{"id":5162,"date":"2025-05-20T08:22:14","date_gmt":"2025-05-20T08:22:14","guid":{"rendered":"https:\/\/composers-inside-electronics.net\/cie-wp20\/?page_id=5162"},"modified":"2025-06-15T13:09:49","modified_gmt":"2025-06-15T13:09:49","slug":"materialsnewworks","status":"publish","type":"page","link":"https:\/\/composers-inside-electronics.net\/cie-wp20\/eclipse-2025\/materialsnewworks\/","title":{"rendered":"Materials for New Works"},"content":{"rendered":"\n<p class=\"wp-block-paragraph\">Phil Edelstein, draft and work in progress June 2025<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Please take this as if pages from a folio, a sketch book of collections of thoughts at points in time to be shuffled. This is intended to be scroll friendly. I heavily utilize table of contents as links and navigation. This is not intended to be read linearly nor as narrative. Nor is this all that suitable for printing to paper and illegible on the small screen of a phone given the various embedded videos, various web pages and online materials. I rely on the reader to find what may be perhaps interesting and useful. These writings are not to be taken as something in its entirety but material to be sampled. The bias is to inspiration and curiosity and I do not offer much in the realm of explanation.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Throughout is collaboration and creative community and construction of electronic systems as an expressive media finding inspiration from re-examination of legacy with new materials.<\/p>\n\n\n\n<div id=\"ez-toc-container\" class=\"ez-toc-v2_0_86 counter-hierarchy ez-toc-counter ez-toc-grey ez-toc-container-direction\">\n<p class=\"ez-toc-title\" style=\"cursor:inherit\">Table of Contents<\/p>\n<label for=\"ez-toc-cssicon-toggle-item-6a798769d6e41\" class=\"ez-toc-cssicon-toggle-label\"><span class=\"\"><span class=\"eztoc-hide\" style=\"display:none;\">Toggle<\/span><span class=\"ez-toc-icon-toggle-span\"><svg style=\"fill: #999;color:#999\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" class=\"list-377408\" width=\"20px\" height=\"20px\" viewBox=\"0 0 24 24\" fill=\"none\"><path d=\"M6 6H4v2h2V6zm14 0H8v2h12V6zM4 11h2v2H4v-2zm16 0H8v2h12v-2zM4 16h2v2H4v-2zm16 0H8v2h12v-2z\" fill=\"currentColor\"><\/path><\/svg><svg style=\"fill: #999;color:#999\" class=\"arrow-unsorted-368013\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"10px\" height=\"10px\" viewBox=\"0 0 24 24\" version=\"1.2\" baseProfile=\"tiny\"><path d=\"M18.2 9.3l-6.2-6.3-6.2 6.3c-.2.2-.3.4-.3.7s.1.5.3.7c.2.2.4.3.7.3h11c.3 0 .5-.1.7-.3.2-.2.3-.5.3-.7s-.1-.5-.3-.7zM5.8 14.7l6.2 6.3 6.2-6.3c.2-.2.3-.5.3-.7s-.1-.5-.3-.7c-.2-.2-.4-.3-.7-.3h-11c-.3 0-.5.1-.7.3-.2.2-.3.5-.3.7s.1.5.3.7z\"\/><\/svg><\/span><\/span><\/label><input type=\"checkbox\"  id=\"ez-toc-cssicon-toggle-item-6a798769d6e41\"  aria-label=\"Toggle\" \/><nav><ul class='ez-toc-list ez-toc-list-level-1 ' ><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-1\" href=\"https:\/\/composers-inside-electronics.net\/cie-wp20\/eclipse-2025\/materialsnewworks\/#A_Preface\" >A Preface<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-2\" href=\"https:\/\/composers-inside-electronics.net\/cie-wp20\/eclipse-2025\/materialsnewworks\/#Strange_Attractors_%E2%80%93_Of_and_on_feedback_and_structural_use_of_complexity\" >Strange Attractors &#8211; Of and on feedback, and structural use of complexity<\/a><ul class='ez-toc-list-level-3' ><li class='ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-3\" href=\"https:\/\/composers-inside-electronics.net\/cie-wp20\/eclipse-2025\/materialsnewworks\/#From_Helmholz_to_Mandelbrote_via_Duchamp\" >From Helmholz to Mandelbrote via Duchamp<\/a><\/li><\/ul><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-4\" href=\"https:\/\/composers-inside-electronics.net\/cie-wp20\/eclipse-2025\/materialsnewworks\/#On_Physics_Electronics_Wave_Theory_Circuity_Algorithm_Networks_Optics_Acoustics\" >On Physics, Electronics, Wave Theory, Circuity, Algorithm, Networks, Optics, Acoustics<\/a><ul class='ez-toc-list-level-3' ><li class='ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-5\" href=\"https:\/\/composers-inside-electronics.net\/cie-wp20\/eclipse-2025\/materialsnewworks\/#Causality_Correlation_Control\" >Causality, Correlation, Control<\/a><\/li><\/ul><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-6\" href=\"https:\/\/composers-inside-electronics.net\/cie-wp20\/eclipse-2025\/materialsnewworks\/#On_Bringing_Your_Own_Device\" >On Bringing Your Own Device<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-7\" href=\"https:\/\/composers-inside-electronics.net\/cie-wp20\/eclipse-2025\/materialsnewworks\/#Of_Localized_Sound\" >Of Localized Sound<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-8\" href=\"https:\/\/composers-inside-electronics.net\/cie-wp20\/eclipse-2025\/materialsnewworks\/#Of_and_On_Interactivity\" >Of and On Interactivity<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-9\" href=\"https:\/\/composers-inside-electronics.net\/cie-wp20\/eclipse-2025\/materialsnewworks\/#Of_Gesture_Across_Media\" >Of Gesture Across Media<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-10\" href=\"https:\/\/composers-inside-electronics.net\/cie-wp20\/eclipse-2025\/materialsnewworks\/#On_Lights_Shadows_and_Projections_and_Its_Sonic_Doubles\" >On Lights, Shadows and Projections and It&#8217;s Sonic Doubles<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-11\" href=\"https:\/\/composers-inside-electronics.net\/cie-wp20\/eclipse-2025\/materialsnewworks\/#GIfted_Materials_%E2%80%93_Use_that_which_is_Provided\" >GIfted Materials &#8211; Use that which is Provided<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-12\" href=\"https:\/\/composers-inside-electronics.net\/cie-wp20\/eclipse-2025\/materialsnewworks\/#Sketches_from_Eclipse_Gallery_2024_%E2%80%93_a_point_of_inflection_and_departure\" >Sketches from Eclipse Gallery 2024 &#8211; a point of inflection, and departure<\/a><ul class='ez-toc-list-level-4' ><li class='ez-toc-heading-level-4'><ul class='ez-toc-list-level-4' ><li class='ez-toc-heading-level-4'><a class=\"ez-toc-link ez-toc-heading-13\" href=\"https:\/\/composers-inside-electronics.net\/cie-wp20\/eclipse-2025\/materialsnewworks\/#Additional_Video_Clips_from_Work_in_Progress_the_Nurb_Sketches\" >Additional Video Clips from Work in Progress (the Nurb Sketches)<\/a><\/li><\/ul><\/li><\/ul><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-14\" href=\"https:\/\/composers-inside-electronics.net\/cie-wp20\/eclipse-2025\/materialsnewworks\/#Montage_and_Collage_Generator\" >Montage and Collage Generator<\/a><ul class='ez-toc-list-level-3' ><li class='ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-15\" href=\"https:\/\/composers-inside-electronics.net\/cie-wp20\/eclipse-2025\/materialsnewworks\/#From_an_email_in_describing_the_assemblage_Eclipse_2024\" >From an email in describing the assemblage Eclipse 2024<\/a><\/li><\/ul><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-16\" href=\"https:\/\/composers-inside-electronics.net\/cie-wp20\/eclipse-2025\/materialsnewworks\/#A_Recent_Survey\" >A Recent Survey<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-17\" href=\"https:\/\/composers-inside-electronics.net\/cie-wp20\/eclipse-2025\/materialsnewworks\/#Next_Steps_and_not_far_from_the_Origins\" >Next Steps and not far from the Origins<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-18\" href=\"https:\/\/composers-inside-electronics.net\/cie-wp20\/eclipse-2025\/materialsnewworks\/#A_modest_application_%E2%80%93_Bring_your_own_Device_%E2%80%93_Interactive_Spatial_Audio\" >A modest application &#8211; Bring your own Device &#8211; Interactive Spatial Audio<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-19\" href=\"https:\/\/composers-inside-electronics.net\/cie-wp20\/eclipse-2025\/materialsnewworks\/#To_Carry_Forward\" >To Carry Forward<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-20\" href=\"https:\/\/composers-inside-electronics.net\/cie-wp20\/eclipse-2025\/materialsnewworks\/#Classification_Some_Keywords\" >Classification, Some Keywords<\/a><ul class='ez-toc-list-level-3' ><li class='ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-21\" href=\"https:\/\/composers-inside-electronics.net\/cie-wp20\/eclipse-2025\/materialsnewworks\/#Expressive_Expressions\" >Expressive Expressions<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-22\" href=\"https:\/\/composers-inside-electronics.net\/cie-wp20\/eclipse-2025\/materialsnewworks\/#A_compendium_and_palette_of_technical_and_scientific_terms\" >A compendium and palette of technical and scientific terms<\/a><\/li><\/ul><\/li><\/ul><\/nav><\/div>\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"A_Preface\"><\/span>A Preface<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">I outline here a focus on materials and techniques for new works. In many cases, referencing availability and evolution of available materials. Having always suffered from a poor memory, I resort here to assembling a notebook with sketches and ideas as aid.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">I long had the idea of creative projects as visitations, as episodes. I&#8217;ve long ago abandoned the idea of new and novel and find comfort in finding the new in what has been missed, unexplored, insufficiently observed along the way.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">There is a realization that this quest for new materials is just a continuation of findings remarkable new means of arrangement of extent interests. Of discovery in refinement of resolution, of the beauty in edges missed in the lack of observation.  Resolution here taken in two ways: of closures and of finer grain. <\/p>\n\n\n\n<p class=\"wp-block-paragraph\">There is an interplay between physical things and digital materiality. Considerations here on the the nature of the physical and virtual, of the theoretical and practical.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Here also is an acknowledgement autobiographical in nature. This comes at the juncture and awareness of limitations inherent in aging and selection of what to focus on with that allocation.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">I have collected and been gifted in various was an assortment of physical and virtual things and desire to make new constructions, new arrangements, revisit and refine.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">An essential part of the research for the new works is improved articulation, language and vocabulary explored in these materials.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Strange_Attractors_%E2%80%93_Of_and_on_feedback_and_structural_use_of_complexity\"><\/span>Strange Attractors &#8211; Of and on feedback, and structural use of complexity<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"alignleft size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"503\" src=\"https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-content\/uploads\/2025\/05\/image-8-1024x503.png\" alt=\"\" class=\"wp-image-5194\" style=\"width:184px;height:auto\" srcset=\"https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-content\/uploads\/2025\/05\/image-8-1024x503.png 1024w, https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-content\/uploads\/2025\/05\/image-8-300x147.png 300w, https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-content\/uploads\/2025\/05\/image-8-768x378.png 768w, https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-content\/uploads\/2025\/05\/image-8.png 1318w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\">Graph from a-clifford fractal generator<\/figcaption><\/figure>\n<\/div>\n\n\n<p class=\"wp-block-paragraph\">I trace the use of feedback in my work in the early 1970&#8217;s and the long slow progression of the implications as a compositional and structural canonical form. Additional notes on updated page on <a href=\"https:\/\/composers-inside-electronics.net\/cie-wp20\/impulsions-kitchen-2018\/\">Impulsions<\/a>, <a href=\"https:\/\/composers-inside-electronics.net\/cie-wp20\/shrieks-and-nuptials-kitchen-2018\/\">Shrieks and Nuptials<\/a>, and <a href=\"https:\/\/composers-inside-electronics.net\/cie-wp20\/subject-to-change-stc-work-in-progress\/\">Subject to Change<\/a> which all use the <a href=\"https:\/\/paulbourke.net\/fractals\/clifford\/#:~:text=Contribution%20by%20Paul%20Richards%20including%20source%20code.&amp;text=where%20a%2C%20b%2C%20c%2C,variables%20that%20define%20each%20attractor.&amp;text=Question:%20How%20are%20the%20colour,being%20a%20function%20of%20curvature.\">a-clifford fractal generator <\/a>in various ways.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">A bit of math &#8230; <\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"has-text-align-center wp-block-paragraph\">Definition<br>x<sub>n+1<\/sub>&nbsp;= sin(a y<sub>n<\/sub>) + c cos(a x<sub>n<\/sub>)<br>y<sub>n+1<\/sub>&nbsp;= sin(b x<sub>n<\/sub>) + d cos(b y<sub>n<\/sub>)<br>where a, b, c, d are variables that define each attractor.<\/p>\n<\/blockquote>\n\n\n\n<p class=\"wp-block-paragraph\">There is an informative page wiki page on <a href=\"https:\/\/en.wikipedia.org\/wiki\/Clifford_A._Pickover\">Clifford Pickover<\/a> that I just came across.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">There was a moment working in the electronic music studio in Albany around 1974, that I started working with a patch that exhibited wide variation in character by changing on variable. This little system went from silence, to howls to rhythmic beats.<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"alignright size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"700\" src=\"https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-content\/uploads\/2025\/05\/image-11-1024x700.png\" alt=\"View of the platform with David Tudor performing. Photo Robert McElroy.\" class=\"wp-image-5211\" style=\"width:406px;height:auto\" srcset=\"https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-content\/uploads\/2025\/05\/image-11-1024x700.png 1024w, https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-content\/uploads\/2025\/05\/image-11-300x205.png 300w, https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-content\/uploads\/2025\/05\/image-11-768x525.png 768w, https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-content\/uploads\/2025\/05\/image-11-1536x1049.png 1536w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n<\/div>\n\n\n<p class=\"wp-block-paragraph\">I came to slow realization over years that much of Tudor&#8217;s electronic compositions starting with <em><a href=\"https:\/\/www.experimentsinartandtechnology.org\/david-tudor-bandoneon\" data-type=\"link\" data-id=\"https:\/\/www.experimentsinartandtechnology.org\/david-tudor-bandoneon\">Bandoneon! a Combine<\/a><\/em> (View of platform with David Tudor performing. Photo Robert McElroy) from <em>9 Evenings of Theatre and Engineering<\/em> in 1966 through his <a href=\"https:\/\/composers-inside-electronics.net\/dtudor\/legacy\/neural_synthesis.html\">neural synthesis<\/a> work in the early 1990&#8217;s all used feedback as a compositional element and the performance was in the navigation of the nature of the space created by such feedback as a fundamental canonical form.<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"alignleft size-large is-resized\"><img decoding=\"async\" src=\"https:\/\/composers-inside-electronics.net\/dtudor\/legacy\/neural_net_files\/mbox1b-compressed.jpg\" alt=\"\" style=\"width:289px;height:auto\"\/><\/figure>\n<\/div>\n\n\n<p class=\"wp-block-paragraph\">Tudor&#8217;s neural synthesis work came from a project based on a device name ETANN &#8211; an electronically trained analog neural network developed by Intel. This for me was an introduction to <a href=\"https:\/\/en.wikipedia.org\/wiki\/Hopfield_network\">Hopfield networks <\/a>and associated model of the neuron that has then seeded a recurring theoretical backdrop for creative works in various form. A gross simplification is an interconnected looping network of thresholds that trigger action.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In fits and starts in these ensuing 6 decades, I&#8217;ve pieced together a better understanding through a process of a slow learner. This bounces back in forth in time a bit. I realized somewhat late in life the theory behind what had long been intuitive practice. What I had believed was magical and unfathomable behaviors turned out to be simple algebra with iteration.  <\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The difference in the nature of randomness and complexity has become defining boundary.  The compositional vocabulary distinquishing Cagian indeterminacy and his mediated Monte Carlo walks from Tudor&#8217;s mastery of performable complex systems and resonance. <\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"From_Helmholz_to_Mandelbrote_via_Duchamp\"><\/span>From Helmholz to Mandelbrote via Duchamp<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"alignright size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"768\" src=\"https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-content\/uploads\/2025\/05\/IMG_0903-1024x768.jpg\" alt=\"\" class=\"wp-image-5209\" style=\"width:283px;height:auto\" srcset=\"https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-content\/uploads\/2025\/05\/IMG_0903-1024x768.jpg 1024w, https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-content\/uploads\/2025\/05\/IMG_0903-300x225.jpg 300w, https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-content\/uploads\/2025\/05\/IMG_0903-768x576.jpg 768w, https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-content\/uploads\/2025\/05\/IMG_0903-1536x1152.jpg 1536w, https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-content\/uploads\/2025\/05\/IMG_0903-2048x1536.jpg 2048w, https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-content\/uploads\/2025\/05\/IMG_0903-960x720.jpg 960w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n<\/div>\n\n\n<p class=\"wp-block-paragraph\">In 1975, in aftermath of the excitement and inspiration from the New Music In New Hampshire workshop circuit building gathering, I was able to build a portable instrument that had the characteristics that I&#8217;ve come to learn as well described in the literature of chaotic system and complexity theory I see as an evolving canonical form of my lifetime.  <\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"alignleft size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"768\" src=\"https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-content\/uploads\/2025\/05\/IMG_0900-1024x768.jpg\" alt=\"\" class=\"wp-image-5206\" style=\"width:303px;height:auto\" srcset=\"https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-content\/uploads\/2025\/05\/IMG_0900-1024x768.jpg 1024w, https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-content\/uploads\/2025\/05\/IMG_0900-300x225.jpg 300w, https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-content\/uploads\/2025\/05\/IMG_0900-768x576.jpg 768w, https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-content\/uploads\/2025\/05\/IMG_0900-1536x1152.jpg 1536w, https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-content\/uploads\/2025\/05\/IMG_0900-2048x1536.jpg 2048w, https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-content\/uploads\/2025\/05\/IMG_0900-960x720.jpg 960w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n<\/div>\n\n\n<p class=\"wp-block-paragraph\">The instrument was first used in Shrieks and Nuptials, an interactive system for improvsed performane with Electronic Body Arts (eba) dancer Marsha Heather Harris which was my contribution to the Composers Inside Electronics (CIE) residency at the Automone Festival in 1976 and at the Kitchen 1977. In 2018, I used the same algorithm re-implemented in software for CIE return residency performed with Michael Johnsen.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">It was some bemusement that I finally got around only quite recently to the understanding of the practical math behind Mandelbrote and Lorenz of strange attractors, of compound pendulums, 3 body problem in celestial mechanics, the onset and transition between laminar flow and turbulence. It was humbling to have known of the equations without comprehension for decades until a moment of epiphany stumbling on a snippet of computer code in recent memory.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In the late 1990&#8217;s, I became interested in acoustic models of the Rainforest instruments and the nature of resonance and have come to understand that as a variation and type of feedback.<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"alignleft size-large is-resized\"><img decoding=\"async\" src=\"https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-content\/uploads\/2022\/11\/2022-07-05-18.13.27-768x1024.jpg\" alt=\"\" style=\"width:147px;height:auto\"\/><\/figure>\n<\/div>\n\n\n<p class=\"wp-block-paragraph\">In various workshops under cover of Composers Inside Electronics, we have focused on Tudor&#8217;s use of electronic and acoustic feedback as fundamental techniques for composisiton and performance. In the study of his electronic works combining his instruments at the <a href=\"https:\/\/mroztronium.blogspot.com\/p\/david-tudor-instruments-presented.html\">Tudor Instrument Collection at Wesleyan<\/a> and his papers at <a href=\"https:\/\/www.getty.edu\/research\/tools\/guides_bibliographies\/david_tudor\/index.html\">Getty Research Institute<\/a> for me starting in around 2014, there has been a growing appreciation of this as a fundamental canon.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Another part of the evolution came with a thin book about <a href=\"https:\/\/www.amazon.com\/Theory-Financial-Markets-Dimitris-Chorafas\/dp\/1557385556\">Chaos Theory in the Financial Markets<\/a> that starts with the statistical analysis of the irregularity of the flooding of the Nile that i had borrowed from a co-worker (and shameless yet to return). <\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In recent years, I have come to some understanding of the difference in Cagian indeterminancy and Tudor&#8217;s teasing of chaos and complexity.  <\/p>\n\n\n\n<p class=\"wp-block-paragraph\">One of the first lesson in programming is the loop in imperative computer languages (blessed be wiki).  I&#8217;ve come to add  iteration, recursion along with the examples of electonic and acoustic feedback. There is satisfaction in also tracing back to mechanical feedback and control in the pre-electronic age.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Automation has long been a key element of both my creative undertakings and area of specialization in a corporate existence I&#8217;ve lived outside the arts. There&#8217;s been of course crossing and intersections over the years that has become more apparent and transparent.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">I&#8217;ve long been interested in mathematic thought and ideas though with limited patience and mastery for actually doing the proofs. It was in one of those meanders of the realization of <a href=\"https:\/\/en.wikipedia.org\/wiki\/Bayes%27_theorem\">Bayes Theorem<\/a> and the codification of yet another basis of feedback. <\/p>\n\n\n\n<p class=\"wp-block-paragraph\">There is this a fundamental of where the human is in the feedback loop.  There is construct in a field of Design Thinking of persona.  This piece of techno babble useful in the persona of the human in the loop: composer, performer, visitor, participant, observer.  There is a fascination and recognition of the unintended consequences of complex systems that permeates the work.  With that awareness came an understanding of what I&#8217;ll term as Bayesian feedback as algorithmic core of social networks and both the constructive and destructive aspects.  I can&#8217;t say rightly or wrongly, disturbed and relieved, it is the thinking here that is the new material.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Helmholz codified the study of resonance that that had been the realm of instrument and music makers over the eons. Mandelbrote&#8217;s mathematics flapping of those butterfly wings I take as emblematic behind the application of complexity in expressive creative systems. Of Duchamp who gave creative license.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"On_Physics_Electronics_Wave_Theory_Circuity_Algorithm_Networks_Optics_Acoustics\"><\/span>On Physics, Electronics, Wave Theory, Circuity, Algorithm, Networks, Optics, Acoustics<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"alignright size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"768\" height=\"1024\" src=\"https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-content\/uploads\/2025\/05\/2023-11-27-22.51.54-768x1024.jpg\" alt=\"\" class=\"wp-image-5245\" style=\"width:168px;height:auto\" srcset=\"https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-content\/uploads\/2025\/05\/2023-11-27-22.51.54-768x1024.jpg 768w, https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-content\/uploads\/2025\/05\/2023-11-27-22.51.54-225x300.jpg 225w, https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-content\/uploads\/2025\/05\/2023-11-27-22.51.54-1152x1536.jpg 1152w, https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-content\/uploads\/2025\/05\/2023-11-27-22.51.54-1536x2048.jpg 1536w, https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-content\/uploads\/2025\/05\/2023-11-27-22.51.54-scaled.jpg 1920w\" sizes=\"auto, (max-width: 768px) 100vw, 768px\" \/><\/figure>\n<\/div>\n\n\n<p class=\"wp-block-paragraph\">To be brief, also of motion, motors and magnetism. Simply, these are the pigments in the pallete.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Causality_Correlation_Control\"><\/span>Causality, Correlation, Control<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">&#8220;The process is the product&#8221; &#8211; from Tom Ditto quoting Joel Chadabe<\/p>\n<\/blockquote>\n\n\n\n<ul class=\"wp-block-list\">\n<li>On juxtaposition and collage, guilt by association, the school of unintended consequences &#8230; <a href=\"https:\/\/en.wikipedia.org\/wiki\/The_Book_of_Why\">the Book of Why<\/a><\/li>\n\n\n\n<li>On influence vs. control<\/li>\n\n\n\n<li>Of linear and non-linear systems<\/li>\n\n\n\n<li>Von Neumann and Turing: state machines, sequencers, clockworks and alternatives<\/li>\n\n\n\n<li>On the contradiction of constructing creative situations with unintended consequences. Situations for exploration and discovery, the realm of the probable and possible vs. proscribed.<\/li>\n\n\n\n<li>On <a href=\"https:\/\/en.wikipedia.org\/wiki\/Graphic_notation_(music)#:~:text=Graphic%20notation%20(or%20graphic%20score,instead%20of%20traditional%20music%20notation.\">graphical scores<\/a> and notation &#8230; from <a href=\"https:\/\/en.wikipedia.org\/wiki\/Labanotation\">LabanNotation<\/a> to things that look like circuit diagrams to be read as scores. <\/li>\n<\/ul>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"alignright size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"674\" height=\"480\" src=\"https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-content\/uploads\/2025\/05\/image-12.png\" alt=\"\" class=\"wp-image-5214\" style=\"width:183px;height:auto\" srcset=\"https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-content\/uploads\/2025\/05\/image-12.png 674w, https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-content\/uploads\/2025\/05\/image-12-300x214.png 300w\" sizes=\"auto, (max-width: 674px) 100vw, 674px\" \/><\/figure>\n<\/div>\n\n\n<ul class=\"wp-block-list\">\n<li>Folds and folios, viewpoints and viewports <\/li>\n\n\n\n<li>Parables &#8211; the blind men and the elephant<\/li>\n<\/ul>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"alignleft size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"824\" src=\"https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-content\/uploads\/2025\/05\/image-10-1024x824.png\" alt=\"\" class=\"wp-image-5204\" style=\"width:262px;height:auto\" srcset=\"https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-content\/uploads\/2025\/05\/image-10-1024x824.png 1024w, https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-content\/uploads\/2025\/05\/image-10-300x241.png 300w, https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-content\/uploads\/2025\/05\/image-10-768x618.png 768w, https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-content\/uploads\/2025\/05\/image-10.png 1186w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n<\/div>\n\n\n<p class=\"wp-block-paragraph\">From an AI snippet and early influences to revisit &#8230;<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">&#8220;The Human Use of Human Beings: Cybernetics and Society&#8221; by Norbert Wiener explores how humans use technology and the implications of that use for society.&nbsp;It introduces key concepts from information theory, like feedback, entropy, and communication and applies them to human activities.<\/p>\n<\/blockquote>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"On_Bringing_Your_Own_Device\"><\/span>On Bringing Your Own Device<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">I had long been working with many of the components as found in commonly available <a href=\"https:\/\/en.wikipedia.org\/wiki\/IPhone_hardware\">smart phones<\/a> and tablets and have been developing ways of using those in new works both at the component and as visitors bring their own device.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">As common point of departure, my thinking is to understand that nature of that circuitry, the characteristics of the components and building QRcode accessible web apps to allow a visitor to interact with work in a gallery. The elements of interst:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>the inertial motion unit (consisting of nano-scale acclerometer, gyroscope, magnetometer, <\/li>\n\n\n\n<li>the radios, <\/li>\n\n\n\n<li>camera, <\/li>\n\n\n\n<li>screen and haptic input,<\/li>\n\n\n\n<li>vibration motor and haptic output<\/li>\n<\/ul>\n\n\n\n<p class=\"wp-block-paragraph\">At a component level these types of devices have been used in other works. I&#8217;ve set about the challenge of software, algorithms for the use of these in the structural and compositional use of feedback. Of particular interest is the intimacy, privacy and social implications.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The technology is ubiquitous in the commercial and corporate control of our devices and represents a significant departure to use and vehicle for expression between artist and a visitor to the site specific locale.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">I have developed working versions of the various pieces of code for this and need to find the time to bring this to a more fruitful state. <\/p>\n\n\n\n<p class=\"wp-block-paragraph\">An early realization in this research and technical development was the nature of the security and privacy mechanisms involved in the simple gestures that would allow a visitor to a gallery to scan a qrcode that would allow the accelerometer on their phone to be used in a functional way of influencing a piece of sound sculpture. <\/p>\n\n\n\n<p class=\"wp-block-paragraph\">My interest in using cameras as input devices tracks back to the work with <a href=\"https:\/\/www.3dewitt.com\/2\/PDF\/Dittopix.pdf\">Tom Dewitt<\/a> in conceptualizing what we described in the mid 1970s as the <a href=\"https:\/\/www.videohistoryproject.org\/video-synthesizer-review-existing-synthesizers-excerpted-design-device\">Design Device<\/a> that became <a href=\"https:\/\/www.videohistoryproject.org\/pantograph\">Pantomation,<\/a> an early implementation of motion capture as input device for interactive art works involving sound and image we developed in the 1970&#8217;s prior to the commoditization and commercial use of <a href=\"https:\/\/en.wikipedia.org\/wiki\/Computer-generated_imagery\">CGI<\/a>.<\/p>\n\n\n\n<iframe loading=\"lazy\" width=\"743\" height=\"557\" src=\"https:\/\/www.youtube.com\/embed\/Fr_o9hezyDg\" title=\"Tom DeWitt, Phil Edelstein - Pantomation :: 1977\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n\n\n\n<p class=\"wp-block-paragraph\">My work has often relied on tactility. To play with words, finger as digit as sensor, as pointing device as means of touching and feeling the work. Electronics, software, light and sound used as plastic expressive media. <\/p>\n\n\n\n<p class=\"wp-block-paragraph\">There is a affinity with makers and artisans from the sound of flint knapping around our cave dwelling brethren, paint pigment and palette, of clay, wood, or marble. Then the casting in bronze and metal work.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">There is a recurring use of found and gifted materials. A favorite expression is use what is provided, use the materials at hand. In much of the world today, there is often a smartphone in hand.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The new work is another manifestation of recurring mechanisms as brought to bear in inviting a visitor to the work to use their own device as the means of activating and partipating in the work individually as well as a means of sharing experience. This comes to me from outside the commercialized social media, outside the wow-ness of AR and VR and the next new things. This comes from my playing with software, sound, light, motion, as means of personnel expression as long as I can remember.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Of_Localized_Sound\"><\/span>Of Localized Sound<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Much of the sound field compositions have grown the proposition of arranging distinct sounds in space for a listener to explore in contrast to the common notion of music filling a room with one sound. <\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Much of the work with Rainforest IV and V has been in the use of instrumental loudspeakers as spatially localized instruments.  These are sculptural in nature.  Interest lies in development where compositional language includes position, motion, direction.  Sound objects that present variation based on the perspective, the location of the listener.  <\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Refinements here involve developing means of increasing the specificity of the localization and the means of orchestrating and choreography of these localized sounds.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Of_and_On_Interactivity\"><\/span>Of and On Interactivity<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">I seek new mechanisms for interactivity.  One avenue is systems utilizing the orientation of of the listeners and viewers and their spatial relationship and orientation.  We here a composed variation, a modulation, when we as listeners are in proximity, facing each other, orthagonal, back to back, side to side.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Of_Gesture_Across_Media\"><\/span>Of Gesture Across Media<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"alignright size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"768\" height=\"1024\" src=\"https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-content\/uploads\/2022\/11\/012_M1B10039_a-768x1024.jpg\" alt=\"\" class=\"wp-image-3668\" style=\"width:255px;height:auto\" srcset=\"https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-content\/uploads\/2022\/11\/012_M1B10039_a-768x1024.jpg 768w, https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-content\/uploads\/2022\/11\/012_M1B10039_a-225x300.jpg 225w, https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-content\/uploads\/2022\/11\/012_M1B10039_a-1152x1536.jpg 1152w, https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-content\/uploads\/2022\/11\/012_M1B10039_a-1536x2048.jpg 1536w, https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-content\/uploads\/2022\/11\/012_M1B10039_a-scaled.jpg 1920w\" sizes=\"auto, (max-width: 768px) 100vw, 768px\" \/><figcaption class=\"wp-element-caption\">Phil Edelstein, &#8220;subject to change&#8221;,f\u00fcr video und sound ( f\u00fcr D.T.)<\/figcaption><\/figure>\n<\/div>\n\n\n<p class=\"wp-block-paragraph\">Part of the compositial and collaborative language is technique to build gesture that move across media. That move from sound, motion of an object, to light, to image.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">I hope to have instruments where stillness can be moved to barely perceptible motion over time, the observation of the motion of the sun and interplay with the rate of change of clouds; the boundaries at persistence of vision, of sound fields moveing from rapid to slow evolution.  <\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Specific technique are algorithms that concurrently produce sound and image, and objects that produce sound.<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"alignleft size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"768\" src=\"https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-content\/uploads\/2020\/08\/IMG_0595-1024x768.jpg\" alt=\"\" class=\"wp-image-2378\" style=\"width:249px;height:auto\" srcset=\"https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-content\/uploads\/2020\/08\/IMG_0595-1024x768.jpg 1024w, https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-content\/uploads\/2020\/08\/IMG_0595-300x225.jpg 300w, https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-content\/uploads\/2020\/08\/IMG_0595-768x576.jpg 768w, https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-content\/uploads\/2020\/08\/IMG_0595-1536x1152.jpg 1536w, https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-content\/uploads\/2020\/08\/IMG_0595-2048x1536.jpg 2048w, https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-content\/uploads\/2020\/08\/IMG_0595-960x720.jpg 960w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n<\/div>\n\n\n<p class=\"wp-block-paragraph\">Such objects bring sound to specific location.  The gesture may be in the act of the listener and viewer. <\/p>\n\n\n\n<p class=\"wp-block-paragraph\">There is intent to the observer being observed and in that becoming participant. There both then a social interaction of time and place with the object as a catalyst. Of particular interest is the look of listening.  A distinct point where a viewer becomes a listener.  Gesture across media in the transition from viewing to listening and the variable focus in the time and space between.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"On_Lights_Shadows_and_Projections_and_Its_Sonic_Doubles\"><\/span>On Lights, Shadows and Projections and It&#8217;s Sonic Doubles<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"alignleft size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"496\" height=\"258\" src=\"https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-content\/uploads\/2025\/05\/image-9.png\" alt=\"\" class=\"wp-image-5195\" style=\"width:313px;height:auto\" srcset=\"https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-content\/uploads\/2025\/05\/image-9.png 496w, https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-content\/uploads\/2025\/05\/image-9-300x156.png 300w\" sizes=\"auto, (max-width: 496px) 100vw, 496px\" \/><\/figure>\n<\/div>\n\n\n<p class=\"wp-block-paragraph\">These have long been elements and material of utility and at the fabric of creative structures. The new materials here is in the discovery and exploitation of the advances and commoditization altering the landscape of the possible with these materials.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">To note in passing here, light as object, as image.   One new material is the boundary between a source of light as and object and a source of light as illumination of other objects.<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"768\" src=\"https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-content\/uploads\/2025\/05\/2023-04-12-16.41.58-1024x768.jpg\" alt=\"\" class=\"wp-image-5248\" srcset=\"https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-content\/uploads\/2025\/05\/2023-04-12-16.41.58-1024x768.jpg 1024w, https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-content\/uploads\/2025\/05\/2023-04-12-16.41.58-300x225.jpg 300w, https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-content\/uploads\/2025\/05\/2023-04-12-16.41.58-768x576.jpg 768w, https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-content\/uploads\/2025\/05\/2023-04-12-16.41.58-1536x1152.jpg 1536w, https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-content\/uploads\/2025\/05\/2023-04-12-16.41.58-2048x1536.jpg 2048w, https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-content\/uploads\/2025\/05\/2023-04-12-16.41.58-960x720.jpg 960w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"alignright size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"768\" height=\"1024\" src=\"https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-content\/uploads\/2025\/05\/2023-09-08-14.36.40-1-768x1024.jpg\" alt=\"\" class=\"wp-image-5247\" style=\"width:208px;height:auto\" srcset=\"https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-content\/uploads\/2025\/05\/2023-09-08-14.36.40-1-768x1024.jpg 768w, https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-content\/uploads\/2025\/05\/2023-09-08-14.36.40-1-225x300.jpg 225w, https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-content\/uploads\/2025\/05\/2023-09-08-14.36.40-1-1152x1536.jpg 1152w, https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-content\/uploads\/2025\/05\/2023-09-08-14.36.40-1-1536x2048.jpg 1536w, https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-content\/uploads\/2025\/05\/2023-09-08-14.36.40-1-scaled.jpg 1920w\" sizes=\"auto, (max-width: 768px) 100vw, 768px\" \/><\/figure>\n<\/div>\n\n\n<p class=\"wp-block-paragraph\">I am interested in application of the idea of when the strength and character of the image is in the shadow rather than the illuminated object, of shadow puppets, of  the common physical properties of light and sound. Of time-based, of place, direction, image formation, duration, spectra, of motion, shape, texture, of reflection, refraction, shadow, diffraction, transmission, of focused and diffuse. Of techniques for additive and subtractive synthesis. I desire to explore listening to light, illuminating with sound.<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"alignleft size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"768\" src=\"https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-content\/uploads\/2025\/05\/2024-07-27-14.35.53-1024x768.jpg\" alt=\"\" class=\"wp-image-5242\" style=\"width:270px;height:auto\" srcset=\"https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-content\/uploads\/2025\/05\/2024-07-27-14.35.53-1024x768.jpg 1024w, https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-content\/uploads\/2025\/05\/2024-07-27-14.35.53-300x225.jpg 300w, https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-content\/uploads\/2025\/05\/2024-07-27-14.35.53-768x576.jpg 768w, https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-content\/uploads\/2025\/05\/2024-07-27-14.35.53-1536x1152.jpg 1536w, https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-content\/uploads\/2025\/05\/2024-07-27-14.35.53-2048x1536.jpg 2048w, https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-content\/uploads\/2025\/05\/2024-07-27-14.35.53-960x720.jpg 960w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n<\/div>\n\n\n<p class=\"wp-block-paragraph\">There are parallels in both visual and sonic time based media where the removal of an element reveals makes the un-noticed visible, the unheard audible. These parallels extend to the use of frames to construct images.  Of transition from a frame showing something to being something.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"GIfted_Materials_%E2%80%93_Use_that_which_is_Provided\"><\/span>GIfted Materials &#8211; Use that which is Provided<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">In Feb. 2025, I was gifted a collection of components and instruments by long term collaborator John Driscoll to explore new opportunities. These are from his work with interactive ultrasonic feedback loops for <em>Slight Perturbations<\/em> installation work and <em>Speaking in Tongues<\/em> performances along with materials from his recent  development using repurposed commodity DMX moving head theatre lights for rotating speakers (including the cast off LED&#8217;s and lasers).  Of specific interest is finding new means of networked collaboration and orchestration for new series of installations.  As in much here, there is new, old and borrowed with our interest in next steps beyond our recent showing of our <em>Cluster Fields <\/em>at Zuccaire Gallery Dec 2024-Feb 2025 as part of <em><a href=\"https:\/\/zuccairegallery.stonybrook.edu\/exhibitions\/_past\/Composers%20Inside%20Electronics.php\">Gestures and Clusters<\/a><\/em><\/p>\n\n\n\n<div style=\"padding:56.25% 0 0 0;position:relative;\"><iframe src=\"https:\/\/player.vimeo.com\/video\/86562925?badge=0&amp;autopause=0&amp;player_id=0&amp;app_id=58479\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture; clipboard-write; encrypted-media\" style=\"position:absolute;top:0;left:0;width:100%;height:100%;\" title=\"John Driscoll\"><\/iframe><\/div><script src=\"https:\/\/player.vimeo.com\/api\/player.js\"><\/script>\n\n\n\n<p class=\"wp-block-paragraph\">Reaching back to our work on Stall and the CIE Focused Loudspeaker project, i have long looked for an opportunity to develop refined means of reticulated correlated control over the motion and sound an new avenues of animation and articulation.  <\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Sketches_from_Eclipse_Gallery_2024_%E2%80%93_a_point_of_inflection_and_departure\"><\/span>Sketches from Eclipse Gallery 2024 &#8211; a point of inflection, and departure<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Tom Ditto and I had an opportunity to show a collection of works in progress as sketches for a week in the Eclipse Gallery in North Adams Massachusetts. Tom choose to show some of his music video and visual music video. Given his enduring interest in 3D visuals, we decided to put together a visual represenation of <a href=\"https:\/\/en.wikipedia.org\/wiki\/Pulfrich_effect\">Pulfrich effect<\/a>. This started with my wanting to use 25lb. iron wheel but quickly abandoned that given short time the mechnical limitations. I also had done a series of computer graphics sketches with correlated sound generation. I also had at hand a variety of single board computers, DMX moving head lights, discarded high intensity LED&#8217;s, various servo motors. What resulted was a conglomeration of automated and semi-automated figures. <\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Here a quick video of the sketch &#8211; some what a studio visit&#8230;<\/p>\n\n\n\n<iframe loading=\"lazy\" src=\"https:\/\/drive.google.com\/file\/d\/1YvQJQOMsR0qbb0Ue19c2Jr8UMUL5kDG2\/preview\" width=\"640\" height=\"480\" allow=\"autoplay\"><\/iframe>\n\n\n\n<p class=\"wp-block-paragraph\">For the computer graphics, I quite enjoyed how very simple variations to the parameters for generation of the image had variety of different qualities of image. These are electronic sketches. Material to be revisited in some form to be determined. These continue a technique where a common algorithm produces concurrently in real-time both sound and image in a malleable performable interactive system. These sketches are constructed to be used for generation of spatial sound, for sculptural projection. As modules that can adapt to various forms of gesture across medium.  I think of these not only as images but potential source of projected illumination.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The images and sound are formed thru execution of a sequence of steps, an imperative program, a process  &#8211; the sketch of that:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>generate a set of end points for shapes in three dimensions<\/li>\n\n\n\n<li>use a capability of the graphics card on a computer to generate a surface from those endpoints<\/li>\n\n\n\n<li>generate a skin for the surface also using the graphics processing unit<\/li>\n\n\n\n<li>instruct the graphics card to synthesize a light source<\/li>\n\n\n\n<li>rotate the generated object in 3 dimensions<\/li>\n\n\n\n<li>use the locations as the object rotates to produce quantized notes<\/li>\n\n\n\n<li>the parameter controlling rates of rotation, number of points for determining the image, musical tuning are manually or automatically modified.  When no manual change, the change are generated automatically.<\/li>\n\n\n\n<li>A module is added to record the generated image<\/li>\n<\/ul>\n\n\n\n<p class=\"wp-block-paragraph\">In the MAX patching language used here, some of these instructions look something like this&#8230;<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"520\" src=\"https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-content\/uploads\/2025\/05\/image-13-1024x520.png\" alt=\"\" class=\"wp-image-5219\" srcset=\"https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-content\/uploads\/2025\/05\/image-13-1024x520.png 1024w, https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-content\/uploads\/2025\/05\/image-13-300x152.png 300w, https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-content\/uploads\/2025\/05\/image-13-768x390.png 768w, https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-content\/uploads\/2025\/05\/image-13-1536x780.png 1536w, https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-content\/uploads\/2025\/05\/image-13-2048x1040.png 2048w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">These are sketches fragments of work in progress using variations of common algorithm. While the sound in this first sample is unappealing in various respects, there is a audible spatial element apparent even when played on a laptop that suggests refinement for installation and performance. Part of the refinement too is the use of this mechanism as used as foreground figures or background and the transposition over time.  These came about in consideration of how to make use of the graphics card (GPU &#8211; Graphics Processing Unit) more effectively than in prior work under cover of <em>Subject to Change<\/em>.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Additional_Video_Clips_from_Work_in_Progress_the_Nurb_Sketches\"><\/span>Additional Video Clips from Work in Progress (the Nurb Sketches)<span class=\"ez-toc-section-end\"><\/span><\/h4>\n\n\n\n<iframe loading=\"lazy\" src=\"https:\/\/drive.google.com\/file\/d\/1fsDfE8CWgddFA25rzVGqXqyh80eRYiBh\/preview\" width=\"640\" height=\"480\" allow=\"autoplay\"><\/iframe>\n\n\n\n<p class=\"wp-block-paragraph\">This example exposes in somewhat obvious means the nature of the <a href=\"https:\/\/en.wikipedia.org\/wiki\/Non-uniform_rational_B-spline\">NURBS<\/a> as generated by the GPU with very limited need for hard core programming.<\/p>\n\n\n\n<iframe loading=\"lazy\" src=\"https:\/\/drive.google.com\/file\/d\/1fWK0fYD3VBefxbpFwtovJQ1KB8HGmm3_\/preview\" width=\"640\" height=\"480\" allow=\"autoplay\"><\/iframe>\n\n\n\n<p class=\"wp-block-paragraph\">Here, there is simple idea of cinematic sequence exploring the malleability and consideration of adding a layer of directed evolution over time.<\/p>\n\n\n\n<iframe loading=\"lazy\" src=\"https:\/\/drive.google.com\/file\/d\/1dstsTFd8-YQoBUdU7eK6Kq0chx7z_y-E\/preview\" width=\"640\" height=\"480\" allow=\"autoplay\"><\/iframe>\n\n\n\n<p class=\"wp-block-paragraph\">A minor variation (for my reference: my-jit.gl.nurbs-ghostsV2.maxpat) is a tidbit to revisit (need to get recording with audio and visual variations).<\/p>\n\n\n\n<iframe loading=\"lazy\" src=\"https:\/\/drive.google.com\/file\/d\/11OLb3Fe5RGKA1ewRjSj8GWvdEYQ59S_b\/preview\" width=\"640\" height=\"480\" allow=\"autoplay\"><\/iframe>\n\n\n\n<p class=\"wp-block-paragraph\">These sketches are to be refined and combined in the evolution of new work. Various opportunities to be explored to replace Monte Carlo techniques use in the sketches for more articulate reticulation, gestures and orchestration.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Montage_and_Collage_Generator\"><\/span>Montage and Collage Generator<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">An avenue for new work is appearing in developing a more generalized framework of visual and sonic montage-collage generation.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">A starting point in this is the work with Sophia Ogielska and Andy Ogielslo in developing an idea of animating projection of the panels from <a href=\"https:\/\/davidtudor.org\/About\/toneburst_frag.html\">Tone Burst Maps and Fragments<\/a> (1994-1996). I worked with them on the installation of the panels as part of Teasing Chaos in Salzburg, as back drops for the performances of the Michael Johnsen performance of Tudor&#8217;s Untitled for Unexpected Territories in Berlin, and for the performances we did of Tudor&#8217;s works in Istanbul December 2025.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">I saw in this ideas for new collaborative work combing the idea of the panels as empahsizing their 3d nature and the interplay of shadow and sounds.  Sophia&#8217;s images are taken from David Tudor&#8217;s diagrams which are interpreted as graphical scores.  I see in this a literature that circumscribes a broad area of work Composers Inside Electronics.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">For Istanbul, the point of departure was an idea to develop projections animating a static layout of a <a href=\"https:\/\/sophiaogielska.com\/toneburst\/\">collection of photos<\/a> simply fading in and out the images which quickly evolved into a Max Jitter patch involved motion, layered transparencies and overlays where a different set of parameters would be used for each of 4 work (Untitled, Microphone, Neural Synthesis, Pepsillator).  The was only partially successful and not creatively satisfying but promising. <\/p>\n\n\n\n<p class=\"wp-block-paragraph\">My choise was to implement in MAX Jitter with the intent of expanding this for performance and installations with combination of interaction and automation.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In preparing for my new sketches for Eclipse August 2025, I had the idea to animate a collection of photographs from my parents from 1944-46.   The resulting 2d attempt here&#8230;<\/p>\n\n\n\n<iframe loading=\"lazy\" src=\"https:\/\/drive.google.com\/file\/d\/1mSe3NzyD-lufDN4F2z9B--gdg4qqHWby\/preview\" width=\"640\" height=\"480\" allow=\"autoplay\"><\/iframe>\n\n\n\n<p class=\"wp-block-paragraph\">The following areas of development for developing this as a broader platform for collaboration, performance and installation.  Considerations include vocabulary for composition, expressive gestures, interaction, orchestration, and choreography. <\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>initial implementation has motion that is rectilinear (horizontal and vertical moves) &#8211; additional means should be circular and other means for more expressive gestures<\/li>\n\n\n\n<li>initial algorithm for changing variables is a simple random walk applied to all parameters with constrained ranges. The gestural range can be improved with various pattern generating algorithms.<\/li>\n\n\n\n<li>hysteresis and other articulations to be added to the onset and completion of each iteration of invocation of the agent of change<\/li>\n\n\n\n<li>additional placement  and motion algorithms &#8211; flocking, fractal, directional<\/li>\n\n\n\n<li>management of change over longer durations (e.g. stochastic evolution from one set of thematic or chronological images and combinatorial opportunities.<\/li>\n\n\n\n<li>use of video in addition to static photographs (E.g. output from the &#8220;nurb&#8221; sketches)<\/li>\n\n\n\n<li>rotations in 3d<\/li>\n\n\n\n<li>correlated sound field generation<\/li>\n<\/ul>\n\n\n\n<p class=\"wp-block-paragraph\">Updates to this frameworks opens paths to new collaborations involving different collections of source materials in bespoke realizations. Likely avenues with work with John Driscoll, Sophia Ogielska, Michelle Jaffe, Maude Baum, Greg Anthon and others.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The simple random walk was a simple an effective prototyping and tool for demonstration which has limited use and needs alternative compositional algorithms. As evidenced in the work to date, the reversion to the mean results in overlapping center and alternative algorithms will allow for more articulate use of space going forward.<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"alignright size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"570\" height=\"570\" src=\"https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-content\/uploads\/2025\/06\/image-12.png\" alt=\"\" class=\"wp-image-5388\" style=\"width:146px;height:auto\" srcset=\"https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-content\/uploads\/2025\/06\/image-12.png 570w, https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-content\/uploads\/2025\/06\/image-12-300x300.png 300w, https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-content\/uploads\/2025\/06\/image-12-150x150.png 150w\" sizes=\"auto, (max-width: 570px) 100vw, 570px\" \/><\/figure>\n<\/div>\n\n\n<p class=\"wp-block-paragraph\">Additional recent developments here&nbsp;<a href=\"https:\/\/composers-inside-electronics.net\/cie-wp20\/eclipse-2025\/materialsnewworks\/collage-montage-cm-sketches-and-studies-2025-06-05\/\">Montage Collage Sketches and Studies 2025-06-05<\/a> using 3d rotation adding a level of generative abstraction demonstration of collections visual and acoustic elements using a variety of source materials.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"From_an_email_in_describing_the_assemblage_Eclipse_2024\"><\/span>From an email in describing the assemblage Eclipse 2024<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"alignright size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"768\" height=\"1024\" src=\"https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-content\/uploads\/2025\/05\/2024-06-21-20.39.08-768x1024.jpg\" alt=\"\" class=\"wp-image-5244\" style=\"width:185px;height:auto\" srcset=\"https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-content\/uploads\/2025\/05\/2024-06-21-20.39.08-768x1024.jpg 768w, https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-content\/uploads\/2025\/05\/2024-06-21-20.39.08-225x300.jpg 225w, https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-content\/uploads\/2025\/05\/2024-06-21-20.39.08-1152x1536.jpg 1152w, https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-content\/uploads\/2025\/05\/2024-06-21-20.39.08-1536x2048.jpg 1536w, https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-content\/uploads\/2025\/05\/2024-06-21-20.39.08-scaled.jpg 1920w\" sizes=\"auto, (max-width: 768px) 100vw, 768px\" \/><\/figure>\n<\/div>\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">Refinement is possibly a gracious description. &nbsp;It\u2019s more a process of first fit rather than best fit to get an odd assortment of elements functioning together in some fashion.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">I thought it would be nice to provide a bit of a functional explanation along the lines of the following. &nbsp;I\u2019ll probably rework this a bit but wanted to see if something like this would be ok.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">I\u2019ll be showing a combination of sketches assembled from bits and pieces gifted &nbsp;from various collaborators and collaborations along with various machinations of my own. &nbsp;At the moment, there are two different system that I thought would work well together on some level here.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In making some sense out of what interested me in these, I recognized the idea of defining end points and finding simple means with a combination of software and physical things to expose different facets and character of how the elements interact. &nbsp;This perhaps a thin veil of rationality on what otherwise is largely quixotic pursuits.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">One construction involves an iron wagon wheel, a mac mini, audio transducer, contact mic, loudspeakers, 2 computer monitors, a little control that influences how all the pieces play together. &nbsp;&nbsp;As a somewhat unintended consequence from working on an somewhat unrelated idea back last November, I had a series of little computer programs that was an exercise on bending shapes using an unfamiliar image processing library for a what I more familiar software I have been using for sound generation. &nbsp; Tom suggested that we should have a rotating object in a collimated light beam and i have this old wagon wheel rim gifted from a childhood friend when we were cleaning out his parents attic a few years ago. &nbsp;Getting the wheel to rotate was going to be a little more of a mechanical problem that I had the time to solve so then figured to work on a second system, &nbsp;I\u2019m hoping to iron out a bit of glitch to make sure the midi controller reconnects automatically on power up\u2026 not essential but offers a nice possibility for a visitor to influence the navigation and stretching the end points. Then, when left alone for a minute, the system reverts to meander on its own.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The second system then started with the idea of spinning a simple shape constructed from my childhood erector set and producing the collimated light beam as Tom\u2019s suggestion as a realization of the 3D Pulfrich effect. &nbsp;I had been trying to find a good opportunity for work involving some mobile constructions using the chaotic oscillation of compound pendulums as part of some acoustic fabrication. &nbsp;The erector set was a good source for an easily spinnable object. &nbsp;Easily distracted by shiny things these days, i started pulling out various little servo motors and light sources, bits and pieces from Amazon including fresnel lenses. &nbsp;&nbsp;My colleague John Driscoll had gifted me a bunch of odds and ends he thought I might enjoy as part of our various projects including some XY Disco lights and cast off LED\u2019s from his repurposing the motor drives from those lighting fixtures for some of his work. These seem fit for purpose here. &nbsp;&nbsp;I had over the years accumulated various detritus of little computers and bits of code for controlling motors and various sensors and devices. Along the way, I had a collection of camera tripods and a mic stand of my sons\u2019 that I had kicking about. &nbsp;I inherited from David Tudor amongst many other inspirations, an array of tripod camera mounting hardware that would allow positioning the LEDs, fresnel, rotating erector set parts.<\/p>\n<\/blockquote>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"A_Recent_Survey\"><\/span>A Recent Survey<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">In the spirit of a survey of where I have been with works with computers,  i found it helpful to putt this Tech Rider.  This is a collection of links, images diagrams of finished pieces.  Under cover of sketches of new fragments and fixture are semi-technical reminders of various modules that plug together in useful ways. (Note to self\u2026 convert to iframe).<\/p>\n\n\n<div class=\"align wp-block-eov-embed-office-viewer\" id='bpleovOfficeViewer-1' data-attributes='{&quot;officeViewer&quot;:{&quot;docSource&quot;:&quot;library&quot;,&quot;viewer&quot;:&quot;microsoft&quot;,&quot;dropboxURL&quot;:&quot;&quot;,&quot;googleDriveURL&quot;:&quot;&quot;,&quot;onedriveURL&quot;:&quot;&quot;,&quot;officeFile&quot;:{&quot;url&quot;:&quot;https:\\\/\\\/composers-inside-electronics.net\\\/cie-wp20\\\/wp-content\\\/uploads\\\/2025\\\/06\\\/PDMaxCon-Tech-Rider-Information-2025-05-23.docx&quot;,&quot;title&quot;:&quot;PDMaxCon-Tech-Rider-Information-2025-05-23.docx&quot;},&quot;height&quot;:&quot;900px&quot;,&quot;width&quot;:&quot;640px&quot;,&quot;disablePopout&quot;:false,&quot;showFileNameOnTop&quot;:false,&quot;showDownloadBtnOnTop&quot;:false,&quot;disableRightClick&quot;:false,&quot;disableFullScreen&quot;:false,&quot;isRemoveDownloadBtn&quot;:false,&quot;isRemoveFullScreen&quot;:false},&quot;align&quot;:&quot;&quot;,&quot;contentControls&quot;:{&quot;enabled&quot;:false,&quot;rules&quot;:[]}}'><\/div>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Next_Steps_and_not_far_from_the_Origins\"><\/span>Next Steps and not far from the Origins<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">The sketches for Eclipse and ideas for new collaborations shaped recent work in the last few months. With a matter of some what less interruptions, I returned to a flurry of software prototyping to take a variety of these elements and connect via wifi for use in for trying in a gallery situation. <\/p>\n\n\n\n<p class=\"wp-block-paragraph\">These are various chimeras of web cameras mounted on DMX moving head lights and robotic actuators with rubber bands.   Use of a the <a href=\"https:\/\/www.cnmat.berkeley.edu\/opensoundcontrol\">Open Sound Control<\/a> protocol for wireless communications across these fixtures and fragments.  <\/p>\n\n\n\n<p class=\"wp-block-paragraph\">It with some amusement I feel the connection to the <a href=\"https:\/\/www.experimentsinartandtechnology.org\/9e-planning-and-prep\">T.E.E.M. <\/a>systems developed in 1966 by <a href=\"https:\/\/www.experimentsinartandtechnology.org\/\">E.A.T.<\/a> for <a href=\"https:\/\/www.experimentsinartandtechnology.org\/9-evenings-theatre-engineering\">9 Evenings of Theatre and Engineering<\/a>, of the works for the <a href=\"https:\/\/www.experimentsinartandtechnology.org\/pepsi-pavilion\">Osaka Pepsi Pavilion<\/a> project and <a href=\"https:\/\/www.experimentsinartandtechnology.org\/light-and-sound-systems\\\">light and sound<\/a> in 1970 and completely consistent with the electronic toys of my childhood and much in between. <\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The idea is to refine a vocabulary for composition and orchestration for various collaborations from these chimeras,  follies and fabrications.<\/p>\n\n\n\n<div class=\"wp-block-group\"><div class=\"wp-block-group__inner-container is-layout-constrained wp-block-group-is-layout-constrained\">\n<p class=\"wp-block-paragraph\">Between occupation, pre-occupations and distractions, I seek a means to corral curiosity and the merely interesting. With what time remains, I seek what is essentially compelling.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Amongst the meanders of fractal topology, oregami and protein folding, non-Euclidean geometry, non-Newtonian fluids, noise and clutter, butterfly wing flutters, with my predilection for words that start with &#8220;C&#8221;, I keep returning to notions of collaboration, community, communion, constructive creative contribution.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"A_modest_application_%E2%80%93_Bring_your_own_Device_%E2%80%93_Interactive_Spatial_Audio\"><\/span>A modest application &#8211; Bring your own Device &#8211; Interactive Spatial Audio<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Recent developments open up a usage as follows:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Visitor to a gallery uses their own smart phone to play a clip from QRCodes supplied on printouts of screens. <\/li>\n\n\n\n<li>Instructions are provided to use listen to the audio output (either via headphones or possibly local bluetooth speakers).  As more listeners join in the sound field is determined by user participation in conjunction with the representation from loudspeaker(s) in the gallery<\/li>\n<\/ul>\n\n\n\n<p class=\"wp-block-paragraph\">A simple example would be using loudspeakers in the gallery to supply low frequencies that by the nature of acoustics don&#8217;t localize and the higher frequencies from the visitors phones and headphones and earbuds with small blue tooth speakers that can be moved about for the mid-frequencies.  <\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Suggested that listeners explore using one ear piece or holding the phone at various locations to influence their and other visitors listening experience with an emphasis on shared acoustic space.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">A demonstration of this sketch can use some selected materials from the montage-collage generators examples from &#8220;<a href=\"https:\/\/composers-inside-electronics.net\/cie-wp20\/eclipse-2025\/materialsnewworks\/collage-montage-cm-sketches-and-studies-2025-06-05\/#Nurbs\">Nurbs<\/a>&#8220;. The QRCode printouts with instructions can be placed on the table with the Nurb recording and or live generator. <\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"To_Carry_Forward\"><\/span>To Carry Forward <span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Several of the techniques from the 2018 re-implementation of Shrieks and Nuptials  (1977) considered here for reframing. Other notes from the conjunctino of Eclipse August 2025, Tom Ditto and EBA <a href=\"https:\/\/composers-inside-electronics.net\/cie-wp20\/eclipse-2025\/eclipse-2025-eba\/#Point_of_Inflection_%E2%80%93_Shrieks_And_Nuptials_1976\">here.<\/a><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Excerpt from Michael Johnsen and I performing the work at the Kitchen &#8230;<\/p>\n\n\n\n<iframe loading=\"lazy\" src=\"https:\/\/drive.google.com\/file\/d\/100GwMnmLTQGRHKyD3pU6vKogw28ypIlw\/preview\" width=\"640\" height=\"480\" allow=\"autoplay\"><\/iframe>\n\n\n\n<p class=\"wp-block-paragraph\">The technology here is an electronic feedback loop  feeding convolution reverbs controlled by the performers using iPad&#8217;s with a software based control surface and the motion sensing IMU (accelerometer &amp; or gyroscope) so that the physical motion of the iPad modifies the sounds.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This is of interest for interactive use in a gallery and additional performance. <\/p>\n\n\n\n<p class=\"wp-block-paragraph\">One possibility is an arrangement where a visitor may be able to scan a QRCode and use their own device.   The technical requirements include things like the low latency of an in-gallery bespoke WiFI network and the nature of privacy controls embedded in mobile web-browsers to accesss the IMU. <\/p>\n\n\n\n<details class=\"wp-block-details is-layout-flow wp-block-details-is-layout-flow\"><summary>Click here for notes on technical implementation<br><\/summary>\n<p class=\"wp-block-paragraph\">The audio generation path use the Max &#8220;gen~&#8221; digital signal processing object which support single sample feedback.  The Max MIRA iOS app is used.  An alternative going forward is to used MIRA Web which allows any web browser to be used. As of this writing (June 2025), this works to a limited extent supporting the user interfaces screen objects though not the motion sensing.<\/p>\n<\/details>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Classification_Some_Keywords\"><\/span>Classification, Some Keywords<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Expressive_Expressions\"><\/span>Expressive Expressions<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">Kinetic art, sound art, light and sound as sculptural media, a theatre electronic, mixed media, intermedia, video, visual music (but not music videos), process (art), performance (art), of choreography, orchestration, instrument building, instrumental loudspeakers, improvisation, composition, design, of sound fields, of collage, software as literature, influence, expressive systems, sonic architecture, sound ecology, sound fields, virtual objects, material things, gesture<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"A_compendium_and_palette_of_technical_and_scientific_terms\"><\/span>A compendium and palette of technical and scientific terms<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">feedback, recursion, iteration, imperative programming languages, reticulation, networks , complexity and chaos theory, acceleration, velocity, position, integrals, derivatives, filtering, reflection, refractions, diffraction, optics, acoustics, spectra, electronics, electricity, magnetism, reticulation, projection, illumination, motion capture, image processing, elasticity, digital signal processing, phase shift, fractals, rotation, convolution, reverberation, topology, geometry, trigonometry, vibration. transparency, occlusion, translation, projection, propagation, mechanics, mass, inertia, compound pendulums, force, mass, torque, cartesian &amp; polar coordinates, open and closed loop control, sonification, angle of incidence and reflection, the angle of repose, cybernetics, information theory, thermodynamics, state machines, sequencers, spooky action at a distance, quantization, digitization, haptics, tactility, signal to noise ratio, bit, byte, baud, kilobyte, megabyte, terabyte, angstrom, lightyear, wavelength, speed of propagation, synesthesia, ultrasound, DSP, protein folding, synthesis, genetic algorithms, inheritance, patching languages, PD, MAX, jitter, JS, gen~, Faust, python, node.js, OSC, https, IP, UDP, TCP, sockets, endpoints, SSL, web browser, server, jweb, Chrome Embedded Framework, WASM, image processing, OpenCV, chromakey, NURBS, hidden line removal, ray tracing, architecture, semantics, ontology, modularity, parallel processing, concurrency, correlation, causality, dependency, physical modeling, wave field synthesis, parametric loudspeakers, self-organizing system, CPU, GPU, API, virtual machines, Arduino, servo control, sensors, transducers, inertial motion unit (IMU), accelerometer, gyroscope, magnetometer, degrees of freedom, BLE, wifi, UWB, time of flight, triangulation, non-newtonian fluids, laminar flow, turbulence, flocking algorithms.<\/p>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-8f761849 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:66.66%\"><\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:33.33%\"><\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>Phil Edelstein, draft and work in progress June 2025 Please take this as if pages from a folio, a sketch book of collections of thoughts [&#8230;]<\/p>\n","protected":false},"author":2,"featured_media":0,"parent":5004,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"h5ap_radio_sources":[],"footnotes":""},"class_list":["post-5162","page","type-page","status-publish","hentry"],"post_type":"page","author_name":"Philip Edelstein","_links":{"self":[{"href":"https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-json\/wp\/v2\/pages\/5162","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-json\/wp\/v2\/comments?post=5162"}],"version-history":[{"count":43,"href":"https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-json\/wp\/v2\/pages\/5162\/revisions"}],"predecessor-version":[{"id":5521,"href":"https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-json\/wp\/v2\/pages\/5162\/revisions\/5521"}],"up":[{"embeddable":true,"href":"https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-json\/wp\/v2\/pages\/5004"}],"wp:attachment":[{"href":"https:\/\/composers-inside-electronics.net\/cie-wp20\/wp-json\/wp\/v2\/media?parent=5162"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}