if you didn’t follow the words about lines(), it is my new liveset.
I decided to manage my livesets as projects. I’m not talking about folder organization but more brain’s stuff organization.
Indeed, I had often designed new livesets here time I played but, because it is also totally unproductive & time consuming as hell, I want to have projects like that, finished or unfinished and to be able to retrieve the whole configuration in 3 years, to modify it etc.
This is quite easy to do, this is just a new way.
Here is another excerpt of this performance.
I’ll play the early version at polikarpov on tomorrow.
I hope people will get into it. This is very syncopated and uncanny, but not that much :p
I’ll describe my setup asap. It is based on Live + VDMX but used in very strange ways. Indeed, inside Live, I’m running some sequencers and not really sequences inside clips and in VDMX, I’m using strange Quartz Composer compositions.
If Live is my audio manager in which and into which I route all my audio, VDMX became my visuals manager too ; for this latter, so easy to change presets, to route Max6/Jitter into it (syphon rocks!) and even more.
My visuals are audio-reactive. That means some parts (fx, generators etc) are changing according to music data. You may love a workshop around this I guess. I can use anymeeting.com for that. Just tell me.
Here is a very good news.
Here is the cover:
It is maybe the right moment to subscribe to the dedicated newsletter and join the subscribers:
This is totally unofficial and this is why we love it, don’t we ?
After the two live set I played online on 24th March for Leicester’s code-control event, I had some very huge inspirations and sounds played have to be released.
Here is a short teaser of a video + sounds of Horror Vacui.
If you don’t know these terms/concept, please check this as a nice introduction.
Visuals are generated in real-time and this video is “just” a record.
Stay tuned on my newsletter.
Here is the sound bits. This will be splitted in 2 tracks and released on de-form.net
The event is here: https://www.facebook.com/events/147635618737656/
Hope to catch you there…
Störung Festival 8:
Festival of Experimental Electronic Music & Visual Arts
Farinera del Clot – Barcelona
19th April from 5:30pm to 7:45pm
Master-Class/Workshop by Julien Bayle
Public: everyone interested in digitally art visual & sound.
Pre-requisites: some knowledge about Max6, OpenGL and data matrices can be a plus but isn’t absolutely required
Working at the crossroads of sound and visual, I always need to link both. From visuals generated or altered by sound data to the control of randomness studies, I need to work with efficient tools providing a very high level of freedom.
When I’m building a digital installation, when I’m performing live, I don’t want to be stuck by technology and communication protocols problem. I also need performances and power and especially I’m trying to avoid the use of massive heterogeneous plugins and addons. This is why I began to design my visual systems which is both flexible and potentially unlimited using Max6 (formerly Max/MSP)
I’m designing my digital installations exclusively using Max6 and I’m using Ableton Live 9 and some Max6 standalones on stage.
This master-class is a nice way for me to explain to audience what I needed, what I already designed and what I want to design in a close future. I’ll talk about both part: final purpose global ideas but also what are the technical points under the hood.
At last, it is a nice pretext to exchange ideas and methods about A/V systems design and all related technologies.
We will also be able to talk about my current project using many technologies from C++ Openframeworks to Max or Ableton Live 9.
Workshop will be in English.
Julien Bayle speaks also French and will be support for Spanish speakers only.
Price Workshop 40€
|“User Interface Design is the art of building the elusive missing link between you and the system you want to control and then hear the desired results.
One of the biggest challenges in user interface design is to keep the user perspective as the focal point of any Interface Design project.
As a case in point, just take a look at the grand majority of popular user interfaces, and how they are commonly used.
Once you do, you’ll begin to understand that a lot of companies (even the biggest ones) seem to have forgotten this main idea.”- 20 pages written by Julien Bayle (protodeck‘s designer)
- 6 items to avoid to miss the point
- fresh design by Manuela Ciancilla
- rocky reviewed translation by Glenn Reuther
This e-book is published & distributed under the Creative Commons CC-BY-SA license.
Ceci est une courte présentation de ce qu’est le contrôleur PUSH.
Avec un ami, on avait envie de le sortir un peu du studio pour aller lui faire prendre l’air sur la plage à Marseille.
This is my fourth proposition for the maxi façade of MediaLab Prado.
Each band represents respectively from top to bottom: seconds, minutes, hours, days, months of a year.
It is an ode to patience and zen relaxing time mixed with raw lofi visuals.
This is my third proposition for the maxi façade of MediaLab Prado.
The other post related to this one is here
This is a work I made around 2008 and it has been published with one of my interview in Visualisation Volume 2
It has been posted there.
I liked this article on The Wire
Globally, I feel my own art sometimes technology-driven.
Max6 drives me to explore more each day.
This is not a full drunken walk, I almost everytime know before what I need, what I want, where I want to go. But VERY often, I’m loosing the path and finally find something else
I love this.
I call it: FREEDOM.
I have a definition of freedom right now. It appears this morning:
Freedom is the ability to get lost while walking
I can feel this while I’m working on my own art.
This is a unique feeling I’d like to feel each day, each second.
Sometimes we want to control everything.
It reassures us, it makes us feeling more comfortable but only on a short period of time.
Letting things go often helps us more. It is hard.
I like to apply this concept both while creating and performing.
I even like to include this concept inside my pieces of art.
Indeed, I’m working currently on a new EP based on controlled-random concepts.
The name of this EP is baf6a0cbd86b6776543710dff5529ba05d7e39a3
It is an encrypted title by using SHA1 algorithm.
I want to include in each part of the matter I’m creating the digital, the algorithm ideas and themes.
I don’t want to bother you with titles and I want you to focus on the sounds and visuals.
This is my own minimalism. Like it or don’t.
The [random] object provides a way to produce a pseudo-random sequence of numbers. By changing a “seed” we can be sure we don’t have twice the same sequence.
Here is something I use sometimes.
It is based on [phasor~] (sorry for the link, the Max6 documentation online works strangely) to have a clock with a precision related to the sample-rate of audio interface. This is actually the way to go to have precise timing inside Live for instance. Using @lock 1 provides the way to lock the phasor to Live transport in my case. (this is actually a max for live patch)
‘Scheduler in Overdrive’ and ‘in Audio Interrupt’ must be enabled in Audio Status for accurate timing.
[phasor~] generates a sawtooth wave.
[rate~] scales the [phasor~] according to time division.
[delta~] generates a signal which is the difference between two incoming samples (coming from the [rate~] in our case)
Then I’m doing a comparison and [<~ -0.5] generates a signal equalling 1. if the test is verified or 0. if it isn’t.
At last, [edge~] detects each zero to non-zero transition for the incoming signal and bang when a transition happens.
What am I doing here?
I “just” create a very accurate clock banging at very precise value of time.
Then, I’m banging a [random] object with the parameter 2. It then fires number 0 or 1, pseudo-randomly.
Then and at last, I’m selecting with [sel] only number equalling 1.
This one generates a bang when 1 is incoming and I’m triggering some MIDI notes.
By playing with the rate multiplier of [rate~], I’m sure I have a maximum rate given by this parameter. I mean, if I have a sequence of 1 fired by the [random] the rate of this 1 flow won’t be greater than the rate multiplier, providing a nice way to control the randomness.
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