Max7 Project

My big idea to create using Max7 is an interactive touch screen that you can draw on. In order to choose the color you will draw in you must say it out loud. A microphone within the screen will recognize the word you have said and, based on the pitch of your voice, will give you a unique shade of that color. Higher pitched voices are assigned lighter colors, while lower pitched voices are assigned darker colors. You will be able to manipulate your voice to get the shade of the color that you would like to draw in.

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I started my Max Project by following a tutorial that I thought I could build off of. It showed me how to produce a visual from audio. Considering my idea involved choosing a color to draw in by voice recognition, I proceeded to manipulate the software in the direction I was headed.

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I linked the microphone (audio input) to the poly object and in turn to the stereo, patternizr, and video itself. The noise the built-in microphone in my laptop picks up effects the visual. The meter below the mic monitors the signals my laptop recognizes and the thispoly sub-object receives them. It then sends them to the poly object to control voice allocation. The signal is directed by the poly object to the stereo and imbedded sub-patches. By toggling down in the patternizr you can change the type of pattern (cubes, waves, etc). The patternizr produces images using function graphs; it allows you to stretch out the visual (x and y scale) and play with the speed the video is being shown at. You can change what kind of wave form the sound travels on through the mappr. The mappr remaps the RGB colorspace of the video. You would use this to change the color of the pattern shown.

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In an attempt to add a speech recognition component to my patcher, I downloaded the aka.listen object. I loaded more words (colors) into the language model. The slider restricts the numeric range of the sound input level and the metro outputs bangs at regular intervals.

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My patcher, still in progress, looks like this. I have tried to alter the aka.listen object and connect it to the other components of the patcher in different ways, but I can’t get it to have any affect on the video except for sometimes halting it. I have moved towards my big idea by creating something that can turn sound waves into video and configuring what would allow voice commands. However, at this point I am struggling to connect the two.

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I added the above print window below the aka.listen object in the hopes that I would then be able to tell if the voice commands were being identified. The slider outputs numbers restricted to a specific range and multiplies them by the trigger number above. The “Now recording” and “record” buttons display and send messages and can handle specified arguments (arguments distinguish between different objects).

I demonstrated how the patcher reacts to my voice in the above video. The meter picks up my voice and produces a slightly different elongated noise following each. However, the video doesn’t react any differently to my voice commands than the other sounds it picks up from my internal mic.

My next step will be figuring out how to harness the different frequencies produced and assign them to colors. Then I should be able to make the video react according to voice command and pitch.

If this project ever comes to life it could be used for both recreational and educational purposes. It could serve the same purpose as a game app or as a classroom lesson. People of all ages could interact with the screen while all getting unique results. Elementary age children would benefit creatively from using the screen as well as science classes learning about pitch, frequency, and/or wavelength. This technology could stand alone as an exhibit or work with other inventions as part of a sensory stimulation.

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Owl Marionette

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I thought an owl would lend itself to this project nicely considering they are composed of dramatic moving elements (a head that can turn almost 360 degrees around). They have large wings with flocks of feathers and deathly claws on menacing talons. I chose to use clay for the wings and talons specifically so I could detail them more closely than the other parts of the owl. This led me to make the decision of making exterior feathers to place on top of the wings. I thought they would give my owl a more life-like presence due to the added texture. From the beginning I wanted my marionette to be strung freely, so all of the elements of my owl are disconnected from each other.

The purpose of a marionette is to entice a reaction from an audience through movement and interaction. I kept this in mind from the moment I sketched the ideas I had for my owl until I strung the completed components of it together. I used a wire armiture and clay to sculpt the more organic features of the owl I had designed, such as the wings and tallons. I crafted repetetive feather-like pieces that I baked onto the wings in the pattern I laid them in. Balsa wood served as the material to carve the simple shapes of the body and head out of. I stuck to a fairly realistic color pallet when painting my marionette in order to coincide with nature, but I used bronze metallic paint to add a sense of drama to the wings and claws. A firm wire structure, strong wire hooks, and string allow for free movement of the owl while being practical and withstanding.

I put a lot of hard work into creating the marionette seen here today. Although I am proud of it, I wish I would not have run into the challenges that forced me to attach the tallons with an exterior piece of wire. I did this because the rings I had attached to the internal wire armitures of the tallons were not strong enough to hold the weight of the clay, which I had already baked and set. I think my attention to detail is exemplified in the wings. For my first time handling and working with some of the materials I used, the level of my work satisfies me.

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Design Disruptors Writeup

The film Design Disruptors touches on the impact of good design, attributes that make  design successful, and how the design process can be manipulated to produce an effective result. Like the title of the film suggests, if you create something disruptive, people will notice. Designers create to please or speak to a diverse audience, not to satisfy themselves. To do this, they follow an individualized design process and train themselves to be good problem solvers. Any idea that comes to mind is thrown onto paper in order to “fail fast and succeed sooner”. The designer and their team of colleagues recognize the good ideas and eliminate the bad. A crucial step in the process is collecting data and feedback to improve upon an idea. The idea has to be adaptable and it has to make sense, unlike other types of art. Often times subtractions are the most valuable additions. Any change that will make the design easier for the audience to enjoy or use is worth the implementation.

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Max Idea

Large screen

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-people interact with it by drawing on it

-must state the color they want  to draw in

-software recognizes the frequency of the sound of their voice to give them varying shades of the color

-high pitch– light shade, low pitch– dark shade

 

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High…………………………………………………………….Low

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Sound Project

My texture video represents my repetitive week. The images start off as dull and are shown at a slow pace. I added droning audio to the beginning of the video which eventually gets higher in frequency around the midpoint of the track. I then added a sound with a faster rhythm toward the end of the video as the frames progress more quickly. This signifies the swift and more exciting end to my week.

 

I filmed abstract patterns and colors to represent the lively Carnival in Rio de Janeiro. I chose to make the soundtrack more literal because the images in my video were not. I recorded traditional samba music and crowd noise along with a beat of clapping hands. I think it accompanies the images well and helps convey the atmosphere of the Carnival.

 

I recorded all of my sound for the Number Countdown using items I had in my dorm room or my hands. For example, I shook uncooked spaghetti in its box for the fast sound at the beginning of my countdown. After the majority of my recording was complete, I adjusted the volume between each different sound so that they would transition better together. The sounds add suspense–especially the low music at the end of the track. My goal was to make this video somewhat enjoyable to watch and hear even though it only depicts numbers on a screen.

 

I recorded all of my audio for this video by using a marker. I played the video and simultaneously drew corresponding lines with my marker on paper. After repeating this a few times I got a closely matched soundtrack to go with my animation. In my first rendition of this video I clicked the marker cap back into place for the sound at the end, but during my class’ critique I was told it sounded too sharp and snappy. I went back into the track and experimented with a few different actions to make a more drawn out sound. I got the sound I ended up sticking with by recording myself pulling the cap off of the marker. This gave it more of a lower pop sound.

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