WRITTEN RESPONSE 2

Methods of Iterating_TouchDesigner

Jessica Mengyuan Sun

I

This project takes TouchDesigner as the tool of generating iterations. Based on the creative process provided in the Conditional Design Manifesto, I worked to approached the program from its basic structure. TouchDesigner uses Python as its code language.Its interface was quite different from other visual design programs. Design process from input to outcome was achieved step by step through building what was referred to as an installation when using TouchDesigner. Through sampling information form the input and insert operators accordingly, the program was able to generate outcome from interaction inside the built installation.

On the first stage of exploring its functionality, I generate 7 chronologically related iteration trough the effort to make one desired output. The established installation exists as an operating program with interchangeable input is also a design outcome.

II

On the second stage of method of iterating, I referred to the Conditional Design Workbook as my pivot point of experimenting. This week’s development works with the idea of using conditional design methodology to administer a complexity without the need to control it completely (K Mensvoort, 2013, p. vii-ix). Instead of directly interfering with the visual outcome of my installation, I opt out the input to see what the installation generate accordingly. I’m most fascinated by the idea of only setting up fundamental rules such as “choose the longest side of an existing triangle and add a triangle to it”(ibid., p. vii). This simple logic is also applied to my project to creating complex, layered effect. To be specific, the method of establish feedback. In conditional design glossary, feedback is defined as a process of applying output of one action as the input of the next(ibid., p. xiii). In touch designer, I tried inserting a circuit of operators with that exact name and function to generate visuals which shows residue of a looping audio file and its pragmatic development.

The visuals generated at this point of my audio visual project has grown itself to be two rather parallel systems. One with the look of a rolling sphere connecting back to the idea of engraving sound on a vinyl record and the other one which is  more open and abstract. I consider the former one more fo a stereoscopic model of visualizing different sound pattern and frequency of given sample. The latter one on the other hand opens up more creative opportunity in abstracting sampled information and trans-media applications.

III

In the third week of developing works on TouchDesigner, I focused my study on visualizing whale songs which contains frequencies within and beyond human perception. During week 2, I went through a range of different audio samples. To make sure only administer a few variable to observe its impact on the final outcome of my installation, only the audio file is swapped out and the sampling was fine-tuned according. To avoid arbitrary decisions, the audio sample are selected from the highest human vocal to pure instrumental to top songs from different. Through the process, I landed on the idea of generating visual using parametric design tool for whale songs. Not only does the whales produced wide spectrum of frequency, the communication quality when they talk to each other also influence my design. Study has shown the whale songs is made of grammar-like verses which are also frequently exchanged during the course of their migrating. I see potential in this project to really illustrate sound in its primitive form—vibration. For the whales, vibration strong enough to spread in the ocean current and makes up an important part of their natural habitat.

The project is limited to the built-in functions only in TouchDesigner and a constraining resolution of 1280*1280 pixels. The visualization is achieved with operator building and basic python languages. Following the same work process from the past weeks, the audio is transferred in frequency data and manipulated through careful resample, adjustment and application to according visual outputs. Instancing is used in particular to generate complex, layered result from feedback calculation. This way of processing information is mainly inspired by the Conditional Design manifesto. To push my project one level further, I tried different ways combining past iteration. For inspiration I went to the library. There in the sound design category I found a book by Ryoji Ikeda and Carsten Nicolai for their sound project  cyclo.id vol.01. The book contains their work exploring on the inherent connection between audio and visual elements. cyclo.id vol.01 employed the x-y model of an oscilloscope to provide stereo image as graphic representation(R Ikeda, 2011). Through establishing models, visual element generated from past iterations are employed to play part in distinct attribute. From the dynamic graphic generated from interconnect arc and sine pulse form audio material(ibid., p.297)  I’m inspired to put my 2d graphic in to coordinate axis to establish a dimensional system. Referring to the cyclo project, I built particles operator’s  behavior is dictated by live data from different band of the audio(low bass/high bass). Further more, I also tried to simulate an underwater sound field as metaphor to the important role of sing to each other in whale’s living environment.

Bibliography

Maurer L, Paulus E, Puckey J, Wouters R. Conditional design workbook. Amsterdam: Valiz; 2013.

Ikeda R, Nicolai C. Cyclo. Id. Vol. 01. Gestalten; 2011.