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Musicians create music and visual artists create images. I am becoming increasingly
aware of the commonalities I share with musicians rather than other visual artists. The
creative process of a sound artist or an electronic musician is very similar to my own. The
fundamental basis of both what I do and what a musician does is the creation of structure, or
perhaps more specifically the making of a score or program that nurtures the creation of
structure. My own practice emphasizes structure (in the form of language, image, sound or
even a set of related ideas) regardless of my chosen medium.
My primary creative tool is a computer, which, by definition is a machine that
manipulates only structure since it has no understanding of semantic content. Why is
structure so important to my work and why does a project need a certain amount of structural
complexity to keep me interested? Does structure have intrinsic meaning?
In 2003, I read Chaos, The Making of a New Science by James Gleick. This was the
book that introduced me to the world of chaos and the complex relationship between noise
and order. While reading the book, I started writing a few programs to compute chaotic
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Pure-Data. In the process of researching and writing, I was particularly inspired by the
historical connection between weather modeling and chaos. Two specific equations, the
Lorenz attractor and the Rossler attractor, piqued my interest. The Lorenz attractor is the
result of a few simple fluid dynamics equations. The Rossler attractor is based on equations
to calculate chemical equilibrium. This book inspired my final BFA project, Oracle. The
purpose of Oracle is to give a voice to nature.
Oracle uses a live feed of current weather conditions as the variables in a multiplication
of Rossler and Lorenz attractors. For each weather report, retrieved each thirty minutes, the
variables of the equations are set by the humidity, wind direction, wind speed, temperature,
humidity, etc. For each of these thirty-minute blocks, the equations iterate using those same
variables, resulting in a set of three numbers. These numbers serve as coordinates in a three-
dimensional volume that is populated by a small vocabulary of six hundred words in six
different languages. For each iteration, three words are chosen that correspond to each of the
three dimensions of the volume. The projection is a mix of video images of earth, air, fire and
water, and are combined based on the wind direction. The resultant words of the chaotic
equations fade in and out of this ground. The complex and unpredictable system of weather
is used to drive a set of chaotic equations that are themselves unpredictable. As an artist, I
chose the vocabulary of the system and transformed the results of the equations to be
contained within a closed cube. The choice of what word should come next is an emergent
result of the whole system that includes both the limitations imposed by the artist and the
limitations of the weather variables.
Like many other art students after finishing their degrees, I went into a bit of a creative
slump. It was at this point that I started to approach computer image-making as improvisation.
I consider this work the same process as electronic musical improvisation, except rather than
creating sound, I created images. These images were made using the GEM (Graphics
Environment for Multimedia) library for Pure-Data. A huge creative revolution happened when
Erich Berger exposed me to creating feedback loops in GEM. Erich had been using the
technique in a number of performances for years and I was very attracted to a totally digital
method of visual feedback. The technique differed from video feedback in a few interesting
ways:
I started using feedback in my performance Threads but soon after went to work
creating a Pure-Data patch that focused specifically on the feedback itself. I titled this project
Self-Similar to draw a connection between the project and fractal systems. Self-Similar is
what Benoit Mandlebrot calls the attribute of fractals where the part resembles the whole.
Self-Similar, like all my feedback patches, copies the whole image, transforms it and uses the
modified version in the next iteration at sixty iterations per second. The feedback process in
Self-Similar differs from the feedback process in Threads in that, rather than a single
feedback process, Self-Similar uses three such processes simultaneously. The patch works
as follows:
This way each of the feedback processes uses a different transformation; so, the
transformation in Feedback B effects the next generation of Feedback A. All three feedback
processes interact to create very complex structures from the simple transformations.
Reflex is my latest improvisational work. It is a creative departure for me since it
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generative work since the equation used is not something I wrote nor fully understand. Reflex
is an exploration of Pure-Data and is only possible in Pure-Data. Pure-Data is composed of
two parts: a GUI and a DSP engine. These two parts communicate through a local network
socket. What Reflex does is hijack the data that is transmitted from the GUI to the DSP and
feeds the information back into Pure-Dat
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coded version of what is happening in the GUI, there is an automatic connection between the
image (the Pure-Data GUI) and the sound (the coded representation of the GUI activity as
seen by the DSP). The socket data is interpreted in two ways; first, in a raw form that simply
feeds an oscillator and second, in an interpreted form where the patch searches for certain
keywords and extracts codes to be presented in the image and transform the sound. The
image we view is both the logic and diagram of the program as well as the hidden
communication that happens inside Pure-Data.
The generative process of Reflex works as follows: