"ANIMATION, SONIFICATION, AND FLUID-TIME: A VISUAL-AUDIOIZER PROTOTYPE" CONFERENCE: INTERNATIONAL CONFERENCE: NEW INTERFACES FOR MUSICAL EXPRESSION (NIME 2020)
ABSTRACT: The visual-audioizer is a patch created in Max in which the concept of fluid-time animation techniques, in tandem with basic computer vision tracking methods, can be used as a tool to allow the visual time-based media artist to create music. Visual aspects relating to the animator’s knowledge of motion, animated loops, and auditory synchronization derived from computer vision tracking methods, allow an immediate connection between the generated audio derived from visuals—becoming a new way to experience and create audio-visual media. A conceptual overview, comparisons of past/current audio-visual contributors, and a summary of the Max patch will be discussed. The novelty of practice-based animation methods in the field of musical expression, considerations of utilizing the visual-audioizer, and the future of fluid-time animation techniques as a tool of musical creativity will also be addressed.
MFA-THESIS (2020): "ANIMATION AS AN INSTRUMENT: DESIGNING A VISUAL-AUDIOIZER PROTOTYPE"
ABSTRACT: This paper discusses the process of making a “visual-audioizer” prototype in which I designed and created as a new method for the computer musician and animator to produce audio. The visual-audioizer is a patch I created in Max in which traditional animation techniques, in tandem with basic computer vision tracking methods, can be used as a tool to allow the visual time-based media artist to produce audio and eventually, music. Using this tool with the animated form provides real-time feedback within a dynamic locale constrained to the software and allows the user to hear their visual creations within a sonic setting. For the user unfamiliar with animation techniques and computer music, an experiential media system in which animation, audiovisuals, and exploration are considered synonymous. To the animator, an alternative method/consideration to letting the implicit temporal-knowledge of motion to apply this system as a means of creating audio. For the computer musician, a new way to learn about animation and the role of animation techniques as musical instrument. Through explorations in the realm of graphic aesthetics of scale, movement, patterns, and pictorial ambiguity, aspects of what can be described visually perceptible and within an audibly comparable setting play a key role when manipulating audio creation. Using the visual-audioizer, animators and computer musicians will find new ways to experience and create their audiovisual media through means of drawing and interacting with the tool itself.