact Nando for Listening Room Orientation<br />
Contact Nette for LR keycard access<br />
Book out LR rehearsal schedule<br />
Purchase 2015 Macbook Pro<br />
<br />
<br />
'''WK5 --'''<br />
<br />
I spent this week trying to iron out logistics. I met with Nando for a Listening Room orientation and am now considering the best way to execute signal routing in the space. Nando recommended I check out the Listening Room User Manual on the CCRMA website. For now, I'm thinking I'll address each speaker individually, rather than working with ambisonics. It sounds like I'll need to use Jack to interface with my computer. Speaking of computer, I bought a laptop! It should arrive next week. I was also able to arrange keycard access to the room and am still trying to pin down scheduling for rehearsal and official performance showtimes. <br />
<br />
[[File:listening rm2 no layer.jpg|500px]]<br />
<br />
<br />
'''Possible Performance Date(s)/Times:''' <br />
<br />
'''Friday, June 1''' -- 4pm doors / 4:33pm performance<br />
OR<br />
7pm doors / 7:30pm performance<br />
<br />
'''Saturday, June 2''' -- 4pm doors / 4:33pm performance <br />
AND<br />
7pm doors / 7:30pm performance<br />
<br />
<br />
<br />
''' WK6 --'''<br />
<br />
'''Listening Room Mixing + Routing Research:'''<br />
<br />
[https://ccrma.stanford.edu/room-guides/listening-room] Listening Room User Guide]<br />
<br />
[[File:Speakers.jpg|600px]]<br />
[[File:LR_mixer.jpg|500px]]<br />
<br />
[https://ccrma.stanford.edu/software/openmixer/manual Openmixer Manual]<br />
<br />
[https://ccrma.stanford.edu/software/openmixer/manual/input_sources Input Sources]<br />
<br />
[https://ccrma.stanford.edu/software/openmixer/manual/using_jack Using Jack]<br />
<br />
<br />
'''Projection/Lighting:'''<br />
<br />
After visiting the Listening Room and looking at the infrastructure in place, I've decided not to do any screen-based projection that requires hanging additional material in the space. It will likely be a lot of work and ultimately be invasive to the experience. For now, I'd like to focus on the sound and possibly incorporate some simple caustic lighting elements. I'm considering options for reflecting light onto the grid that separates the floor from the lower level of the heptagon. This will require some sort of surface/screen that could easily be placed on the grid. I will need to be sure there is airflow so as not to cause any issues with the ventilation system which feeds into the lower level.<br />
<br />
<br />
<br />
'''To do:'''<br />
Install Max MSP/Jitter<br />
Set-up 22 Channel Routing in Max<br />
Source + Set-up RSVP Platform for Performance<br />
Contact Eoin for Listening Room Consultation <br />
Dry Ice Testing<br />
<br />
<br />
''' WK7 --'''<br />
<br />
'''Signal Routing + Listening Room Consultation:'''<br />
<br />
My new computer finally arrived and I was able to schedule some time with Eoin to test routing options in the Listening Room. I've opted to use a 16ch analog interface and Jacknet, which will magically give me access to all 22 channels. I'll need to do more specific routing in Max but was able to get a signal out of my laptop and play audio over all 22 channels with minimal head-scratching and mysterious machine behavior. Eoin is awesome. I am consistently amazed at the generosity of the CCRMA community and am so grateful to have the opportunity to interact and learn from everyone. <br />
<br />
<br />
'''Listening Room Booking + Conflicts:'''<br />
<br />
I spoke to Matt Wright about any potential overlap with SLOrk rehearsal and general usage of the Listening Room. After our conversation, it seems best to bump my performance dates back one week so as to avoid any scheduling conflicts. Matt has also been kind enough to book out the space for me overnight so I will only need to set-up and teardown once. Wooo. Yay for CCRMA peeps! <br />
<br />
<br />
'''RVSP Platform + Dates'''<br />
<br />
I've decided to use Eventbrite for RSVP distribution/tracking. I've got a draft going and am seconds away from pulling the trigger. Just need to finish up my statement about the piece, and am currently wrestling with language and an official title. So close!<br />
<br />
Friday, June 8th -- 7pm doors / 7:30pm performance<br />
Saturday, June 9th -- 4pm doors / 4:30pm performance<br />
<br />
<br />
'''Dry Ice Tests:'''<br />
<br />
Working with dry ice has been waaay more fun than I could have anticipated. With that said, I'm learning that the fun comes with a heftier fee than I originally thought... and it evaporates fairly quickly. A block of dry ice lasts for approximately 2 or 3 days at about $20 each. I've also discovered that the dry ice goes bananas until it's eaten up all of the oxygen in whatever water it's dropped into, at which point, the dry ice fizzles sadly with much less gusto. This happens fairly quickly. I think it will be fine for the performance, but it's possible I will need larger containers to house the water and dry. I've been most excited about projecting onto the dry ice and am thinking about ways to use the dry ice as the projection screen/surface for the performance. <br />
<br />
<br />
'''To do:'''<br />
Set-up Signal Routing Hierarchy in Max <br />
Publish + Distribute RVSP Invite<br />
Test Dry Ice in Listening Room<br />
Test Scent Machine in Listening Room<br />
Okay to Point Listening Room Projector Straight Down Onto Grid?<br />
Order More Fans? Dry Ice Containers / Scent Containers<br />
Edit new sounds<br />
<br />
<br />
'''WK8 --'''<br />
<br />
'''Testing + Rehearsal Findings:'''<br />
<br />
I discovered that my USB MIDI controller will not work at the same time as the USB MOTU interface I am using to route sound in the Listening Room. This is a major problem. I've contacted Eoin for advice, and am hoping that using an ethernet connection will help resolve this issue. I'm also thinking about adding a second computer into the mix, mainly because of software limitations on my new computer. I'm not sure if this is going to cause a whole heap of other headaches, but mentioned my interest to Eoin. If it seems to crazy/unreliable I'll stick with one laptop. <br />
<br />
<br />
'''Testing + Rehearsal Audio:'''<br />
<br />
[http://ssherriff.com/media/post-human_rehearsal2.mp3 Recording 1]<br />
<br />
[http://ssherriff.com/media/post-human_rehearsal.mp3 Recording 2]<br />
<br />
<br />
'''Dry Ice Testing:'''<br />
<br />
My first rounds of dry ice tests in the Listening Room proved to be somewhat unsuccessful. The ventilation system below the grid sucks all of the dry ice vapors straight down and disburses them, making it difficult to see anything interesting happening. I tried placing a container of dry ice into a secondary container with edges slightly higher than the vessel holding the dry ice. This produced some really interesting behaviors, so I'm guessing I can do something similar at a larger scale -- hopefully filling the majority of the recess in the Listening Room floor. <br />
<br />
I've been spending a good lump of time searching for containers to hold the dry ice. Whatever I use needs to be fairly large to help with the longevity of the vapors... but also not so large that it will be difficult to schlep it out of the room once the performance is over. There's also a slight chance that whatever I use to house the dry ice will be visible in some capacity, so I'm also trying to find something that is fairly simple in design... and also cheapish, since I will be covering a lot of area. I've been looking at all kinds of containers and haven't really found the right thing yet. I found something that will work, but I'm not very excited about it. <br />
<br />
For the secondary 'container' I am thinking about building out a frame that will fit inside of the heptagon. I would then line the frame with a black tarp or some sort of black fabric, leaving a few inches between the frame and the interior edge of the heptagon for air flow. <br />
<br />
Speaking of air-flow, the sound of the dry ice bubbling in the water is becoming a wonderful bonus in the soundscape of my performance. Listening to the dry ice is sort of like sitting by a babbling creek, so I could have asked for a more exciting and unexpected surprise. <br />
<br />
<br />
<br />
'''Projector Testing:''' <br />
<br />
Initially, I was thinking about using the projector that is already mounted in the Listening Room. After further examination, I realized that the throw will probably not work well for my purposes. I did some tests with one of the PICO projectors and it seems like it might work okay. It probably won't be the brightest, most vivid projection... but I think that will be okay in this case. The dry ice is awesome with even just a little bit of light on it. <br />
<br />
I bought a few small clamp mounts for any of the tiny projectors that enter into the set-up. I should be able to mount the projectors fairly easily using the rigging system in the ceiling.<br />
<br />
<br />
<br />
'''Project Statement:'''<br />
<br />
Earth frequencies are the foundation of sound-making in communication and survival for all<br />
living creatures. Insects, birds, and humans have all evolved to make sound in accordance<br />
with the landscapes in which they dwell, yet humans increasingly suffocate the soundscape,<br />
turning a blind ear to the sonic residue of industry and electromagnetic poisons.<br />
<br />
''Post-human Incursion'' is a site-specific audio/visual performance that examines how<br />
natural order might adapt soncially to human impressions on the evolution of voice across<br />
species. Through the use of spatialized and processed field recordings, ''Post-human Incursion''<br />
gestures toward a futuristic bending of familiar sonic terrain twisted by the influence of<br />
machinery. Post-human Incursion is a poetic attempt to prophesize what the future may hold<br />
in relation to the expressive abilities and survival of sounding creatures on Earth. Do<br />
birds sing differently now that they are encumbered with the ruckus of industrialized human<br />
existence?''<br />
<br />
<br />
[https://www.eventbrite.com/e/post-human-incursion-tickets-46164892436 RSVP Event Link]<br />
<br />
<br />
'''To do:'''<br />
Find door person<br />
USB MIDI controller does not currently work while running USB MOTU 16ch interface<br />
Can I use two computers -- x1 for mask / x1 for field recordings?<br />
Define performance zone / altar<br />
<br />
<br />
'''WK9 --'''<br />
<br />
'''Listening Room Tech:'''<br />
<br />
There was some mystery unplugging of a bunch of stuff in the Listening Room, which was causing some strange/inconsistent behavior. With the help and head scratching of Eoin and Nando... the mystery has been solved and things seem to be relatively stable. Phew! My MIDI controller also seems to be behaving for the most part. I've been using a power USB hub, which seems to be doing the trick, although I have a feeling the USB port on my controller is starting to get a little loose. Hopefully, it hangs in there for the performances...<br />
<br />
<br />
'''Dry Ice:'''<br />
<br />
I'm still struggling with the dry ice component of the piece. I don't think I'll be able to work at the scale I'd like, mainly due to the cost of materials. I think I've found a solution on a smaller scale, but I'm not super excited about it. Because of the scale change, it's likely I'll need to abandon the projection component. Hard to say for sure at this point, but unless some miracle ah-ha moment happens much of the visual components of the piece will be far diminished from what I would like to do in an ideal world where I'm rolling in cash and have an absorbent amount of time.<br />
<br />
<br />
'''SLOrk + Set-up:''' <br />
<br />
SLOrk moves out of the Listening Room on Wednesday evening. This means I will be able to leave things set-up and start to deal with cables and placement. In the interim, I've been doing some small lighting test and think I have a fairly simple plan for lighting including the hallway leading up to the Listening Room.<br />
<br />
<br />
'''Printed Program:''' <br />
<br />
I'm nearly finished working on a program for the performances. I think I will alter my statement to better describe all of the adjustments I've had to make and use language to indicate that it's still a work in progress. I assume it's fine to print the program at CCRMA. <br />
<br />
<br />
'''Sound:'''<br />
<br />
At this point, I'm so buried in the piece that I can no longer tell heads from tails. I've introduced a piezo as part of the altar, and have been testing various vocal utterances. Compositionally, I'm not totally sure where the piece is at or how far away I've fallen from my original intent. Currently, the piece is leaning toward something more musical than I originally imagined. I've removed the glockenspiel recording and have been working with more of a droning sound that I recorded using a synth. There's a cohesiveness to the sound, but what I've been developing is seemingly less like a soundscape even though there is an abundance of field recordings incorporated into the work. I suppose I'm feeling a little confused and could use some time away from the piece for reflection, but as is the whole shebang is feeling arbitrary and far removed... but maybe I'm too immersed in the process to see/hear it for what it is? <br />
<br />
<br />
'''To do:'''<br />
Complete Program / Print -- Do I need a code for the printer?<br />
Still trying to find a door person<br />
Lighting + Set-up<br />
Rehearsal + Testing<br />
<br />
<br />
<br />
'''WK10 --'''<br />
<br />
[[File:Performance_img2.jpg|550px]]<br />
<br />
Performance Image Courtesy of Dave Kerr<br />
<br />
[http://ssherriff.com/media/PH_perf.mp4 Performance Documentation (Courtesy of David Kerr)]<br />
<br />
<br />
<br />
<br />
'''Culminating Voice Configuration:'''<br />
<br />
<br />
[[File:Mask_full.jpg|350px]]<br />
<br />
Ultimately, I opted not to use the sensors embedded in the mask and only incorporated the microphone into the performance system, combined with some generous filtering in Ablteon Live. The signal from the microphone was passed through a MOTU interface with access to 22 discreet channels in the Listening Room. My voice occupied channels 1-8 and a handful of channels in the ceiling and floor.<br />
<br />
[[File:LIVE_voice1.png|550px]]<br />
<br />
[[File:LIVE_voice2.png|550px]]<br />
<br />
<br />
'''Piezo Instrument:'''<br />
Because of the whole debacle with my laptop, I strayed away from experimenting with the Bare Conductive Touch Board and water. Instead, I used the glass bowl from my conductivity tests to make an instrument that is comprised of a piezo, a glass bowl, metal, feathers, and software. I fed the signal into Ableton for this input in the same patch as my mic and output the signal as two separate channels in the MOTU interface allowing me to route the signal discreetly to the 22ch system. I chose to route the instruments sounds to channels 1-8, and the center ceiling speaker. <br />
<br />
[[File:LIVE_piezo.png|550px]]<br />
<br />
<br />
<br />
'''Field Recording Manipulation:''' <br />
<br />
<br />
[[File:Control_closed_active.png|750px]]<br />
<br />
<br />
[[File:Control_open.png|750px]]</div>Stephaniehttps://ccrma.stanford.edu/mediawiki/index.php?title=Ritualistic_Performance_System_Research&diff=21001Ritualistic Performance System Research2018-06-18T18:51:35Z<p>Stephanie: </p>
<hr />
<div><br />
[[File:Performance_img.jpg|350px]]<br />
<br />
Performance Image Courtesy of Dave Kerr<br />
<br />
<br />
''Post-human Incursion'' is a site-specific performance piece developed for the Listening Room at CCRMA. Inspired by the writing of Bernie Kraus and the work of Pauline Oliveros, the piece functions as a futuristic reflection on the evolution of sound across species, while using spacialized and manipulated field recordings to create new sonic terrain. <br />
<br />
<br />
<br />
== '''Project Overview + Development:''' ==<br />
<br />
<br />
<br />
'''Goal:'''<br />
To create a ritualistic performance system using spacialized audio signals, video, and real-time audio manipulation. <br />
<br />
<br />
'''Background:'''<br />
<br />
As part of continued research, I aim to pursue an audio/visual experience that combines spatialized field recordings, voice, video/light, and software. For this piece, I may continue to develop a proximity-based water sensor into the performance, using some sort of vessel(s), water, conductive tape, and a bare conductive microcontroller. The audio collection process will include listening, recording, and engaging with a series of natural and machine-made sounds. The piece will culminate in an audio/visual performance. <br />
<br />
<br />
'''Possible Controllers:'''<br />
<br />
[[File:water_controller.jpg|350px]]<br />
water controller prototype <br />
<br />
[[File:Mask_full.jpg|350px]]<br />
mask prototype<br />
<br />
[[File:Mask_inside.jpg|350px]]<br />
mask sensors<br />
<br />
<br />
<br />
'''WK1 -- Brainstorming + Testing'''<br />
<br />
Performance Site '''-- Listening Room'''<br />
Okay to burn / use scents? '''-- No. Issues in the past.'''<br />
Dry Ice? '''-- Could be okay. Needs ventilation.''' <br />
Max capacity in Listening Room '''-- 15-20 people'''<br />
<br />
[[File:Listening_room.jpg|350px]]<br />
<br />
<br />
'''To do:'''<br />
Bare Conductive Touch Board + Water Sensor Testing in Max <br />
Arduino code + upload to Touch Board<br />
Max MSP/Jitter + Touch Board testing<br />
Add water sensor input to video mixer patch<br />
Collect Field Recordings<br />
Fire / Machines / Energy Facility / Electrical Drone Sounds<br />
<br />
<br />
'''WK2 -- Testing + Collection'''<br />
<br />
Water Sensor Testing in Max MSP/Jitter<br />
[https://www.bareconductive.com/make/the-touch-board-maxmsp/]<br />
<br />
[[File:Bare_conductive.jpg|300px]]<br />
<br />
I managed to get data into Max from the Bare Conductive microcontroller. After a few minutes, the microcontroller seems to get overloaded and freezes. If I reload the Arduino code onto the board data starts to work in Max temporarily. This issue seems relatively consistent. My laptop also seems to be having trouble processing video and receiving data at the same time. The latency of sensor data into Max is painfully slow while video is running. Sensor response is proficient with no video processing. <br />
<br />
I will need a new laptop. This is not a surprise.<br />
<br />
<br />
'''Readings:'''<br />
<br />
<u>Keywords in Sound</u>, Chapter 15, ''Resonance'', by Veit Erlmann <br />
<br />
"...the concept of resonance, having been derived from core epistemological virtues such as intuition, observation, and experiment, names the natural mechanism governing the interaction of vibrating matter, such as strings, nerves, and air. As such, resonance is the "Other" of the self-constituting Cartesian ego as it discovers truth (of musical harmony, for instance) and reassures itself of its own existence as a thinking entity. On the other hand resonance names the very unity of body and mind that the cogitating ego must unthink before it uncovers truth."<br />
<br />
(Erlmann, page 177)<br />
<br />
<br />
<u>Keywords in Sound</u>, Chapter 17, ''Space'', by Andrew J. Eisenberg <br />
<br />
"As a phenomenon that exists at once within and beyond perceiving subjects, sound cannot but reveal social space as an artifact of material practices complexly interwoven with semiotic processes and the 'imaginations, fears, emotions, psychologies, fantasies, and dreams' that human beings bring to everything (Harvey 2006: 279; see also Lefebvre 1991)."<br />
<br />
(Eisenberg, pg 202)<br />
<br />
<br />
<u>The Soundscape: Our Sonic Environment & the Tuning of the World</u>, <br />
R. Murray Schaffer, Chapter 12, Symbolism<br />
<br />
"...water, the original life element, has the most splendid symbolism... a stream, a fountain, a river, a waterfall, the sea, each makes its unique sound but all share rich symbolism. They speak of cleansing, of purification, of refreshment, and renewal... It is symbolic of eternity... It is symbolic of change." <br />
<br />
(Schafer, page 170)<br />
<br />
<br />
"Without its tactile pressure on the face or body we cannot even tell from what direction it blows. The wind is therefore not to be trusted."<br />
<br />
(Schafer, page 170)<br />
<br />
<br />
<br />
"Modern man has sought to escape both the wind and the sea by encapsulating himself in artificial environments... The sounds of machines took on happy symbolism approximately 200 years ago, when it was realized that they could release man from his immemorial bondage to earth... power and progress... noise and power go hand in hand."<br />
<br />
(Schafer, page 178-179)<br />
<br />
<br />
'''To do:''' <br />
Research options for new laptop (2015 Macbook Pro) + Stanford support<br />
Mask controller into Max MSP/Jitter<br />
Build simple looper<br />
Edit field recordings <br />
<br />
<br />
'''WK3 -- More Testing + Collecting'''<br />
<br />
'''Simple Audio Looper Interface for Testing | Max MSP/Jitter + MIDI Controller:'''<br />
<br />
I built a simple looper patch in Max in order to start manipulating and listening to field recordings from my recent sound hunts. Lately, I've been interested in machine sounds that have similar qualities as sounds from nature... similar to how cars sound similar to the ocean, or specific electrical resonances sound like cicadas and crickets. <br />
<br />
[[File:Audio_interface.jpg|600px]]<br />
<br />
[[File:Midi_controller.jpg|600px]]<br />
<br />
[[File:audio_interface_guts.jpg|600px]]<br />
<br />
audio test -- [http://ssherriff.com/media/ritual_test.mp3]<br />
<br />
<br />
'''Readings:'''<br />
<br />
"...the wind began to funnel down from the high southern pass, gaining more forces with each passing moment... The effect wasn't a chord exactly, but rather a combination of tones, sighs, and midrange groans that played off each other, sometimes setting strange beats into resonance as they nearly matched one another in pitch... strangely dissonant. While never unpleasant, the acoustic experience was disorienting."<br />
<br />
(Kraus, pg 37)<br />
<br />
<u>The Great Animal Orchestra: Finding the Origins of Music in the World's Wild Places</u>, Bernie Kraus<br />
<br />
<br />
'''To do:''' <br />
Research 2015 Macbook Pro <br />
SLAC audio recordings<br />
Research/Source dry ice<br />
Schedule Audium visit <br />
<br />
<br />
'''WK4 --''' <br />
<br />
'''Dry Ice Safety + Costs + Storage:'''<br />
<br />
[[File:Dry_ice3.jpg|600px]]<br />
<br />
[[File:Dry ice2.jpg|600px]]<br />
<br />
[http://dryiceinfo.com/safe.htm safety]<br />
<br />
<br />
[[File:Dry ice5.jpg|550px]]<br />
<br />
[https://www.howmuchisit.org/how-much-does-dry-ice-cost/ costs]<br />
<br />
<br />
[[File:Dry_ice.jpg|600px]]<br />
<br />
[[File:Dry ice4.jpg|600px]]<br />
<br />
[http://www.eatbydate.com/other/dry-ice/ storage+]<br />
<br />
<br />
'''Searchworks Audio Finds:'''<br />
<br />
Over the past week or so, I've been reading <u>Art of Immersive Soundscapes</u> which has revitalized my interest in musique concrète. Today I spent some time digging around [http://searchworks.stanford.edu/ Searchworks] for online audio files/compilations/albums. In my hunt so far, I have found several resources that rely heavily on field recordings from nature to form audio compositions. <br />
<br />
<br />
Here are a few:<br />
<br />
[https://stanford.naxosmusiclibrary.com/catalogue/item.asp?cid=INNOVA783 ''Arctic Winds,''] Maggie Payne, 2010<br />
<br />
[https://search.alexanderstreet.com/view/work/bibliographic_entity%7Crecorded_cd%7C72954 ''Gateway Summer Sound: Abstracted Animal and Other Sounds''] Ann McMillan, 1979 <br />
<br />
[http://www.dramonline.org/albums/scott-smallwood-desert-winds-six-windblown-sound-pieces-and-other-works/player ''Desert Winds: Six Windblown Sound Pieces and Other Works,''] Scott Smallwood, 2007<br />
<br />
[https://search.alexanderstreet.com/view/work/bibliographic_entity%7Crecorded_cd%7C72140 ''Highlights of Vortex''], 1959, Smithsonian Folkways Recordings [2003]<br />
<br />
<br />
'''SLAC Site Visit:'''<br />
<br />
[[File:slac.jpg|500px]]<br />
<br />
The tour of SLAC was a bit of a disappointment, but only because I didn't fully comprehend the context of the tour. I didn't realize our MFA tour was part of a larger public tour. Unfortunately, it was nearly impossible to record an audio sample without tour-talk and human ruckus. We only visited two small areas of the facilities, which didn't really give an overall impression of the scale of the accelerometer. There were, however, some exciting/uncomfortable oscillations coming from machinery that I would like to revisit under a more sound-oriented tour of SLAC. Outside of my sound hunt, it was astounding to hear about the some of the research taking place.<br />
<br />
<br />
<br />
<br />
'''Floor Plan + Spacial Thoughts:'''<br />
<br />
[[File:LR_sketch.png|600px]]<br />
<br />
<br />
<br />
'''Light + Sound + Water Experiments:'''<br />
<br />
[http://ssherriff.com/media/wide_test.MOV]<br />
<br />
[http://ssherriff.com/media/oracle_view.MOV]<br />
<br />
[http://ssherriff.com/media/shadow_projection.MOV]<br />
<br />
<br />
<br />
'''To do:'''<br />
Visit Listening Room<br />
Contact Nando for Listening Room Orientation<br />
Contact Nette for LR keycard access<br />
Book out LR rehearsal schedule<br />
Purchase 2015 Macbook Pro<br />
<br />
<br />
'''WK5 --'''<br />
<br />
I spent this week trying to iron out logistics. I met with Nando for a Listening Room orientation and am now considering the best way to execute signal routing in the space. Nando recommended I check out the Listening Room User Manual on the CCRMA website. For now, I'm thinking I'll address each speaker individually, rather than working with ambisonics. It sounds like I'll need to use Jack to interface with my computer. Speaking of computer, I bought a laptop! It should arrive next week. I was also able to arrange keycard access to the room and am still trying to pin down scheduling for rehearsal and official performance showtimes. <br />
<br />
[[File:listening rm2 no layer.jpg|500px]]<br />
<br />
<br />
'''Possible Performance Date(s)/Times:''' <br />
<br />
'''Friday, June 1''' -- 4pm doors / 4:33pm performance<br />
OR<br />
7pm doors / 7:30pm performance<br />
<br />
'''Saturday, June 2''' -- 4pm doors / 4:33pm performance <br />
AND<br />
7pm doors / 7:30pm performance<br />
<br />
<br />
<br />
''' WK6 --'''<br />
<br />
'''Listening Room Mixing + Routing Research:'''<br />
<br />
[https://ccrma.stanford.edu/room-guides/listening-room] Listening Room User Guide]<br />
<br />
[[File:Speakers.jpg|600px]]<br />
[[File:LR_mixer.jpg|500px]]<br />
<br />
[https://ccrma.stanford.edu/software/openmixer/manual Openmixer Manual]<br />
<br />
[https://ccrma.stanford.edu/software/openmixer/manual/input_sources Input Sources]<br />
<br />
[https://ccrma.stanford.edu/software/openmixer/manual/using_jack Using Jack]<br />
<br />
<br />
'''Projection/Lighting:'''<br />
<br />
After visiting the Listening Room and looking at the infrastructure in place, I've decided not to do any screen-based projection that requires hanging additional material in the space. It will likely be a lot of work and ultimately be invasive to the experience. For now, I'd like to focus on the sound and possibly incorporate some simple caustic lighting elements. I'm considering options for reflecting light onto the grid that separates the floor from the lower level of the heptagon. This will require some sort of surface/screen that could easily be placed on the grid. I will need to be sure there is airflow so as not to cause any issues with the ventilation system which feeds into the lower level.<br />
<br />
<br />
<br />
'''To do:'''<br />
Install Max MSP/Jitter<br />
Set-up 22 Channel Routing in Max<br />
Source + Set-up RSVP Platform for Performance<br />
Contact Eoin for Listening Room Consultation <br />
Dry Ice Testing<br />
<br />
<br />
''' WK7 --'''<br />
<br />
'''Signal Routing + Listening Room Consultation:'''<br />
<br />
My new computer finally arrived and I was able to schedule some time with Eoin to test routing options in the Listening Room. I've opted to use a 16ch analog interface and Jacknet, which will magically give me access to all 22 channels. I'll need to do more specific routing in Max but was able to get a signal out of my laptop and play audio over all 22 channels with minimal head-scratching and mysterious machine behavior. Eoin is awesome. I am consistently amazed at the generosity of the CCRMA community and am so grateful to have the opportunity to interact and learn from everyone. <br />
<br />
<br />
'''Listening Room Booking + Conflicts:'''<br />
<br />
I spoke to Matt Wright about any potential overlap with SLOrk rehearsal and general usage of the Listening Room. After our conversation, it seems best to bump my performance dates back one week so as to avoid any scheduling conflicts. Matt has also been kind enough to book out the space for me overnight so I will only need to set-up and teardown once. Wooo. Yay for CCRMA peeps! <br />
<br />
<br />
'''RVSP Platform + Dates'''<br />
<br />
I've decided to use Eventbrite for RSVP distribution/tracking. I've got a draft going and am seconds away from pulling the trigger. Just need to finish up my statement about the piece, and am currently wrestling with language and an official title. So close!<br />
<br />
Friday, June 8th -- 7pm doors / 7:30pm performance<br />
Saturday, June 9th -- 4pm doors / 4:30pm performance<br />
<br />
<br />
'''Dry Ice Tests:'''<br />
<br />
Working with dry ice has been waaay more fun than I could have anticipated. With that said, I'm learning that the fun comes with a heftier fee than I originally thought... and it evaporates fairly quickly. A block of dry ice lasts for approximately 2 or 3 days at about $20 each. I've also discovered that the dry ice goes bananas until it's eaten up all of the oxygen in whatever water it's dropped into, at which point, the dry ice fizzles sadly with much less gusto. This happens fairly quickly. I think it will be fine for the performance, but it's possible I will need larger containers to house the water and dry. I've been most excited about projecting onto the dry ice and am thinking about ways to use the dry ice as the projection screen/surface for the performance. <br />
<br />
<br />
'''To do:'''<br />
Set-up Signal Routing Hierarchy in Max <br />
Publish + Distribute RVSP Invite<br />
Test Dry Ice in Listening Room<br />
Test Scent Machine in Listening Room<br />
Okay to Point Listening Room Projector Straight Down Onto Grid?<br />
Order More Fans? Dry Ice Containers / Scent Containers<br />
Edit new sounds<br />
<br />
<br />
'''WK8 --'''<br />
<br />
'''Testing + Rehearsal Findings:'''<br />
<br />
I discovered that my USB MIDI controller will not work at the same time as the USB MOTU interface I am using to route sound in the Listening Room. This is a major problem. I've contacted Eoin for advice, and am hoping that using an ethernet connection will help resolve this issue. I'm also thinking about adding a second computer into the mix, mainly because of software limitations on my new computer. I'm not sure if this is going to cause a whole heap of other headaches, but mentioned my interest to Eoin. If it seems to crazy/unreliable I'll stick with one laptop. <br />
<br />
<br />
'''Testing + Rehearsal Audio:'''<br />
<br />
[http://ssherriff.com/media/post-human_rehearsal2.mp3 Recording 1]<br />
<br />
[http://ssherriff.com/media/post-human_rehearsal.mp3 Recording 2]<br />
<br />
<br />
'''Dry Ice Testing:'''<br />
<br />
My first rounds of dry ice tests in the Listening Room proved to be somewhat unsuccessful. The ventilation system below the grid sucks all of the dry ice vapors straight down and disburses them, making it difficult to see anything interesting happening. I tried placing a container of dry ice into a secondary container with edges slightly higher than the vessel holding the dry ice. This produced some really interesting behaviors, so I'm guessing I can do something similar at a larger scale -- hopefully filling the majority of the recess in the Listening Room floor. <br />
<br />
I've been spending a good lump of time searching for containers to hold the dry ice. Whatever I use needs to be fairly large to help with the longevity of the vapors... but also not so large that it will be difficult to schlep it out of the room once the performance is over. There's also a slight chance that whatever I use to house the dry ice will be visible in some capacity, so I'm also trying to find something that is fairly simple in design... and also cheapish, since I will be covering a lot of area. I've been looking at all kinds of containers and haven't really found the right thing yet. I found something that will work, but I'm not very excited about it. <br />
<br />
For the secondary 'container' I am thinking about building out a frame that will fit inside of the heptagon. I would then line the frame with a black tarp or some sort of black fabric, leaving a few inches between the frame and the interior edge of the heptagon for air flow. <br />
<br />
Speaking of air-flow, the sound of the dry ice bubbling in the water is becoming a wonderful bonus in the soundscape of my performance. Listening to the dry ice is sort of like sitting by a babbling creek, so I could have asked for a more exciting and unexpected surprise. <br />
<br />
<br />
<br />
'''Projector Testing:''' <br />
<br />
Initially, I was thinking about using the projector that is already mounted in the Listening Room. After further examination, I realized that the throw will probably not work well for my purposes. I did some tests with one of the PICO projectors and it seems like it might work okay. It probably won't be the brightest, most vivid projection... but I think that will be okay in this case. The dry ice is awesome with even just a little bit of light on it. <br />
<br />
I bought a few small clamp mounts for any of the tiny projectors that enter into the set-up. I should be able to mount the projectors fairly easily using the rigging system in the ceiling.<br />
<br />
<br />
<br />
'''Project Statement:'''<br />
<br />
Earth frequencies are the foundation of sound-making in communication and survival for all<br />
living creatures. Insects, birds, and humans have all evolved to make sound in accordance<br />
with the landscapes in which they dwell, yet humans increasingly suffocate the soundscape,<br />
turning a blind ear to the sonic residue of industry and electromagnetic poisons.<br />
<br />
''Post-human Incursion'' is a site-specific audio/visual performance that examines how<br />
natural order might adapt soncially to human impressions on the evolution of voice across<br />
species. Through the use of spatialized and processed field recordings, ''Post-human Incursion''<br />
gestures toward a futuristic bending of familiar sonic terrain twisted by the influence of<br />
machinery. Vapors and visual, ephemeral traces are received and distributed through the<br />
guise of an oracle, channeling as a medium, the fragility of perceived realities. As a<br />
composition, Post-human Incursion is a poetic attempt to prophesize what the future may hold<br />
in relation to the expressive abilities and survival of sounding creatures on Earth. Do<br />
birds sing differently now that they are encumbered with the ruckus of industrialized human<br />
existence?''<br />
<br />
'''Friday, June 8th''' -- 7pm / doors -- 7:30pm / performance<br />
'''Saturday, June 9th''' -- 4pm / doors -- 4:30pm / performance<br />
<br />
[https://www.eventbrite.com/e/post-human-incursion-tickets-46164892436 RSVP Event Link]<br />
<br />
<br />
'''To do:'''<br />
Find door person<br />
USB MIDI controller does not currently work while running USB MOTU 16ch interface<br />
Can I use two computers -- x1 for mask / x1 for field recordings?<br />
Define performance zone / altar<br />
<br />
<br />
'''WK9 --'''<br />
<br />
'''Listening Room Tech:'''<br />
<br />
There was some mystery unplugging of a bunch of stuff in the Listening Room, which was causing some strange/inconsistent behavior. With the help and head scratching of Eoin and Nando... the mystery has been solved and things seem to be relatively stable. Phew! My MIDI controller also seems to be behaving for the most part. I've been using a power USB hub, which seems to be doing the trick, although I have a feeling the USB port on my controller is starting to get a little loose. Hopefully, it hangs in there for the performances...<br />
<br />
<br />
'''Dry Ice:'''<br />
<br />
I'm still struggling with the dry ice component of the piece. I don't think I'll be able to work at the scale I'd like, mainly due to the cost of materials. I think I've found a solution on a smaller scale, but I'm not super excited about it. Because of the scale change, it's likely I'll need to abandon the projection component. Hard to say for sure at this point, but unless some miracle ah-ha moment happens much of the visual components of the piece will be far diminished from what I would like to do in an ideal world where I'm rolling in cash and have an absorbent amount of time.<br />
<br />
<br />
'''SLOrk + Set-up:''' <br />
<br />
SLOrk moves out of the Listening Room on Wednesday evening. This means I will be able to leave things set-up and start to deal with cables and placement. In the interim, I've been doing some small lighting test and think I have a fairly simple plan for lighting including the hallway leading up to the Listening Room.<br />
<br />
<br />
'''Printed Program:''' <br />
<br />
I'm nearly finished working on a program for the performances. I think I will alter my statement to better describe all of the adjustments I've had to make and use language to indicate that it's still a work in progress. I assume it's fine to print the program at CCRMA. <br />
<br />
<br />
'''Sound:'''<br />
<br />
At this point, I'm so buried in the piece that I can no longer tell heads from tails. I've introduced a piezo as part of the altar, and have been testing various vocal utterances. Compositionally, I'm not totally sure where the piece is at or how far away I've fallen from my original intent. Currently, the piece is leaning toward something more musical than I originally imagined. I've removed the glockenspiel recording and have been working with more of a droning sound that I recorded using a synth. There's a cohesiveness to the sound, but what I've been developing is seemingly less like a soundscape even though there is an abundance of field recordings incorporated into the work. I suppose I'm feeling a little confused and could use some time away from the piece for reflection, but as is the whole shebang is feeling arbitrary and far removed... but maybe I'm too immersed in the process to see/hear it for what it is? <br />
<br />
<br />
'''To do:'''<br />
Complete Program / Print -- Do I need a code for the printer?<br />
Still trying to find a door person<br />
Lighting + Set-up<br />
Rehearsal + Testing<br />
<br />
<br />
<br />
'''WK10 --'''<br />
<br />
[[File:Performance_img2.jpg|550px]]<br />
<br />
Performance Image Courtesy of Dave Kerr<br />
<br />
[http://ssherriff.com/media/PH_perf.mp4 Performance Documentation (Courtesy of David Kerr)]<br />
<br />
<br />
<br />
<br />
'''Culminating Voice Configuration:'''<br />
<br />
<br />
[[File:Mask_full.jpg|350px]]<br />
<br />
Ultimately, I opted not to use the sensors embedded in the mask and only incorporated the microphone into the performance system, combined with some generous filtering in Ablteon Live. The signal was then passed through a MOTU interface with access to 22 discreet channels in the Listening Room. My voice occupied channels 1-8 and a handful of channels in the ceiling.<br />
<br />
[[File:LIVE_voice1.png|550px]]<br />
<br />
[[File:LIVE_voice2.png|550px]]<br />
<br />
<br />
'''Piezo Instrument:'''<br />
<br />
[[File:LIVE_piezo.png|550px]]<br />
<br />
<br />
<br />
'''Field Recording Manipulation:''' <br />
<br />
<br />
[[File:Control_closed_active.png|750px]]<br />
<br />
<br />
[[File:Control_open.png|750px]]</div>Stephaniehttps://ccrma.stanford.edu/mediawiki/index.php?title=Ritualistic_Performance_System_Research&diff=21000Ritualistic Performance System Research2018-06-18T17:47:13Z<p>Stephanie: </p>
<hr />
<div><br />
[[File:Performance_img.jpg|350px]]<br />
<br />
Performance Image Courtesy of Dave Kerr<br />
<br />
<br />
''Post-human Incursion'' is a site-specific performance piece developed for the Listening Room at CCRMA. Inspired by the writing of Bernie Kraus and the work of Pauline Oliveros, the piece functions as a futuristic reflection on the evolution of sound across species, while using spacialized and manipulated field recordings to create new sonic terrain. <br />
<br />
<br />
<br />
== '''Project Overview + Development:''' ==<br />
<br />
<br />
<br />
'''Goal:'''<br />
To create a ritualistic performance system using spacialized audio signals, video, and real-time audio manipulation. <br />
<br />
<br />
'''Background:'''<br />
<br />
As part of continued research, I aim to pursue an audio/visual experience that combines spatialized field recordings, voice, video/light, and software. For this piece, I may continue to develop a proximity-based water sensor into the performance, using some sort of vessel(s), water, conductive tape, and a bare conductive microcontroller. The audio collection process will include listening, recording, and engaging with a series of natural and machine-made sounds. The piece will culminate in an audio/visual performance. <br />
<br />
<br />
'''Possible Controllers:'''<br />
<br />
[[File:water_controller.jpg|350px]]<br />
water controller prototype <br />
<br />
[[File:Mask_full.jpg|350px]]<br />
mask prototype<br />
<br />
[[File:Mask_inside.jpg|350px]]<br />
mask sensors<br />
<br />
<br />
<br />
'''WK1 -- Brainstorming + Testing'''<br />
<br />
Performance Site '''-- Listening Room'''<br />
Okay to burn / use scents? '''-- No. Issues in the past.'''<br />
Dry Ice? '''-- Could be okay. Needs ventilation.''' <br />
Max capacity in Listening Room '''-- 15-20 people'''<br />
<br />
[[File:Listening_room.jpg|350px]]<br />
<br />
<br />
'''To do:'''<br />
Bare Conductive Touch Board + Water Sensor Testing in Max <br />
Arduino code + upload to Touch Board<br />
Max MSP/Jitter + Touch Board testing<br />
Add water sensor input to video mixer patch<br />
Collect Field Recordings<br />
Fire / Machines / Energy Facility / Electrical Drone Sounds<br />
<br />
<br />
'''WK2 -- Testing + Collection'''<br />
<br />
Water Sensor Testing in Max MSP/Jitter<br />
[https://www.bareconductive.com/make/the-touch-board-maxmsp/]<br />
<br />
[[File:Bare_conductive.jpg|300px]]<br />
<br />
I managed to get data into Max from the Bare Conductive microcontroller. After a few minutes, the microcontroller seems to get overloaded and freezes. If I reload the Arduino code onto the board data starts to work in Max temporarily. This issue seems relatively consistent. My laptop also seems to be having trouble processing video and receiving data at the same time. The latency of sensor data into Max is painfully slow while video is running. Sensor response is proficient with no video processing. <br />
<br />
I will need a new laptop. This is not a surprise.<br />
<br />
<br />
'''Readings:'''<br />
<br />
<u>Keywords in Sound</u>, Chapter 15, ''Resonance'', by Veit Erlmann <br />
<br />
"...the concept of resonance, having been derived from core epistemological virtues such as intuition, observation, and experiment, names the natural mechanism governing the interaction of vibrating matter, such as strings, nerves, and air. As such, resonance is the "Other" of the self-constituting Cartesian ego as it discovers truth (of musical harmony, for instance) and reassures itself of its own existence as a thinking entity. On the other hand resonance names the very unity of body and mind that the cogitating ego must unthink before it uncovers truth."<br />
<br />
(Erlmann, page 177)<br />
<br />
<br />
<u>Keywords in Sound</u>, Chapter 17, ''Space'', by Andrew J. Eisenberg <br />
<br />
"As a phenomenon that exists at once within and beyond perceiving subjects, sound cannot but reveal social space as an artifact of material practices complexly interwoven with semiotic processes and the 'imaginations, fears, emotions, psychologies, fantasies, and dreams' that human beings bring to everything (Harvey 2006: 279; see also Lefebvre 1991)."<br />
<br />
(Eisenberg, pg 202)<br />
<br />
<br />
<u>The Soundscape: Our Sonic Environment & the Tuning of the World</u>, <br />
R. Murray Schaffer, Chapter 12, Symbolism<br />
<br />
"...water, the original life element, has the most splendid symbolism... a stream, a fountain, a river, a waterfall, the sea, each makes its unique sound but all share rich symbolism. They speak of cleansing, of purification, of refreshment, and renewal... It is symbolic of eternity... It is symbolic of change." <br />
<br />
(Schafer, page 170)<br />
<br />
<br />
"Without its tactile pressure on the face or body we cannot even tell from what direction it blows. The wind is therefore not to be trusted."<br />
<br />
(Schafer, page 170)<br />
<br />
<br />
<br />
"Modern man has sought to escape both the wind and the sea by encapsulating himself in artificial environments... The sounds of machines took on happy symbolism approximately 200 years ago, when it was realized that they could release man from his immemorial bondage to earth... power and progress... noise and power go hand in hand."<br />
<br />
(Schafer, page 178-179)<br />
<br />
<br />
'''To do:''' <br />
Research options for new laptop (2015 Macbook Pro) + Stanford support<br />
Mask controller into Max MSP/Jitter<br />
Build simple looper<br />
Edit field recordings <br />
<br />
<br />
'''WK3 -- More Testing + Collecting'''<br />
<br />
'''Simple Audio Looper Interface for Testing | Max MSP/Jitter + MIDI Controller:'''<br />
<br />
I built a simple looper patch in Max in order to start manipulating and listening to field recordings from my recent sound hunts. Lately, I've been interested in machine sounds that have similar qualities as sounds from nature... similar to how cars sound similar to the ocean, or specific electrical resonances sound like cicadas and crickets. <br />
<br />
[[File:Audio_interface.jpg|600px]]<br />
<br />
[[File:Midi_controller.jpg|600px]]<br />
<br />
[[File:audio_interface_guts.jpg|600px]]<br />
<br />
audio test -- [http://ssherriff.com/media/ritual_test.mp3]<br />
<br />
<br />
'''Readings:'''<br />
<br />
"...the wind began to funnel down from the high southern pass, gaining more forces with each passing moment... The effect wasn't a chord exactly, but rather a combination of tones, sighs, and midrange groans that played off each other, sometimes setting strange beats into resonance as they nearly matched one another in pitch... strangely dissonant. While never unpleasant, the acoustic experience was disorienting."<br />
<br />
(Kraus, pg 37)<br />
<br />
<u>The Great Animal Orchestra: Finding the Origins of Music in the World's Wild Places</u>, Bernie Kraus<br />
<br />
<br />
'''To do:''' <br />
Research 2015 Macbook Pro <br />
SLAC audio recordings<br />
Research/Source dry ice<br />
Schedule Audium visit <br />
<br />
<br />
'''WK4 --''' <br />
<br />
'''Dry Ice Safety + Costs + Storage:'''<br />
<br />
[[File:Dry_ice3.jpg|600px]]<br />
<br />
[[File:Dry ice2.jpg|600px]]<br />
<br />
[http://dryiceinfo.com/safe.htm safety]<br />
<br />
<br />
[[File:Dry ice5.jpg|550px]]<br />
<br />
[https://www.howmuchisit.org/how-much-does-dry-ice-cost/ costs]<br />
<br />
<br />
[[File:Dry_ice.jpg|600px]]<br />
<br />
[[File:Dry ice4.jpg|600px]]<br />
<br />
[http://www.eatbydate.com/other/dry-ice/ storage+]<br />
<br />
<br />
'''Searchworks Audio Finds:'''<br />
<br />
Over the past week or so, I've been reading <u>Art of Immersive Soundscapes</u> which has revitalized my interest in musique concrète. Today I spent some time digging around [http://searchworks.stanford.edu/ Searchworks] for online audio files/compilations/albums. In my hunt so far, I have found several resources that rely heavily on field recordings from nature to form audio compositions. <br />
<br />
<br />
Here are a few:<br />
<br />
[https://stanford.naxosmusiclibrary.com/catalogue/item.asp?cid=INNOVA783 ''Arctic Winds,''] Maggie Payne, 2010<br />
<br />
[https://search.alexanderstreet.com/view/work/bibliographic_entity%7Crecorded_cd%7C72954 ''Gateway Summer Sound: Abstracted Animal and Other Sounds''] Ann McMillan, 1979 <br />
<br />
[http://www.dramonline.org/albums/scott-smallwood-desert-winds-six-windblown-sound-pieces-and-other-works/player ''Desert Winds: Six Windblown Sound Pieces and Other Works,''] Scott Smallwood, 2007<br />
<br />
[https://search.alexanderstreet.com/view/work/bibliographic_entity%7Crecorded_cd%7C72140 ''Highlights of Vortex''], 1959, Smithsonian Folkways Recordings [2003]<br />
<br />
<br />
'''SLAC Site Visit:'''<br />
<br />
[[File:slac.jpg|500px]]<br />
<br />
The tour of SLAC was a bit of a disappointment, but only because I didn't fully comprehend the context of the tour. I didn't realize our MFA tour was part of a larger public tour. Unfortunately, it was nearly impossible to record an audio sample without tour-talk and human ruckus. We only visited two small areas of the facilities, which didn't really give an overall impression of the scale of the accelerometer. There were, however, some exciting/uncomfortable oscillations coming from machinery that I would like to revisit under a more sound-oriented tour of SLAC. Outside of my sound hunt, it was astounding to hear about the some of the research taking place.<br />
<br />
<br />
<br />
<br />
'''Floor Plan + Spacial Thoughts:'''<br />
<br />
[[File:LR_sketch.png|600px]]<br />
<br />
<br />
<br />
'''Light + Sound + Water Experiments:'''<br />
<br />
[http://ssherriff.com/media/wide_test.MOV]<br />
<br />
[http://ssherriff.com/media/oracle_view.MOV]<br />
<br />
[http://ssherriff.com/media/shadow_projection.MOV]<br />
<br />
<br />
<br />
'''To do:'''<br />
Visit Listening Room<br />
Contact Nando for Listening Room Orientation<br />
Contact Nette for LR keycard access<br />
Book out LR rehearsal schedule<br />
Purchase 2015 Macbook Pro<br />
<br />
<br />
'''WK5 --'''<br />
<br />
I spent this week trying to iron out logistics. I met with Nando for a Listening Room orientation and am now considering the best way to execute signal routing in the space. Nando recommended I check out the Listening Room User Manual on the CCRMA website. For now, I'm thinking I'll address each speaker individually, rather than working with ambisonics. It sounds like I'll need to use Jack to interface with my computer. Speaking of computer, I bought a laptop! It should arrive next week. I was also able to arrange keycard access to the room and am still trying to pin down scheduling for rehearsal and official performance showtimes. <br />
<br />
[[File:listening rm2 no layer.jpg|500px]]<br />
<br />
<br />
'''Possible Performance Date(s)/Times:''' <br />
<br />
'''Friday, June 1''' -- 4pm doors / 4:33pm performance<br />
OR<br />
7pm doors / 7:30pm performance<br />
<br />
'''Saturday, June 2''' -- 4pm doors / 4:33pm performance <br />
AND<br />
7pm doors / 7:30pm performance<br />
<br />
<br />
<br />
''' WK6 --'''<br />
<br />
'''Listening Room Mixing + Routing Research:'''<br />
<br />
[https://ccrma.stanford.edu/room-guides/listening-room] Listening Room User Guide]<br />
<br />
[[File:Speakers.jpg|600px]]<br />
[[File:LR_mixer.jpg|500px]]<br />
<br />
[https://ccrma.stanford.edu/software/openmixer/manual Openmixer Manual]<br />
<br />
[https://ccrma.stanford.edu/software/openmixer/manual/input_sources Input Sources]<br />
<br />
[https://ccrma.stanford.edu/software/openmixer/manual/using_jack Using Jack]<br />
<br />
<br />
'''Projection/Lighting:'''<br />
<br />
After visiting the Listening Room and looking at the infrastructure in place, I've decided not to do any screen-based projection that requires hanging additional material in the space. It will likely be a lot of work and ultimately be invasive to the experience. For now, I'd like to focus on the sound and possibly incorporate some simple caustic lighting elements. I'm considering options for reflecting light onto the grid that separates the floor from the lower level of the heptagon. This will require some sort of surface/screen that could easily be placed on the grid. I will need to be sure there is airflow so as not to cause any issues with the ventilation system which feeds into the lower level.<br />
<br />
<br />
<br />
'''To do:'''<br />
Install Max MSP/Jitter<br />
Set-up 22 Channel Routing in Max<br />
Source + Set-up RSVP Platform for Performance<br />
Contact Eoin for Listening Room Consultation <br />
Dry Ice Testing<br />
<br />
<br />
''' WK7 --'''<br />
<br />
'''Signal Routing + Listening Room Consultation:'''<br />
<br />
My new computer finally arrived and I was able to schedule some time with Eoin to test routing options in the Listening Room. I've opted to use a 16ch analog interface and Jacknet, which will magically give me access to all 22 channels. I'll need to do more specific routing in Max but was able to get a signal out of my laptop and play audio over all 22 channels with minimal head-scratching and mysterious machine behavior. Eoin is awesome. I am consistently amazed at the generosity of the CCRMA community and am so grateful to have the opportunity to interact and learn from everyone. <br />
<br />
<br />
'''Listening Room Booking + Conflicts:'''<br />
<br />
I spoke to Matt Wright about any potential overlap with SLOrk rehearsal and general usage of the Listening Room. After our conversation, it seems best to bump my performance dates back one week so as to avoid any scheduling conflicts. Matt has also been kind enough to book out the space for me overnight so I will only need to set-up and teardown once. Wooo. Yay for CCRMA peeps! <br />
<br />
<br />
'''RVSP Platform + Dates'''<br />
<br />
I've decided to use Eventbrite for RSVP distribution/tracking. I've got a draft going and am seconds away from pulling the trigger. Just need to finish up my statement about the piece, and am currently wrestling with language and an official title. So close!<br />
<br />
Friday, June 8th -- 7pm doors / 7:30pm performance<br />
Saturday, June 9th -- 4pm doors / 4:30pm performance<br />
<br />
<br />
'''Dry Ice Tests:'''<br />
<br />
Working with dry ice has been waaay more fun than I could have anticipated. With that said, I'm learning that the fun comes with a heftier fee than I originally thought... and it evaporates fairly quickly. A block of dry ice lasts for approximately 2 or 3 days at about $20 each. I've also discovered that the dry ice goes bananas until it's eaten up all of the oxygen in whatever water it's dropped into, at which point, the dry ice fizzles sadly with much less gusto. This happens fairly quickly. I think it will be fine for the performance, but it's possible I will need larger containers to house the water and dry. I've been most excited about projecting onto the dry ice and am thinking about ways to use the dry ice as the projection screen/surface for the performance. <br />
<br />
<br />
'''To do:'''<br />
Set-up Signal Routing Hierarchy in Max <br />
Publish + Distribute RVSP Invite<br />
Test Dry Ice in Listening Room<br />
Test Scent Machine in Listening Room<br />
Okay to Point Listening Room Projector Straight Down Onto Grid?<br />
Order More Fans? Dry Ice Containers / Scent Containers<br />
Edit new sounds<br />
<br />
<br />
'''WK8 --'''<br />
<br />
'''Testing + Rehearsal Findings:'''<br />
<br />
I discovered that my USB MIDI controller will not work at the same time as the USB MOTU interface I am using to route sound in the Listening Room. This is a major problem. I've contacted Eoin for advice, and am hoping that using an ethernet connection will help resolve this issue. I'm also thinking about adding a second computer into the mix, mainly because of software limitations on my new computer. I'm not sure if this is going to cause a whole heap of other headaches, but mentioned my interest to Eoin. If it seems to crazy/unreliable I'll stick with one laptop. <br />
<br />
<br />
'''Testing + Rehearsal Audio:'''<br />
<br />
[http://ssherriff.com/media/post-human_rehearsal2.mp3 Recording 1]<br />
<br />
[http://ssherriff.com/media/post-human_rehearsal.mp3 Recording 2]<br />
<br />
<br />
'''Dry Ice Testing:'''<br />
<br />
My first rounds of dry ice tests in the Listening Room proved to be somewhat unsuccessful. The ventilation system below the grid sucks all of the dry ice vapors straight down and disburses them, making it difficult to see anything interesting happening. I tried placing a container of dry ice into a secondary container with edges slightly higher than the vessel holding the dry ice. This produced some really interesting behaviors, so I'm guessing I can do something similar at a larger scale -- hopefully filling the majority of the recess in the Listening Room floor. <br />
<br />
I've been spending a good lump of time searching for containers to hold the dry ice. Whatever I use needs to be fairly large to help with the longevity of the vapors... but also not so large that it will be difficult to schlep it out of the room once the performance is over. There's also a slight chance that whatever I use to house the dry ice will be visible in some capacity, so I'm also trying to find something that is fairly simple in design... and also cheapish, since I will be covering a lot of area. I've been looking at all kinds of containers and haven't really found the right thing yet. I found something that will work, but I'm not very excited about it. <br />
<br />
For the secondary 'container' I am thinking about building out a frame that will fit inside of the heptagon. I would then line the frame with a black tarp or some sort of black fabric, leaving a few inches between the frame and the interior edge of the heptagon for air flow. <br />
<br />
Speaking of air-flow, the sound of the dry ice bubbling in the water is becoming a wonderful bonus in the soundscape of my performance. Listening to the dry ice is sort of like sitting by a babbling creek, so I could have asked for a more exciting and unexpected surprise. <br />
<br />
<br />
<br />
'''Projector Testing:''' <br />
<br />
Initially, I was thinking about using the projector that is already mounted in the Listening Room. After further examination, I realized that the throw will probably not work well for my purposes. I did some tests with one of the PICO projectors and it seems like it might work okay. It probably won't be the brightest, most vivid projection... but I think that will be okay in this case. The dry ice is awesome with even just a little bit of light on it. <br />
<br />
I bought a few small clamp mounts for any of the tiny projectors that enter into the set-up. I should be able to mount the projectors fairly easily using the rigging system in the ceiling.<br />
<br />
<br />
<br />
'''Project Statement:'''<br />
<br />
Earth frequencies are the foundation of sound-making in communication and survival for all<br />
living creatures. Insects, birds, and humans have all evolved to make sound in accordance<br />
with the landscapes in which they dwell, yet humans increasingly suffocate the soundscape,<br />
turning a blind ear to the sonic residue of industry and electromagnetic poisons.<br />
<br />
''Post-human Incursion'' is a site-specific audio/visual performance that examines how<br />
natural order might adapt soncially to human impressions on the evolution of voice across<br />
species. Through the use of spatialized and processed field recordings, ''Post-human Incursion''<br />
gestures toward a futuristic bending of familiar sonic terrain twisted by the influence of<br />
machinery. Vapors and visual, ephemeral traces are received and distributed through the<br />
guise of an oracle, channeling as a medium, the fragility of perceived realities. As a<br />
composition, Post-human Incursion is a poetic attempt to prophesize what the future may hold<br />
in relation to the expressive abilities and survival of sounding creatures on Earth. Do<br />
birds sing differently now that they are encumbered with the ruckus of industrialized human<br />
existence?''<br />
<br />
'''Friday, June 8th''' -- 7pm / doors -- 7:30pm / performance<br />
'''Saturday, June 9th''' -- 4pm / doors -- 4:30pm / performance<br />
<br />
[https://www.eventbrite.com/e/post-human-incursion-tickets-46164892436 RSVP Event Link]<br />
<br />
<br />
'''To do:'''<br />
Find door person<br />
USB MIDI controller does not currently work while running USB MOTU 16ch interface<br />
Can I use two computers -- x1 for mask / x1 for field recordings?<br />
Define performance zone / altar<br />
<br />
<br />
'''WK9 --'''<br />
<br />
'''Listening Room Tech:'''<br />
<br />
There was some mystery unplugging of a bunch of stuff in the Listening Room, which was causing some strange/inconsistent behavior. With the help and head scratching of Eoin and Nando... the mystery has been solved and things seem to be relatively stable. Phew! My MIDI controller also seems to be behaving for the most part. I've been using a power USB hub, which seems to be doing the trick, although I have a feeling the USB port on my controller is starting to get a little loose. Hopefully, it hangs in there for the performances...<br />
<br />
<br />
'''Dry Ice:'''<br />
<br />
I'm still struggling with the dry ice component of the piece. I don't think I'll be able to work at the scale I'd like, mainly due to the cost of materials. I think I've found a solution on a smaller scale, but I'm not super excited about it. Because of the scale change, it's likely I'll need to abandon the projection component. Hard to say for sure at this point, but unless some miracle ah-ha moment happens much of the visual components of the piece will be far diminished from what I would like to do in an ideal world where I'm rolling in cash and have an absorbent amount of time.<br />
<br />
<br />
'''SLOrk + Set-up:''' <br />
<br />
SLOrk moves out of the Listening Room on Wednesday evening. This means I will be able to leave things set-up and start to deal with cables and placement. In the interim, I've been doing some small lighting test and think I have a fairly simple plan for lighting including the hallway leading up to the Listening Room.<br />
<br />
<br />
'''Printed Program:''' <br />
<br />
I'm nearly finished working on a program for the performances. I think I will alter my statement to better describe all of the adjustments I've had to make and use language to indicate that it's still a work in progress. I assume it's fine to print the program at CCRMA. <br />
<br />
<br />
'''Sound:'''<br />
<br />
At this point, I'm so buried in the piece that I can no longer tell heads from tails. I've introduced a piezo as part of the altar, and have been testing various vocal utterances. Compositionally, I'm not totally sure where the piece is at or how far away I've fallen from my original intent. Currently, the piece is leaning toward something more musical than I originally imagined. I've removed the glockenspiel recording and have been working with more of a droning sound that I recorded using a synth. There's a cohesiveness to the sound, but what I've been developing is seemingly less like a soundscape even though there is an abundance of field recordings incorporated into the work. I suppose I'm feeling a little confused and could use some time away from the piece for reflection, but as is the whole shebang is feeling arbitrary and far removed... but maybe I'm too immersed in the process to see/hear it for what it is? <br />
<br />
<br />
'''To do:'''<br />
Complete Program / Print -- Do I need a code for the printer?<br />
Still trying to find a door person<br />
Lighting + Set-up<br />
Rehearsal + Testing<br />
<br />
<br />
<br />
'''WK10 --'''<br />
<br />
[[File:Performance_img2.jpg|550px]]<br />
<br />
Performance Image Courtesy of Dave Kerr<br />
<br />
[http://ssherriff.com/media/PH_perf.mov Performance Documentation (Courtesy of David Kerr)]<br />
<br />
<br />
<br />
<br />
'''Voice:'''<br />
<br />
[[File:LIVE_voice1.png|550px]]<br />
<br />
[[File:LIVE_voice2.png|550px]]<br />
<br />
<br />
'''Piezo Instrument:'''<br />
<br />
[[File:LIVE_piezo.png|550px]]<br />
<br />
<br />
<br />
'''Field Recording Manipulation:''' <br />
<br />
<br />
[[File:Control_closed_active.png|750px]]<br />
<br />
<br />
[[File:Control_open.png|750px]]</div>Stephaniehttps://ccrma.stanford.edu/mediawiki/index.php?title=File:Control_closed_active.png&diff=20999File:Control closed active.png2018-06-18T17:42:14Z<p>Stephanie: </p>
<hr />
<div></div>Stephaniehttps://ccrma.stanford.edu/mediawiki/index.php?title=Ritualistic_Performance_System_Research&diff=20998Ritualistic Performance System Research2018-06-18T17:41:54Z<p>Stephanie: </p>
<hr />
<div><br />
[[File:Performance_img.jpg|350px]]<br />
<br />
Performance Image Courtesy of Dave Kerr<br />
<br />
<br />
''Post-human Incursion'' is a site-specific performance piece developed for the Listening Room at CCRMA. Inspired by the writing of Bernie Kraus and the work of Pauline Oliveros, the piece functions as a futuristic reflection on the evolution of sound across species, while using spacialized and manipulated field recordings to create new sonic terrain. <br />
<br />
<br />
<br />
== '''Project Overview + Development:''' ==<br />
<br />
<br />
<br />
'''Goal:'''<br />
To create a ritualistic performance system using spacialized audio signals, video, and real-time audio manipulation. <br />
<br />
<br />
'''Background:'''<br />
<br />
As part of continued research, I aim to pursue an audio/visual experience that combines spatialized field recordings, voice, video/light, and software. For this piece, I may continue to develop a proximity-based water sensor into the performance, using some sort of vessel(s), water, conductive tape, and a bare conductive microcontroller. The audio collection process will include listening, recording, and engaging with a series of natural and machine-made sounds. The piece will culminate in an audio/visual performance. <br />
<br />
<br />
'''Possible Controllers:'''<br />
<br />
[[File:water_controller.jpg|350px]]<br />
water controller prototype <br />
<br />
[[File:Mask_full.jpg|350px]]<br />
mask prototype<br />
<br />
[[File:Mask_inside.jpg|350px]]<br />
mask sensors<br />
<br />
<br />
<br />
'''WK1 -- Brainstorming + Testing'''<br />
<br />
Performance Site '''-- Listening Room'''<br />
Okay to burn / use scents? '''-- No. Issues in the past.'''<br />
Dry Ice? '''-- Could be okay. Needs ventilation.''' <br />
Max capacity in Listening Room '''-- 15-20 people'''<br />
<br />
[[File:Listening_room.jpg|350px]]<br />
<br />
<br />
'''To do:'''<br />
Bare Conductive Touch Board + Water Sensor Testing in Max <br />
Arduino code + upload to Touch Board<br />
Max MSP/Jitter + Touch Board testing<br />
Add water sensor input to video mixer patch<br />
Collect Field Recordings<br />
Fire / Machines / Energy Facility / Electrical Drone Sounds<br />
<br />
<br />
'''WK2 -- Testing + Collection'''<br />
<br />
Water Sensor Testing in Max MSP/Jitter<br />
[https://www.bareconductive.com/make/the-touch-board-maxmsp/]<br />
<br />
[[File:Bare_conductive.jpg|300px]]<br />
<br />
I managed to get data into Max from the Bare Conductive microcontroller. After a few minutes, the microcontroller seems to get overloaded and freezes. If I reload the Arduino code onto the board data starts to work in Max temporarily. This issue seems relatively consistent. My laptop also seems to be having trouble processing video and receiving data at the same time. The latency of sensor data into Max is painfully slow while video is running. Sensor response is proficient with no video processing. <br />
<br />
I will need a new laptop. This is not a surprise.<br />
<br />
<br />
'''Readings:'''<br />
<br />
<u>Keywords in Sound</u>, Chapter 15, ''Resonance'', by Veit Erlmann <br />
<br />
"...the concept of resonance, having been derived from core epistemological virtues such as intuition, observation, and experiment, names the natural mechanism governing the interaction of vibrating matter, such as strings, nerves, and air. As such, resonance is the "Other" of the self-constituting Cartesian ego as it discovers truth (of musical harmony, for instance) and reassures itself of its own existence as a thinking entity. On the other hand resonance names the very unity of body and mind that the cogitating ego must unthink before it uncovers truth."<br />
<br />
(Erlmann, page 177)<br />
<br />
<br />
<u>Keywords in Sound</u>, Chapter 17, ''Space'', by Andrew J. Eisenberg <br />
<br />
"As a phenomenon that exists at once within and beyond perceiving subjects, sound cannot but reveal social space as an artifact of material practices complexly interwoven with semiotic processes and the 'imaginations, fears, emotions, psychologies, fantasies, and dreams' that human beings bring to everything (Harvey 2006: 279; see also Lefebvre 1991)."<br />
<br />
(Eisenberg, pg 202)<br />
<br />
<br />
<u>The Soundscape: Our Sonic Environment & the Tuning of the World</u>, <br />
R. Murray Schaffer, Chapter 12, Symbolism<br />
<br />
"...water, the original life element, has the most splendid symbolism... a stream, a fountain, a river, a waterfall, the sea, each makes its unique sound but all share rich symbolism. They speak of cleansing, of purification, of refreshment, and renewal... It is symbolic of eternity... It is symbolic of change." <br />
<br />
(Schafer, page 170)<br />
<br />
<br />
"Without its tactile pressure on the face or body we cannot even tell from what direction it blows. The wind is therefore not to be trusted."<br />
<br />
(Schafer, page 170)<br />
<br />
<br />
<br />
"Modern man has sought to escape both the wind and the sea by encapsulating himself in artificial environments... The sounds of machines took on happy symbolism approximately 200 years ago, when it was realized that they could release man from his immemorial bondage to earth... power and progress... noise and power go hand in hand."<br />
<br />
(Schafer, page 178-179)<br />
<br />
<br />
'''To do:''' <br />
Research options for new laptop (2015 Macbook Pro) + Stanford support<br />
Mask controller into Max MSP/Jitter<br />
Build simple looper<br />
Edit field recordings <br />
<br />
<br />
'''WK3 -- More Testing + Collecting'''<br />
<br />
'''Simple Audio Looper Interface for Testing | Max MSP/Jitter + MIDI Controller:'''<br />
<br />
I built a simple looper patch in Max in order to start manipulating and listening to field recordings from my recent sound hunts. Lately, I've been interested in machine sounds that have similar qualities as sounds from nature... similar to how cars sound similar to the ocean, or specific electrical resonances sound like cicadas and crickets. <br />
<br />
[[File:Audio_interface.jpg|600px]]<br />
<br />
[[File:Midi_controller.jpg|600px]]<br />
<br />
[[File:audio_interface_guts.jpg|600px]]<br />
<br />
audio test -- [http://ssherriff.com/media/ritual_test.mp3]<br />
<br />
<br />
'''Readings:'''<br />
<br />
"...the wind began to funnel down from the high southern pass, gaining more forces with each passing moment... The effect wasn't a chord exactly, but rather a combination of tones, sighs, and midrange groans that played off each other, sometimes setting strange beats into resonance as they nearly matched one another in pitch... strangely dissonant. While never unpleasant, the acoustic experience was disorienting."<br />
<br />
(Kraus, pg 37)<br />
<br />
<u>The Great Animal Orchestra: Finding the Origins of Music in the World's Wild Places</u>, Bernie Kraus<br />
<br />
<br />
'''To do:''' <br />
Research 2015 Macbook Pro <br />
SLAC audio recordings<br />
Research/Source dry ice<br />
Schedule Audium visit <br />
<br />
<br />
'''WK4 --''' <br />
<br />
'''Dry Ice Safety + Costs + Storage:'''<br />
<br />
[[File:Dry_ice3.jpg|600px]]<br />
<br />
[[File:Dry ice2.jpg|600px]]<br />
<br />
[http://dryiceinfo.com/safe.htm safety]<br />
<br />
<br />
[[File:Dry ice5.jpg|550px]]<br />
<br />
[https://www.howmuchisit.org/how-much-does-dry-ice-cost/ costs]<br />
<br />
<br />
[[File:Dry_ice.jpg|600px]]<br />
<br />
[[File:Dry ice4.jpg|600px]]<br />
<br />
[http://www.eatbydate.com/other/dry-ice/ storage+]<br />
<br />
<br />
'''Searchworks Audio Finds:'''<br />
<br />
Over the past week or so, I've been reading <u>Art of Immersive Soundscapes</u> which has revitalized my interest in musique concrète. Today I spent some time digging around [http://searchworks.stanford.edu/ Searchworks] for online audio files/compilations/albums. In my hunt so far, I have found several resources that rely heavily on field recordings from nature to form audio compositions. <br />
<br />
<br />
Here are a few:<br />
<br />
[https://stanford.naxosmusiclibrary.com/catalogue/item.asp?cid=INNOVA783 ''Arctic Winds,''] Maggie Payne, 2010<br />
<br />
[https://search.alexanderstreet.com/view/work/bibliographic_entity%7Crecorded_cd%7C72954 ''Gateway Summer Sound: Abstracted Animal and Other Sounds''] Ann McMillan, 1979 <br />
<br />
[http://www.dramonline.org/albums/scott-smallwood-desert-winds-six-windblown-sound-pieces-and-other-works/player ''Desert Winds: Six Windblown Sound Pieces and Other Works,''] Scott Smallwood, 2007<br />
<br />
[https://search.alexanderstreet.com/view/work/bibliographic_entity%7Crecorded_cd%7C72140 ''Highlights of Vortex''], 1959, Smithsonian Folkways Recordings [2003]<br />
<br />
<br />
'''SLAC Site Visit:'''<br />
<br />
[[File:slac.jpg|500px]]<br />
<br />
The tour of SLAC was a bit of a disappointment, but only because I didn't fully comprehend the context of the tour. I didn't realize our MFA tour was part of a larger public tour. Unfortunately, it was nearly impossible to record an audio sample without tour-talk and human ruckus. We only visited two small areas of the facilities, which didn't really give an overall impression of the scale of the accelerometer. There were, however, some exciting/uncomfortable oscillations coming from machinery that I would like to revisit under a more sound-oriented tour of SLAC. Outside of my sound hunt, it was astounding to hear about the some of the research taking place.<br />
<br />
<br />
<br />
<br />
'''Floor Plan + Spacial Thoughts:'''<br />
<br />
[[File:LR_sketch.png|600px]]<br />
<br />
<br />
<br />
'''Light + Sound + Water Experiments:'''<br />
<br />
[http://ssherriff.com/media/wide_test.MOV]<br />
<br />
[http://ssherriff.com/media/oracle_view.MOV]<br />
<br />
[http://ssherriff.com/media/shadow_projection.MOV]<br />
<br />
<br />
<br />
'''To do:'''<br />
Visit Listening Room<br />
Contact Nando for Listening Room Orientation<br />
Contact Nette for LR keycard access<br />
Book out LR rehearsal schedule<br />
Purchase 2015 Macbook Pro<br />
<br />
<br />
'''WK5 --'''<br />
<br />
I spent this week trying to iron out logistics. I met with Nando for a Listening Room orientation and am now considering the best way to execute signal routing in the space. Nando recommended I check out the Listening Room User Manual on the CCRMA website. For now, I'm thinking I'll address each speaker individually, rather than working with ambisonics. It sounds like I'll need to use Jack to interface with my computer. Speaking of computer, I bought a laptop! It should arrive next week. I was also able to arrange keycard access to the room and am still trying to pin down scheduling for rehearsal and official performance showtimes. <br />
<br />
[[File:listening rm2 no layer.jpg|500px]]<br />
<br />
<br />
'''Possible Performance Date(s)/Times:''' <br />
<br />
'''Friday, June 1''' -- 4pm doors / 4:33pm performance<br />
OR<br />
7pm doors / 7:30pm performance<br />
<br />
'''Saturday, June 2''' -- 4pm doors / 4:33pm performance <br />
AND<br />
7pm doors / 7:30pm performance<br />
<br />
<br />
<br />
''' WK6 --'''<br />
<br />
'''Listening Room Mixing + Routing Research:'''<br />
<br />
[https://ccrma.stanford.edu/room-guides/listening-room] Listening Room User Guide]<br />
<br />
[[File:Speakers.jpg|600px]]<br />
[[File:LR_mixer.jpg|500px]]<br />
<br />
[https://ccrma.stanford.edu/software/openmixer/manual Openmixer Manual]<br />
<br />
[https://ccrma.stanford.edu/software/openmixer/manual/input_sources Input Sources]<br />
<br />
[https://ccrma.stanford.edu/software/openmixer/manual/using_jack Using Jack]<br />
<br />
<br />
'''Projection/Lighting:'''<br />
<br />
After visiting the Listening Room and looking at the infrastructure in place, I've decided not to do any screen-based projection that requires hanging additional material in the space. It will likely be a lot of work and ultimately be invasive to the experience. For now, I'd like to focus on the sound and possibly incorporate some simple caustic lighting elements. I'm considering options for reflecting light onto the grid that separates the floor from the lower level of the heptagon. This will require some sort of surface/screen that could easily be placed on the grid. I will need to be sure there is airflow so as not to cause any issues with the ventilation system which feeds into the lower level.<br />
<br />
<br />
<br />
'''To do:'''<br />
Install Max MSP/Jitter<br />
Set-up 22 Channel Routing in Max<br />
Source + Set-up RSVP Platform for Performance<br />
Contact Eoin for Listening Room Consultation <br />
Dry Ice Testing<br />
<br />
<br />
''' WK7 --'''<br />
<br />
'''Signal Routing + Listening Room Consultation:'''<br />
<br />
My new computer finally arrived and I was able to schedule some time with Eoin to test routing options in the Listening Room. I've opted to use a 16ch analog interface and Jacknet, which will magically give me access to all 22 channels. I'll need to do more specific routing in Max but was able to get a signal out of my laptop and play audio over all 22 channels with minimal head-scratching and mysterious machine behavior. Eoin is awesome. I am consistently amazed at the generosity of the CCRMA community and am so grateful to have the opportunity to interact and learn from everyone. <br />
<br />
<br />
'''Listening Room Booking + Conflicts:'''<br />
<br />
I spoke to Matt Wright about any potential overlap with SLOrk rehearsal and general usage of the Listening Room. After our conversation, it seems best to bump my performance dates back one week so as to avoid any scheduling conflicts. Matt has also been kind enough to book out the space for me overnight so I will only need to set-up and teardown once. Wooo. Yay for CCRMA peeps! <br />
<br />
<br />
'''RVSP Platform + Dates'''<br />
<br />
I've decided to use Eventbrite for RSVP distribution/tracking. I've got a draft going and am seconds away from pulling the trigger. Just need to finish up my statement about the piece, and am currently wrestling with language and an official title. So close!<br />
<br />
Friday, June 8th -- 7pm doors / 7:30pm performance<br />
Saturday, June 9th -- 4pm doors / 4:30pm performance<br />
<br />
<br />
'''Dry Ice Tests:'''<br />
<br />
Working with dry ice has been waaay more fun than I could have anticipated. With that said, I'm learning that the fun comes with a heftier fee than I originally thought... and it evaporates fairly quickly. A block of dry ice lasts for approximately 2 or 3 days at about $20 each. I've also discovered that the dry ice goes bananas until it's eaten up all of the oxygen in whatever water it's dropped into, at which point, the dry ice fizzles sadly with much less gusto. This happens fairly quickly. I think it will be fine for the performance, but it's possible I will need larger containers to house the water and dry. I've been most excited about projecting onto the dry ice and am thinking about ways to use the dry ice as the projection screen/surface for the performance. <br />
<br />
<br />
'''To do:'''<br />
Set-up Signal Routing Hierarchy in Max <br />
Publish + Distribute RVSP Invite<br />
Test Dry Ice in Listening Room<br />
Test Scent Machine in Listening Room<br />
Okay to Point Listening Room Projector Straight Down Onto Grid?<br />
Order More Fans? Dry Ice Containers / Scent Containers<br />
Edit new sounds<br />
<br />
<br />
'''WK8 --'''<br />
<br />
'''Testing + Rehearsal Findings:'''<br />
<br />
I discovered that my USB MIDI controller will not work at the same time as the USB MOTU interface I am using to route sound in the Listening Room. This is a major problem. I've contacted Eoin for advice, and am hoping that using an ethernet connection will help resolve this issue. I'm also thinking about adding a second computer into the mix, mainly because of software limitations on my new computer. I'm not sure if this is going to cause a whole heap of other headaches, but mentioned my interest to Eoin. If it seems to crazy/unreliable I'll stick with one laptop. <br />
<br />
<br />
'''Testing + Rehearsal Audio:'''<br />
<br />
[http://ssherriff.com/media/post-human_rehearsal2.mp3 Recording 1]<br />
<br />
[http://ssherriff.com/media/post-human_rehearsal.mp3 Recording 2]<br />
<br />
<br />
'''Dry Ice Testing:'''<br />
<br />
My first rounds of dry ice tests in the Listening Room proved to be somewhat unsuccessful. The ventilation system below the grid sucks all of the dry ice vapors straight down and disburses them, making it difficult to see anything interesting happening. I tried placing a container of dry ice into a secondary container with edges slightly higher than the vessel holding the dry ice. This produced some really interesting behaviors, so I'm guessing I can do something similar at a larger scale -- hopefully filling the majority of the recess in the Listening Room floor. <br />
<br />
I've been spending a good lump of time searching for containers to hold the dry ice. Whatever I use needs to be fairly large to help with the longevity of the vapors... but also not so large that it will be difficult to schlep it out of the room once the performance is over. There's also a slight chance that whatever I use to house the dry ice will be visible in some capacity, so I'm also trying to find something that is fairly simple in design... and also cheapish, since I will be covering a lot of area. I've been looking at all kinds of containers and haven't really found the right thing yet. I found something that will work, but I'm not very excited about it. <br />
<br />
For the secondary 'container' I am thinking about building out a frame that will fit inside of the heptagon. I would then line the frame with a black tarp or some sort of black fabric, leaving a few inches between the frame and the interior edge of the heptagon for air flow. <br />
<br />
Speaking of air-flow, the sound of the dry ice bubbling in the water is becoming a wonderful bonus in the soundscape of my performance. Listening to the dry ice is sort of like sitting by a babbling creek, so I could have asked for a more exciting and unexpected surprise. <br />
<br />
<br />
<br />
'''Projector Testing:''' <br />
<br />
Initially, I was thinking about using the projector that is already mounted in the Listening Room. After further examination, I realized that the throw will probably not work well for my purposes. I did some tests with one of the PICO projectors and it seems like it might work okay. It probably won't be the brightest, most vivid projection... but I think that will be okay in this case. The dry ice is awesome with even just a little bit of light on it. <br />
<br />
I bought a few small clamp mounts for any of the tiny projectors that enter into the set-up. I should be able to mount the projectors fairly easily using the rigging system in the ceiling.<br />
<br />
<br />
<br />
'''Project Statement:'''<br />
<br />
Earth frequencies are the foundation of sound-making in communication and survival for all<br />
living creatures. Insects, birds, and humans have all evolved to make sound in accordance<br />
with the landscapes in which they dwell, yet humans increasingly suffocate the soundscape,<br />
turning a blind ear to the sonic residue of industry and electromagnetic poisons.<br />
<br />
''Post-human Incursion'' is a site-specific audio/visual performance that examines how<br />
natural order might adapt soncially to human impressions on the evolution of voice across<br />
species. Through the use of spatialized and processed field recordings, ''Post-human Incursion''<br />
gestures toward a futuristic bending of familiar sonic terrain twisted by the influence of<br />
machinery. Vapors and visual, ephemeral traces are received and distributed through the<br />
guise of an oracle, channeling as a medium, the fragility of perceived realities. As a<br />
composition, Post-human Incursion is a poetic attempt to prophesize what the future may hold<br />
in relation to the expressive abilities and survival of sounding creatures on Earth. Do<br />
birds sing differently now that they are encumbered with the ruckus of industrialized human<br />
existence?''<br />
<br />
'''Friday, June 8th''' -- 7pm / doors -- 7:30pm / performance<br />
'''Saturday, June 9th''' -- 4pm / doors -- 4:30pm / performance<br />
<br />
[https://www.eventbrite.com/e/post-human-incursion-tickets-46164892436 RSVP Event Link]<br />
<br />
<br />
'''To do:'''<br />
Find door person<br />
USB MIDI controller does not currently work while running USB MOTU 16ch interface<br />
Can I use two computers -- x1 for mask / x1 for field recordings?<br />
Define performance zone / altar<br />
<br />
<br />
'''WK9 --'''<br />
<br />
'''Listening Room Tech:'''<br />
<br />
There was some mystery unplugging of a bunch of stuff in the Listening Room, which was causing some strange/inconsistent behavior. With the help and head scratching of Eoin and Nando... the mystery has been solved and things seem to be relatively stable. Phew! My MIDI controller also seems to be behaving for the most part. I've been using a power USB hub, which seems to be doing the trick, although I have a feeling the USB port on my controller is starting to get a little loose. Hopefully, it hangs in there for the performances...<br />
<br />
<br />
'''Dry Ice:'''<br />
<br />
I'm still struggling with the dry ice component of the piece. I don't think I'll be able to work at the scale I'd like, mainly due to the cost of materials. I think I've found a solution on a smaller scale, but I'm not super excited about it. Because of the scale change, it's likely I'll need to abandon the projection component. Hard to say for sure at this point, but unless some miracle ah-ha moment happens much of the visual components of the piece will be far diminished from what I would like to do in an ideal world where I'm rolling in cash and have an absorbent amount of time.<br />
<br />
<br />
'''SLOrk + Set-up:''' <br />
<br />
SLOrk moves out of the Listening Room on Wednesday evening. This means I will be able to leave things set-up and start to deal with cables and placement. In the interim, I've been doing some small lighting test and think I have a fairly simple plan for lighting including the hallway leading up to the Listening Room.<br />
<br />
<br />
'''Printed Program:''' <br />
<br />
I'm nearly finished working on a program for the performances. I think I will alter my statement to better describe all of the adjustments I've had to make and use language to indicate that it's still a work in progress. I assume it's fine to print the program at CCRMA. <br />
<br />
<br />
'''Sound:'''<br />
<br />
At this point, I'm so buried in the piece that I can no longer tell heads from tails. I've introduced a piezo as part of the altar, and have been testing various vocal utterances. Compositionally, I'm not totally sure where the piece is at or how far away I've fallen from my original intent. Currently, the piece is leaning toward something more musical than I originally imagined. I've removed the glockenspiel recording and have been working with more of a droning sound that I recorded using a synth. There's a cohesiveness to the sound, but what I've been developing is seemingly less like a soundscape even though there is an abundance of field recordings incorporated into the work. I suppose I'm feeling a little confused and could use some time away from the piece for reflection, but as is the whole shebang is feeling arbitrary and far removed... but maybe I'm too immersed in the process to see/hear it for what it is? <br />
<br />
<br />
'''To do:'''<br />
Complete Program / Print -- Do I need a code for the printer?<br />
Still trying to find a door person<br />
Lighting + Set-up<br />
Rehearsal + Testing<br />
<br />
<br />
<br />
'''WK10 --'''<br />
<br />
[[File:Performance_img2.jpg|550px]]<br />
<br />
Performance Image Courtesy of Dave Kerr<br />
<br />
[http://ssherriff.com/media/PH_perf.mov Performance Documentation]<br />
<br />
<br />
<br />
<br />
'''Voice:'''<br />
<br />
[[File:LIVE_voice1.png|550px]]<br />
<br />
[[File:LIVE_voice2.png|550px]]<br />
<br />
<br />
'''Piezo Instrument:'''<br />
<br />
[[File:LIVE_piezo.png|550px]]<br />
<br />
<br />
<br />
'''Field Recording Manipulation:''' <br />
<br />
<br />
[[File:Control_closed_active.png|550px]]<br />
<br />
<br />
[[File:Control_open.png|550px]]</div>Stephaniehttps://ccrma.stanford.edu/mediawiki/index.php?title=File:Control_active.png&diff=20997File:Control active.png2018-06-18T17:39:37Z<p>Stephanie: </p>
<hr />
<div></div>Stephaniehttps://ccrma.stanford.edu/mediawiki/index.php?title=File:Control_open.png&diff=20996File:Control open.png2018-06-18T17:39:15Z<p>Stephanie: </p>
<hr />
<div></div>Stephaniehttps://ccrma.stanford.edu/mediawiki/index.php?title=Ritualistic_Performance_System_Research&diff=20995Ritualistic Performance System Research2018-06-18T17:38:47Z<p>Stephanie: </p>
<hr />
<div><br />
[[File:Performance_img.jpg|350px]]<br />
<br />
Performance Image Courtesy of Dave Kerr<br />
<br />
<br />
''Post-human Incursion'' is a site-specific performance piece developed for the Listening Room at CCRMA. Inspired by the writing of Bernie Kraus and the work of Pauline Oliveros, the piece functions as a futuristic reflection on the evolution of sound across species, while using spacialized and manipulated field recordings to create new sonic terrain. <br />
<br />
<br />
<br />
== '''Project Overview + Development:''' ==<br />
<br />
<br />
<br />
'''Goal:'''<br />
To create a ritualistic performance system using spacialized audio signals, video, and real-time audio manipulation. <br />
<br />
<br />
'''Background:'''<br />
<br />
As part of continued research, I aim to pursue an audio/visual experience that combines spatialized field recordings, voice, video/light, and software. For this piece, I may continue to develop a proximity-based water sensor into the performance, using some sort of vessel(s), water, conductive tape, and a bare conductive microcontroller. The audio collection process will include listening, recording, and engaging with a series of natural and machine-made sounds. The piece will culminate in an audio/visual performance. <br />
<br />
<br />
'''Possible Controllers:'''<br />
<br />
[[File:water_controller.jpg|350px]]<br />
water controller prototype <br />
<br />
[[File:Mask_full.jpg|350px]]<br />
mask prototype<br />
<br />
[[File:Mask_inside.jpg|350px]]<br />
mask sensors<br />
<br />
<br />
<br />
'''WK1 -- Brainstorming + Testing'''<br />
<br />
Performance Site '''-- Listening Room'''<br />
Okay to burn / use scents? '''-- No. Issues in the past.'''<br />
Dry Ice? '''-- Could be okay. Needs ventilation.''' <br />
Max capacity in Listening Room '''-- 15-20 people'''<br />
<br />
[[File:Listening_room.jpg|350px]]<br />
<br />
<br />
'''To do:'''<br />
Bare Conductive Touch Board + Water Sensor Testing in Max <br />
Arduino code + upload to Touch Board<br />
Max MSP/Jitter + Touch Board testing<br />
Add water sensor input to video mixer patch<br />
Collect Field Recordings<br />
Fire / Machines / Energy Facility / Electrical Drone Sounds<br />
<br />
<br />
'''WK2 -- Testing + Collection'''<br />
<br />
Water Sensor Testing in Max MSP/Jitter<br />
[https://www.bareconductive.com/make/the-touch-board-maxmsp/]<br />
<br />
[[File:Bare_conductive.jpg|300px]]<br />
<br />
I managed to get data into Max from the Bare Conductive microcontroller. After a few minutes, the microcontroller seems to get overloaded and freezes. If I reload the Arduino code onto the board data starts to work in Max temporarily. This issue seems relatively consistent. My laptop also seems to be having trouble processing video and receiving data at the same time. The latency of sensor data into Max is painfully slow while video is running. Sensor response is proficient with no video processing. <br />
<br />
I will need a new laptop. This is not a surprise.<br />
<br />
<br />
'''Readings:'''<br />
<br />
<u>Keywords in Sound</u>, Chapter 15, ''Resonance'', by Veit Erlmann <br />
<br />
"...the concept of resonance, having been derived from core epistemological virtues such as intuition, observation, and experiment, names the natural mechanism governing the interaction of vibrating matter, such as strings, nerves, and air. As such, resonance is the "Other" of the self-constituting Cartesian ego as it discovers truth (of musical harmony, for instance) and reassures itself of its own existence as a thinking entity. On the other hand resonance names the very unity of body and mind that the cogitating ego must unthink before it uncovers truth."<br />
<br />
(Erlmann, page 177)<br />
<br />
<br />
<u>Keywords in Sound</u>, Chapter 17, ''Space'', by Andrew J. Eisenberg <br />
<br />
"As a phenomenon that exists at once within and beyond perceiving subjects, sound cannot but reveal social space as an artifact of material practices complexly interwoven with semiotic processes and the 'imaginations, fears, emotions, psychologies, fantasies, and dreams' that human beings bring to everything (Harvey 2006: 279; see also Lefebvre 1991)."<br />
<br />
(Eisenberg, pg 202)<br />
<br />
<br />
<u>The Soundscape: Our Sonic Environment & the Tuning of the World</u>, <br />
R. Murray Schaffer, Chapter 12, Symbolism<br />
<br />
"...water, the original life element, has the most splendid symbolism... a stream, a fountain, a river, a waterfall, the sea, each makes its unique sound but all share rich symbolism. They speak of cleansing, of purification, of refreshment, and renewal... It is symbolic of eternity... It is symbolic of change." <br />
<br />
(Schafer, page 170)<br />
<br />
<br />
"Without its tactile pressure on the face or body we cannot even tell from what direction it blows. The wind is therefore not to be trusted."<br />
<br />
(Schafer, page 170)<br />
<br />
<br />
<br />
"Modern man has sought to escape both the wind and the sea by encapsulating himself in artificial environments... The sounds of machines took on happy symbolism approximately 200 years ago, when it was realized that they could release man from his immemorial bondage to earth... power and progress... noise and power go hand in hand."<br />
<br />
(Schafer, page 178-179)<br />
<br />
<br />
'''To do:''' <br />
Research options for new laptop (2015 Macbook Pro) + Stanford support<br />
Mask controller into Max MSP/Jitter<br />
Build simple looper<br />
Edit field recordings <br />
<br />
<br />
'''WK3 -- More Testing + Collecting'''<br />
<br />
'''Simple Audio Looper Interface for Testing | Max MSP/Jitter + MIDI Controller:'''<br />
<br />
I built a simple looper patch in Max in order to start manipulating and listening to field recordings from my recent sound hunts. Lately, I've been interested in machine sounds that have similar qualities as sounds from nature... similar to how cars sound similar to the ocean, or specific electrical resonances sound like cicadas and crickets. <br />
<br />
[[File:Audio_interface.jpg|600px]]<br />
<br />
[[File:Midi_controller.jpg|600px]]<br />
<br />
[[File:audio_interface_guts.jpg|600px]]<br />
<br />
audio test -- [http://ssherriff.com/media/ritual_test.mp3]<br />
<br />
<br />
'''Readings:'''<br />
<br />
"...the wind began to funnel down from the high southern pass, gaining more forces with each passing moment... The effect wasn't a chord exactly, but rather a combination of tones, sighs, and midrange groans that played off each other, sometimes setting strange beats into resonance as they nearly matched one another in pitch... strangely dissonant. While never unpleasant, the acoustic experience was disorienting."<br />
<br />
(Kraus, pg 37)<br />
<br />
<u>The Great Animal Orchestra: Finding the Origins of Music in the World's Wild Places</u>, Bernie Kraus<br />
<br />
<br />
'''To do:''' <br />
Research 2015 Macbook Pro <br />
SLAC audio recordings<br />
Research/Source dry ice<br />
Schedule Audium visit <br />
<br />
<br />
'''WK4 --''' <br />
<br />
'''Dry Ice Safety + Costs + Storage:'''<br />
<br />
[[File:Dry_ice3.jpg|600px]]<br />
<br />
[[File:Dry ice2.jpg|600px]]<br />
<br />
[http://dryiceinfo.com/safe.htm safety]<br />
<br />
<br />
[[File:Dry ice5.jpg|550px]]<br />
<br />
[https://www.howmuchisit.org/how-much-does-dry-ice-cost/ costs]<br />
<br />
<br />
[[File:Dry_ice.jpg|600px]]<br />
<br />
[[File:Dry ice4.jpg|600px]]<br />
<br />
[http://www.eatbydate.com/other/dry-ice/ storage+]<br />
<br />
<br />
'''Searchworks Audio Finds:'''<br />
<br />
Over the past week or so, I've been reading <u>Art of Immersive Soundscapes</u> which has revitalized my interest in musique concrète. Today I spent some time digging around [http://searchworks.stanford.edu/ Searchworks] for online audio files/compilations/albums. In my hunt so far, I have found several resources that rely heavily on field recordings from nature to form audio compositions. <br />
<br />
<br />
Here are a few:<br />
<br />
[https://stanford.naxosmusiclibrary.com/catalogue/item.asp?cid=INNOVA783 ''Arctic Winds,''] Maggie Payne, 2010<br />
<br />
[https://search.alexanderstreet.com/view/work/bibliographic_entity%7Crecorded_cd%7C72954 ''Gateway Summer Sound: Abstracted Animal and Other Sounds''] Ann McMillan, 1979 <br />
<br />
[http://www.dramonline.org/albums/scott-smallwood-desert-winds-six-windblown-sound-pieces-and-other-works/player ''Desert Winds: Six Windblown Sound Pieces and Other Works,''] Scott Smallwood, 2007<br />
<br />
[https://search.alexanderstreet.com/view/work/bibliographic_entity%7Crecorded_cd%7C72140 ''Highlights of Vortex''], 1959, Smithsonian Folkways Recordings [2003]<br />
<br />
<br />
'''SLAC Site Visit:'''<br />
<br />
[[File:slac.jpg|500px]]<br />
<br />
The tour of SLAC was a bit of a disappointment, but only because I didn't fully comprehend the context of the tour. I didn't realize our MFA tour was part of a larger public tour. Unfortunately, it was nearly impossible to record an audio sample without tour-talk and human ruckus. We only visited two small areas of the facilities, which didn't really give an overall impression of the scale of the accelerometer. There were, however, some exciting/uncomfortable oscillations coming from machinery that I would like to revisit under a more sound-oriented tour of SLAC. Outside of my sound hunt, it was astounding to hear about the some of the research taking place.<br />
<br />
<br />
<br />
<br />
'''Floor Plan + Spacial Thoughts:'''<br />
<br />
[[File:LR_sketch.png|600px]]<br />
<br />
<br />
<br />
'''Light + Sound + Water Experiments:'''<br />
<br />
[http://ssherriff.com/media/wide_test.MOV]<br />
<br />
[http://ssherriff.com/media/oracle_view.MOV]<br />
<br />
[http://ssherriff.com/media/shadow_projection.MOV]<br />
<br />
<br />
<br />
'''To do:'''<br />
Visit Listening Room<br />
Contact Nando for Listening Room Orientation<br />
Contact Nette for LR keycard access<br />
Book out LR rehearsal schedule<br />
Purchase 2015 Macbook Pro<br />
<br />
<br />
'''WK5 --'''<br />
<br />
I spent this week trying to iron out logistics. I met with Nando for a Listening Room orientation and am now considering the best way to execute signal routing in the space. Nando recommended I check out the Listening Room User Manual on the CCRMA website. For now, I'm thinking I'll address each speaker individually, rather than working with ambisonics. It sounds like I'll need to use Jack to interface with my computer. Speaking of computer, I bought a laptop! It should arrive next week. I was also able to arrange keycard access to the room and am still trying to pin down scheduling for rehearsal and official performance showtimes. <br />
<br />
[[File:listening rm2 no layer.jpg|500px]]<br />
<br />
<br />
'''Possible Performance Date(s)/Times:''' <br />
<br />
'''Friday, June 1''' -- 4pm doors / 4:33pm performance<br />
OR<br />
7pm doors / 7:30pm performance<br />
<br />
'''Saturday, June 2''' -- 4pm doors / 4:33pm performance <br />
AND<br />
7pm doors / 7:30pm performance<br />
<br />
<br />
<br />
''' WK6 --'''<br />
<br />
'''Listening Room Mixing + Routing Research:'''<br />
<br />
[https://ccrma.stanford.edu/room-guides/listening-room] Listening Room User Guide]<br />
<br />
[[File:Speakers.jpg|600px]]<br />
[[File:LR_mixer.jpg|500px]]<br />
<br />
[https://ccrma.stanford.edu/software/openmixer/manual Openmixer Manual]<br />
<br />
[https://ccrma.stanford.edu/software/openmixer/manual/input_sources Input Sources]<br />
<br />
[https://ccrma.stanford.edu/software/openmixer/manual/using_jack Using Jack]<br />
<br />
<br />
'''Projection/Lighting:'''<br />
<br />
After visiting the Listening Room and looking at the infrastructure in place, I've decided not to do any screen-based projection that requires hanging additional material in the space. It will likely be a lot of work and ultimately be invasive to the experience. For now, I'd like to focus on the sound and possibly incorporate some simple caustic lighting elements. I'm considering options for reflecting light onto the grid that separates the floor from the lower level of the heptagon. This will require some sort of surface/screen that could easily be placed on the grid. I will need to be sure there is airflow so as not to cause any issues with the ventilation system which feeds into the lower level.<br />
<br />
<br />
<br />
'''To do:'''<br />
Install Max MSP/Jitter<br />
Set-up 22 Channel Routing in Max<br />
Source + Set-up RSVP Platform for Performance<br />
Contact Eoin for Listening Room Consultation <br />
Dry Ice Testing<br />
<br />
<br />
''' WK7 --'''<br />
<br />
'''Signal Routing + Listening Room Consultation:'''<br />
<br />
My new computer finally arrived and I was able to schedule some time with Eoin to test routing options in the Listening Room. I've opted to use a 16ch analog interface and Jacknet, which will magically give me access to all 22 channels. I'll need to do more specific routing in Max but was able to get a signal out of my laptop and play audio over all 22 channels with minimal head-scratching and mysterious machine behavior. Eoin is awesome. I am consistently amazed at the generosity of the CCRMA community and am so grateful to have the opportunity to interact and learn from everyone. <br />
<br />
<br />
'''Listening Room Booking + Conflicts:'''<br />
<br />
I spoke to Matt Wright about any potential overlap with SLOrk rehearsal and general usage of the Listening Room. After our conversation, it seems best to bump my performance dates back one week so as to avoid any scheduling conflicts. Matt has also been kind enough to book out the space for me overnight so I will only need to set-up and teardown once. Wooo. Yay for CCRMA peeps! <br />
<br />
<br />
'''RVSP Platform + Dates'''<br />
<br />
I've decided to use Eventbrite for RSVP distribution/tracking. I've got a draft going and am seconds away from pulling the trigger. Just need to finish up my statement about the piece, and am currently wrestling with language and an official title. So close!<br />
<br />
Friday, June 8th -- 7pm doors / 7:30pm performance<br />
Saturday, June 9th -- 4pm doors / 4:30pm performance<br />
<br />
<br />
'''Dry Ice Tests:'''<br />
<br />
Working with dry ice has been waaay more fun than I could have anticipated. With that said, I'm learning that the fun comes with a heftier fee than I originally thought... and it evaporates fairly quickly. A block of dry ice lasts for approximately 2 or 3 days at about $20 each. I've also discovered that the dry ice goes bananas until it's eaten up all of the oxygen in whatever water it's dropped into, at which point, the dry ice fizzles sadly with much less gusto. This happens fairly quickly. I think it will be fine for the performance, but it's possible I will need larger containers to house the water and dry. I've been most excited about projecting onto the dry ice and am thinking about ways to use the dry ice as the projection screen/surface for the performance. <br />
<br />
<br />
'''To do:'''<br />
Set-up Signal Routing Hierarchy in Max <br />
Publish + Distribute RVSP Invite<br />
Test Dry Ice in Listening Room<br />
Test Scent Machine in Listening Room<br />
Okay to Point Listening Room Projector Straight Down Onto Grid?<br />
Order More Fans? Dry Ice Containers / Scent Containers<br />
Edit new sounds<br />
<br />
<br />
'''WK8 --'''<br />
<br />
'''Testing + Rehearsal Findings:'''<br />
<br />
I discovered that my USB MIDI controller will not work at the same time as the USB MOTU interface I am using to route sound in the Listening Room. This is a major problem. I've contacted Eoin for advice, and am hoping that using an ethernet connection will help resolve this issue. I'm also thinking about adding a second computer into the mix, mainly because of software limitations on my new computer. I'm not sure if this is going to cause a whole heap of other headaches, but mentioned my interest to Eoin. If it seems to crazy/unreliable I'll stick with one laptop. <br />
<br />
<br />
'''Testing + Rehearsal Audio:'''<br />
<br />
[http://ssherriff.com/media/post-human_rehearsal2.mp3 Recording 1]<br />
<br />
[http://ssherriff.com/media/post-human_rehearsal.mp3 Recording 2]<br />
<br />
<br />
'''Dry Ice Testing:'''<br />
<br />
My first rounds of dry ice tests in the Listening Room proved to be somewhat unsuccessful. The ventilation system below the grid sucks all of the dry ice vapors straight down and disburses them, making it difficult to see anything interesting happening. I tried placing a container of dry ice into a secondary container with edges slightly higher than the vessel holding the dry ice. This produced some really interesting behaviors, so I'm guessing I can do something similar at a larger scale -- hopefully filling the majority of the recess in the Listening Room floor. <br />
<br />
I've been spending a good lump of time searching for containers to hold the dry ice. Whatever I use needs to be fairly large to help with the longevity of the vapors... but also not so large that it will be difficult to schlep it out of the room once the performance is over. There's also a slight chance that whatever I use to house the dry ice will be visible in some capacity, so I'm also trying to find something that is fairly simple in design... and also cheapish, since I will be covering a lot of area. I've been looking at all kinds of containers and haven't really found the right thing yet. I found something that will work, but I'm not very excited about it. <br />
<br />
For the secondary 'container' I am thinking about building out a frame that will fit inside of the heptagon. I would then line the frame with a black tarp or some sort of black fabric, leaving a few inches between the frame and the interior edge of the heptagon for air flow. <br />
<br />
Speaking of air-flow, the sound of the dry ice bubbling in the water is becoming a wonderful bonus in the soundscape of my performance. Listening to the dry ice is sort of like sitting by a babbling creek, so I could have asked for a more exciting and unexpected surprise. <br />
<br />
<br />
<br />
'''Projector Testing:''' <br />
<br />
Initially, I was thinking about using the projector that is already mounted in the Listening Room. After further examination, I realized that the throw will probably not work well for my purposes. I did some tests with one of the PICO projectors and it seems like it might work okay. It probably won't be the brightest, most vivid projection... but I think that will be okay in this case. The dry ice is awesome with even just a little bit of light on it. <br />
<br />
I bought a few small clamp mounts for any of the tiny projectors that enter into the set-up. I should be able to mount the projectors fairly easily using the rigging system in the ceiling.<br />
<br />
<br />
<br />
'''Project Statement:'''<br />
<br />
Earth frequencies are the foundation of sound-making in communication and survival for all<br />
living creatures. Insects, birds, and humans have all evolved to make sound in accordance<br />
with the landscapes in which they dwell, yet humans increasingly suffocate the soundscape,<br />
turning a blind ear to the sonic residue of industry and electromagnetic poisons.<br />
<br />
''Post-human Incursion'' is a site-specific audio/visual performance that examines how<br />
natural order might adapt soncially to human impressions on the evolution of voice across<br />
species. Through the use of spatialized and processed field recordings, ''Post-human Incursion''<br />
gestures toward a futuristic bending of familiar sonic terrain twisted by the influence of<br />
machinery. Vapors and visual, ephemeral traces are received and distributed through the<br />
guise of an oracle, channeling as a medium, the fragility of perceived realities. As a<br />
composition, Post-human Incursion is a poetic attempt to prophesize what the future may hold<br />
in relation to the expressive abilities and survival of sounding creatures on Earth. Do<br />
birds sing differently now that they are encumbered with the ruckus of industrialized human<br />
existence?''<br />
<br />
'''Friday, June 8th''' -- 7pm / doors -- 7:30pm / performance<br />
'''Saturday, June 9th''' -- 4pm / doors -- 4:30pm / performance<br />
<br />
[https://www.eventbrite.com/e/post-human-incursion-tickets-46164892436 RSVP Event Link]<br />
<br />
<br />
'''To do:'''<br />
Find door person<br />
USB MIDI controller does not currently work while running USB MOTU 16ch interface<br />
Can I use two computers -- x1 for mask / x1 for field recordings?<br />
Define performance zone / altar<br />
<br />
<br />
'''WK9 --'''<br />
<br />
'''Listening Room Tech:'''<br />
<br />
There was some mystery unplugging of a bunch of stuff in the Listening Room, which was causing some strange/inconsistent behavior. With the help and head scratching of Eoin and Nando... the mystery has been solved and things seem to be relatively stable. Phew! My MIDI controller also seems to be behaving for the most part. I've been using a power USB hub, which seems to be doing the trick, although I have a feeling the USB port on my controller is starting to get a little loose. Hopefully, it hangs in there for the performances...<br />
<br />
<br />
'''Dry Ice:'''<br />
<br />
I'm still struggling with the dry ice component of the piece. I don't think I'll be able to work at the scale I'd like, mainly due to the cost of materials. I think I've found a solution on a smaller scale, but I'm not super excited about it. Because of the scale change, it's likely I'll need to abandon the projection component. Hard to say for sure at this point, but unless some miracle ah-ha moment happens much of the visual components of the piece will be far diminished from what I would like to do in an ideal world where I'm rolling in cash and have an absorbent amount of time.<br />
<br />
<br />
'''SLOrk + Set-up:''' <br />
<br />
SLOrk moves out of the Listening Room on Wednesday evening. This means I will be able to leave things set-up and start to deal with cables and placement. In the interim, I've been doing some small lighting test and think I have a fairly simple plan for lighting including the hallway leading up to the Listening Room.<br />
<br />
<br />
'''Printed Program:''' <br />
<br />
I'm nearly finished working on a program for the performances. I think I will alter my statement to better describe all of the adjustments I've had to make and use language to indicate that it's still a work in progress. I assume it's fine to print the program at CCRMA. <br />
<br />
<br />
'''Sound:'''<br />
<br />
At this point, I'm so buried in the piece that I can no longer tell heads from tails. I've introduced a piezo as part of the altar, and have been testing various vocal utterances. Compositionally, I'm not totally sure where the piece is at or how far away I've fallen from my original intent. Currently, the piece is leaning toward something more musical than I originally imagined. I've removed the glockenspiel recording and have been working with more of a droning sound that I recorded using a synth. There's a cohesiveness to the sound, but what I've been developing is seemingly less like a soundscape even though there is an abundance of field recordings incorporated into the work. I suppose I'm feeling a little confused and could use some time away from the piece for reflection, but as is the whole shebang is feeling arbitrary and far removed... but maybe I'm too immersed in the process to see/hear it for what it is? <br />
<br />
<br />
'''To do:'''<br />
Complete Program / Print -- Do I need a code for the printer?<br />
Still trying to find a door person<br />
Lighting + Set-up<br />
Rehearsal + Testing<br />
<br />
<br />
<br />
'''WK10 --'''<br />
<br />
[[File:Performance_img2.jpg|550px]]<br />
<br />
Performance Image Courtesy of Dave Kerr<br />
<br />
[http://ssherriff.com/media/PH_perf.mov Performance Documentation]<br />
<br />
<br />
<br />
<br />
'''Voice:'''<br />
<br />
[[File:LIVE_voice1.png|550px]]<br />
<br />
[[File:LIVE_voice2.png|550px]]<br />
<br />
<br />
'''Piezo Instrument:'''<br />
<br />
[[File:LIVE_piezo.png|550px]]<br />
<br />
<br />
<br />
'''Field Recording Manipulation:''' <br />
<br />
<br />
[[File:control_active.png|550px]]<br />
<br />
<br />
[[File:control_open.png|550px]]</div>Stephaniehttps://ccrma.stanford.edu/mediawiki/index.php?title=File:LIVE_piezo.png&diff=20994File:LIVE piezo.png2018-06-18T17:28:20Z<p>Stephanie: </p>
<hr />
<div></div>Stephaniehttps://ccrma.stanford.edu/mediawiki/index.php?title=File:LIVE_voice2.png&diff=20993File:LIVE voice2.png2018-06-18T17:28:04Z<p>Stephanie: </p>
<hr />
<div></div>Stephaniehttps://ccrma.stanford.edu/mediawiki/index.php?title=File:LIVE_voice1.png&diff=20992File:LIVE voice1.png2018-06-18T17:27:37Z<p>Stephanie: </p>
<hr />
<div></div>Stephaniehttps://ccrma.stanford.edu/mediawiki/index.php?title=Ritualistic_Performance_System_Research&diff=20991Ritualistic Performance System Research2018-06-18T17:26:47Z<p>Stephanie: </p>
<hr />
<div><br />
[[File:Performance_img.jpg|350px]]<br />
<br />
Performance Image Courtesy of Dave Kerr<br />
<br />
<br />
''Post-human Incursion'' is a site-specific performance piece developed for the Listening Room at CCRMA. Inspired by the writing of Bernie Kraus and the work of Pauline Oliveros, the piece functions as a futuristic reflection on the evolution of sound across species, while using spacialized and manipulated field recordings to create new sonic terrain. <br />
<br />
<br />
<br />
== '''Project Overview + Development:''' ==<br />
<br />
<br />
<br />
'''Goal:'''<br />
To create a ritualistic performance system using spacialized audio signals, video, and real-time audio manipulation. <br />
<br />
<br />
'''Background:'''<br />
<br />
As part of continued research, I aim to pursue an audio/visual experience that combines spatialized field recordings, voice, video/light, and software. For this piece, I may continue to develop a proximity-based water sensor into the performance, using some sort of vessel(s), water, conductive tape, and a bare conductive microcontroller. The audio collection process will include listening, recording, and engaging with a series of natural and machine-made sounds. The piece will culminate in an audio/visual performance. <br />
<br />
<br />
'''Possible Controllers:'''<br />
<br />
[[File:water_controller.jpg|350px]]<br />
water controller prototype <br />
<br />
[[File:Mask_full.jpg|350px]]<br />
mask prototype<br />
<br />
[[File:Mask_inside.jpg|350px]]<br />
mask sensors<br />
<br />
<br />
<br />
'''WK1 -- Brainstorming + Testing'''<br />
<br />
Performance Site '''-- Listening Room'''<br />
Okay to burn / use scents? '''-- No. Issues in the past.'''<br />
Dry Ice? '''-- Could be okay. Needs ventilation.''' <br />
Max capacity in Listening Room '''-- 15-20 people'''<br />
<br />
[[File:Listening_room.jpg|350px]]<br />
<br />
<br />
'''To do:'''<br />
Bare Conductive Touch Board + Water Sensor Testing in Max <br />
Arduino code + upload to Touch Board<br />
Max MSP/Jitter + Touch Board testing<br />
Add water sensor input to video mixer patch<br />
Collect Field Recordings<br />
Fire / Machines / Energy Facility / Electrical Drone Sounds<br />
<br />
<br />
'''WK2 -- Testing + Collection'''<br />
<br />
Water Sensor Testing in Max MSP/Jitter<br />
[https://www.bareconductive.com/make/the-touch-board-maxmsp/]<br />
<br />
[[File:Bare_conductive.jpg|300px]]<br />
<br />
I managed to get data into Max from the Bare Conductive microcontroller. After a few minutes, the microcontroller seems to get overloaded and freezes. If I reload the Arduino code onto the board data starts to work in Max temporarily. This issue seems relatively consistent. My laptop also seems to be having trouble processing video and receiving data at the same time. The latency of sensor data into Max is painfully slow while video is running. Sensor response is proficient with no video processing. <br />
<br />
I will need a new laptop. This is not a surprise.<br />
<br />
<br />
'''Readings:'''<br />
<br />
<u>Keywords in Sound</u>, Chapter 15, ''Resonance'', by Veit Erlmann <br />
<br />
"...the concept of resonance, having been derived from core epistemological virtues such as intuition, observation, and experiment, names the natural mechanism governing the interaction of vibrating matter, such as strings, nerves, and air. As such, resonance is the "Other" of the self-constituting Cartesian ego as it discovers truth (of musical harmony, for instance) and reassures itself of its own existence as a thinking entity. On the other hand resonance names the very unity of body and mind that the cogitating ego must unthink before it uncovers truth."<br />
<br />
(Erlmann, page 177)<br />
<br />
<br />
<u>Keywords in Sound</u>, Chapter 17, ''Space'', by Andrew J. Eisenberg <br />
<br />
"As a phenomenon that exists at once within and beyond perceiving subjects, sound cannot but reveal social space as an artifact of material practices complexly interwoven with semiotic processes and the 'imaginations, fears, emotions, psychologies, fantasies, and dreams' that human beings bring to everything (Harvey 2006: 279; see also Lefebvre 1991)."<br />
<br />
(Eisenberg, pg 202)<br />
<br />
<br />
<u>The Soundscape: Our Sonic Environment & the Tuning of the World</u>, <br />
R. Murray Schaffer, Chapter 12, Symbolism<br />
<br />
"...water, the original life element, has the most splendid symbolism... a stream, a fountain, a river, a waterfall, the sea, each makes its unique sound but all share rich symbolism. They speak of cleansing, of purification, of refreshment, and renewal... It is symbolic of eternity... It is symbolic of change." <br />
<br />
(Schafer, page 170)<br />
<br />
<br />
"Without its tactile pressure on the face or body we cannot even tell from what direction it blows. The wind is therefore not to be trusted."<br />
<br />
(Schafer, page 170)<br />
<br />
<br />
<br />
"Modern man has sought to escape both the wind and the sea by encapsulating himself in artificial environments... The sounds of machines took on happy symbolism approximately 200 years ago, when it was realized that they could release man from his immemorial bondage to earth... power and progress... noise and power go hand in hand."<br />
<br />
(Schafer, page 178-179)<br />
<br />
<br />
'''To do:''' <br />
Research options for new laptop (2015 Macbook Pro) + Stanford support<br />
Mask controller into Max MSP/Jitter<br />
Build simple looper<br />
Edit field recordings <br />
<br />
<br />
'''WK3 -- More Testing + Collecting'''<br />
<br />
'''Simple Audio Looper Interface for Testing | Max MSP/Jitter + MIDI Controller:'''<br />
<br />
I built a simple looper patch in Max in order to start manipulating and listening to field recordings from my recent sound hunts. Lately, I've been interested in machine sounds that have similar qualities as sounds from nature... similar to how cars sound similar to the ocean, or specific electrical resonances sound like cicadas and crickets. <br />
<br />
[[File:Audio_interface.jpg|600px]]<br />
<br />
[[File:Midi_controller.jpg|600px]]<br />
<br />
[[File:audio_interface_guts.jpg|600px]]<br />
<br />
audio test -- [http://ssherriff.com/media/ritual_test.mp3]<br />
<br />
<br />
'''Readings:'''<br />
<br />
"...the wind began to funnel down from the high southern pass, gaining more forces with each passing moment... The effect wasn't a chord exactly, but rather a combination of tones, sighs, and midrange groans that played off each other, sometimes setting strange beats into resonance as they nearly matched one another in pitch... strangely dissonant. While never unpleasant, the acoustic experience was disorienting."<br />
<br />
(Kraus, pg 37)<br />
<br />
<u>The Great Animal Orchestra: Finding the Origins of Music in the World's Wild Places</u>, Bernie Kraus<br />
<br />
<br />
'''To do:''' <br />
Research 2015 Macbook Pro <br />
SLAC audio recordings<br />
Research/Source dry ice<br />
Schedule Audium visit <br />
<br />
<br />
'''WK4 --''' <br />
<br />
'''Dry Ice Safety + Costs + Storage:'''<br />
<br />
[[File:Dry_ice3.jpg|600px]]<br />
<br />
[[File:Dry ice2.jpg|600px]]<br />
<br />
[http://dryiceinfo.com/safe.htm safety]<br />
<br />
<br />
[[File:Dry ice5.jpg|550px]]<br />
<br />
[https://www.howmuchisit.org/how-much-does-dry-ice-cost/ costs]<br />
<br />
<br />
[[File:Dry_ice.jpg|600px]]<br />
<br />
[[File:Dry ice4.jpg|600px]]<br />
<br />
[http://www.eatbydate.com/other/dry-ice/ storage+]<br />
<br />
<br />
'''Searchworks Audio Finds:'''<br />
<br />
Over the past week or so, I've been reading <u>Art of Immersive Soundscapes</u> which has revitalized my interest in musique concrète. Today I spent some time digging around [http://searchworks.stanford.edu/ Searchworks] for online audio files/compilations/albums. In my hunt so far, I have found several resources that rely heavily on field recordings from nature to form audio compositions. <br />
<br />
<br />
Here are a few:<br />
<br />
[https://stanford.naxosmusiclibrary.com/catalogue/item.asp?cid=INNOVA783 ''Arctic Winds,''] Maggie Payne, 2010<br />
<br />
[https://search.alexanderstreet.com/view/work/bibliographic_entity%7Crecorded_cd%7C72954 ''Gateway Summer Sound: Abstracted Animal and Other Sounds''] Ann McMillan, 1979 <br />
<br />
[http://www.dramonline.org/albums/scott-smallwood-desert-winds-six-windblown-sound-pieces-and-other-works/player ''Desert Winds: Six Windblown Sound Pieces and Other Works,''] Scott Smallwood, 2007<br />
<br />
[https://search.alexanderstreet.com/view/work/bibliographic_entity%7Crecorded_cd%7C72140 ''Highlights of Vortex''], 1959, Smithsonian Folkways Recordings [2003]<br />
<br />
<br />
'''SLAC Site Visit:'''<br />
<br />
[[File:slac.jpg|500px]]<br />
<br />
The tour of SLAC was a bit of a disappointment, but only because I didn't fully comprehend the context of the tour. I didn't realize our MFA tour was part of a larger public tour. Unfortunately, it was nearly impossible to record an audio sample without tour-talk and human ruckus. We only visited two small areas of the facilities, which didn't really give an overall impression of the scale of the accelerometer. There were, however, some exciting/uncomfortable oscillations coming from machinery that I would like to revisit under a more sound-oriented tour of SLAC. Outside of my sound hunt, it was astounding to hear about the some of the research taking place.<br />
<br />
<br />
<br />
<br />
'''Floor Plan + Spacial Thoughts:'''<br />
<br />
[[File:LR_sketch.png|600px]]<br />
<br />
<br />
<br />
'''Light + Sound + Water Experiments:'''<br />
<br />
[http://ssherriff.com/media/wide_test.MOV]<br />
<br />
[http://ssherriff.com/media/oracle_view.MOV]<br />
<br />
[http://ssherriff.com/media/shadow_projection.MOV]<br />
<br />
<br />
<br />
'''To do:'''<br />
Visit Listening Room<br />
Contact Nando for Listening Room Orientation<br />
Contact Nette for LR keycard access<br />
Book out LR rehearsal schedule<br />
Purchase 2015 Macbook Pro<br />
<br />
<br />
'''WK5 --'''<br />
<br />
I spent this week trying to iron out logistics. I met with Nando for a Listening Room orientation and am now considering the best way to execute signal routing in the space. Nando recommended I check out the Listening Room User Manual on the CCRMA website. For now, I'm thinking I'll address each speaker individually, rather than working with ambisonics. It sounds like I'll need to use Jack to interface with my computer. Speaking of computer, I bought a laptop! It should arrive next week. I was also able to arrange keycard access to the room and am still trying to pin down scheduling for rehearsal and official performance showtimes. <br />
<br />
[[File:listening rm2 no layer.jpg|500px]]<br />
<br />
<br />
'''Possible Performance Date(s)/Times:''' <br />
<br />
'''Friday, June 1''' -- 4pm doors / 4:33pm performance<br />
OR<br />
7pm doors / 7:30pm performance<br />
<br />
'''Saturday, June 2''' -- 4pm doors / 4:33pm performance <br />
AND<br />
7pm doors / 7:30pm performance<br />
<br />
<br />
<br />
''' WK6 --'''<br />
<br />
'''Listening Room Mixing + Routing Research:'''<br />
<br />
[https://ccrma.stanford.edu/room-guides/listening-room] Listening Room User Guide]<br />
<br />
[[File:Speakers.jpg|600px]]<br />
[[File:LR_mixer.jpg|500px]]<br />
<br />
[https://ccrma.stanford.edu/software/openmixer/manual Openmixer Manual]<br />
<br />
[https://ccrma.stanford.edu/software/openmixer/manual/input_sources Input Sources]<br />
<br />
[https://ccrma.stanford.edu/software/openmixer/manual/using_jack Using Jack]<br />
<br />
<br />
'''Projection/Lighting:'''<br />
<br />
After visiting the Listening Room and looking at the infrastructure in place, I've decided not to do any screen-based projection that requires hanging additional material in the space. It will likely be a lot of work and ultimately be invasive to the experience. For now, I'd like to focus on the sound and possibly incorporate some simple caustic lighting elements. I'm considering options for reflecting light onto the grid that separates the floor from the lower level of the heptagon. This will require some sort of surface/screen that could easily be placed on the grid. I will need to be sure there is airflow so as not to cause any issues with the ventilation system which feeds into the lower level.<br />
<br />
<br />
<br />
'''To do:'''<br />
Install Max MSP/Jitter<br />
Set-up 22 Channel Routing in Max<br />
Source + Set-up RSVP Platform for Performance<br />
Contact Eoin for Listening Room Consultation <br />
Dry Ice Testing<br />
<br />
<br />
''' WK7 --'''<br />
<br />
'''Signal Routing + Listening Room Consultation:'''<br />
<br />
My new computer finally arrived and I was able to schedule some time with Eoin to test routing options in the Listening Room. I've opted to use a 16ch analog interface and Jacknet, which will magically give me access to all 22 channels. I'll need to do more specific routing in Max but was able to get a signal out of my laptop and play audio over all 22 channels with minimal head-scratching and mysterious machine behavior. Eoin is awesome. I am consistently amazed at the generosity of the CCRMA community and am so grateful to have the opportunity to interact and learn from everyone. <br />
<br />
<br />
'''Listening Room Booking + Conflicts:'''<br />
<br />
I spoke to Matt Wright about any potential overlap with SLOrk rehearsal and general usage of the Listening Room. After our conversation, it seems best to bump my performance dates back one week so as to avoid any scheduling conflicts. Matt has also been kind enough to book out the space for me overnight so I will only need to set-up and teardown once. Wooo. Yay for CCRMA peeps! <br />
<br />
<br />
'''RVSP Platform + Dates'''<br />
<br />
I've decided to use Eventbrite for RSVP distribution/tracking. I've got a draft going and am seconds away from pulling the trigger. Just need to finish up my statement about the piece, and am currently wrestling with language and an official title. So close!<br />
<br />
Friday, June 8th -- 7pm doors / 7:30pm performance<br />
Saturday, June 9th -- 4pm doors / 4:30pm performance<br />
<br />
<br />
'''Dry Ice Tests:'''<br />
<br />
Working with dry ice has been waaay more fun than I could have anticipated. With that said, I'm learning that the fun comes with a heftier fee than I originally thought... and it evaporates fairly quickly. A block of dry ice lasts for approximately 2 or 3 days at about $20 each. I've also discovered that the dry ice goes bananas until it's eaten up all of the oxygen in whatever water it's dropped into, at which point, the dry ice fizzles sadly with much less gusto. This happens fairly quickly. I think it will be fine for the performance, but it's possible I will need larger containers to house the water and dry. I've been most excited about projecting onto the dry ice and am thinking about ways to use the dry ice as the projection screen/surface for the performance. <br />
<br />
<br />
'''To do:'''<br />
Set-up Signal Routing Hierarchy in Max <br />
Publish + Distribute RVSP Invite<br />
Test Dry Ice in Listening Room<br />
Test Scent Machine in Listening Room<br />
Okay to Point Listening Room Projector Straight Down Onto Grid?<br />
Order More Fans? Dry Ice Containers / Scent Containers<br />
Edit new sounds<br />
<br />
<br />
'''WK8 --'''<br />
<br />
'''Testing + Rehearsal Findings:'''<br />
<br />
I discovered that my USB MIDI controller will not work at the same time as the USB MOTU interface I am using to route sound in the Listening Room. This is a major problem. I've contacted Eoin for advice, and am hoping that using an ethernet connection will help resolve this issue. I'm also thinking about adding a second computer into the mix, mainly because of software limitations on my new computer. I'm not sure if this is going to cause a whole heap of other headaches, but mentioned my interest to Eoin. If it seems to crazy/unreliable I'll stick with one laptop. <br />
<br />
<br />
'''Testing + Rehearsal Audio:'''<br />
<br />
[http://ssherriff.com/media/post-human_rehearsal2.mp3 Recording 1]<br />
<br />
[http://ssherriff.com/media/post-human_rehearsal.mp3 Recording 2]<br />
<br />
<br />
'''Dry Ice Testing:'''<br />
<br />
My first rounds of dry ice tests in the Listening Room proved to be somewhat unsuccessful. The ventilation system below the grid sucks all of the dry ice vapors straight down and disburses them, making it difficult to see anything interesting happening. I tried placing a container of dry ice into a secondary container with edges slightly higher than the vessel holding the dry ice. This produced some really interesting behaviors, so I'm guessing I can do something similar at a larger scale -- hopefully filling the majority of the recess in the Listening Room floor. <br />
<br />
I've been spending a good lump of time searching for containers to hold the dry ice. Whatever I use needs to be fairly large to help with the longevity of the vapors... but also not so large that it will be difficult to schlep it out of the room once the performance is over. There's also a slight chance that whatever I use to house the dry ice will be visible in some capacity, so I'm also trying to find something that is fairly simple in design... and also cheapish, since I will be covering a lot of area. I've been looking at all kinds of containers and haven't really found the right thing yet. I found something that will work, but I'm not very excited about it. <br />
<br />
For the secondary 'container' I am thinking about building out a frame that will fit inside of the heptagon. I would then line the frame with a black tarp or some sort of black fabric, leaving a few inches between the frame and the interior edge of the heptagon for air flow. <br />
<br />
Speaking of air-flow, the sound of the dry ice bubbling in the water is becoming a wonderful bonus in the soundscape of my performance. Listening to the dry ice is sort of like sitting by a babbling creek, so I could have asked for a more exciting and unexpected surprise. <br />
<br />
<br />
<br />
'''Projector Testing:''' <br />
<br />
Initially, I was thinking about using the projector that is already mounted in the Listening Room. After further examination, I realized that the throw will probably not work well for my purposes. I did some tests with one of the PICO projectors and it seems like it might work okay. It probably won't be the brightest, most vivid projection... but I think that will be okay in this case. The dry ice is awesome with even just a little bit of light on it. <br />
<br />
I bought a few small clamp mounts for any of the tiny projectors that enter into the set-up. I should be able to mount the projectors fairly easily using the rigging system in the ceiling.<br />
<br />
<br />
<br />
'''Project Statement:'''<br />
<br />
Earth frequencies are the foundation of sound-making in communication and survival for all<br />
living creatures. Insects, birds, and humans have all evolved to make sound in accordance<br />
with the landscapes in which they dwell, yet humans increasingly suffocate the soundscape,<br />
turning a blind ear to the sonic residue of industry and electromagnetic poisons.<br />
<br />
''Post-human Incursion'' is a site-specific audio/visual performance that examines how<br />
natural order might adapt soncially to human impressions on the evolution of voice across<br />
species. Through the use of spatialized and processed field recordings, ''Post-human Incursion''<br />
gestures toward a futuristic bending of familiar sonic terrain twisted by the influence of<br />
machinery. Vapors and visual, ephemeral traces are received and distributed through the<br />
guise of an oracle, channeling as a medium, the fragility of perceived realities. As a<br />
composition, Post-human Incursion is a poetic attempt to prophesize what the future may hold<br />
in relation to the expressive abilities and survival of sounding creatures on Earth. Do<br />
birds sing differently now that they are encumbered with the ruckus of industrialized human<br />
existence?''<br />
<br />
'''Friday, June 8th''' -- 7pm / doors -- 7:30pm / performance<br />
'''Saturday, June 9th''' -- 4pm / doors -- 4:30pm / performance<br />
<br />
[https://www.eventbrite.com/e/post-human-incursion-tickets-46164892436 RSVP Event Link]<br />
<br />
<br />
'''To do:'''<br />
Find door person<br />
USB MIDI controller does not currently work while running USB MOTU 16ch interface<br />
Can I use two computers -- x1 for mask / x1 for field recordings?<br />
Define performance zone / altar<br />
<br />
<br />
'''WK9 --'''<br />
<br />
'''Listening Room Tech:'''<br />
<br />
There was some mystery unplugging of a bunch of stuff in the Listening Room, which was causing some strange/inconsistent behavior. With the help and head scratching of Eoin and Nando... the mystery has been solved and things seem to be relatively stable. Phew! My MIDI controller also seems to be behaving for the most part. I've been using a power USB hub, which seems to be doing the trick, although I have a feeling the USB port on my controller is starting to get a little loose. Hopefully, it hangs in there for the performances...<br />
<br />
<br />
'''Dry Ice:'''<br />
<br />
I'm still struggling with the dry ice component of the piece. I don't think I'll be able to work at the scale I'd like, mainly due to the cost of materials. I think I've found a solution on a smaller scale, but I'm not super excited about it. Because of the scale change, it's likely I'll need to abandon the projection component. Hard to say for sure at this point, but unless some miracle ah-ha moment happens much of the visual components of the piece will be far diminished from what I would like to do in an ideal world where I'm rolling in cash and have an absorbent amount of time.<br />
<br />
<br />
'''SLOrk + Set-up:''' <br />
<br />
SLOrk moves out of the Listening Room on Wednesday evening. This means I will be able to leave things set-up and start to deal with cables and placement. In the interim, I've been doing some small lighting test and think I have a fairly simple plan for lighting including the hallway leading up to the Listening Room.<br />
<br />
<br />
'''Printed Program:''' <br />
<br />
I'm nearly finished working on a program for the performances. I think I will alter my statement to better describe all of the adjustments I've had to make and use language to indicate that it's still a work in progress. I assume it's fine to print the program at CCRMA. <br />
<br />
<br />
'''Sound:'''<br />
<br />
At this point, I'm so buried in the piece that I can no longer tell heads from tails. I've introduced a piezo as part of the altar, and have been testing various vocal utterances. Compositionally, I'm not totally sure where the piece is at or how far away I've fallen from my original intent. Currently, the piece is leaning toward something more musical than I originally imagined. I've removed the glockenspiel recording and have been working with more of a droning sound that I recorded using a synth. There's a cohesiveness to the sound, but what I've been developing is seemingly less like a soundscape even though there is an abundance of field recordings incorporated into the work. I suppose I'm feeling a little confused and could use some time away from the piece for reflection, but as is the whole shebang is feeling arbitrary and far removed... but maybe I'm too immersed in the process to see/hear it for what it is? <br />
<br />
<br />
'''To do:'''<br />
Complete Program / Print -- Do I need a code for the printer?<br />
Still trying to find a door person<br />
Lighting + Set-up<br />
Rehearsal + Testing<br />
<br />
<br />
<br />
'''WK10 --'''<br />
<br />
[[File:Performance_img2.jpg|350px]]<br />
<br />
<br />
'''Voice:'''<br />
<br />
[[File:LIVE_voice1.jpg|350px]]<br />
<br />
[[File:LIVE_voice2.jpg|350px]]<br />
<br />
<br />
'''Piezo Instrument:'''<br />
<br />
[[File:LIVE_piezo.jpg|350px]]</div>Stephaniehttps://ccrma.stanford.edu/mediawiki/index.php?title=Ritualistic_Performance_System_Research&diff=20990Ritualistic Performance System Research2018-06-18T17:11:49Z<p>Stephanie: </p>
<hr />
<div><br />
[[File:Performance_img.jpg|350px]]<br />
<br />
Performance Image Courtesy of Dave Kerr<br />
<br />
<br />
''Post-human Incursion'' is a site-specific performance piece developed for the Listening Room at CCRMA. Inspired by the writing of Bernie Kraus and the work of Pauline Oliveros, the piece functions as a futuristic reflection on the evolution of sound across species, while using spacialized and manipulated field recordings to create new sonic terrain. <br />
<br />
<br />
<br />
== '''Project Overview + Development:''' ==<br />
<br />
<br />
<br />
'''Goal:'''<br />
To create a ritualistic performance system using spacialized audio signals, video, and real-time audio manipulation. <br />
<br />
<br />
'''Background:'''<br />
<br />
As part of continued research, I aim to pursue an audio/visual experience that combines spatialized field recordings, voice, video/light, and software. For this piece, I may continue to develop a proximity-based water sensor into the performance, using some sort of vessel(s), water, conductive tape, and a bare conductive microcontroller. The audio collection process will include listening, recording, and engaging with a series of natural and machine-made sounds. The piece will culminate in an audio/visual performance. <br />
<br />
<br />
'''Possible Controllers:'''<br />
<br />
[[File:water_controller.jpg|350px]]<br />
water controller prototype <br />
<br />
[[File:Mask_full.jpg|350px]]<br />
mask prototype<br />
<br />
[[File:Mask_inside.jpg|350px]]<br />
mask sensors<br />
<br />
<br />
<br />
'''WK1 -- Brainstorming + Testing'''<br />
<br />
Performance Site '''-- Listening Room'''<br />
Okay to burn / use scents? '''-- No. Issues in the past.'''<br />
Dry Ice? '''-- Could be okay. Needs ventilation.''' <br />
Max capacity in Listening Room '''-- 15-20 people'''<br />
<br />
[[File:Listening_room.jpg|350px]]<br />
<br />
<br />
'''To do:'''<br />
Bare Conductive Touch Board + Water Sensor Testing in Max <br />
Arduino code + upload to Touch Board<br />
Max MSP/Jitter + Touch Board testing<br />
Add water sensor input to video mixer patch<br />
Collect Field Recordings<br />
Fire / Machines / Energy Facility / Electrical Drone Sounds<br />
<br />
<br />
'''WK2 -- Testing + Collection'''<br />
<br />
Water Sensor Testing in Max MSP/Jitter<br />
[https://www.bareconductive.com/make/the-touch-board-maxmsp/]<br />
<br />
[[File:Bare_conductive.jpg|300px]]<br />
<br />
I managed to get data into Max from the Bare Conductive microcontroller. After a few minutes, the microcontroller seems to get overloaded and freezes. If I reload the Arduino code onto the board data starts to work in Max temporarily. This issue seems relatively consistent. My laptop also seems to be having trouble processing video and receiving data at the same time. The latency of sensor data into Max is painfully slow while video is running. Sensor response is proficient with no video processing. <br />
<br />
I will need a new laptop. This is not a surprise.<br />
<br />
<br />
'''Readings:'''<br />
<br />
<u>Keywords in Sound</u>, Chapter 15, ''Resonance'', by Veit Erlmann <br />
<br />
"...the concept of resonance, having been derived from core epistemological virtues such as intuition, observation, and experiment, names the natural mechanism governing the interaction of vibrating matter, such as strings, nerves, and air. As such, resonance is the "Other" of the self-constituting Cartesian ego as it discovers truth (of musical harmony, for instance) and reassures itself of its own existence as a thinking entity. On the other hand resonance names the very unity of body and mind that the cogitating ego must unthink before it uncovers truth."<br />
<br />
(Erlmann, page 177)<br />
<br />
<br />
<u>Keywords in Sound</u>, Chapter 17, ''Space'', by Andrew J. Eisenberg <br />
<br />
"As a phenomenon that exists at once within and beyond perceiving subjects, sound cannot but reveal social space as an artifact of material practices complexly interwoven with semiotic processes and the 'imaginations, fears, emotions, psychologies, fantasies, and dreams' that human beings bring to everything (Harvey 2006: 279; see also Lefebvre 1991)."<br />
<br />
(Eisenberg, pg 202)<br />
<br />
<br />
<u>The Soundscape: Our Sonic Environment & the Tuning of the World</u>, <br />
R. Murray Schaffer, Chapter 12, Symbolism<br />
<br />
"...water, the original life element, has the most splendid symbolism... a stream, a fountain, a river, a waterfall, the sea, each makes its unique sound but all share rich symbolism. They speak of cleansing, of purification, of refreshment, and renewal... It is symbolic of eternity... It is symbolic of change." <br />
<br />
(Schafer, page 170)<br />
<br />
<br />
"Without its tactile pressure on the face or body we cannot even tell from what direction it blows. The wind is therefore not to be trusted."<br />
<br />
(Schafer, page 170)<br />
<br />
<br />
<br />
"Modern man has sought to escape both the wind and the sea by encapsulating himself in artificial environments... The sounds of machines took on happy symbolism approximately 200 years ago, when it was realized that they could release man from his immemorial bondage to earth... power and progress... noise and power go hand in hand."<br />
<br />
(Schafer, page 178-179)<br />
<br />
<br />
'''To do:''' <br />
Research options for new laptop (2015 Macbook Pro) + Stanford support<br />
Mask controller into Max MSP/Jitter<br />
Build simple looper<br />
Edit field recordings <br />
<br />
<br />
'''WK3 -- More Testing + Collecting'''<br />
<br />
'''Simple Audio Looper Interface for Testing | Max MSP/Jitter + MIDI Controller:'''<br />
<br />
I built a simple looper patch in Max in order to start manipulating and listening to field recordings from my recent sound hunts. Lately, I've been interested in machine sounds that have similar qualities as sounds from nature... similar to how cars sound similar to the ocean, or specific electrical resonances sound like cicadas and crickets. <br />
<br />
[[File:Audio_interface.jpg|600px]]<br />
<br />
[[File:Midi_controller.jpg|600px]]<br />
<br />
[[File:audio_interface_guts.jpg|600px]]<br />
<br />
audio test -- [http://ssherriff.com/media/ritual_test.mp3]<br />
<br />
<br />
'''Readings:'''<br />
<br />
"...the wind began to funnel down from the high southern pass, gaining more forces with each passing moment... The effect wasn't a chord exactly, but rather a combination of tones, sighs, and midrange groans that played off each other, sometimes setting strange beats into resonance as they nearly matched one another in pitch... strangely dissonant. While never unpleasant, the acoustic experience was disorienting."<br />
<br />
(Kraus, pg 37)<br />
<br />
<u>The Great Animal Orchestra: Finding the Origins of Music in the World's Wild Places</u>, Bernie Kraus<br />
<br />
<br />
'''To do:''' <br />
Research 2015 Macbook Pro <br />
SLAC audio recordings<br />
Research/Source dry ice<br />
Schedule Audium visit <br />
<br />
<br />
'''WK4 --''' <br />
<br />
'''Dry Ice Safety + Costs + Storage:'''<br />
<br />
[[File:Dry_ice3.jpg|600px]]<br />
<br />
[[File:Dry ice2.jpg|600px]]<br />
<br />
[http://dryiceinfo.com/safe.htm safety]<br />
<br />
<br />
[[File:Dry ice5.jpg|550px]]<br />
<br />
[https://www.howmuchisit.org/how-much-does-dry-ice-cost/ costs]<br />
<br />
<br />
[[File:Dry_ice.jpg|600px]]<br />
<br />
[[File:Dry ice4.jpg|600px]]<br />
<br />
[http://www.eatbydate.com/other/dry-ice/ storage+]<br />
<br />
<br />
'''Searchworks Audio Finds:'''<br />
<br />
Over the past week or so, I've been reading <u>Art of Immersive Soundscapes</u> which has revitalized my interest in musique concrète. Today I spent some time digging around [http://searchworks.stanford.edu/ Searchworks] for online audio files/compilations/albums. In my hunt so far, I have found several resources that rely heavily on field recordings from nature to form audio compositions. <br />
<br />
<br />
Here are a few:<br />
<br />
[https://stanford.naxosmusiclibrary.com/catalogue/item.asp?cid=INNOVA783 ''Arctic Winds,''] Maggie Payne, 2010<br />
<br />
[https://search.alexanderstreet.com/view/work/bibliographic_entity%7Crecorded_cd%7C72954 ''Gateway Summer Sound: Abstracted Animal and Other Sounds''] Ann McMillan, 1979 <br />
<br />
[http://www.dramonline.org/albums/scott-smallwood-desert-winds-six-windblown-sound-pieces-and-other-works/player ''Desert Winds: Six Windblown Sound Pieces and Other Works,''] Scott Smallwood, 2007<br />
<br />
[https://search.alexanderstreet.com/view/work/bibliographic_entity%7Crecorded_cd%7C72140 ''Highlights of Vortex''], 1959, Smithsonian Folkways Recordings [2003]<br />
<br />
<br />
'''SLAC Site Visit:'''<br />
<br />
[[File:slac.jpg|500px]]<br />
<br />
The tour of SLAC was a bit of a disappointment, but only because I didn't fully comprehend the context of the tour. I didn't realize our MFA tour was part of a larger public tour. Unfortunately, it was nearly impossible to record an audio sample without tour-talk and human ruckus. We only visited two small areas of the facilities, which didn't really give an overall impression of the scale of the accelerometer. There were, however, some exciting/uncomfortable oscillations coming from machinery that I would like to revisit under a more sound-oriented tour of SLAC. Outside of my sound hunt, it was astounding to hear about the some of the research taking place.<br />
<br />
<br />
<br />
<br />
'''Floor Plan + Spacial Thoughts:'''<br />
<br />
[[File:LR_sketch.png|600px]]<br />
<br />
<br />
<br />
'''Light + Sound + Water Experiments:'''<br />
<br />
[http://ssherriff.com/media/wide_test.MOV]<br />
<br />
[http://ssherriff.com/media/oracle_view.MOV]<br />
<br />
[http://ssherriff.com/media/shadow_projection.MOV]<br />
<br />
<br />
<br />
'''To do:'''<br />
Visit Listening Room<br />
Contact Nando for Listening Room Orientation<br />
Contact Nette for LR keycard access<br />
Book out LR rehearsal schedule<br />
Purchase 2015 Macbook Pro<br />
<br />
<br />
'''WK5 --'''<br />
<br />
I spent this week trying to iron out logistics. I met with Nando for a Listening Room orientation and am now considering the best way to execute signal routing in the space. Nando recommended I check out the Listening Room User Manual on the CCRMA website. For now, I'm thinking I'll address each speaker individually, rather than working with ambisonics. It sounds like I'll need to use Jack to interface with my computer. Speaking of computer, I bought a laptop! It should arrive next week. I was also able to arrange keycard access to the room and am still trying to pin down scheduling for rehearsal and official performance showtimes. <br />
<br />
[[File:listening rm2 no layer.jpg|500px]]<br />
<br />
<br />
'''Possible Performance Date(s)/Times:''' <br />
<br />
'''Friday, June 1''' -- 4pm doors / 4:33pm performance<br />
OR<br />
7pm doors / 7:30pm performance<br />
<br />
'''Saturday, June 2''' -- 4pm doors / 4:33pm performance <br />
AND<br />
7pm doors / 7:30pm performance<br />
<br />
<br />
<br />
''' WK6 --'''<br />
<br />
'''Listening Room Mixing + Routing Research:'''<br />
<br />
[https://ccrma.stanford.edu/room-guides/listening-room] Listening Room User Guide]<br />
<br />
[[File:Speakers.jpg|600px]]<br />
[[File:LR_mixer.jpg|500px]]<br />
<br />
[https://ccrma.stanford.edu/software/openmixer/manual Openmixer Manual]<br />
<br />
[https://ccrma.stanford.edu/software/openmixer/manual/input_sources Input Sources]<br />
<br />
[https://ccrma.stanford.edu/software/openmixer/manual/using_jack Using Jack]<br />
<br />
<br />
'''Projection/Lighting:'''<br />
<br />
After visiting the Listening Room and looking at the infrastructure in place, I've decided not to do any screen-based projection that requires hanging additional material in the space. It will likely be a lot of work and ultimately be invasive to the experience. For now, I'd like to focus on the sound and possibly incorporate some simple caustic lighting elements. I'm considering options for reflecting light onto the grid that separates the floor from the lower level of the heptagon. This will require some sort of surface/screen that could easily be placed on the grid. I will need to be sure there is airflow so as not to cause any issues with the ventilation system which feeds into the lower level.<br />
<br />
<br />
<br />
'''To do:'''<br />
Install Max MSP/Jitter<br />
Set-up 22 Channel Routing in Max<br />
Source + Set-up RSVP Platform for Performance<br />
Contact Eoin for Listening Room Consultation <br />
Dry Ice Testing<br />
<br />
<br />
''' WK7 --'''<br />
<br />
'''Signal Routing + Listening Room Consultation:'''<br />
<br />
My new computer finally arrived and I was able to schedule some time with Eoin to test routing options in the Listening Room. I've opted to use a 16ch analog interface and Jacknet, which will magically give me access to all 22 channels. I'll need to do more specific routing in Max but was able to get a signal out of my laptop and play audio over all 22 channels with minimal head-scratching and mysterious machine behavior. Eoin is awesome. I am consistently amazed at the generosity of the CCRMA community and am so grateful to have the opportunity to interact and learn from everyone. <br />
<br />
<br />
'''Listening Room Booking + Conflicts:'''<br />
<br />
I spoke to Matt Wright about any potential overlap with SLOrk rehearsal and general usage of the Listening Room. After our conversation, it seems best to bump my performance dates back one week so as to avoid any scheduling conflicts. Matt has also been kind enough to book out the space for me overnight so I will only need to set-up and teardown once. Wooo. Yay for CCRMA peeps! <br />
<br />
<br />
'''RVSP Platform + Dates'''<br />
<br />
I've decided to use Eventbrite for RSVP distribution/tracking. I've got a draft going and am seconds away from pulling the trigger. Just need to finish up my statement about the piece, and am currently wrestling with language and an official title. So close!<br />
<br />
Friday, June 8th -- 7pm doors / 7:30pm performance<br />
Saturday, June 9th -- 4pm doors / 4:30pm performance<br />
<br />
<br />
'''Dry Ice Tests:'''<br />
<br />
Working with dry ice has been waaay more fun than I could have anticipated. With that said, I'm learning that the fun comes with a heftier fee than I originally thought... and it evaporates fairly quickly. A block of dry ice lasts for approximately 2 or 3 days at about $20 each. I've also discovered that the dry ice goes bananas until it's eaten up all of the oxygen in whatever water it's dropped into, at which point, the dry ice fizzles sadly with much less gusto. This happens fairly quickly. I think it will be fine for the performance, but it's possible I will need larger containers to house the water and dry. I've been most excited about projecting onto the dry ice and am thinking about ways to use the dry ice as the projection screen/surface for the performance. <br />
<br />
<br />
'''To do:'''<br />
Set-up Signal Routing Hierarchy in Max <br />
Publish + Distribute RVSP Invite<br />
Test Dry Ice in Listening Room<br />
Test Scent Machine in Listening Room<br />
Okay to Point Listening Room Projector Straight Down Onto Grid?<br />
Order More Fans? Dry Ice Containers / Scent Containers<br />
Edit new sounds<br />
<br />
<br />
'''WK8 --'''<br />
<br />
'''Testing + Rehearsal Findings:'''<br />
<br />
I discovered that my USB MIDI controller will not work at the same time as the USB MOTU interface I am using to route sound in the Listening Room. This is a major problem. I've contacted Eoin for advice, and am hoping that using an ethernet connection will help resolve this issue. I'm also thinking about adding a second computer into the mix, mainly because of software limitations on my new computer. I'm not sure if this is going to cause a whole heap of other headaches, but mentioned my interest to Eoin. If it seems to crazy/unreliable I'll stick with one laptop. <br />
<br />
<br />
'''Testing + Rehearsal Audio:'''<br />
<br />
[http://ssherriff.com/media/post-human_rehearsal2.mp3 Recording 1]<br />
<br />
[http://ssherriff.com/media/post-human_rehearsal.mp3 Recording 2]<br />
<br />
<br />
'''Dry Ice Testing:'''<br />
<br />
My first rounds of dry ice tests in the Listening Room proved to be somewhat unsuccessful. The ventilation system below the grid sucks all of the dry ice vapors straight down and disburses them, making it difficult to see anything interesting happening. I tried placing a container of dry ice into a secondary container with edges slightly higher than the vessel holding the dry ice. This produced some really interesting behaviors, so I'm guessing I can do something similar at a larger scale -- hopefully filling the majority of the recess in the Listening Room floor. <br />
<br />
I've been spending a good lump of time searching for containers to hold the dry ice. Whatever I use needs to be fairly large to help with the longevity of the vapors... but also not so large that it will be difficult to schlep it out of the room once the performance is over. There's also a slight chance that whatever I use to house the dry ice will be visible in some capacity, so I'm also trying to find something that is fairly simple in design... and also cheapish, since I will be covering a lot of area. I've been looking at all kinds of containers and haven't really found the right thing yet. I found something that will work, but I'm not very excited about it. <br />
<br />
For the secondary 'container' I am thinking about building out a frame that will fit inside of the heptagon. I would then line the frame with a black tarp or some sort of black fabric, leaving a few inches between the frame and the interior edge of the heptagon for air flow. <br />
<br />
Speaking of air-flow, the sound of the dry ice bubbling in the water is becoming a wonderful bonus in the soundscape of my performance. Listening to the dry ice is sort of like sitting by a babbling creek, so I could have asked for a more exciting and unexpected surprise. <br />
<br />
<br />
<br />
'''Projector Testing:''' <br />
<br />
Initially, I was thinking about using the projector that is already mounted in the Listening Room. After further examination, I realized that the throw will probably not work well for my purposes. I did some tests with one of the PICO projectors and it seems like it might work okay. It probably won't be the brightest, most vivid projection... but I think that will be okay in this case. The dry ice is awesome with even just a little bit of light on it. <br />
<br />
I bought a few small clamp mounts for any of the tiny projectors that enter into the set-up. I should be able to mount the projectors fairly easily using the rigging system in the ceiling.<br />
<br />
<br />
<br />
'''Project Statement:'''<br />
<br />
Earth frequencies are the foundation of sound-making in communication and survival for all<br />
living creatures. Insects, birds, and humans have all evolved to make sound in accordance<br />
with the landscapes in which they dwell, yet humans increasingly suffocate the soundscape,<br />
turning a blind ear to the sonic residue of industry and electromagnetic poisons.<br />
<br />
''Post-human Incursion'' is a site-specific audio/visual performance that examines how<br />
natural order might adapt soncially to human impressions on the evolution of voice across<br />
species. Through the use of spatialized and processed field recordings, ''Post-human Incursion''<br />
gestures toward a futuristic bending of familiar sonic terrain twisted by the influence of<br />
machinery. Vapors and visual, ephemeral traces are received and distributed through the<br />
guise of an oracle, channeling as a medium, the fragility of perceived realities. As a<br />
composition, Post-human Incursion is a poetic attempt to prophesize what the future may hold<br />
in relation to the expressive abilities and survival of sounding creatures on Earth. Do<br />
birds sing differently now that they are encumbered with the ruckus of industrialized human<br />
existence?''<br />
<br />
'''Friday, June 8th''' -- 7pm / doors -- 7:30pm / performance<br />
'''Saturday, June 9th''' -- 4pm / doors -- 4:30pm / performance<br />
<br />
[https://www.eventbrite.com/e/post-human-incursion-tickets-46164892436 RSVP Event Link]<br />
<br />
<br />
'''To do:'''<br />
Find door person<br />
USB MIDI controller does not currently work while running USB MOTU 16ch interface<br />
Can I use two computers -- x1 for mask / x1 for field recordings?<br />
Define performance zone / altar<br />
<br />
<br />
'''WK9 --'''<br />
<br />
'''Listening Room Tech:'''<br />
<br />
There was some mystery unplugging of a bunch of stuff in the Listening Room, which was causing some strange/inconsistent behavior. With the help and head scratching of Eoin and Nando... the mystery has been solved and things seem to be relatively stable. Phew! My MIDI controller also seems to be behaving for the most part. I've been using a power USB hub, which seems to be doing the trick, although I have a feeling the USB port on my controller is starting to get a little loose. Hopefully, it hangs in there for the performances...<br />
<br />
<br />
'''Dry Ice:'''<br />
<br />
I'm still struggling with the dry ice component of the piece. I don't think I'll be able to work at the scale I'd like, mainly due to the cost of materials. I think I've found a solution on a smaller scale, but I'm not super excited about it. Because of the scale change, it's likely I'll need to abandon the projection component. Hard to say for sure at this point, but unless some miracle ah-ha moment happens much of the visual components of the piece will be far diminished from what I would like to do in an ideal world where I'm rolling in cash and have an absorbent amount of time.<br />
<br />
<br />
'''SLOrk + Set-up:''' <br />
<br />
SLOrk moves out of the Listening Room on Wednesday evening. This means I will be able to leave things set-up and start to deal with cables and placement. In the interim, I've been doing some small lighting test and think I have a fairly simple plan for lighting including the hallway leading up to the Listening Room.<br />
<br />
<br />
'''Printed Program:''' <br />
<br />
I'm nearly finished working on a program for the performances. I think I will alter my statement to better describe all of the adjustments I've had to make and use language to indicate that it's still a work in progress. I assume it's fine to print the program at CCRMA. <br />
<br />
<br />
'''Sound:'''<br />
<br />
At this point, I'm so buried in the piece that I can no longer tell heads from tails. I've introduced a piezo as part of the altar, and have been testing various vocal utterances. Compositionally, I'm not totally sure where the piece is at or how far away I've fallen from my original intent. Currently, the piece is leaning toward something more musical than I originally imagined. I've removed the glockenspiel recording and have been working with more of a droning sound that I recorded using a synth. There's a cohesiveness to the sound, but what I've been developing is seemingly less like a soundscape even though there is an abundance of field recordings incorporated into the work. I suppose I'm feeling a little confused and could use some time away from the piece for reflection, but as is the whole shebang is feeling arbitrary and far removed... but maybe I'm too immersed in the process to see/hear it for what it is? <br />
<br />
<br />
'''To do:'''<br />
Complete Program / Print -- Do I need a code for the printer?<br />
Still trying to find a door person<br />
Lighting + Set-up<br />
Rehearsal + Testing<br />
<br />
<br />
<br />
'''WK10 --'''<br />
<br />
[[File:Performance_img2.jpg|350px]]</div>Stephaniehttps://ccrma.stanford.edu/mediawiki/index.php?title=File:Performance_img2.jpg&diff=20989File:Performance img2.jpg2018-06-18T16:43:42Z<p>Stephanie: Image Courtesy of Dave Kerr</p>
<hr />
<div>Image Courtesy of Dave Kerr</div>Stephaniehttps://ccrma.stanford.edu/mediawiki/index.php?title=File:Performance_img.jpg&diff=20988File:Performance img.jpg2018-06-18T16:42:48Z<p>Stephanie: Image Courtesy of Dave Kerr</p>
<hr />
<div>Image Courtesy of Dave Kerr</div>Stephaniehttps://ccrma.stanford.edu/mediawiki/index.php?title=Ritualistic_Performance_System_Research&diff=20987Ritualistic Performance System Research2018-06-18T16:41:41Z<p>Stephanie: </p>
<hr />
<div><br />
[[File:performance_img.jpg|350px]]<br />
<br />
<br />
<br />
'''Goal:'''<br />
To create a ritualistic performance system using spacialized audio signals, video, and real-time audio manipulation. <br />
<br />
<br />
'''Background:'''<br />
<br />
As part of continued research, I aim to pursue an audio/visual experience that combines spatialized field recordings, voice, video/light, and software. For this piece, I may continue to develop a proximity-based water sensor into the performance, using some sort of vessel(s), water, conductive tape, and a bare conductive microcontroller. The audio collection process will include listening, recording, and engaging with a series of natural and machine-made sounds. The piece will culminate in an audio/visual performance. <br />
<br />
<br />
'''Possible Controllers:'''<br />
<br />
[[File:water_controller.jpg|350px]]<br />
water controller prototype <br />
<br />
[[File:Mask_full.jpg|350px]]<br />
mask prototype<br />
<br />
[[File:Mask_inside.jpg|350px]]<br />
mask sensors<br />
<br />
<br />
<br />
'''WK1 -- Brainstorming + Testing'''<br />
<br />
Performance Site '''-- Listening Room'''<br />
Okay to burn / use scents? '''-- No. Issues in the past.'''<br />
Dry Ice? '''-- Could be okay. Needs ventilation.''' <br />
Max capacity in Listening Room '''-- 15-20 people'''<br />
<br />
[[File:Listening_room.jpg|350px]]<br />
<br />
<br />
'''To do:'''<br />
Bare Conductive Touch Board + Water Sensor Testing in Max <br />
Arduino code + upload to Touch Board<br />
Max MSP/Jitter + Touch Board testing<br />
Add water sensor input to video mixer patch<br />
Collect Field Recordings<br />
Fire / Machines / Energy Facility / Electrical Drone Sounds<br />
<br />
<br />
'''WK2 -- Testing + Collection'''<br />
<br />
Water Sensor Testing in Max MSP/Jitter<br />
[https://www.bareconductive.com/make/the-touch-board-maxmsp/]<br />
<br />
[[File:Bare_conductive.jpg|300px]]<br />
<br />
I managed to get data into Max from the Bare Conductive microcontroller. After a few minutes, the microcontroller seems to get overloaded and freezes. If I reload the Arduino code onto the board data starts to work in Max temporarily. This issue seems relatively consistent. My laptop also seems to be having trouble processing video and receiving data at the same time. The latency of sensor data into Max is painfully slow while video is running. Sensor response is proficient with no video processing. <br />
<br />
I will need a new laptop. This is not a surprise.<br />
<br />
<br />
'''Readings:'''<br />
<br />
<u>Keywords in Sound</u>, Chapter 15, ''Resonance'', by Veit Erlmann <br />
<br />
"...the concept of resonance, having been derived from core epistemological virtues such as intuition, observation, and experiment, names the natural mechanism governing the interaction of vibrating matter, such as strings, nerves, and air. As such, resonance is the "Other" of the self-constituting Cartesian ego as it discovers truth (of musical harmony, for instance) and reassures itself of its own existence as a thinking entity. On the other hand resonance names the very unity of body and mind that the cogitating ego must unthink before it uncovers truth."<br />
<br />
(Erlmann, page 177)<br />
<br />
<br />
<u>Keywords in Sound</u>, Chapter 17, ''Space'', by Andrew J. Eisenberg <br />
<br />
"As a phenomenon that exists at once within and beyond perceiving subjects, sound cannot but reveal social space as an artifact of material practices complexly interwoven with semiotic processes and the 'imaginations, fears, emotions, psychologies, fantasies, and dreams' that human beings bring to everything (Harvey 2006: 279; see also Lefebvre 1991)."<br />
<br />
(Eisenberg, pg 202)<br />
<br />
<br />
<u>The Soundscape: Our Sonic Environment & the Tuning of the World</u>, <br />
R. Murray Schaffer, Chapter 12, Symbolism<br />
<br />
"...water, the original life element, has the most splendid symbolism... a stream, a fountain, a river, a waterfall, the sea, each makes its unique sound but all share rich symbolism. They speak of cleansing, of purification, of refreshment, and renewal... It is symbolic of eternity... It is symbolic of change." <br />
<br />
(Schafer, page 170)<br />
<br />
<br />
"Without its tactile pressure on the face or body we cannot even tell from what direction it blows. The wind is therefore not to be trusted."<br />
<br />
(Schafer, page 170)<br />
<br />
<br />
<br />
"Modern man has sought to escape both the wind and the sea by encapsulating himself in artificial environments... The sounds of machines took on happy symbolism approximately 200 years ago, when it was realized that they could release man from his immemorial bondage to earth... power and progress... noise and power go hand in hand."<br />
<br />
(Schafer, page 178-179)<br />
<br />
<br />
'''To do:''' <br />
Research options for new laptop (2015 Macbook Pro) + Stanford support<br />
Mask controller into Max MSP/Jitter<br />
Build simple looper<br />
Edit field recordings <br />
<br />
<br />
'''WK3 -- More Testing + Collecting'''<br />
<br />
'''Simple Audio Looper Interface for Testing | Max MSP/Jitter + MIDI Controller:'''<br />
<br />
I built a simple looper patch in Max in order to start manipulating and listening to field recordings from my recent sound hunts. Lately, I've been interested in machine sounds that have similar qualities as sounds from nature... similar to how cars sound similar to the ocean, or specific electrical resonances sound like cicadas and crickets. <br />
<br />
[[File:Audio_interface.jpg|600px]]<br />
<br />
[[File:Midi_controller.jpg|600px]]<br />
<br />
[[File:audio_interface_guts.jpg|600px]]<br />
<br />
audio test -- [http://ssherriff.com/media/ritual_test.mp3]<br />
<br />
<br />
'''Readings:'''<br />
<br />
"...the wind began to funnel down from the high southern pass, gaining more forces with each passing moment... The effect wasn't a chord exactly, but rather a combination of tones, sighs, and midrange groans that played off each other, sometimes setting strange beats into resonance as they nearly matched one another in pitch... strangely dissonant. While never unpleasant, the acoustic experience was disorienting."<br />
<br />
(Kraus, pg 37)<br />
<br />
<u>The Great Animal Orchestra: Finding the Origins of Music in the World's Wild Places</u>, Bernie Kraus<br />
<br />
<br />
'''To do:''' <br />
Research 2015 Macbook Pro <br />
SLAC audio recordings<br />
Research/Source dry ice<br />
Schedule Audium visit <br />
<br />
<br />
'''WK4 --''' <br />
<br />
'''Dry Ice Safety + Costs + Storage:'''<br />
<br />
[[File:Dry_ice3.jpg|600px]]<br />
<br />
[[File:Dry ice2.jpg|600px]]<br />
<br />
[http://dryiceinfo.com/safe.htm safety]<br />
<br />
<br />
[[File:Dry ice5.jpg|550px]]<br />
<br />
[https://www.howmuchisit.org/how-much-does-dry-ice-cost/ costs]<br />
<br />
<br />
[[File:Dry_ice.jpg|600px]]<br />
<br />
[[File:Dry ice4.jpg|600px]]<br />
<br />
[http://www.eatbydate.com/other/dry-ice/ storage+]<br />
<br />
<br />
'''Searchworks Audio Finds:'''<br />
<br />
Over the past week or so, I've been reading <u>Art of Immersive Soundscapes</u> which has revitalized my interest in musique concrète. Today I spent some time digging around [http://searchworks.stanford.edu/ Searchworks] for online audio files/compilations/albums. In my hunt so far, I have found several resources that rely heavily on field recordings from nature to form audio compositions. <br />
<br />
<br />
Here are a few:<br />
<br />
[https://stanford.naxosmusiclibrary.com/catalogue/item.asp?cid=INNOVA783 ''Arctic Winds,''] Maggie Payne, 2010<br />
<br />
[https://search.alexanderstreet.com/view/work/bibliographic_entity%7Crecorded_cd%7C72954 ''Gateway Summer Sound: Abstracted Animal and Other Sounds''] Ann McMillan, 1979 <br />
<br />
[http://www.dramonline.org/albums/scott-smallwood-desert-winds-six-windblown-sound-pieces-and-other-works/player ''Desert Winds: Six Windblown Sound Pieces and Other Works,''] Scott Smallwood, 2007<br />
<br />
[https://search.alexanderstreet.com/view/work/bibliographic_entity%7Crecorded_cd%7C72140 ''Highlights of Vortex''], 1959, Smithsonian Folkways Recordings [2003]<br />
<br />
<br />
'''SLAC Site Visit:'''<br />
<br />
[[File:slac.jpg|500px]]<br />
<br />
The tour of SLAC was a bit of a disappointment, but only because I didn't fully comprehend the context of the tour. I didn't realize our MFA tour was part of a larger public tour. Unfortunately, it was nearly impossible to record an audio sample without tour-talk and human ruckus. We only visited two small areas of the facilities, which didn't really give an overall impression of the scale of the accelerometer. There were, however, some exciting/uncomfortable oscillations coming from machinery that I would like to revisit under a more sound-oriented tour of SLAC. Outside of my sound hunt, it was astounding to hear about the some of the research taking place.<br />
<br />
<br />
<br />
<br />
'''Floor Plan + Spacial Thoughts:'''<br />
<br />
[[File:LR_sketch.png|600px]]<br />
<br />
<br />
<br />
'''Light + Sound + Water Experiments:'''<br />
<br />
[http://ssherriff.com/media/wide_test.MOV]<br />
<br />
[http://ssherriff.com/media/oracle_view.MOV]<br />
<br />
[http://ssherriff.com/media/shadow_projection.MOV]<br />
<br />
<br />
<br />
'''To do:'''<br />
Visit Listening Room<br />
Contact Nando for Listening Room Orientation<br />
Contact Nette for LR keycard access<br />
Book out LR rehearsal schedule<br />
Purchase 2015 Macbook Pro<br />
<br />
<br />
'''WK5 --'''<br />
<br />
I spent this week trying to iron out logistics. I met with Nando for a Listening Room orientation and am now considering the best way to execute signal routing in the space. Nando recommended I check out the Listening Room User Manual on the CCRMA website. For now, I'm thinking I'll address each speaker individually, rather than working with ambisonics. It sounds like I'll need to use Jack to interface with my computer. Speaking of computer, I bought a laptop! It should arrive next week. I was also able to arrange keycard access to the room and am still trying to pin down scheduling for rehearsal and official performance showtimes. <br />
<br />
[[File:listening rm2 no layer.jpg|500px]]<br />
<br />
<br />
'''Possible Performance Date(s)/Times:''' <br />
<br />
'''Friday, June 1''' -- 4pm doors / 4:33pm performance<br />
OR<br />
7pm doors / 7:30pm performance<br />
<br />
'''Saturday, June 2''' -- 4pm doors / 4:33pm performance <br />
AND<br />
7pm doors / 7:30pm performance<br />
<br />
<br />
<br />
''' WK6 --'''<br />
<br />
'''Listening Room Mixing + Routing Research:'''<br />
<br />
[https://ccrma.stanford.edu/room-guides/listening-room] Listening Room User Guide]<br />
<br />
[[File:Speakers.jpg|600px]]<br />
[[File:LR_mixer.jpg|500px]]<br />
<br />
[https://ccrma.stanford.edu/software/openmixer/manual Openmixer Manual]<br />
<br />
[https://ccrma.stanford.edu/software/openmixer/manual/input_sources Input Sources]<br />
<br />
[https://ccrma.stanford.edu/software/openmixer/manual/using_jack Using Jack]<br />
<br />
<br />
'''Projection/Lighting:'''<br />
<br />
After visiting the Listening Room and looking at the infrastructure in place, I've decided not to do any screen-based projection that requires hanging additional material in the space. It will likely be a lot of work and ultimately be invasive to the experience. For now, I'd like to focus on the sound and possibly incorporate some simple caustic lighting elements. I'm considering options for reflecting light onto the grid that separates the floor from the lower level of the heptagon. This will require some sort of surface/screen that could easily be placed on the grid. I will need to be sure there is airflow so as not to cause any issues with the ventilation system which feeds into the lower level.<br />
<br />
<br />
<br />
'''To do:'''<br />
Install Max MSP/Jitter<br />
Set-up 22 Channel Routing in Max<br />
Source + Set-up RSVP Platform for Performance<br />
Contact Eoin for Listening Room Consultation <br />
Dry Ice Testing<br />
<br />
<br />
''' WK7 --'''<br />
<br />
'''Signal Routing + Listening Room Consultation:'''<br />
<br />
My new computer finally arrived and I was able to schedule some time with Eoin to test routing options in the Listening Room. I've opted to use a 16ch analog interface and Jacknet, which will magically give me access to all 22 channels. I'll need to do more specific routing in Max but was able to get a signal out of my laptop and play audio over all 22 channels with minimal head-scratching and mysterious machine behavior. Eoin is awesome. I am consistently amazed at the generosity of the CCRMA community and am so grateful to have the opportunity to interact and learn from everyone. <br />
<br />
<br />
'''Listening Room Booking + Conflicts:'''<br />
<br />
I spoke to Matt Wright about any potential overlap with SLOrk rehearsal and general usage of the Listening Room. After our conversation, it seems best to bump my performance dates back one week so as to avoid any scheduling conflicts. Matt has also been kind enough to book out the space for me overnight so I will only need to set-up and teardown once. Wooo. Yay for CCRMA peeps! <br />
<br />
<br />
'''RVSP Platform + Dates'''<br />
<br />
I've decided to use Eventbrite for RSVP distribution/tracking. I've got a draft going and am seconds away from pulling the trigger. Just need to finish up my statement about the piece, and am currently wrestling with language and an official title. So close!<br />
<br />
Friday, June 8th -- 7pm doors / 7:30pm performance<br />
Saturday, June 9th -- 4pm doors / 4:30pm performance<br />
<br />
<br />
'''Dry Ice Tests:'''<br />
<br />
Working with dry ice has been waaay more fun than I could have anticipated. With that said, I'm learning that the fun comes with a heftier fee than I originally thought... and it evaporates fairly quickly. A block of dry ice lasts for approximately 2 or 3 days at about $20 each. I've also discovered that the dry ice goes bananas until it's eaten up all of the oxygen in whatever water it's dropped into, at which point, the dry ice fizzles sadly with much less gusto. This happens fairly quickly. I think it will be fine for the performance, but it's possible I will need larger containers to house the water and dry. I've been most excited about projecting onto the dry ice and am thinking about ways to use the dry ice as the projection screen/surface for the performance. <br />
<br />
<br />
'''To do:'''<br />
Set-up Signal Routing Hierarchy in Max <br />
Publish + Distribute RVSP Invite<br />
Test Dry Ice in Listening Room<br />
Test Scent Machine in Listening Room<br />
Okay to Point Listening Room Projector Straight Down Onto Grid?<br />
Order More Fans? Dry Ice Containers / Scent Containers<br />
Edit new sounds<br />
<br />
<br />
'''WK8 --'''<br />
<br />
'''Testing + Rehearsal Findings:'''<br />
<br />
I discovered that my USB MIDI controller will not work at the same time as the USB MOTU interface I am using to route sound in the Listening Room. This is a major problem. I've contacted Eoin for advice, and am hoping that using an ethernet connection will help resolve this issue. I'm also thinking about adding a second computer into the mix, mainly because of software limitations on my new computer. I'm not sure if this is going to cause a whole heap of other headaches, but mentioned my interest to Eoin. If it seems to crazy/unreliable I'll stick with one laptop. <br />
<br />
<br />
'''Testing + Rehearsal Audio:'''<br />
<br />
[http://ssherriff.com/media/post-human_rehearsal2.mp3 Recording 1]<br />
<br />
[http://ssherriff.com/media/post-human_rehearsal.mp3 Recording 2]<br />
<br />
<br />
'''Dry Ice Testing:'''<br />
<br />
My first rounds of dry ice tests in the Listening Room proved to be somewhat unsuccessful. The ventilation system below the grid sucks all of the dry ice vapors straight down and disburses them, making it difficult to see anything interesting happening. I tried placing a container of dry ice into a secondary container with edges slightly higher than the vessel holding the dry ice. This produced some really interesting behaviors, so I'm guessing I can do something similar at a larger scale -- hopefully filling the majority of the recess in the Listening Room floor. <br />
<br />
I've been spending a good lump of time searching for containers to hold the dry ice. Whatever I use needs to be fairly large to help with the longevity of the vapors... but also not so large that it will be difficult to schlep it out of the room once the performance is over. There's also a slight chance that whatever I use to house the dry ice will be visible in some capacity, so I'm also trying to find something that is fairly simple in design... and also cheapish, since I will be covering a lot of area. I've been looking at all kinds of containers and haven't really found the right thing yet. I found something that will work, but I'm not very excited about it. <br />
<br />
For the secondary 'container' I am thinking about building out a frame that will fit inside of the heptagon. I would then line the frame with a black tarp or some sort of black fabric, leaving a few inches between the frame and the interior edge of the heptagon for air flow. <br />
<br />
Speaking of air-flow, the sound of the dry ice bubbling in the water is becoming a wonderful bonus in the soundscape of my performance. Listening to the dry ice is sort of like sitting by a babbling creek, so I could have asked for a more exciting and unexpected surprise. <br />
<br />
<br />
<br />
'''Projector Testing:''' <br />
<br />
Initially, I was thinking about using the projector that is already mounted in the Listening Room. After further examination, I realized that the throw will probably not work well for my purposes. I did some tests with one of the PICO projectors and it seems like it might work okay. It probably won't be the brightest, most vivid projection... but I think that will be okay in this case. The dry ice is awesome with even just a little bit of light on it. <br />
<br />
I bought a few small clamp mounts for any of the tiny projectors that enter into the set-up. I should be able to mount the projectors fairly easily using the rigging system in the ceiling.<br />
<br />
<br />
<br />
'''Project Statement:'''<br />
<br />
Earth frequencies are the foundation of sound-making in communication and survival for all<br />
living creatures. Insects, birds, and humans have all evolved to make sound in accordance<br />
with the landscapes in which they dwell, yet humans increasingly suffocate the soundscape,<br />
turning a blind ear to the sonic residue of industry and electromagnetic poisons.<br />
<br />
''Post-human Incursion'' is a site-specific audio/visual performance that examines how<br />
natural order might adapt soncially to human impressions on the evolution of voice across<br />
species. Through the use of spatialized and processed field recordings, ''Post-human Incursion''<br />
gestures toward a futuristic bending of familiar sonic terrain twisted by the influence of<br />
machinery. Vapors and visual, ephemeral traces are received and distributed through the<br />
guise of an oracle, channeling as a medium, the fragility of perceived realities. As a<br />
composition, Post-human Incursion is a poetic attempt to prophesize what the future may hold<br />
in relation to the expressive abilities and survival of sounding creatures on Earth. Do<br />
birds sing differently now that they are encumbered with the ruckus of industrialized human<br />
existence?''<br />
<br />
'''Friday, June 8th''' -- 7pm / doors -- 7:30pm / performance<br />
'''Saturday, June 9th''' -- 4pm / doors -- 4:30pm / performance<br />
<br />
[https://www.eventbrite.com/e/post-human-incursion-tickets-46164892436 RSVP Event Link]<br />
<br />
<br />
'''To do:'''<br />
Find door person<br />
USB MIDI controller does not currently work while running USB MOTU 16ch interface<br />
Can I use two computers -- x1 for mask / x1 for field recordings?<br />
Define performance zone / altar<br />
<br />
<br />
'''WK9 --'''<br />
<br />
'''Listening Room Tech:'''<br />
<br />
There was some mystery unplugging of a bunch of stuff in the Listening Room, which was causing some strange/inconsistent behavior. With the help and head scratching of Eoin and Nando... the mystery has been solved and things seem to be relatively stable. Phew! My MIDI controller also seems to be behaving for the most part. I've been using a power USB hub, which seems to be doing the trick, although I have a feeling the USB port on my controller is starting to get a little loose. Hopefully, it hangs in there for the performances...<br />
<br />
<br />
'''Dry Ice:'''<br />
<br />
I'm still struggling with the dry ice component of the piece. I don't think I'll be able to work at the scale I'd like, mainly due to the cost of materials. I think I've found a solution on a smaller scale, but I'm not super excited about it. Because of the scale change, it's likely I'll need to abandon the projection component. Hard to say for sure at this point, but unless some miracle ah-ha moment happens much of the visual components of the piece will be far diminished from what I would like to do in an ideal world where I'm rolling in cash and have an absorbent amount of time.<br />
<br />
<br />
'''SLOrk + Set-up:''' <br />
<br />
SLOrk moves out of the Listening Room on Wednesday evening. This means I will be able to leave things set-up and start to deal with cables and placement. In the interim, I've been doing some small lighting test and think I have a fairly simple plan for lighting including the hallway leading up to the Listening Room.<br />
<br />
<br />
'''Printed Program:''' <br />
<br />
I'm nearly finished working on a program for the performances. I think I will alter my statement to better describe all of the adjustments I've had to make and use language to indicate that it's still a work in progress. I assume it's fine to print the program at CCRMA. <br />
<br />
<br />
'''Sound:'''<br />
<br />
At this point, I'm so buried in the piece that I can no longer tell heads from tails. I've introduced a piezo as part of the altar, and have been testing various vocal utterances. Compositionally, I'm not totally sure where the piece is at or how far away I've fallen from my original intent. Currently, the piece is leaning toward something more musical than I originally imagined. I've removed the glockenspiel recording and have been working with more of a droning sound that I recorded using a synth. There's a cohesiveness to the sound, but what I've been developing is seemingly less like a soundscape even though there is an abundance of field recordings incorporated into the work. I suppose I'm feeling a little confused and could use some time away from the piece for reflection, but as is the whole shebang is feeling arbitrary and far removed... but maybe I'm too immersed in the process to see/hear it for what it is? <br />
<br />
<br />
'''To do:'''<br />
Complete Program / Print -- Do I need a code for the printer?<br />
Still trying to find a door person<br />
Lighting + Set-up<br />
Rehearsal + Testing<br />
<br />
<br />
<br />
'''WK10 --'''<br />
<br />
[[File:performance_img2.jpg|350px]]</div>Stephaniehttps://ccrma.stanford.edu/mediawiki/index.php?title=Ritualistic_Performance_System_Research&diff=20986Ritualistic Performance System Research2018-06-17T18:28:09Z<p>Stephanie: </p>
<hr />
<div><br />
'''Goal:'''<br />
To create a ritualistic performance system using spacialized audio signals and real-time video manipulation. <br />
<br />
<br />
'''Background:'''<br />
<br />
As part of continued research, I aim to pursue an audio/visual experience that combines spatialized field recordings, voice, video/light, and software. For this piece, I may continue to develop a proximity-based water sensor into the performance, using some sort of vessel(s), water, conductive tape, and a bare conductive microcontroller. The audio collection process will include listening, recording, and engaging with a series of natural and machine-made sounds. The piece will culminate in an audio/visual performance. <br />
<br />
<br />
'''Possible Controllers:'''<br />
<br />
[[File:water_controller.jpg|350px]]<br />
water controller prototype <br />
<br />
[[File:Mask_full.jpg|350px]]<br />
mask prototype<br />
<br />
[[File:Mask_inside.jpg|350px]]<br />
mask sensors<br />
<br />
<br />
<br />
'''WK1 -- Brainstorming + Testing'''<br />
<br />
Performance Site '''-- Listening Room'''<br />
Okay to burn / use scents? '''-- No. Issues in the past.'''<br />
Dry Ice? '''-- Could be okay. Needs ventilation.''' <br />
Max capacity in Listening Room '''-- 15-20 people'''<br />
<br />
[[File:Listening_room.jpg|350px]]<br />
<br />
<br />
'''To do:'''<br />
Bare Conductive Touch Board + Water Sensor Testing in Max <br />
Arduino code + upload to Touch Board<br />
Max MSP/Jitter + Touch Board testing<br />
Add water sensor input to video mixer patch<br />
Collect Field Recordings<br />
Fire / Machines / Energy Facility / Electrical Drone Sounds<br />
<br />
<br />
'''WK2 -- Testing + Collection'''<br />
<br />
Water Sensor Testing in Max MSP/Jitter<br />
[https://www.bareconductive.com/make/the-touch-board-maxmsp/]<br />
<br />
[[File:Bare_conductive.jpg|300px]]<br />
<br />
I managed to get data into Max from the Bare Conductive microcontroller. After a few minutes, the microcontroller seems to get overloaded and freezes. If I reload the Arduino code onto the board data starts to work in Max temporarily. This issue seems relatively consistent. My laptop also seems to be having trouble processing video and receiving data at the same time. The latency of sensor data into Max is painfully slow while video is running. Sensor response is proficient with no video processing. <br />
<br />
I will need a new laptop. This is not a surprise.<br />
<br />
<br />
'''Readings:'''<br />
<br />
<u>Keywords in Sound</u>, Chapter 15, ''Resonance'', by Veit Erlmann <br />
<br />
"...the concept of resonance, having been derived from core epistemological virtues such as intuition, observation, and experiment, names the natural mechanism governing the interaction of vibrating matter, such as strings, nerves, and air. As such, resonance is the "Other" of the self-constituting Cartesian ego as it discovers truth (of musical harmony, for instance) and reassures itself of its own existence as a thinking entity. On the other hand resonance names the very unity of body and mind that the cogitating ego must unthink before it uncovers truth."<br />
<br />
(Erlmann, page 177)<br />
<br />
<br />
<u>Keywords in Sound</u>, Chapter 17, ''Space'', by Andrew J. Eisenberg <br />
<br />
"As a phenomenon that exists at once within and beyond perceiving subjects, sound cannot but reveal social space as an artifact of material practices complexly interwoven with semiotic processes and the 'imaginations, fears, emotions, psychologies, fantasies, and dreams' that human beings bring to everything (Harvey 2006: 279; see also Lefebvre 1991)."<br />
<br />
(Eisenberg, pg 202)<br />
<br />
<br />
<u>The Soundscape: Our Sonic Environment & the Tuning of the World</u>, <br />
R. Murray Schaffer, Chapter 12, Symbolism<br />
<br />
"...water, the original life element, has the most splendid symbolism... a stream, a fountain, a river, a waterfall, the sea, each makes its unique sound but all share rich symbolism. They speak of cleansing, of purification, of refreshment, and renewal... It is symbolic of eternity... It is symbolic of change." <br />
<br />
(Schafer, page 170)<br />
<br />
<br />
"Without its tactile pressure on the face or body we cannot even tell from what direction it blows. The wind is therefore not to be trusted."<br />
<br />
(Schafer, page 170)<br />
<br />
<br />
<br />
"Modern man has sought to escape both the wind and the sea by encapsulating himself in artificial environments... The sounds of machines took on happy symbolism approximately 200 years ago, when it was realized that they could release man from his immemorial bondage to earth... power and progress... noise and power go hand in hand."<br />
<br />
(Schafer, page 178-179)<br />
<br />
<br />
'''To do:''' <br />
Research options for new laptop (2015 Macbook Pro) + Stanford support<br />
Mask controller into Max MSP/Jitter<br />
Build simple looper<br />
Edit field recordings <br />
<br />
<br />
'''WK3 -- More Testing + Collecting'''<br />
<br />
'''Simple Audio Looper Interface for Testing | Max MSP/Jitter + MIDI Controller:'''<br />
<br />
I built a simple looper patch in Max in order to start manipulating and listening to field recordings from my recent sound hunts. Lately, I've been interested in machine sounds that have similar qualities as sounds from nature... similar to how cars sound similar to the ocean, or specific electrical resonances sound like cicadas and crickets. <br />
<br />
[[File:Audio_interface.jpg|600px]]<br />
<br />
[[File:Midi_controller.jpg|600px]]<br />
<br />
[[File:audio_interface_guts.jpg|600px]]<br />
<br />
audio test -- [http://ssherriff.com/media/ritual_test.mp3]<br />
<br />
<br />
'''Readings:'''<br />
<br />
"...the wind began to funnel down from the high southern pass, gaining more forces with each passing moment... The effect wasn't a chord exactly, but rather a combination of tones, sighs, and midrange groans that played off each other, sometimes setting strange beats into resonance as they nearly matched one another in pitch... strangely dissonant. While never unpleasant, the acoustic experience was disorienting."<br />
<br />
(Kraus, pg 37)<br />
<br />
<u>The Great Animal Orchestra: Finding the Origins of Music in the World's Wild Places</u>, Bernie Kraus<br />
<br />
<br />
'''To do:''' <br />
Research 2015 Macbook Pro <br />
SLAC audio recordings<br />
Research/Source dry ice<br />
Schedule Audium visit <br />
<br />
<br />
'''WK4 --''' <br />
<br />
'''Dry Ice Safety + Costs + Storage:'''<br />
<br />
[[File:Dry_ice3.jpg|600px]]<br />
<br />
[[File:Dry ice2.jpg|600px]]<br />
<br />
[http://dryiceinfo.com/safe.htm safety]<br />
<br />
<br />
[[File:Dry ice5.jpg|550px]]<br />
<br />
[https://www.howmuchisit.org/how-much-does-dry-ice-cost/ costs]<br />
<br />
<br />
[[File:Dry_ice.jpg|600px]]<br />
<br />
[[File:Dry ice4.jpg|600px]]<br />
<br />
[http://www.eatbydate.com/other/dry-ice/ storage+]<br />
<br />
<br />
'''Searchworks Audio Finds:'''<br />
<br />
Over the past week or so, I've been reading <u>Art of Immersive Soundscapes</u> which has revitalized my interest in musique concrète. Today I spent some time digging around [http://searchworks.stanford.edu/ Searchworks] for online audio files/compilations/albums. In my hunt so far, I have found several resources that rely heavily on field recordings from nature to form audio compositions. <br />
<br />
<br />
Here are a few:<br />
<br />
[https://stanford.naxosmusiclibrary.com/catalogue/item.asp?cid=INNOVA783 ''Arctic Winds,''] Maggie Payne, 2010<br />
<br />
[https://search.alexanderstreet.com/view/work/bibliographic_entity%7Crecorded_cd%7C72954 ''Gateway Summer Sound: Abstracted Animal and Other Sounds''] Ann McMillan, 1979 <br />
<br />
[http://www.dramonline.org/albums/scott-smallwood-desert-winds-six-windblown-sound-pieces-and-other-works/player ''Desert Winds: Six Windblown Sound Pieces and Other Works,''] Scott Smallwood, 2007<br />
<br />
[https://search.alexanderstreet.com/view/work/bibliographic_entity%7Crecorded_cd%7C72140 ''Highlights of Vortex''], 1959, Smithsonian Folkways Recordings [2003]<br />
<br />
<br />
'''SLAC Site Visit:'''<br />
<br />
[[File:slac.jpg|500px]]<br />
<br />
The tour of SLAC was a bit of a disappointment, but only because I didn't fully comprehend the context of the tour. I didn't realize our MFA tour was part of a larger public tour. Unfortunately, it was nearly impossible to record an audio sample without tour-talk and human ruckus. We only visited two small areas of the facilities, which didn't really give an overall impression of the scale of the accelerometer. There were, however, some exciting/uncomfortable oscillations coming from machinery that I would like to revisit under a more sound-oriented tour of SLAC. Outside of my sound hunt, it was astounding to hear about the some of the research taking place.<br />
<br />
<br />
<br />
<br />
'''Floor Plan + Spacial Thoughts:'''<br />
<br />
[[File:LR_sketch.png|600px]]<br />
<br />
<br />
<br />
'''Light + Sound + Water Experiments:'''<br />
<br />
[http://ssherriff.com/media/wide_test.MOV]<br />
<br />
[http://ssherriff.com/media/oracle_view.MOV]<br />
<br />
[http://ssherriff.com/media/shadow_projection.MOV]<br />
<br />
<br />
<br />
'''To do:'''<br />
Visit Listening Room<br />
Contact Nando for Listening Room Orientation<br />
Contact Nette for LR keycard access<br />
Book out LR rehearsal schedule<br />
Purchase 2015 Macbook Pro<br />
<br />
<br />
'''WK5 --'''<br />
<br />
I spent this week trying to iron out logistics. I met with Nando for a Listening Room orientation and am now considering the best way to execute signal routing in the space. Nando recommended I check out the Listening Room User Manual on the CCRMA website. For now, I'm thinking I'll address each speaker individually, rather than working with ambisonics. It sounds like I'll need to use Jack to interface with my computer. Speaking of computer, I bought a laptop! It should arrive next week. I was also able to arrange keycard access to the room and am still trying to pin down scheduling for rehearsal and official performance showtimes. <br />
<br />
[[File:listening rm2 no layer.jpg|500px]]<br />
<br />
<br />
'''Possible Performance Date(s)/Times:''' <br />
<br />
'''Friday, June 1''' -- 4pm doors / 4:33pm performance<br />
OR<br />
7pm doors / 7:30pm performance<br />
<br />
'''Saturday, June 2''' -- 4pm doors / 4:33pm performance <br />
AND<br />
7pm doors / 7:30pm performance<br />
<br />
<br />
<br />
''' WK6 --'''<br />
<br />
'''Listening Room Mixing + Routing Research:'''<br />
<br />
[https://ccrma.stanford.edu/room-guides/listening-room] Listening Room User Guide]<br />
<br />
[[File:Speakers.jpg|600px]]<br />
[[File:LR_mixer.jpg|500px]]<br />
<br />
[https://ccrma.stanford.edu/software/openmixer/manual Openmixer Manual]<br />
<br />
[https://ccrma.stanford.edu/software/openmixer/manual/input_sources Input Sources]<br />
<br />
[https://ccrma.stanford.edu/software/openmixer/manual/using_jack Using Jack]<br />
<br />
<br />
'''Projection/Lighting:'''<br />
<br />
After visiting the Listening Room and looking at the infrastructure in place, I've decided not to do any screen-based projection that requires hanging additional material in the space. It will likely be a lot of work and ultimately be invasive to the experience. For now, I'd like to focus on the sound and possibly incorporate some simple caustic lighting elements. I'm considering options for reflecting light onto the grid that separates the floor from the lower level of the heptagon. This will require some sort of surface/screen that could easily be placed on the grid. I will need to be sure there is airflow so as not to cause any issues with the ventilation system which feeds into the lower level.<br />
<br />
<br />
<br />
'''To do:'''<br />
Install Max MSP/Jitter<br />
Set-up 22 Channel Routing in Max<br />
Source + Set-up RSVP Platform for Performance<br />
Contact Eoin for Listening Room Consultation <br />
Dry Ice Testing<br />
<br />
<br />
''' WK7 --'''<br />
<br />
'''Signal Routing + Listening Room Consultation:'''<br />
<br />
My new computer finally arrived and I was able to schedule some time with Eoin to test routing options in the Listening Room. I've opted to use a 16ch analog interface and Jacknet, which will magically give me access to all 22 channels. I'll need to do more specific routing in Max but was able to get a signal out of my laptop and play audio over all 22 channels with minimal head-scratching and mysterious machine behavior. Eoin is awesome. I am consistently amazed at the generosity of the CCRMA community and am so grateful to have the opportunity to interact and learn from everyone. <br />
<br />
<br />
'''Listening Room Booking + Conflicts:'''<br />
<br />
I spoke to Matt Wright about any potential overlap with SLOrk rehearsal and general usage of the Listening Room. After our conversation, it seems best to bump my performance dates back one week so as to avoid any scheduling conflicts. Matt has also been kind enough to book out the space for me overnight so I will only need to set-up and teardown once. Wooo. Yay for CCRMA peeps! <br />
<br />
<br />
'''RVSP Platform + Dates'''<br />
<br />
I've decided to use Eventbrite for RSVP distribution/tracking. I've got a draft going and am seconds away from pulling the trigger. Just need to finish up my statement about the piece, and am currently wrestling with language and an official title. So close!<br />
<br />
Friday, June 8th -- 7pm doors / 7:30pm performance<br />
Saturday, June 9th -- 4pm doors / 4:30pm performance<br />
<br />
<br />
'''Dry Ice Tests:'''<br />
<br />
Working with dry ice has been waaay more fun than I could have anticipated. With that said, I'm learning that the fun comes with a heftier fee than I originally thought... and it evaporates fairly quickly. A block of dry ice lasts for approximately 2 or 3 days at about $20 each. I've also discovered that the dry ice goes bananas until it's eaten up all of the oxygen in whatever water it's dropped into, at which point, the dry ice fizzles sadly with much less gusto. This happens fairly quickly. I think it will be fine for the performance, but it's possible I will need larger containers to house the water and dry. I've been most excited about projecting onto the dry ice and am thinking about ways to use the dry ice as the projection screen/surface for the performance. <br />
<br />
<br />
'''To do:'''<br />
Set-up Signal Routing Hierarchy in Max <br />
Publish + Distribute RVSP Invite<br />
Test Dry Ice in Listening Room<br />
Test Scent Machine in Listening Room<br />
Okay to Point Listening Room Projector Straight Down Onto Grid?<br />
Order More Fans? Dry Ice Containers / Scent Containers<br />
Edit new sounds<br />
<br />
<br />
'''WK8 --'''<br />
<br />
'''Testing + Rehearsal Findings:'''<br />
<br />
I discovered that my USB MIDI controller will not work at the same time as the USB MOTU interface I am using to route sound in the Listening Room. This is a major problem. I've contacted Eoin for advice, and am hoping that using an ethernet connection will help resolve this issue. I'm also thinking about adding a second computer into the mix, mainly because of software limitations on my new computer. I'm not sure if this is going to cause a whole heap of other headaches, but mentioned my interest to Eoin. If it seems to crazy/unreliable I'll stick with one laptop. <br />
<br />
<br />
'''Testing + Rehearsal Audio:'''<br />
<br />
[http://ssherriff.com/media/post-human_rehearsal2.mp3 Recording 1]<br />
<br />
[http://ssherriff.com/media/post-human_rehearsal.mp3 Recording 2]<br />
<br />
<br />
'''Dry Ice Testing:'''<br />
<br />
My first rounds of dry ice tests in the Listening Room proved to be somewhat unsuccessful. The ventilation system below the grid sucks all of the dry ice vapors straight down and disburses them, making it difficult to see anything interesting happening. I tried placing a container of dry ice into a secondary container with edges slightly higher than the vessel holding the dry ice. This produced some really interesting behaviors, so I'm guessing I can do something similar at a larger scale -- hopefully filling the majority of the recess in the Listening Room floor. <br />
<br />
I've been spending a good lump of time searching for containers to hold the dry ice. Whatever I use needs to be fairly large to help with the longevity of the vapors... but also not so large that it will be difficult to schlep it out of the room once the performance is over. There's also a slight chance that whatever I use to house the dry ice will be visible in some capacity, so I'm also trying to find something that is fairly simple in design... and also cheapish, since I will be covering a lot of area. I've been looking at all kinds of containers and haven't really found the right thing yet. I found something that will work, but I'm not very excited about it. <br />
<br />
For the secondary 'container' I am thinking about building out a frame that will fit inside of the heptagon. I would then line the frame with a black tarp or some sort of black fabric, leaving a few inches between the frame and the interior edge of the heptagon for air flow. <br />
<br />
Speaking of air-flow, the sound of the dry ice bubbling in the water is becoming a wonderful bonus in the soundscape of my performance. Listening to the dry ice is sort of like sitting by a babbling creek, so I could have asked for a more exciting and unexpected surprise. <br />
<br />
<br />
<br />
'''Projector Testing:''' <br />
<br />
Initially, I was thinking about using the projector that is already mounted in the Listening Room. After further examination, I realized that the throw will probably not work well for my purposes. I did some tests with one of the PICO projectors and it seems like it might work okay. It probably won't be the brightest, most vivid projection... but I think that will be okay in this case. The dry ice is awesome with even just a little bit of light on it. <br />
<br />
I bought a few small clamp mounts for any of the tiny projectors that enter into the set-up. I should be able to mount the projectors fairly easily using the rigging system in the ceiling.<br />
<br />
<br />
<br />
'''Project Statement:'''<br />
<br />
Earth frequencies are the foundation of sound-making in communication and survival for all<br />
living creatures. Insects, birds, and humans have all evolved to make sound in accordance<br />
with the landscapes in which they dwell, yet humans increasingly suffocate the soundscape,<br />
turning a blind ear to the sonic residue of industry and electromagnetic poisons.<br />
<br />
''Post-human Incursion'' is a site-specific audio/visual performance that examines how<br />
natural order might adapt soncially to human impressions on the evolution of voice across<br />
species. Through the use of spatialized and processed field recordings, ''Post-human Incursion''<br />
gestures toward a futuristic bending of familiar sonic terrain twisted by the influence of<br />
machinery. Vapors and visual, ephemeral traces are received and distributed through the<br />
guise of an oracle, channeling as a medium, the fragility of perceived realities. As a<br />
composition, Post-human Incursion is a poetic attempt to prophesize what the future may hold<br />
in relation to the expressive abilities and survival of sounding creatures on Earth. Do<br />
birds sing differently now that they are encumbered with the ruckus of industrialized human<br />
existence?''<br />
<br />
'''Friday, June 8th''' -- 7pm / doors -- 7:30pm / performance<br />
'''Saturday, June 9th''' -- 4pm / doors -- 4:30pm / performance<br />
<br />
[https://www.eventbrite.com/e/post-human-incursion-tickets-46164892436 RSVP Event Link]<br />
<br />
<br />
'''To do:'''<br />
Find door person<br />
USB MIDI controller does not currently work while running USB MOTU 16ch interface<br />
Can I use two computers -- x1 for mask / x1 for field recordings?<br />
Define performance zone / altar<br />
<br />
<br />
'''WK9 --'''<br />
<br />
'''Listening Room Tech:'''<br />
<br />
There was some mystery unplugging of a bunch of stuff in the Listening Room, which was causing some strange/inconsistent behavior. With the help and head scratching of Eoin and Nando... the mystery has been solved and things seem to be relatively stable. Phew! My MIDI controller also seems to be behaving for the most part. I've been using a power USB hub, which seems to be doing the trick, although I have a feeling the USB port on my controller is starting to get a little loose. Hopefully, it hangs in there for the performances...<br />
<br />
<br />
'''Dry Ice:'''<br />
<br />
I'm still struggling with the dry ice component of the piece. I don't think I'll be able to work at the scale I'd like, mainly due to the cost of materials. I think I've found a solution on a smaller scale, but I'm not super excited about it. Because of the scale change, it's likely I'll need to abandon the projection component. Hard to say for sure at this point, but unless some miracle ah-ha moment happens much of the visual components of the piece will be far diminished from what I would like to do in an ideal world where I'm rolling in cash and have an absorbent amount of time.<br />
<br />
<br />
'''SLOrk + Set-up:''' <br />
<br />
SLOrk moves out of the Listening Room on Wednesday evening. This means I will be able to leave things set-up and start to deal with cables and placement. In the interim, I've been doing some small lighting test and think I have a fairly simple plan for lighting including the hallway leading up to the Listening Room.<br />
<br />
<br />
'''Printed Program:''' <br />
<br />
I'm nearly finished working on a program for the performances. I think I will alter my statement to better describe all of the adjustments I've had to make and use language to indicate that it's still a work in progress. I assume it's fine to print the program at CCRMA. <br />
<br />
<br />
'''Sound:'''<br />
<br />
At this point, I'm so buried in the piece that I can no longer tell heads from tails. I've introduced a piezo as part of the altar, and have been testing various vocal utterances. Compositionally, I'm not totally sure where the piece is at or how far away I've fallen from my original intent. Currently, the piece is leaning toward something more musical than I originally imagined. I've removed the glockenspiel recording and have been working with more of a droning sound that I recorded using a synth. There's a cohesiveness to the sound, but what I've been developing is seemingly less like a soundscape even though there is an abundance of field recordings incorporated into the work. I suppose I'm feeling a little confused and could use some time away from the piece for reflection, but as is the whole shebang is feeling arbitrary and far removed... but maybe I'm too immersed in the process to see/hear it for what it is? <br />
<br />
<br />
'''To do:'''<br />
Complete Program / Print -- Do I need a code for the printer?<br />
Still trying to find a door person<br />
Lighting + Set-up<br />
Rehearsal + Testing</div>Stephaniehttps://ccrma.stanford.edu/mediawiki/index.php?title=Ritualistic_Performance_System_Research&diff=20956Ritualistic Performance System Research2018-06-05T18:37:47Z<p>Stephanie: </p>
<hr />
<div><br />
'''Goal:'''<br />
To create a ritualistic performance system using spacialized audio signals and real-time video manipulation. <br />
<br />
<br />
'''Background:'''<br />
<br />
As part of continued research, I aim to pursue an audio/visual experience that combines spatialized field recordings, voice, video/light, and software. For this piece, I may continue to develop a proximity-based water sensor into the performance, using some sort of vessel(s), water, conductive tape, and a bare conductive microcontroller. The audio collection process will include listening, recording, and engaging with a series of natural and machine-made sounds. The piece will culminate in an audio/visual performance. <br />
<br />
<br />
'''Possible Controllers:'''<br />
<br />
[[File:water_controller.jpg|350px]]<br />
water controller prototype <br />
<br />
[[File:Mask_full.jpg|350px]]<br />
mask prototype<br />
<br />
[[File:Mask_inside.jpg|350px]]<br />
mask sensors<br />
<br />
<br />
<br />
'''WK1 -- Brainstorming + Testing'''<br />
<br />
Performance Site '''-- Listening Room'''<br />
Okay to burn / use scents? '''-- No. Issues in the past.'''<br />
Dry Ice? '''-- Could be okay. Needs ventilation.''' <br />
Max capacity in Listening Room '''-- 15-20 people'''<br />
<br />
[[File:Listening_room.jpg|350px]]<br />
<br />
<br />
'''To do:'''<br />
Bare Conductive Touch Board + Water Sensor Testing in Max <br />
Arduino code + upload to Touch Board<br />
Max MSP/Jitter + Touch Board testing<br />
Add water sensor input to video mixer patch<br />
Collect Field Recordings<br />
Fire / Machines / Energy Facility / Electrical Drone Sounds<br />
<br />
<br />
'''WK2 -- Testing + Collection'''<br />
<br />
Water Sensor Testing in Max MSP/Jitter<br />
[https://www.bareconductive.com/make/the-touch-board-maxmsp/]<br />
<br />
[[File:Bare_conductive.jpg|300px]]<br />
<br />
I managed to get data into Max from the Bare Conductive microcontroller. After a few minutes, the microcontroller seems to get overloaded and freezes. If I reload the Arduino code onto the board data starts to work in Max temporarily. This issue seems relatively consistent. My laptop also seems to be having trouble processing video and receiving data at the same time. The latency of sensor data into Max is painfully slow while video is running. Sensor response is proficient with no video processing. <br />
<br />
I will need a new laptop. This is not a surprise.<br />
<br />
<br />
'''Readings:'''<br />
<br />
<u>Keywords in Sound</u>, Chapter 15, ''Resonance'', by Veit Erlmann <br />
<br />
"...the concept of resonance, having been derived from core epistemological virtues such as intuition, observation, and experiment, names the natural mechanism governing the interaction of vibrating matter, such as strings, nerves, and air. As such, resonance is the "Other" of the self-constituting Cartesian ego as it discovers truth (of musical harmony, for instance) and reassures itself of its own existence as a thinking entity. On the other hand resonance names the very unity of body and mind that the cogitating ego must unthink before it uncovers truth."<br />
<br />
(Erlmann, page 177)<br />
<br />
<br />
<u>Keywords in Sound</u>, Chapter 17, ''Space'', by Andrew J. Eisenberg <br />
<br />
"As a phenomenon that exists at once within and beyond perceiving subjects, sound cannot but reveal social space as an artifact of material practices complexly interwoven with semiotic processes and the 'imaginations, fears, emotions, psychologies, fantasies, and dreams' that human beings bring to everything (Harvey 2006: 279; see also Lefebvre 1991)."<br />
<br />
(Eisenberg, pg 202)<br />
<br />
<br />
<u>The Soundscape: Our Sonic Environment & the Tuning of the World</u>, <br />
R. Murray Schaffer, Chapter 12, Symbolism<br />
<br />
"...water, the original life element, has the most splendid symbolism... a stream, a fountain, a river, a waterfall, the sea, each makes its unique sound but all share rich symbolism. They speak of cleansing, of purification, of refreshment, and renewal... It is symbolic of eternity... It is symbolic of change." <br />
<br />
(Schafer, page 170)<br />
<br />
<br />
"Without its tactile pressure on the face or body we cannot even tell from what direction it blows. The wind is therefore not to be trusted."<br />
<br />
(Schafer, page 170)<br />
<br />
<br />
<br />
"Modern man has sought to escape both the wind and the sea by encapsulating himself in artificial environments... The sounds of machines took on happy symbolism approximately 200 years ago, when it was realized that they could release man from his immemorial bondage to earth... power and progress... noise and power go hand in hand."<br />
<br />
(Schafer, page 178-179)<br />
<br />
<br />
'''To do:''' <br />
Research options for new laptop (2015 Macbook Pro) + Stanford support<br />
Mask controller into Max MSP/Jitter<br />
Build simple looper<br />
Edit field recordings <br />
<br />
<br />
'''WK3 -- More Testing + Collecting'''<br />
<br />
'''Simple Audio Looper Interface for Testing | Max MSP/Jitter + MIDI Controller:'''<br />
<br />
I built a simple looper patch in Max in order to start manipulating and listening to field recordings from my recent sound hunts. Lately, I've been interested in machine sounds that have similar qualities as sounds from nature... similar to how cars sound similar to the ocean, or specific electrical resonances sound like cicadas and crickets. <br />
<br />
[[File:Audio_interface.jpg|600px]]<br />
<br />
[[File:Midi_controller.jpg|600px]]<br />
<br />
[[File:audio_interface_guts.jpg|600px]]<br />
<br />
audio test -- [http://ssherriff.com/media/ritual_test.mp3]<br />
<br />
<br />
'''Readings:'''<br />
<br />
"...the wind began to funnel down from the high southern pass, gaining more forces with each passing moment... The effect wasn't a chord exactly, but rather a combination of tones, sighs, and midrange groans that played off each other, sometimes setting strange beats into resonance as they nearly matched one another in pitch... strangely dissonant. While never unpleasant, the acoustic experience was disorienting."<br />
<br />
(Kraus, pg 37)<br />
<br />
<u>The Great Animal Orchestra: Finding the Origins of Music in the World's Wild Places</u>, Bernie Kraus<br />
<br />
<br />
'''To do:''' <br />
Research 2015 Macbook Pro <br />
SLAC audio recordings<br />
Research/Source dry ice<br />
Schedule Audium visit <br />
<br />
<br />
'''WK4 --''' <br />
<br />
'''Dry Ice Safety + Costs + Storage:'''<br />
<br />
[[File:Dry_ice3.jpg|600px]]<br />
<br />
[[File:Dry ice2.jpg|600px]]<br />
<br />
[http://dryiceinfo.com/safe.htm safety]<br />
<br />
<br />
[[File:Dry ice5.jpg|550px]]<br />
<br />
[https://www.howmuchisit.org/how-much-does-dry-ice-cost/ costs]<br />
<br />
<br />
[[File:Dry_ice.jpg|600px]]<br />
<br />
[[File:Dry ice4.jpg|600px]]<br />
<br />
[http://www.eatbydate.com/other/dry-ice/ storage+]<br />
<br />
<br />
'''Searchworks Audio Finds:'''<br />
<br />
Over the past week or so, I've been reading <u>Art of Immersive Soundscapes</u> which has revitalized my interest in musique concrète. Today I spent some time digging around [http://searchworks.stanford.edu/ Searchworks] for online audio files/compilations/albums. In my hunt so far, I have found several resources that rely heavily on field recordings from nature to form audio compositions. <br />
<br />
<br />
Here are a few:<br />
<br />
[https://stanford.naxosmusiclibrary.com/catalogue/item.asp?cid=INNOVA783 ''Arctic Winds,''] Maggie Payne, 2010<br />
<br />
[https://search.alexanderstreet.com/view/work/bibliographic_entity%7Crecorded_cd%7C72954 ''Gateway Summer Sound: Abstracted Animal and Other Sounds''] Ann McMillan, 1979 <br />
<br />
[http://www.dramonline.org/albums/scott-smallwood-desert-winds-six-windblown-sound-pieces-and-other-works/player ''Desert Winds: Six Windblown Sound Pieces and Other Works,''] Scott Smallwood, 2007<br />
<br />
[https://search.alexanderstreet.com/view/work/bibliographic_entity%7Crecorded_cd%7C72140 ''Highlights of Vortex''], 1959, Smithsonian Folkways Recordings [2003]<br />
<br />
<br />
'''SLAC Site Visit:'''<br />
<br />
[[File:slac.jpg|500px]]<br />
<br />
The tour of SLAC was a bit of a disappointment, but only because I didn't fully comprehend the context of the tour. I didn't realize our MFA tour was part of a larger public tour. Unfortunately, it was nearly impossible to record an audio sample without tour-talk and human ruckus. We only visited two small areas of the facilities, which didn't really give an overall impression of the scale of the accelerometer. There were, however, some exciting/uncomfortable oscillations coming from machinery that I would like to revisit under a more sound-oriented tour of SLAC. Outside of my sound hunt, it was astounding to hear about the some of the research taking place.<br />
<br />
<br />
<br />
<br />
'''Floor Plan + Spacial Thoughts:'''<br />
<br />
[[File:LR_sketch.png|600px]]<br />
<br />
<br />
<br />
'''Light + Sound + Water Experiments:'''<br />
<br />
[http://ssherriff.com/media/wide_test.MOV]<br />
<br />
[http://ssherriff.com/media/oracle_view.MOV]<br />
<br />
[http://ssherriff.com/media/shadow_projection.MOV]<br />
<br />
<br />
<br />
'''To do:'''<br />
Visit Listening Room<br />
Contact Nando for Listening Room Orientation<br />
Contact Nette for LR keycard access<br />
Book out LR rehearsal schedule<br />
Purchase 2015 Macbook Pro<br />
<br />
<br />
'''WK5 --'''<br />
<br />
I spent this week trying to iron out logistics. I met with Nando for a Listening Room orientation and am now considering the best way to execute signal routing in the space. Nando recommended I check out the Listening Room User Manual on the CCRMA website. For now, I'm thinking I'll address each speaker individually, rather than working with ambisonics. It sounds like I'll need to use Jack to interface with my computer. Speaking of computer, I bought a laptop! It should arrive next week. I was also able to arrange keycard access to the room and am still trying to pin down scheduling for rehearsal and official performance showtimes. <br />
<br />
[[File:listening rm2 no layer.jpg|500px]]<br />
<br />
<br />
'''Possible Performance Date(s)/Times:''' <br />
<br />
'''Friday, June 1''' -- 4pm doors / 4:33pm performance<br />
OR<br />
7pm doors / 7:30pm performance<br />
<br />
'''Saturday, June 2''' -- 4pm doors / 4:33pm performance <br />
AND<br />
7pm doors / 7:30pm performance<br />
<br />
<br />
<br />
''' WK6 --'''<br />
<br />
'''Listening Room Mixing + Routing Research:'''<br />
<br />
[https://ccrma.stanford.edu/room-guides/listening-room] Listening Room User Guide]<br />
<br />
[[File:Speakers.jpg|600px]]<br />
[[File:LR_mixer.jpg|500px]]<br />
<br />
[https://ccrma.stanford.edu/software/openmixer/manual Openmixer Manual]<br />
<br />
[https://ccrma.stanford.edu/software/openmixer/manual/input_sources Input Sources]<br />
<br />
[https://ccrma.stanford.edu/software/openmixer/manual/using_jack Using Jack]<br />
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<br />
'''Projection/Lighting:'''<br />
<br />
After visiting the Listening Room and looking at the infrastructure in place, I've decided not to do any screen-based projection that requires hanging additional material in the space. It will likely be a lot of work and ultimately be invasive to the experience. For now, I'd like to focus on the sound and possibly incorporate some simple caustic lighting elements. I'm considering options for reflecting light onto the grid that separates the floor from the lower level of the heptagon. This will require some sort of surface/screen that could easily be placed on the grid. I will need to be sure there is airflow so as not to cause any issues with the ventilation system which feeds into the lower level.<br />
<br />
<br />
<br />
'''To do:'''<br />
Install Max MSP/Jitter<br />
Set-up 22 Channel Routing in Max<br />
Source + Set-up RSVP Platform for Performance<br />
Contact Eoin for Listening Room Consultation <br />
Dry Ice Testing<br />
<br />
<br />
''' WK7 --'''<br />
<br />
'''Signal Routing + Listening Room Consultation:'''<br />
<br />
My new computer finally arrived and I was able to schedule some time with Eoin to test routing options in the Listening Room. I've opted to use a 16ch analog interface and Jacknet, which will magically give me access to all 22 channels. I'll need to do more specific routing in Max but was able to get a signal out of my laptop and play audio over all 22 channels with minimal head-scratching and mysterious machine behavior. Eoin is awesome. I am consistently amazed at the generosity of the CCRMA community and am so grateful to have the opportunity to interact and learn from everyone. <br />
<br />
<br />
'''Listening Room Booking + Conflicts:'''<br />
<br />
I spoke to Matt Wright about any potential overlap with SLOrk rehearsal and general usage of the Listening Room. After our conversation, it seems best to bump my performance dates back one week so as to avoid any scheduling conflicts. Matt has also been kind enough to book out the space for me overnight so I will only need to set-up and teardown once. Wooo. Yay for CCRMA peeps! <br />
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<br />
'''RVSP Platform + Dates'''<br />
<br />
I've decided to use Eventbrite for RSVP distribution/tracking. I've got a draft going and am seconds away from pulling the trigger. Just need to finish up my statement about the piece, and am currently wrestling with language and an official title. So close!<br />
<br />
Friday, June 8th -- 7pm doors / 7:30pm performance<br />
Saturday, June 9th -- 4pm doors / 4:30pm performance<br />
<br />
<br />
'''Dry Ice Tests:'''<br />
<br />
Working with dry ice has been waaay more fun than I could have anticipated. With that said, I'm learning that the fun comes with a heftier fee than I originally thought... and it evaporates fairly quickly. A block of dry ice lasts for approximately 2 or 3 days at about $20 each. I've also discovered that the dry ice goes bananas until it's eaten up all of the oxygen in whatever water it's dropped into, at which point, the dry ice fizzles sadly with much less gusto. This happens fairly quickly. I think it will be fine for the performance, but it's possible I will need larger containers to house the water and dry. I've been most excited about projecting onto the dry ice and am thinking about ways to use the dry ice as the projection screen/surface for the performance. <br />
<br />
<br />
'''To do:'''<br />
Set-up Signal Routing Hierarchy in Max <br />
Publish + Distribute RVSP Invite<br />
Test Dry Ice in Listening Room<br />
Test Scent Machine in Listening Room<br />
Okay to Point Listening Room Projector Straight Down Onto Grid?<br />
Order More Fans? Dry Ice Containers / Scent Containers<br />
Edit new sounds<br />
<br />
<br />
'''WK8 --'''<br />
<br />
'''Testing + Rehearsal Findings:'''<br />
<br />
I discovered that my USB MIDI controller will not work at the same time as the USB MOTU interface I am using to route sound in the Listening Room. This is a major problem. I've contacted Eoin for advice, and am hoping that using an ethernet connection will help resolve this issue. I'm also thinking about adding a second computer into the mix, mainly because of software limitations on my new computer. I'm not sure if this is going to cause a whole heap of other headaches, but mentioned my interest to Eoin. If it seems to crazy/unreliable I'll stick with one laptop. <br />
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<br />
'''Testing + Rehearsal Audio:'''<br />
<br />
[http://ssherriff.com/media/post-human_rehearsal2.mp3 Recording 1]<br />
<br />
[http://ssherriff.com/media/post-human_rehearsal.mp3 Recording 2]<br />
<br />
<br />
'''Dry Ice Testing:'''<br />
<br />
My first rounds of dry ice tests in the Listening Room proved to be somewhat unsuccessful. The ventilation system below the grid sucks all of the dry ice vapors straight down and disburses them, making it difficult to see anything interesting happening. I tried placing a container of dry ice into a secondary container with edges slightly higher than the vessel holding the dry ice. This produced some really interesting behaviors, so I'm guessing I can do something similar at a larger scale -- hopefully filling the majority of the recess in the Listening Room floor. <br />
<br />
I've been spending a good lump of time searching for containers to hold the dry ice. Whatever I use needs to be fairly large to help with the longevity of the vapors... but also not so large that it will be difficult to schlep it out of the room once the performance is over. There's also a slight chance that whatever I use to house the dry ice will be visible in some capacity, so I'm also trying to find something that is fairly simple in design... and also cheapish, since I will be covering a lot of area. I've been looking at all kinds of containers and haven't really found the right thing yet. I found something that will work, but I'm not very excited about it. <br />
<br />
For the secondary 'container' I am thinking about building out a frame that will fit inside of the heptagon. I would then line the frame with a black tarp or some sort of black fabric, leaving a few inches between the frame and the interior edge of the heptagon for air flow. <br />
<br />
Speaking of air-flow, the sound of the dry ice bubbling in the water is becoming a wonderful bonus in the soundscape of my performance. Listening to the dry ice is sort of like sitting by a babbling creek, so I could have asked for a more exciting and unexpected surprise. <br />
<br />
<br />
<br />
'''Projector Testing:''' <br />
<br />
Initially, I was thinking about using the projector that is already mounted in the Listening Room. After further examination, I realized that the throw will probably not work well for my purposes. I did some tests with one of the PICO projectors and it seems like it might work okay. It probably won't be the brightest, most vivid projection... but I think that will be okay in this case. The dry ice is awesome with even just a little bit of light on it. <br />
<br />
I bought a few small clamp mounts for any of the tiny projectors that enter into the set-up. I should be able to mount the projectors fairly easily using the rigging system in the ceiling.<br />
<br />
<br />
<br />
'''Project Statement:'''<br />
<br />
Earth frequencies are the foundation of sound-making in communication and survival for all<br />
living creatures. Insects, birds, and humans have all evolved to make sound in accordance<br />
with the landscapes in which they dwell, yet humans increasingly suffocate the soundscape,<br />
turning a blind ear to the sonic residue of industry and electromagnetic poisons.<br />
<br />
''Post-human Incursion'' is a site-specific audio/visual performance that examines how<br />
natural order might adapt soncially to human impressions on the evolution of voice across<br />
species. Through the use of spatialized and processed field recordings, ''Post-human Incursion''<br />
gestures toward a futuristic bending of familiar sonic terrain twisted by the influence of<br />
machinery. Vapors and visual, ephemeral traces are received and distributed through the<br />
guise of an oracle, channeling as a medium, the fragility of perceived realities. As a<br />
composition, Post-human Incursion is a poetic attempt to prophesize what the future may hold<br />
in relation to the expressive abilities and survival of sounding creatures on Earth. Do<br />
birds sing differently now that they are encumbered with the ruckus of industrialized human<br />
existence?''<br />
<br />
'''Friday, June 8th''' -- 7pm / doors -- 7:30pm / performance<br />
'''Saturday, June 9th''' -- 4pm / doors -- 4:30pm / performance<br />
<br />
[https://www.eventbrite.com/e/post-human-incursion-tickets-46164892436 RSVP Event Link]<br />
<br />
<br />
'''To do:'''<br />
Find door person<br />
USB MIDI controller does not currently work while running USB MOTU 16ch interface<br />
Can I use two computers -- x1 for mask / x1 for field recordings?<br />
Define performance zone / altar<br />
<br />
<br />
'''WK9 + 10 --'''<br />
<br />
'''Listening Room Tech:'''<br />
There was some mystery unplugging of a bunch of stuff in the Listening Room, which was causing some strange/inconsistent behavior. With the help and head scratching of Eoin and Nando... the mystery has been solved and things seem to be relatively stable. Phew! My MIDI controller also seems to be behaving for the most part. I've been using a power USB hub, which seems to be doing the trick, although I have a feeling the USB port on my controller is starting to get a little loose. Hopefully, it hangs in there for the performances...<br />
<br />
<br />
'''Dry Ice:'''<br />
I'm still struggling with the dry ice component of the piece. I don't think I'll be able to work at the scale I'd like, mainly due to the cost of materials. I think I've found a solution on a smaller scale, but I'm not super excited about it. Because of the scale change, it's likely I'll need to abandon the projection component. Hard to say for sure at this point, but unless some miracle ah-ha moment happens much of the visual components of the piece will be far diminished from what I would like to do in an ideal world where I'm rolling in cash and have an absorbent amount of time.<br />
<br />
<br />
'''SLOrk + Set-up:''' <br />
SLOrk moves out of the Listening Room on Wednesday evening. This means I will be able to leave things set-up and start to deal with cables and placement. In the interim, I've been doing some small lighting test and think I have a fairly simple plan for lighting including the hallway leading up to the Listening Room.<br />
<br />
<br />
'''Printed Program:''' <br />
I'm nearly finished working on a program for the performances. I think I will alter my statement to better describe all of the adjustments I've had to make and use language to indicate that it's still a work in progress. I assume it's fine to print the program at CCRMA. <br />
<br />
<br />
'''Sound:'''<br />
At this point, I'm so buried in the piece that I can no longer tell heads from tails. I've introduced a piezo as part of the altar, and have been testing various vocal utterances. Compositionally, I'm not totally sure where the piece is at or how far away I've fallen from my original intent. Currently, the piece is leaning toward something more musical than I originally imagined. I've removed the glockenspiel recording and have been working with more of a droning sound that I recorded using a synth. There's a cohesiveness to the sound, but what I've been developing is seemingly less like a soundscape even though there is an abundance of field recordings incorporated into the work. I suppose I'm feeling a little confused and could use some time away from the piece for reflection, but as is the whole shebang is feeling arbitrary and far removed... but maybe I'm too immersed in the process to see/hear it for what it is? <br />
<br />
<br />
'''To do:'''<br />
Complete Program / Print -- Do I need a code for the printer?<br />
Still trying to find a door person<br />
Lighting + Set-up<br />
Rehearsal + Testing</div>Stephanie