Decided to let it run overnight and save out prints every 100 frames and save out the actual camera view every frame so people can see better what is going on. The image above is a detail from the final print. It consists of 34 different layers (most of which is occluded by newer layers or is blurred into grey).

View the large size

Below are some stills from the video which shows the engine responsible for making the prints. There are 2000 particles responding to the magnetic pull of 7 large black spherical magnets. Each particle has a ‘tail’ which is blown outwards from the spherical magnets.

View the Vimeo version below, or if your pipes are big enough, check out the Quicktime version which comes in at around 108 MB. The audio is ‘Kirlian Isles III’ off the album ‘Kirlian Selections’ by the Flashbulb.

Magnetic Ink, test render 01 from flight404 on Vimeo.

Magnetic Ink, test render 01 from flight404 on Vimeo.

Made with Processing. Audio by The Flashbulb (Kirlian Isles III from the Kirlian Selections album).
http://www.theflashbulb.net/

Read about the process here:
http://www.flight404.com/blog/?p=101

and here:
http://www.flight404.com/blog/?p=102

Cast: flight404

Detail of GURUs user interface.

Have you ever dreamed of the perfect one-in-all solution tool, that is compact, versatile and every knob and key just at the right place? Welcome to GURU, the sound-sequencer I really have waited for about twelve years.

The basic interaction concept is similar to Fruity Loops. When you liked Fruity’s usability concept, than you will be in love with GURU, because they took the interaction concept much further and tightened it up to fit to drum-based sequences and loops. The sound engine is cool and professional, while the performance of the application is CPU optimized like it should be. Best: there are no useless features. Every feature got its own place, and working is tight and precise with many small and versatile features showing in just the right places.

GURU is basically a drum pattern editor made by the company fxpansion that focuses only on drum software. A very sympathic approach and this difference you can experience. You can’t design such a tool without love and devotion. If there is a perfect drum sequencer, than it’s GURU.

Continue reading “Guru - The perfect Software Sequencer”

DVCreators has put up a half an hour tutorial on Quartz Composer detailing how they have created their introduction graphics:

I’ve always liked the super-dramatic light rays effect, but the light rays filters in Motion and Final Cut Pro take too long to render… and frankly, they are pretty lame. So I’ve been waiting for the right opportunity to help you create those super long, awesome godlike light rays, and preferably in real time! And finally, that opportunity is here.

So if you have some time to burn and have been putting off digging in to one of the nicest DIY visuals environments, head on over to DVCreators.net and get your learn on.

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© vade for Create Digital Motion, 2007. |
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I am loving Carolin Horn’s Anymails - a playful visualization of e-mail traffic using animated single-celled creatures. It’s nice to see something as ordinary as e-mail represented in such a fun way. I want my e-mail box to look like this!!

Built with processing 01 from mb09 on Vimeo.

a trial on processing and opengl, it’s very similar to flight404’s work so i feel guilty
reference :
http://www.flight404.com
http://nehe.gamedev.net/data/lessons/lesson.asp?lesson=38
source :
http://www.mb09.com/processing/mixture01.zip

Cast: mb09, flight404

Over on Fan Fan’s blog I just found documentation of one of the funniest games the students made: “Quick Chick” starring Billy the Chick who must dodge poisonous falling apples and thorny flowers while making his way home before dark.

Quick Chick is a classic scrolling-landscape type game with obstacle avoidance and good gameplay. Graphically it’s so smooth you’d swear it was done in Flash (it’s JAVA2D). And the graphics some of the cutest I’ve ever seen in a Processing sketch.

For a while now, I have wanted to revisit the Ink Trails project. I loved the idea of creating a system that would engage the eye with its dynamic movement but also create a piece of art as a side effect of its existance. Though I loved the original Ink Trails, I couldn’t come up with a good way to mask the perlin noise influence acting on all the painting objects. All of the final pieces looked like glorified marbleized paper. There was no getting around it.

Then it hit me: Use the magnetosphere project as the engine and see what kind of paintings it would create. The first few examples were a bit bland. Using the same technique as Ink Trails, I had the magnetic particles rain ink down onto the ‘paper’ and if any of the particles actually touched the paper, they would scrape away at the ink that had already landed. Sadly, it looked dull. No surprises. Just a random spattering of circles.

As I continued to play with the code, I realized the part I did not like was how it looked to have the ribbon trails draw onto the paper every frame. The effect was not unlike old (really old) screensavers where lines bounced around the screen leaving echoes where it travelled. So I changed the process a bit.

Now there is a three step process. For the first step, over a period of 100 frames, the gravity orbs paint their cross-section onto the paper where it intersects it. The second step, also cumulative over 100 frames, has the particle orbs raining down a mist of ink. The third step is where it gets fun. Every 100 frames, all of the geometry collapses onto the paper. Voila! Instant chaotic hair balls.

To give the piece a little extra depth, every 300 frames (every 3 geometry collapses) the paper slightly blurs the image painted on it. Over time, the old content fades and blurs as new content is placed atop it.

Check the flickr image to see it full size. I will continue playing and at some point soon, I will post a video of the painting process.

Emergency Broadcast Network have released their ground-breaking audiovisual album Telecommunications Breakdown online for the first time. As Jonny says on the AV blog at videomix.es:

The release was original mainly CD Audio only at the time as general release formats didn’t allow for an AV album. All the visuals were made at the same time, basically the the visuals is the music and here for the first time is all the video album in one place::::::

Skip to 3:19 for a truly brilliant mashup moment, which appears at 3:27. Then watch it from the beginning. I can only imagine how difficult this was to create using the technology available in 1995.

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© Dan Winckler for Create Digital Motion, 2007. |
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sound kontrol

proce55ing ( http://processing.org/ ) and puredata ( http://puredata.info/ ) and Open Sound Control ( http://opensoundcontrol.org/ )

source , patch - http://voice.mindblast.jp/?eid=615607
(Japanese page)

Author: miya6611
Keywords: pure data pd proce55ing processing p5 osc
Added: November 28, 2007

Untitled from on Vimeo.

Another version, multicolored this time.
experiments using the traer physics library for processing.

for more info about the traer physics library go to
http://www.cs.princeton.edu/~traer/physics/

made with processing

Cast: tadklimp

Oops, I pointed out that I didn’t post anything for three months ! Shame on me :/

There are several reasons for this : I’m not fallen into a coma, but I moved to Paris, where I started to work in the CSRCI (a kind of hypermedias lab), which has just started in the ENSAD (the oldest school of fine arts in France, like says the director).
My axis (about locative medias) was initiated by Jean-François Depelsenaire and Jean-Louis Boissier, notorious for his research into interactivity, algorithmic cinema, and a great book (the first I’ve read about new medias :’) “La relation comme forme.” For the moment, the lab is setting up ; I’ll certainly speak about it later.
Otherwise, I’m also working on a project that may take some time to achieve, and which I prefer to write about later. And the RaMonSho project is almost completed With Emilie, we’ll put images online as soon as possible. We think that we’ll adapt it for Nintendo DS in the future.

Musicians have thousands of years of history when it comes to interfaces and instruments, but visuals are relatively new. Little wonder, then, that visualists are eager to try new interfaces to help make visuals akin to performance instruments. Or, in less lofty terms, let’s get Wii remote wagging in the club tonight.

Over on createdigitalmusic.com, we’re celebrating Game Day — basically, I’m squeezing as many game-related posts into 24 hours, because a whole bunch of tips came in at once. A couple of Wii-related controller solutions jumped out.

Wii + Flash

Getting hardware control in Adobe Flash requires some work: basically, you need a client-server model. The good news is, there are already two Wii-specific solutions out there.

MoteDaemon, Mac OS X
WiiFlash.org, Windows Blog, Download, Google Code

Pretty soon, people are cooking up Minority Report demos with Flash (using Papervision for 2.5D-style 3D in Flash’s 2D world, and Open Dynamics Engine for physics):

I’d loved to see this coupled with something like Onyx for an all-Wii, all-Flash performance app. With Flex and AIR (Adobe Integrated Runtime), this could be the basis for some really hard-core, full-blown apps … though you will be limited by Flash’s slower performance, at least in comparison to C/C++-based tools like Max or even Java.

Looks like Linux users are presently out of luck, unless I’m missing something (feel free to chime in if you know a cross-platform alternative).

Wii + MIDI, OpenSoundControl (OSC)

For a more app-agnostic solution, you can hook up a Wii to send MIDI or, ideally, OpenSoundControl (OSC) to apps that support it (vvvv, Max, Pd, and hopefully VJ apps soon — I’ve heard a couple of developers working on it).

On Mac, you can send both OSC and MIDI with one app, perfectly-suited to taking data from the Wii controller:
OSCulator. OSCulator is a great tool for the Wii, but it also shows promise of what a hardware input hub could generally look like, with open-ended inputs controlling visuals and sound rather than pre-defined, MIDI-style keyboards and knob and faderboxes as have traditionally been used in music.

On PC, GlovePIE is an awesomely-powerful scripting tool for use with Wii and other game devices. I’ve talked about it endlessly before, but I’ll stay quiet — just go. Get it. Enjoy. In fact, with OSCulator on Mac and GlovePIE on Windows, it’s hard not to be insanely happy on either platform.

Another interesting out-of-the-box alternative, though, is the new Wiinstrument. It’s largely geared for playing back drum samples, but it’s not hard to take that metaphor and use those control changes and other MIDI messages as visual controls — especially if you think of your “drum kit” as sets of visual clips (video or other visuals).

Wiinstrument on createdigitalmusic.com

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© Peter Kirn for Create Digital Motion, 2007. |
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• Conference: Douglas Edric Stanley
• Date: Friday November 30, 2007
• Location: École supérieure des beaux-arts de Marseille
• Room: Atelier 6
• Time: to be announced…

This Friday I’ll be teaching at the Studio Lentigo in Marseille. Studio Lentigo is an atelier combining students of architecture, engineering, and visual arts. I’ll be presenting our work at the Atelier Hypermédia, and of course talking about the role open source software such as Processing has played in our recent activity.