Origami - CCRMA

Origami - CCRMA

Origami Hiroko Terasawa, Grace Leslie Todays 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 an d origami flexible medium complexity by processing and combining si mple materials and parts.

Antiphon to futurism Fragility Modality Our musical goal Hiroko Evocative / metaphoric match between para meter 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 bu t the overall character and integrity will be m aintained. Physical to sonic translation Predetermined parameters Open parameters Physical incarnation

(origami) Fragility, form, clear Material and size boundaries Musical incarnation (our piece) Form and space timbre Score and performance

Degree of control Score and instructions Predetermined form: score - origami itself. score - origami itself. - origami itself. origami itself. Causality with limitations in: score - origami itself. 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 si ze of the origami they create, which in turn affects the timbral characteristics of the piece. Acoustic property

Source - origami itself. Filter Model Excitation pulse Tapping Resonance low high large - small Rubbing thick - thin

Blowing elastic - stiff folded - plain static large cavity - small cavity Sound Electronics and Musical Materials Folds / objects and filters

an analogy between combinations of paper folds and both traditi onal and extended permutations of musical materials (that is, not only invertibility etc, but also a particular sequence of folds as a f ilter.) (J. Berger) Max/MSP patch translate the physical sounds of making origami into a sonic reali zation of the process. Signal and controller Contact and condenser microphones and a digital audio interfac e (origami to the computer) Switches, variable capacitors

External control Switch Mute when folded Variable capacitors? 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: score - origami itself. translation of physical space from simple to complex and chaotic to ordered. Our mappings will reflect these transformations. Spatialization control Boundaries / discreteness Graces head An open end.. What we covered today Aesthetics, musical style, form, techno logy, control.

More details To be determined upon more prototypi ng / discussion / feedback

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