Drum Morphium Concept

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February 19, 2012, Interactive Arts & Technology: Interaction Design (IAT 222)
-based on an idea to reshape a drum and program it to give you different sounds. Arduino concept.

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Drum Morphium Concept

  1. 1. Drum Morphium Tech Lab Proposal Tink Newman Minsheng Zhang Jill Chan Jon Bantados Yu-Chuan Felix Lai muihprom murd
  2. 2. Citations Production timeline Budget -Equipment List Detailed technical specifications Model of interaction Physical installation Technical Digram About the artwork Why it is suitable TABLE OF CONTENTS Context Design team what’s inside... Ideas 2 3 4 5 10 12 13 14 17 18 19 1
  3. 3. Biographies Contact Us Undergraduate students at Simon Fraser University in the School of Interactive Arts and Technology. J on Bantados jcb6@sfu.ca Bantados takes a keen interest on anything that goes”snap”, “crackle” and “boom”. Needless to say, he is an aspiring sound designer that loves to express his creativity through new technology. T ink Newman tink.newman@gmail.com Newman enjoys creating artistic solutions to everyday technical and industrial problems. She records details in an idea log for later development. She also enjoys brainstorming, inventing, sketching and the management aspects of design. J ill Chan jnc1@sfu.ca Chan is passionate about project management, ensuring that everyone enjoys what they do while getting the job done. She expresses her creativity mainly through sketching, writing, and graphic design. She loves to plan to make things happen. F elix Lai designfelai@gmail.com Lai is pursuing design, who has a strong interest in Industrial design and interacion design. Visualizing ideas through sketchingis his favorite way of generating concepts and communicating with others. M insheng Zhang mza22@sfu.ca Zhang has a great passion in interface design. In her design, she is not only focus on the aesthetics factor, but also takes care about the usability factor. She believes that design is a tool to make our lives more cozy and beautiful. 1
  4. 4. about the artwork... name and detailed description Drum Morphium is a concept of a mold-able instrument that allows users to create interesting shapes and sounds. It would allow the user to choose from any drum or other sound of their desire and manipulate a world of cultural and unique sounds. There will be visualizers that graphically illustrate the sound before the user’s eyes as they morph the shape of the drum, interact with and play their rhythms. The more one ‘color labeled’ drum is played, the more of that color would be added to the visualizer. Changing the shape and playing on different parts of the drum would change the pitch and tone of the selected sound. The user could also connect their own mp3 player music to the system and play the drum along with their favourite sound or choose from some provided options. The speakers in the room would provide surround sound or the user would have noise cancelling headphones. The title of the art installation “ This exhibit would give the user an immersive experience full of colorful lights, a glowing drum stand and music, almost as if they were putting on their own concert. ,” is derived from the interactive aspect of the piece, the drum itself, its unique ability to change shape and a scientific prefix , -ium, meaning ‘complicated’. 2
  5. 5. Why it is suitable in the Since the TechLab of the Surrey Art Gallery is primarily a small gallery for the presentation of digital artworks our project would be spatially suitable for this space. The amount of floor space that the interactive installation would take up would be only 2’ X 2’ horizontally. This installation would be suitable for the Techlab’s three month term application because it would be just as functional at the beginning as it would at the end due to the instantaneous nature of the work. The physical aspect of the work would be the drum interface and the digital component would be the computer processing and output visualization. In addition to users interacting with the installation directly, the gallery could also host advanced drum performers. The exhibit concept as a whole represents the goals of Surrey such as multiculturalism, creativity, family-friendly playfulness and technological advancements that will inspire future generations. ?
  6. 6. Ideas Glow in the dark paint Silicone $103.96 Brown Sugar FSR Sensors 30 sensors per drum (3 drums) (7.16 x 90) = $644.40 Jumper wires pack of 100 $34.95 Arduino Breadboard Mini adhesive breadboard $3.95 behind the artwork philosophical/conceptual goals This is an art installation would rely on transforming data collected from force sensors (user’s interaction with the drum) into visual images, LED light visualizations and rhythmic music output. The visualization displayed on screen alters and changes differently according to the speed, how the drum is shaped, which drum “color” is being played, the drumming pattern and amount of force on the drum created by the users hands and fingers. For example, the visualizer screen becomes more blue as the ‘owner’ of the blue drum plays their sound harder or faster. Arduino Bluetooth Board $149.95 Battery Pack 15 inches materials PVC sheets 1x 3 ft sheet (48x48) = 173.56 1x 2ft sheet (24x48) = 86.76 1x 1ft sheet (12x48) = 43.39 tallest drum medium drum shortest drum 42 inches 48 inches EL WireControlled 3 x 20 ft Sound Porta-light 3.2 mm $120 30 inches Sandbag The interior drum material is made from a soft gel, such as silicone gel, surrounded by a water repellent holding material. There would be a fabric covering the balloon that would allow the sensors to be sewn to the contour of the pliable drum object. The drum head colors would be glow-in-the-dark blue to match the aqua blue, glowing E.L wires on the hourglass shaped stand. The shape of the stand was inspired from a djimbe and represents the original, ethic origin of the installation.
  7. 7. Context connection to art history This work connects to the broader context of art history due to the progression as drums and rock band style drum kits. Drums were some of the first instruments that humans created, along with flutes and horns. The basic version of a drum kit was first created in New Orleans in the 1930s. Later on in the 1960s, rock drummers began to expand the drum kit in order to increase speed. Electronic drums were designed to create sounds that had never been produced and allowed modern music to develop. The materials of industrial design have constantly been improving over the last few decades and flexible and soft materials exist that have been used for this project. Future drum kits and new creations are only limited by the imaginations and creativity of musicians and manufacturers. This art installation encompasses many technical and aesthetic components that would fit in the Surrey TechLab, that was inspired from many different inspirations and previous artworks in history. 5
  8. 8. Context connection to other artists’ work Since drums are usually associated with sound rather than visual senses, we try to introduce the visual aspect to the drumming experience and explore the creative remix between the two. For the visualizations of the drum, partially inspired by the visual effects in the movie Tron and Avatar. We decided that the glowing flow of lines could best represent the dynamic rhythm and energy of the music being created by the users. The vivid lighting environment of “Avatar” inspires us this interactive lighting idea. The colorful spotlights seem as the highlighting of the drum, which attract people get into the interactive space. Once people start to play the drum, the colorful spotlights effect transfer to the visualization on the wall, and allow people to interact with it by playing the drum. 6
  9. 9. The way to match the specific sound effects to the different visual effects of the movie Tron stimulates us to develop the interactive visualization. This movie also inspires us on the fancy glowing flow lights of the stand, and the visualization, which enhanced immersive environment to involve people into this visual sound world. The 3 spot light colors of green, blue and purple were chosen to represent a technology-oriented, ethereal, yet natural environment inspired from Avatar’s glowing Pandora landscape. and Tron’s glowing theme The spotlights were designed to attract the user to the top of the stand where the drum lies. 7
  10. 10. Context connection to other artists’ work Plaster, a duo of artists, Gianclaudio H. Moniri (Kaeba) and Giuseppe Carlini (Agan), creates experimental-electronic music. During their shows, they show deep immersive visualizations in a dark space. They collaborated with visual artist as well as with other artists like David Terranova, Tzpx (Emanuele Foti), Lasal (Aristides Garcia). 8
  11. 11. Plaster + Lasal collaboration Lasal, also known as Aristides Garcia, is a visual artist that collaborated with Plaster. One of his pieces, Kristallographie (shown above), is an audioreactive artifact. Based in the Aristid Lindenmayer formula. He develops this real-time audio-reactive artifacts giving free rein to his obsession for synchronicity between the musical object and the visual one, without intending to create a mere representation of the sound spectrum. From these pieces, we got inspired to transcend the purely hearing experience of drum playing, and reach the visual esthetic of the audio, which provide people both hearing and visual impact and enjoyment. 9
  12. 12. technical diagram INTERACTION LAYOUT 10
  13. 13. AUDIO LAYOUT technical diagramAUDIO LAYOUT technical diagram 11
  14. 14. speakers drum and stand setup ceiling mounted projector drum morphium computer system Physical installation gallery layout The computer terminal would be on a small desk and the ceiling projector would display on the walls. The drum itself would be only about the size of a men’s basketball flattened and reshaped. The output of the interaction involves visualizations that will beprojected directly on the available painted walls, as well as a 10’ wide screen. We could perhaps add additional LCD monitors available in the TechLab if we need to incorporate more of the room’s wall space or extra seating for exemplary viewing. 12
  15. 15. hit knead squeeze 13
  16. 16. Detailed technical specifications Arduino For this installation we will be using a processing patch created in both Isadora and Arduino. The role of the Arduino program would be to gather data from the sensors and act as an antenna, sending signals to Isadora. We chose to use this program primarily because it can communicate with Isadora wirelessly so that the user would not be distracted by having wires and other pieces of hardware sticking outside of the drum. In addition, multiple sensors can be gathered together and controlled by one board which would allow for the least possible amount of hardware to be physically inside the drum. 14
  17. 17. ISADORA visualizer We are going along with Isadora for this installation because it is a perforance type program that can communicate with the Arduino board in order to project the sound and visualizations. Predetermined visual effects are attached to a “Serial in Watcher” actor that reads the values that are coming in from the Arduino board. These values would then be the values that dictate the intensity of the various effects being displayed by the visualizer as well as the sound levels of the sounds being played. Isadora can read multiple channels so there wouldn’t be a problem having isadora differentiate the values being sent by the Force Sensitive Resistors
  18. 18. Optional Visualizer System /Program MAX/MSP Alternatively we can also incorporate Max MSP to take over the sound aspects of the installation if need be. However, we are sticking with Isadora to simplify our coding so our back end does not become too chaotic with three programs trying to communicate with each other. However, if the need arises, more research can be done in this area to compensate for any problems encountered in Isadora. Our rationale for choosing Isadora over Max MSP is that we feel Isadora is more suited towards our overall vision and can provide us with a more stable code that can switch content very quickly as oppsed to Max MSP. 16
  19. 19. Budget Qty: Equipment Model: Amount ($CAD) Projector NEC NP115: 1 599.99 Computer IMac 3.2 Ghz 1 1290.99 Audio Yorkville sound Excursion1000 950-Watt Complete 3-Piece PA 1 1875.00 Audio Tourflex 10’ microphone XLR: 1 599.99 Audio Samsung SBH-600 Bluetooth Headphones 1 149.99 Software Arduino Bluetooth Board 3 149.95 Software Arduino Breadboard: Mini adhesive breadboard 3 3.95 Software Force Sensing Resistors 90 644.40 Software Jumper wires pack (100) 1 34.95 Misc Glow in the dark paint 1 103.95 Misc Sound Controlled Porta-light 3.2 mm 20 ft 3 120.00 Misc PVC Sheets 3 303.71 Program Isadora 1.2.9 1 Samsung SBH-600 Bluetooth Headphones 33.01 Total Sum $5909.88 NEC NP115: Force Sensing Resistors Arduino Bluetooth Board IMac 3.2 Ghz 17
  20. 20. 2 week Feb 19 Feb 12 Feb 5 Jan 1 Jan 15 Production Timeline 3 week Timeline is based on amount of sponsored funding or the designers’ budget. This proposal is based on (either we have less than our expected budget amount, or we assume that we will get sponsors for at least half of it). Open Display Purchasing equipments / arranging sponsors Programming/ Creating visualization effects Testing connection between sensors to software building the prototype and testing material reactivity Placing, setting up physical installation Final tests/ minor midification
  21. 21. Booklet Citations: Live set visuals. (n.d.). Retrieved from http://www.myspace.com/xlabgallery/photos/albums/album/1251105 Megamorph. (2009). Retrieved from http://iqbit.net/ Moniri, G. & Carlini, G. (2010). Plaster's sound photostream. Retrieved from http://www.flickr.com/people/plastersound/ Moniri, G, & Carlini, G. (2010). Plaster. Retrieved from https://www.facebook.com/group.php?gid=72205618902&v=wall&so=60 Tooze, G. (n.d.). Hd sensei. Retrieved from http://www.dvdbeaver.com/film3/bluray_reviews51/avatar_blu-ray.htm Tron legacy speed. (2010, December 12). Retrieved from http://www.wallpaperhd.org/wallpaper/2535/Tron-Legacy-speed-widescreen.html Max/Msp Codes. (2008, December). Retrieved fom http://steim.org/projectblog/wp-content/uploads/2008/12/patch.jpg 19
  22. 22. Thank You

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