#mindbuffer

[furuyoshi]

Morph by @augmentlstudio x MindBuffer 🌀

[codingheroesonline]

View this post on Instagram

A post shared by Richard Campbell (@aiinyourclass)

Posted @withrepost • @mindbuffer *AUDIO ON* Excited to announce a new collaboration between MINDBUFFER & AUGMENTL. Our first work MORPH is a modular and kinetic interactive installation that reaches beyond 2D pixels and embodies 3D tangibility. Contact us for more info.⁠ ⁠- - - - - #art #digitalart #installation #interactiveart #interactive #design #industrialdesign #electronics #lighting #creativecoding #creativecodeart #codeart #audiovisual #installations #mediaart #lightart #installationart #newmediaart #generativeart #generative #lightfestival #engineering #technology #science #tech #inventions #robotics #robot #engineer #worldofengineering (at Busan, South Korea) https://www.instagram.com/p/B0DwbpPnhP9/?igshid=1lvrbe08k8maa

[kodexrunner]

Morph V1 est un projet d'art réalisé par Augmentl - un studio de design industriel fondé par Nicholas Perillo - et par MindBuffer - un studio de recherche audiovisuelle et de conception numérique fondé par Joshua Batty et Mitchell Nordine.

Morph V1 est une installation audiovisuelle modulaire et cinétique. Grâce à ses 155 modules indépendants, la sphère lumineuse parait dotée d'une "personnalité" qui pousse l'entourage à venir interagir avec elle ; l'interaction ainsi provoquée est de fait de l'art.

Réalisé en 2019 Morph V1 est le premier projet tactile et lumineux conçu pour être réactif. Il a notamment été designé pour illustrer la synergie entre l'humain et la robotique.

J'apprécie grandement le défi que les concepteurs et réalisateurs se sont donnés pour créer une nouvelle plateforme et un nouveau media d'art. Un autre point qui a suscité mon attention est l'esthétique globale et organique de l'objet.

[turelcaccese]

View this post on Instagram

A post shared by TripARTvisor (@tripartvisor.official)

Live animation during #inktober day 28: #gift Art: @mrrevenge Music: @trifonic_official NightRun (ft. @mindbuffer_studios ). listen and buy on #Bandcamp Editing: @turelcaccese Follow #tripARTvisor for more free animation and artist connections. . . #demons #three #sketch #instadraw #motion #scream #horror #chill #lounge #musically #soundcloud #inktober2018 #drawings #teeth #smile #creepy #mindbuffer #trifonic https://www.instagram.com/p/BpjhcqviYup/?utm_source=ig_tumblr_share&igshid=1bvqy7hhbjekv

[oliviawriter-blog1]

Introduction to my WIP

Hi!

Here’s an introduction to my WIP. My current plan is to self-publish this in Spring 2018. I know, I know, it’s a stretch and and almost impossible goal, but I will try! But don’t hold me to it, it might very well change. 

Anyways, here’s some stuff about my novel!

Title: Fog and Fire (Working title. I will come up with something better, I promise.)

Genre: Dark fantasy with hints of steampunk.

Setting: And underground city called the Nethervale. Also called Black Hollow and the Sunless City.

POV: Third person. Multiple.

Most important characters:

- Ivee Petrosova. (POV). - Zara Sloan. (POV).   - Spenser Ashwood. (POV). - Emil Casely. (POV). - Morgan Thindrel. About the story: It follows five characters who participate in something called the Chaos, a contest that, if they win, grant them access to the world above. The Nethervale is dying, and the only way to escape is to win the Chaos. And then, conflict and drama ensues.

Tiny playlist:

- Nightrun - Trifonic, MindBuffer. - Natural Cause - Emancipator. - Light of the Seven - Ramin Djawaldi. - Control - Halsey - Youth - Daughter

That’s it for now! I will update about my process, and would love to chat about anything writing related  \ (•◡•) / 

[chrismbr]

View this post on Instagram

A post shared by Chris (@chrismbr)

#WhiteNight #RMIT #StoreyHall Ectoplasm by Mindbuffer & Andy Thomas (at Storey Hall)

[reportingfromthefield]

LATTICE | MindBuffer from MindBuffer on Vimeo.

Lattice is a 5x channel audiovisual laser installation driven by custom generative music software that creates uniquely unfolding patterns. The lasers project these patterns through ten layers of transparent gauze suspended above the audience. This creates the illusion of floating holographic visuals combining into lattice like structures unique to the viewers location in space.

The work was on display at Scienceworks in Melbourne, Victoria from July 2017 until April 2018.

mindbuffer.net

[noise-rm]

PhD Performance : Kortex Realtime Triple Screen from joshua batty on Vimeo.

Finally got round to putting this up. The whole show is recorded in real-time, no rendering or editing, everything is driven by a timeline triggering control algorithms for the 3 individual audiovisual granular synthesis engines. Originally ran at 5760x1200 at 60fps on my Hackintosh for my final PhD performance in December of 2014.

Note the video slows down at 10.30 - 10.50 as my computer running the screen capture software wasn't able to accurately capture the frame rate, just too much processing going on but i've decided to put it up as is and let it go. Also Kortex (the custom software I made this with) has progressed quite a lot in the past 2 years but I think this serves as a good aesthetic checkpoint in its development.

Hope you enjoy! Made with openFrameworks.

---------------------------------------------------- Video Credits: SyncBody : BRDG The A-Z of Beauty : i-D Eye Candy : Sony Bravia BBD : Mikyokyuji Solipsist : Andrew Thomas Huang

Audio Credits: Xerrox Monophaser 2 : Alva Noto Digital Silhouette : MindBuffer The Owl and the Penguin : MindTree

[3490148]

“Light Amplification by Stimulated Emission of Radiation"

http://mkw.melbourne.vic.gov.au/decode/

Decode, an event presented by Media Lab Melbourne as part of Melbourne Knowledge Week was held at 1000 Pound Bend in the CBD. The night featured interactive installations, and performances by both sound and video artists, but my focus here will be MindBuffer – a Melbourne-based multi-media duo consisting of Joshua Batty and Mitchell Nordine. Batty is actually my tutor for a unit called Computational Prototyping, where he gave us a demo of the software he’d been writing that week to be used during the performance.

We entered 1000 Pound Bend through the side alley, where we found two rooms. The first small room featured the interactive displays including a Virtual Reality 3D painting program, and a Tron-esqe hexagonal two-puck pong game. The larger main room held in each corner, the bar, a stage/DJ booth, a huge projection screen for the live video work, and in the last an enormous half-insect half-off-road-vehicle sculpture with flashing coloured wings and speakers for a head. The main room was also very large, with high ceilings, and extremely reflective; most surfaces either concrete or brick, which the crowd did only so much to soften.

MindBuffer’s live show was played from a pair of laptops generating sound and controlling a pair of multi-coloured lasers perched on 3m tall plinths either side of the stage. The main projection screen, insectoid sculpture, and room lights were all turned off for the duration of their performance, and the resulting darkness, fog machine, and brightness of the lasers meant the duo was rendered essentially invisible.

A post shared by lys:// (@lysdexic_) on May 5, 2017 at 8:20pm PDT

https://www.instagram.com/p/BTvE-0UFSTR/

The colours sat predominantly in single tones, and occasionally in pairs with red, green, and blue being most effective – that is really standing out against the black background. During a couple of sections the bands separated into broad rainbows but this always felt like it diluted the potency of the beams. White and yellow in particular lacked any of the force felt from the additive primaries.

A post shared by lys:// (@lysdexic_) on May 5, 2017 at 10:28pm PDT

 https://www.instagram.com/p/BTvTodql67-/

The shapes also seem limited to points or lines; solid fills are impossible, so to create any weight the beams have to be used collaboratively, or collaborate with a third element like the fog pumped into the room. Understanding a little about how Batty had programmed the beams lead me to believe any depth perceived from my vantage point (side on) was coincidental; more on this later.

MindBuffer’s sonic component was a stark angular techno pulse; quite two-dimensional, but in a way suited to the glowing RGB vectors overhead. What greatly impressed me were the patterns that all sprouted from a central 4/4 grid, but didn’t fall back on it as a crutch. The variety of manoeuvres available to the pair, without them sacrificing their hold on the dancers on floor was refreshing in this context, however, after some time the construction of the tracks began to stand out a little too much.

Sometimes this works but in this case, after 30 minutes I felt like I could actually hear the ‘random’ button being pushed to generate the next pattern, and the samples used had a ‘folder of kicks’ library quality that I found difficult to un-hear. I should say, that one great moment of relief came in the form of simple tempo changes, which is something boorishly rare western – and especially dance - music. Be that a global tempo shift, or between beats, the changes were welcome MB!

The relationship between the sound and sight was definitely one linked in data. Sometimes it was hard to pin down exactly what was controlling what, but there were obvious shared fluctuations in both. Joshua’s approach – from my time with him in class – seems to pivot around using combinations of simple motion to create complex motion. Most of the crowd seemed to stand between the lights facing the stage, watching two searchlights, open and close like blooming flowers – which are far brighter and more intense than what I saw side on – but ultimately they’re facing pinpoints.

The control software used in the performance uses a grid or ring of points that are sometimes connected with lines, and moved in relation to one another. These points are essentially the destination of the beams: the wall that stops their potentially infinite path short. What this means is that each laser begins at a single point on top of the plinth, then spreads outward into the room. The two-dimensional shape at any slice along the trajectory from source to destination is self-similar. No matter how complex the shape on screen, you see the same thing 10cm from the plinth as you do on the wall at the back of the room. From the perspective of the software and user who controls them the shape is flat. So any real depth will come from a combination not of the shapes on screen, but from the intersection of the beams, their changes in colour, their duration, and their motion. On this last point is where MindBuffer succeeded.

The question became for me, not what is the worth of lasers, but if we assume they have a value (good or bad), how far can you move from this, with them? Lasers are captivating, mesmerizing, and beautiful with little effort… so how can you make a laser dull, ugly, or pathetic? I’m writing this well aware of your (Phillip’s) complete distaste for this kind of synesthetic spectacle, but it also raises the question of why you would want, or feel the need for literal connections between sound and sight. I can’t say what I saw didn’t look great, but only half way through I felt myself wondering what else they could really do, and the answer the lasers gave me was: what else would you want?

What I would like is a deeper connection with the forces being manipulated before me. I’m all for absolute music, so I guess I should be all for absolute laser shows, but what I find are missing questions from MindBuffer’s performance, more than missing answers. I don’t care what light is, I want to know what light is to you.

I could have smashed out another 1000 words on this looking at Robin Fox, Chris Cunningham, James Turrell, and Baroque Painting. Sorry Phil I don’t know when to stop.

[tsuchiman]

Ghost in the Shell / Mindbuffer

[able8]

[giographixnola]

Lunchtime earworm...

[rescal15delamort-blog]

MindBuffer

[chroniclesofachemist]

'Ghost In the Shell' by Mindbuffer Skip to about 1:20ish. Contains nudity.