Recent Posts

Final Project Progress Update #2 | Once Upon a Huh?


Monday, Oct 12, 2020 - 04:09:30 pm

@ jznki

Generative Art Final Project Progress Update #2

Once Upon a Huh?

“In narrative, we take experience and configure it in a conventional and comprehensible form. This is what gives narrative its communicative power; it is what makes narrative a powerful tool of persuasion and, therefore, a potential transformative device for the disempowered.”

– Steven L. Winter

Concept Update:

I was doing Read more →

Categories: Process | Final Project
Well done. Here is a couple of links with DOM/Canvas navigation and JS timer basics: You will find more tutorials on this guy's YT page, and there are well written and illustrated tutorials behind all these videos. I hope this helps.

Generative Artwork - Stone

Alina Ling

Thursday, Oct 08, 2020 - 01:57:41 pm

@ Alina Ling


How do materials sound like? While sound is subjectively perceived, there is a collective or general sentiment on the descriptive qualities of a sound/ soundscape. We occasionally use tactile qualities (eg. rough, soft) to describe sounds, to assign textures to what we hear. In music, texture is the way the tempo, melodic and harmonic materials are combined in Read more →

Categories: Process
Excellent post, thank you! I watched briefly Eli Fieldsteel's video on GS in SC in his great tutorial series, and it seems to my untrained = mainly intuitive mind that you actually can use GS for a variety of complex sonic texture generations by reading even relatively simplified visual data from Kinect. This would require some experimentation with GS tools in SC and, of course, a consultation with Philippe should be helpful. Please outline your visual data input and overall method and ask him first what type/technique of sound synthesis would he recommend, and then ask for his advice on the usefulness of GS in particular.

Week 8 Project Update

Naomi Takatsuka Koh

Thursday, Oct 08, 2020 - 12:19:00 pm

@ naomi's portfolio

Magnet Chimes

Project Update

To improve this project, I would like to experiment with electromagnets to perhaps enable the viewer to have a better control in manipulating the magnet chimes.

Creating an electromagnet using:

Large iron nail (approximately 3 inches in length) Thin coated copper wire Dry cell batteries Electric tape Iron fillings, paper clips and other magnetic items Below is a sketch for how I would Read more →
Categories: Process | Research
In addition to my key suggestions in class, you should pay attention to the formal (visual/sculptural and kinesthetic) aspects of your project in addition to its sonic qualities.

For example, take a look at Alexander Calder's mobiles, and do some research into kinetic art. Some of the aesthetic principles, ideas and solutions you will find may be applicable to your work as well.

Lines & Interpretations | Final Project Concept

Samuel Ng

Wednesday, Oct 07, 2020 - 11:50:26 pm


New Idea | Brain Storming Phase

For my final project, I will be creating a new sketch but using the lessons from my exploratory sketch. Before developing a sketch, I will look at what has already been created and understand their methodology and the process behind the art piece and not just the final outcome of the work. Next, I will Read more →

Categories: Process
Well done Samuel. Assembling the exemplar set for your work turned into a package relevant to the whole class, which I posted in Examples and Resources section of the class update. I hope this will be useful.
You will find an interesting discussion on automated drawing systems in this paper and on Jon McCormac's website.

Generative Artwork Surprise Sketch

Su Yang

Wednesday, Oct 07, 2020 - 11:33:51 pm

@ suyang

Following from the previous studies, I have decided to augment the game to suit the generative properties better.

The main difference: Instead of playing cards and removing them, players now play cards which stay on the board permanently.

New cards can be played over old cards, which card create generative patterns which suit the player’s needs in the point of the game, Read more →

Categories: Process

Final Project | Once Upon A Huh? | Update #1


Tuesday, Oct 06, 2020 - 03:03:50 am

@ jznki

Final Project: Once Upon A Huh?

Just to recap, I created a HTML-based storytelling project where the audience seem to have the autonomy to choose how they want the Fairy Tale to go, but in fact they are actually not in control of the scenarios that happen. In fact, no one can control how the story goes except for Read more →

Categories: Final Project | Process

A Carrie Tale*

 An overall comment: This is a thorough and ambitious critical analysis which gives you a solid platform to make a strong final work. Please make sure to select and articulate all these creative criteria into an useful procedural system. You do not need to present this system in the work progress or in the class. Rather than being presentable it should be functional for your working methodology - it will be your tool for building this upgraded and more nuanced work. As far as I can say at this point, this system could be structured as an algorithm, but it does not need to be formal in any way - it can and probably should be idiosyncratic or self-tailored just for you. A few more comments: On the first two ideas (a branching narrative and 3 selectable options): Both ideas are good and well justified, just be careful on finding a system (mentioned above) to control both the complexity and to make a seemingly coherent sense of each narrative branch. This would entail your storytelling/writing skills, planning and, of course, some psych. On I might be replacing images from the story with certain parts of the text to add more visuals to the story: OK, and this will make the whole work more interesting. Please remind me in class to tell you about one of my students' video work in which they played with SDH subtitles. Formal components such as visuals and music can also change with the branching narrative "mood" or "atmosphere". On the choice dilemmas: Choice can be and often is structured (or interpreted) in such a way that it conceals the more important levels of decision-making within a given context. On sadistic: Please don't worry. 1. A lot of art is sadistic willingly or unwillingly. 1a. On that note, being boring and weak, most art is unwillingly sadistic. 2. Art (creativity in general) and political correctness are ultimately incompatible in the sense that every meaningful act is always political (carries some intention) but usually not universally equal, so not everyone affected can be equally satisfied. Probably the strongest rationale for this work (if you are still looking for it) is that it emphasizes how, ultimately, all our narratives are senseless/meaningless or non-sensical. This deconstructive critique especially applies to the narratives which are highly manipulative of the reader/listener, weather politically (ideological narratives), socially (social norms, "traditions", etc.), economically (advertising, and to a large degree design in general). Fairy tales belong to this category of highly manipulative storytelling, so they are your legitimate subject and target. * Carrie [as in the classic:] sounds like / rhymes with fairy.
It was a pleasure reading your update!

Reading Assignment 3 | System Stories and Model Worlds: A critical approach to generative art by Mitchell Whitelaw


Monday, Oct 05, 2020 - 04:15:21 am

@ jznki

Text Selected: System Stories and Model Worlds: A critical approach to generative art by Mitchell Whitelaw

A Critical Approach to Generative Art

Mitchell Whitelaw discusses the true attraction of Generative Art, and what it represents other than the technicality it is composed of. He suggests that there are two fundamental distinctions in software generative art; “Software formalism”, where it is Read more →

Categories: Research
A very good reading reflection. You have chosen the right paper: relevant to your approach and informative for your generative artwork. Narrativity unfolds around any interesting artwork, regardless of its type or medium, through direct experience, interpretation, reflection and broader impact of the work, although it is accentuated or pronounced differently in different kinds of artworks. In a way, narrativity is what the term "interesting" implies, from Latin inter esse = being (engaged) in or into. In your live presentation, please find a way to show and discuss all or as many as possible of the examples you posted. Please make sure to correct the links to John Holland’s ECHO and Golan Levin’s Axis.

Generative Studies Final

Su Yang

Sunday, Oct 04, 2020 - 10:20:42 pm

@ suyang

Generative Study of of a deckbuilding card game

As a followup from the previous study,

Simplified Rules: Gameplay goes in rounds, and they repeat until either the player or the monster is defeated. In the course of a round, it is further split into 3 stages: Setup Phase, Main Phase, and Cleanup Phase

There are several zones, Your Hand, Your Deck, Your Field, Your Read more →

Categories: Process

Week 7: Generative Study

Alina Ling

Thursday, Sep 24, 2020 - 04:31:27 pm

@ Alina Ling


Generative Study: Real-time sound generation using depth data from kinect

Over Week 7, I experimented with SuperCollider, a platform for real-time audio synthesis and algorithmic composition, which supports live coding, visualisation, external connections to software/hardware, etc. On the real-time audio server, I wanted to experiment with unit generators (UGens) for sound analysis, synthesis and processing to study the components of Read more →

Categories: Final Project | Process
Class notes recap and additional thoughts You can have a camera take a snapshot of a stone, than convert just the colors of its surface into different properties for sound generation. If you want to convert a visual 2D scan into a 3D "landscape" and then into sound, you can line-scan the image captured by video/photo camera, convert each scanned line through its RGB data into a 2D curve and feed these 2D curves sequentially to build a 3D wavetable (with or without the interpolation between each curve, depending on the scanning resolution), and finally to play the wavetable. Another important point is on how to overcome making noise and generate pleasing sonic output by scanning. There are probably many techniques for this "harmonization" or "musification" of generated sound. I believe there is a way to achieve this by manipulating audio samples instead of sound synthesis. Regarding these two points, I have no formal music education so I am wildly guessing here and probably there are much more elegant solutions. So you need to do your research to find and implement them within your system. You can also consult with professor Ross - if you want to do that, please let me know so I can ask him to help you out. You can additionally consult with Philippe about that at his guest talk.
Two quick links on wavetables, the first one for Ableton Live 10, second one for Arturia Pigments:

Generative Study 1 Final

Naomi Takatsuka Koh

Thursday, Sep 24, 2020 - 04:26:31 pm

@ naomi's portfolio


Other than using magnets to create spontaneous movements, natural materials were chosen as inspired by Fujimoto Yukio’s work. These include seashells, wood, and corals.


While playing with the different materials and listening to their sound, I noticed some materials make higher pitched sounds and some lower. With this, I decided to make the chimes have 3 differently pitched tones, classifying them Read more →

Class notes recap In addition to sonic/acoustic qualities of your chimes, their visual and kinetic qualities are important parts of the overall experience, so take that into account in further planning and designing. You need to include some more sound sources. In order to create a complex generative dynamics, you need to pay a lot of attention and to invest some time in coordinating/calibrating all the mechanical aspects and factors of each individual chime suspension and of the whole system. Add some external device which will initiate and sustain the interesting generative sound experience. It can be a mechanical device like metronome, or an electromagnet for more variable options of generativity. You can start with a mechanical device, and once you construct a well functioning system around it, proceed with an electromagnet which can be controlled by analogue means (potentiometer) or digitally through a microcontroller and sensors.
You should also try to assemble your chimes so that all the acoustic objects are hanging (none are on the surface), except in the setups where you have a relatively heavy but acoustically very efficient object.