Final Review Drawings / Obstacle Experimentation
This week we created a new machine that takes advantage of two speakers, an amplifier and a drum pad attached to audio-software (Ableton). The goal in doing this was to create the most controlled environment to reproduce a series of sine-wave pitches for the production of specific architectural spaces.
To be brief the software specifically allows:
-Controlling of pitches, timing, recording and alteration of the audio session
– The alternating of a sine-wave machine from a digital kit, this allows delay, length, analog grid alterations and other specific mechanised advantages that we could do with an analog form of a sine-wave generator.
-Control of the stereo output, which signal goes into the left or right channel of the speakers, where the sound is spaced in a stereo standpoint
-Documentation of pitch sessions and changes.
In addition we added obstacles that abstract the production causing either void or solid depending on whether the obstacle is white (solid) or black (void).
Display of the sine-waveform generator
Display of B3 to C5 Session.
Display of the oscillation between B3 and C4 session.
The video sessions can be viewed here
Still attempting working with Amira the failures within the exporting of objects was not effective at all or accurate. The software was reading the collection of images as a block. This led to many different ways of processing these images.
We tested all different file types for Amira to render the object, in addition to different ways of processing them. Ultimately Amira wasn’t processing the way we wanted to so we moved into different MRI software called Fiji which is a more current and freeware based MRI software used commonly in medical school.
To speed up the process of editing the images we created a series of macro automation within Photoshop so that it could batch edit the process. This process included doing the following operations:
Finally we hit the perfect mixture of operations that gave the software the understanding that it was a DICOM set of images (MRI // ). The process of doubling the posterization gave the image more fidelity, going from 3 channels to 2 channels while editing the brightness/contrast to the extremes. (seen below)
Using these actions, it allowed us to finally bring these movements into 3D.
C5 to B5
C4 to B4
E5 to B5
E5 to B5
E5 to B5
E5 to B5
1. VLC: Extract Frames from Video (see below)
2. Photoshop Batch Process
3. Fiji Export as OBJ
Bringing these movements into form was difficult. We tried a few approach most of which failed. The takeaway from last week was using Amira, which is MRI software used to construct 3D forms of anatomy. In that approach we hoped to do something similar by tricking the software into using the frames our videos. Ultimately Amira didn’t give us what we needed so we tried other approaches.
- Manually tracing each extracted frame then lazer cutting them.
- Using Image Trace on a series of frames within illustrator to build a series of curves in section and lofting.
This is a manual construction of line work from the Wave Driver Machine 1.0 using a square plate transitioning from C5 (~ 523.25 Hz) to B5 (~ 987.77 Hz). There are 57 frames within this construction.
This is an image trace production of frames from illustrator then constructed within rhino in section. The results are similar. This led to creating a macro in illustrator to make a batch process to quicken the output. Below is a step by step on how to replicate this process.
VLC: Extract Frames from Video
This week we chose to explore different geometries of plates within the wave driver, as well as compiling a series of sound drawings from previous experiments to create a three dimensional object. Within these experiments we learned the effect of different geometries reacting the vibration and how these drawings begin to create volumetric objects.
Each plate goes through pitch changes from the scales C4 (~261.63 Hz) to B4 (~ 493.88 Hz), C5 (~ 523.25 Hz) to B5 (~ 987.77 Hz) . These two scales are the most reactive and show a different level of density within the
Sedona is located at, which is in the Upper Sonoran Desert of northern Arizona. At an elevation of 4,500 feet (1,372 m), Sedona has mild winters and hot summers.
Program: Museum / Gallery
Sanna Rolex Building
Ezio Blastetti Cellular Automatan