The entire music video consists of multiple stages. The basic structure for each stage is a dynamic subdivided cubic cell, which is able to multiply based on a designated distribution pattern.
For generating the animated singing figure (Kerli), the pattern is computed based on depth sequence of the original footage. Speaking of the footage, a Kinect, a camera, plus Depthkit (depthkit.tv/) were used to shoot both the RGB and depth footage simultaneously. Since I was not using Depthkit’s built-in visualizer, an additional program was later developed to post-sync the two footage based on the milliseconds tags of the depth sequence.
For generating the cityscapes, I programmed another separate generator to produce images of random aerial views of buildings, using brightness to indicate each block’s altitude. The images were later imported and read by the system the way similar as Kerli’s depth sequence. The mapping of the pattern is also affected by each host cubic cell’s “gravitation mode”, which changes the pattern’s facing direction.
The entire music video is programmed and generated using Processing, with a few slight radiant blur effects done in Premiere during composition.
Now in its sixth year, FITC Tokyo 2015 consists of presentations from some of the most interesting and engaging digital creators from all around the world. To commemorate FITC Tokyo’s inaugural title sequence we sought to encapsulate the city itself—distilled to graphic form. Aiming to contrast the harmonies of traditional Japanese culture against the backdrop and sensory overload of present-day Tokyo, we meticulously crafted elegant typographic forms to collide with abrasive, overstimulating glitch—giving way to a progressive journey where moments of extreme chaos fold into temporary tranquility.
Director: Ash Thorp
Producer: Andrew Hawryluk
Art Director: Michael Rigley
Type Designer: Nicolas Girard
Designers: Ash Thorp, Michael Rigley, Nicolas Girard
Type Animators: Nicolas Girard, Alasdair Willson
Animators: Michael Rigley, Chris Bjerre, Andrew Hawryluk
Computational Artist: Albert Omoss
Process Reel Editor: Franck Deron
Case studies about iterative method.
How can it be connected to generative life.
It's about how math and physic can be the key for explaining human life and perception, even the feelings we can not quantify, like love, that goes beyond time and space dimensions.
This project started developing code functions in Max/Msp and Processing using Arrays and the "for" instruction.
After i decided to connect all research i made (studying physic books, TED talks, M.I.T. documents) in one project, trying to enhance the conncetion between these studies and my life experience.
ABOUT ITERATIVE METHOD:
In computational mathematics, an iterative method is a mathematical procedure that generates a sequence of improving approximate solutions for a class of problems. A specific implementation of an iterative method, including the termination criteria, is an algorithm of the iterative method. An iterative method is called convergent if the corresponding sequence converges for given initial approximations. A mathematically rigorous convergence analysis of an iterative method is usually performed; however, heuristic-based iterative methods are also common.
In the problems of finding the root of an equation (or a solution of a system of equations), an iterative method uses an initial guess to generate successive approximations to a solution. In contrast, direct methods attempt to solve the problem by a finite sequence of operations. In the absence of rounding errors, direct methods would deliver an exact solution.
Iterative methods are often the only choice for nonlinear equations. However, iterative methods are often useful even for linear problems involving a large number of variables (sometimes of the order of millions), where direct methods would be prohibitively expensive (and in some cases impossible) even with the best available computing power.
2014 — Electroluminescent thread, electronic, piano Disklavier Yamaha DC6XE3PRO.
Portée/ is the interactive unfold of a musical score in space and a collective multi-sensory experience.
16 independant electroluminescent wires are deployed in a monumental asymmetric weave of light.
Visitors are invited to explore the spacial & interactive qualities of music, through a poetic setting.
When they touch and trigger vibrations of the luminous threads, the notes associated to each thread are played on an electro-mecanic grand piano. The melodies are triggered by the visitor but their intrinsic configuration remains out of his control.
Referencing the work of Iannis Xenakis, greek composer architect and engineer (1922-2001) the monumental
lines evoke the continous dialogue created between mathematics, architecture and music.
The proportions of the piece gives way to the gathering of multiple point of views that generate different geometrical outcomes : ascending, vertical, singular and chaotic. Each of them offer different ranges of interaction, conditioning simultaneously the intimate experience and global state of the space.
The melodies created by french musician Chapelier Fou (Louis Warinsky) evolve over time. They blur the frontier between manual and procedural music-score creation and force the visitor to question the origin of the music he’s hearing and his control over it.
Music by: Chapelier Fou — Ici, d'ailleurs, i_o (Deltas)
Thanks to: Yamaha, Gilles Bazelaire, Gaétan Libertiaux, Marie du Chastel, François Chasseur, Anne Bister, Kikk team & volunteers (including: Nicolas Chasseur, Xavier Dumont, Aurielle Philippartu, Ngân Piquery, Gilles Vandermeeren), Louis Warynski, Eric Bichon, Stéphane Grégoire, Pierric Verger, Sylvie Bekdouche, Karen Topacio.