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2025: An interview

To say that times are changing is an understatement. Things are changing faster than we can keep up. As a human race we are constantly evolving and each major event over the course of our evolutionary history over various time intervals have marked the rise and fall of cultural and societal changes. I think we are headed towards an event of that nature that will alter the course of our lives drastically, forever. It is said great turmoil is prevalent before such an event occurs. This might be that moment of transition. Maybe this means we are headed towards the Apocalypse.

I think that significant technological advancements have taken place during times of adversity. Most of these advancements are a result of human beings’ need to push their own limits and also extend those of the earth. Until we successfully achieve immortality, or successfully become a part of the machines that we build, it won’t stop.

In this vortex, I find myself – a human being, an artist. There are definitely tough times ahead and numerous obstacles to be overcome. But, instead of depressing me, that excites me; that’s what really brings out the artist in me – the challenges, the hardships, the need for innovation. I know that technological advancement and innovation will continue and in times like these, will definitely take some huge leaps into the future. I’m excited to be a part of it and look forward to pushing my own limits and contributing to shaping a new world.

This podcast is a similar commentary, which I hope you find entertaining.

If you have any questions, comments or feedback, you can email me at: drumb588[at]newschool[dot]edu

Exploiting the bug

This week I’m going to show you a jitterbot I created in Max/MSP/Jitter. I’m manipulating and mixing video to create visuals that complement music, live. I’m using OSCemote on my iPhone to control the visualization. I made the music and shot 4 original videos. If you have any questions, comments or feedback, you can email me at: drumb588[at]newschool[dot]edu

Jason Salavon does some really amazing work. Looking at this for inspiration for creating a piece with averaged images.

miBass is a bass guitar-like instrument that can be played on an iphone. Mrmr on the iphone is used to communicate with Max/MSP/Jitter via UDP messages. These messages are interpreted and converted to preset musical notes that are then driven through Native Instruments Guitar Rig, a VST Instrument, to achieve the bass tone. There are 8 notes in all, 2 groups of 4, which can be switched by rotating the iphone up and down. The visuals are created using Jitter nurbs (jit.gl.nurbs) which get modified based on the levels of the tone produced.

Introduction

In computer and video games, players engage in “action at a distance,” much like remotely manipulating a robot, but in a far more fine-grained fashion. Cognitive research suggests that such fine-grained action at a distance actually causes humans to feel as if their bodies and minds have stretched into a new space [1], a highly motivating state [2]. Children of the Shred is a real-time computer game in which two players can challenge each other’s music improvisational skills by playing out a narrative adventure by using digital or analog instruments. This game was built with Python, PyGame and Max/MSP. It was produced for a final project for Major Studio: Interface at Parsons in Fall 2008 in collaboration with Clay Ewing.

Concept

The objective of the game is to emulate an immersive virtual environment that is geared towards musical skill development and music improvisation. Audio signals from the players’ instruments directly affect the virtual environment and provide immediate visual feedback in the form of game characters. All learning and gameplay involves ‘playing a character.’ In a science classroom, learning works best if students think, act, and value like scientists. Games can show us how to get people to invest in new identities or roles, which can, in turn, become powerful motivators for new and deep learning in classrooms, workplaces, and everyday life [3].

The game offers possibilities for remote skill development and improvisation unlike systems such as Rocket Networks which support the sharing of music files in order to allow musicians to collaborate on composing a piece of music together [4]; and JamSpace, which explores real-time networked improvisation, and is more focused on simple collaborative rhythmic musical scenarios, such as drumming circles, which are among the easiest ways to engage musical novices [5].

The game draws heavily from popular culture and attempts to make a common connection between music, gaming and popular culture domains. Giroux and Simon [6] have claimed that popular culture ‘raises important questions about the relevance of everyday life, student voice, and the investment of meaning and pleasure that structure and anchor the why and how of learning’ [7].

Children of the Shred is presented as a fictional post-apocalyptic scenario in which the world as we know it has ceased to exist. It is now divided into two sects – one ruled by the Zombie Lord and the other by the Zombie Slayer – who are constantly battling to rule the world. Players can choose to be the Zombie Lord and unleash zombies, which resemble Michael Jackson from 1983’s Thriller video (one of the most famous appearances of zombies on television). Or they can choose to be the Zombie Slayer and destroy their opponent’s zombies.

Conceptually the game borrows from the game ‘Typing of the Dead’. There is no obvious connection between zombies and touch-typing or guitar playing. However, as Repenning and Lewis note, learning how to type (in this case, play the guitar) is highly connected to subconscious motor skills, and hence connected to a game context such as Typing of the Dead or Children on the Shred. Both games are able to balance typing or guitar playing challenges and skills through a game context, which relates to the notion of flow [8] [9].

Documentation

• Storyboards
• Final Paper
• Final Presentation

Download Source

References

[1] Clark, A. 2003. Natural-Born Cybrogs: Why Minds and Technologies Are Made to Merge. Oxford University Press, Oxford, UK.
[2] Gee, J.P. 2003 What Video Games Have to Teach Us About Learning and Literacy. University of Wisconsin-Madison. ACM Computer in Entertainment, Vol. 1, No. 1, October 2003.
[3] Gee, J.P. 2003 What Video Games Have to Teach Us About Learning and Literacy. University of Wisconsin-Madison. ACM Computer in Entertainment, Vol. 1, No. 1, October 2003.
[4] Bryan-Kinns, N. 2004 Daisyphone: The Design and Impact of a Novel Environment for Remote Group Music Improvisation. DIS2005, August 1-4, 2004, Cambridge, Massachusetts, USA.
[5] Gurevich, M. 2006 JamSpace: A Networked Real-Time Collaborative Music Environment. CHI 2006, April 22-27, 2006, Montreal, Quebec, Canada.
[6] Giroux, H. A. and Simon, R. I. 1989. (eds.). Popular Culture, Schooling, and Everyday Life. New York: Bergin and Garvey.
[7] Cheung, C. K., 2001. The use of popular culture as a stimulus to motivate secondary students’ English learning in Hong Kong. ELT Journal Volume 55/1 January 2001. Oxford University Press.
[8] Csikszentmihalyi, M. 1991. Flow: The Psychology of Optimal Experience. Perennial.
[9] Repenning, A. and Lewis, C. 2004. Playing a Game: The Ecology of Designing, Building and Testing Games as Educational Activities. University of Colorado at Boulder.

Introduction

‘Across the Universe’ is a public space project we (Stephen Varga and me) conducted at Union Square to gain insight on peoples’ behavior when a non-familiar object is installed in a familiar environment, to purposely disrupt normal transition patterns. We also study how a metaphor and a narrative, influences their reactions or choices in interacting with the object.

Post Mortem

This paper describes the motivations and objectives behind the concept and the design process we followed to conceive it.

Click to download

Documentation

Here’s you’ll find several PPT presentations, videos and pictures that document the entire design process.

• Initial Observations of the space
• Initial Prototypes
• Revised Prototypes
• Final Concept
• Final Presentation

Images

Videos

First Prototype

Second Prototype

Final Prototype

We had to create character sketches for our robot, Sassy, who is part of the cute robot army.

  

Team Sassy is:
Lawrence Mascia – Huxtable Easterwood
Brain Carter – Brainy Bravin
Bruce Drummond – Superduper Constantine

Basic Attributes
Character name: Estella
Gender & Age: Female, 1 decade
Appearance: Pirate, punk, military, rebel
Strength and Speed: Quick and agile with a lot of stamina
Perception and Intelligence: Always aware of her environment, fairly intelligent
Damages: Missing limb, weathered, maybe eyepatch
Class Features and Class Rank: Frontline assembly, Private  

Key Personality Traits 
Iconic trait: Gold tooth
Habits: Smoking cigars
Flaw: Over confident, condescending
Fears: Rats
Desires: To fly

Biography
Estella is the last survivor of a highly customized, mass produced model of robots created by Dr. T.R. Fiddlewink Esq. This line of robots were terminated soon after their creation due to their inherent personality disorder problems. Estella escaped with her life and swam across the seven seas only to end up in the cute robot army. Estella is mean to her mates, has a major attitude problem and is always on a mission. She is full of anger and hatred for her creator and all humanity in general.

Abilities
Basic skills: Trained in Shaolin Kung Fu, hand-to-hand combat
Feats: None
Specialty: Heavy artillery and vehicles
Tricks: Card tricks!
Advantages/Disadvantages: Her over confidence gets in the way

Combat options
Primary weapon: Rocket launcher
Secondary weapon: Heavy machine gun
Tertiary weapon: Laser gun