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Origami

Origami. Hiroko Terasawa, Grace Leslie. Today’s talk. Motivation & Aesthetics Musical Goal Links btw/ objects and music Score & performance Acoustic properties Electronics & computer use Controllability Summary. Why Origami?. Analogy between computer music and origami

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Origami

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  1. Origami Hiroko Terasawa, Grace Leslie

  2. Today’s talk • Motivation & Aesthetics • Musical Goal • Links btw/ objects and music • Score & performance • Acoustic properties • Electronics & computer use • Controllability • Summary

  3. Why Origami? • Analogy between computermusic andorigami • flexible medium • complexity by processing and combining simple materials and parts. • Antiphon to futurism • Fragility • Modality

  4. Our musical goal • Hiroko • Evocative / metaphoric match between parameter dimensionality, timbre and form. • Fragility and transformation • Grace • Clear expectations (e.g. traditional crane) • Openness in a few parameters (i.e. paper and size in origami) • Each performance will be slightly different but the overall character and integrity will be maintained.

  5. Physical to sonic translation

  6. Score and performance • Degree of control • Score and instructions • Predetermined form: “score” - origami itself. • Causality with limitations in: physical medium and musical possibilities. • These limitations exist in the number and types of folds possible, and the final form of the origami. • Improvisation • The performer is able to choose the material and size of the origami they create, which in turn affects the timbral characteristics of the piece.

  7. Acoustic property • Source - Filter Model Excitation Resonance Sound pulse low high • large - small • thick - thin • elastic - stiff • folded - plain • large cavity - small cavity • Tapping • Rubbing • Blowing static

  8. Electronics and Musical Materials • Folds / objects and filters • “an analogy between combinations of paper folds and both traditional and extended permutations of musical materials (that is, not only invertibility etc, but also a particular sequence of folds as a filter.)” (J. Berger) • Max/MSP patch • translate the physical sounds of making origami into a sonic realization of the process. • Signal and controller • Contact and condenser microphones and a digital audio interface (origami to the computer) • Switches, variable capacitors

  9. External control • Switch • Mute when folded • Variable capacitors?

  10. Time control • The length of the piece • determined by the speed of the folds • how long performers meditate upon the final product. • The form • determined by the types and complexities of the folds. • Origami: translation of physical space from simple to complex and chaotic to ordered. • Our mappings will reflect these transformations.

  11. Spatialization control • Boundaries / discreteness • Grace’s head

  12. An open end.. • What we covered today • Aesthetics, musical style, form, technology, control. • More details • To be determined upon more prototyping / discussion / feedback

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