Mark Matamoros ITP Blog

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Fall 2019

Spring 2020

Fall 2020

Listening Machines

Week 2 Assignment: Visual Manipulation via RMS. September 17, 2020.

Glitch Project with P5.js

The second week of class delivered instruction towards the utilization of the online collaborative environment GLITCH in conjuction with P5.js. Furthermore, information within this lecture highly pertained to the handling of a microphone's input values towards the manipulation of visual components.

Regarding the week's assignment, the linked video contains a demonstration of grabbing an incoming (microphone) signal's calculated RMS values and applying them towards numerous arcs' (x80) heights. Additionally, a mask (four triangle) was applied within the project to further shape the mentioned arcs. It must be noted that this particular work is a "remix" of the instructor's project.

The following link contains my code:

GLITCH PROJECT


Synethesia: Video Review. September 10, 2020.

SCNHITT - MEMORY CODE | ECHOIC MEMORY

Upon reading the provided article within DIGITAL SYNESTHESIA, it became apparent that my ability to digest academic papers is lacking. The experience brought memories of late night studying during my undergraduate studies at UC San Diego, where papers of this nature were required course readings. With that said, this article provided a fascinating outlook on medium aesthetics derived from synesthetic experiences for us non-synesthetes.

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The instructor's linked videos provided a diverse range of works revolving around this area of study. However, SCHNITT's ECHOIC MEMORY appeared to resonate with my artistic taste regarding works tying visuals with musical pieces. Furthemore, the visual component of this work personally granted an easily digestible representation of the aural component. Though, perhaps this notion is heavily influenced by my lifelong experiences in music and audio.

Regarding synesthetic properties, the overall dynamic of the musical component was tightly visualized through the projected visualization onto the installation's surface. More specifically, the audio's variations in spectrum (utilized frequencies) throughout time had a corresponding splatter of light saturation and spread. As a general statement, when the dynamic intensity increased, the amount of visual projection also increased. Regarding the visual component's color, perhaps the sole utilization of the green hue could be perceived as a reflection of the music's minimalist characteristic.

It must be noted that experiencing this piece in a separated aural and visual manner individually provided musicality and movement through time in a pleasing manner. The mentioned aspect of minimalism and overall dynamic with each component were evident within both individualized experiences. However, this personal perception could have been easily influenced through the initial experience of tied aural and visual parts. In light of this notion, I am considering future viewings of recommended works in this separated manner.


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