In making a final piece, the main objectives that differed from the tests were compositional values and the specifics of shape and form.
In choosing Quartz as the correct software for the task, there has been an exponential learning curve.
Its taken weeks of reading forum posts, watching tutorials and incredible amounts of experimentation to achieve a result. As proud of these achievements as i am, the room for growth is infinite. Crit was a perfect chance to receive some feedback, on the work as a whole, but specifics in things i hadn't even considered.
-Choice of colours
-The placid and lazy approach in illustrating certain aspects. (Bass, movement and dynamic)
-New and old practitioners that i hadn't heard of
-methods to output
The piece was received well, however the fixed nature of the viewer position or lack of movement within the artefacts was commented on. This has been a concern in the realisation of the idea, ever since beginning work in Quartz, and is definitely something that needs attention and a response to, especially now this has been confirmed by peers.
My initial response to this has been to think about shifting the viewer or camera angle, via an expressive MIDI output, to add another dimension. Now if the facility was available directly i would have liked to have implemented this effect already. However, after hours of searching and asking on forums, emails to apple developers and Kineme.net advisors, there has been no response. There are no patches to achieve this effect that i have found to date.
I have seen this effect used in the practitioners that i have researched so i know it is doable, however they must, at present, either be using custom patches or different software. (Max??Jitter??)
Another potential answer to this is to go back into the composition, (which i will be doing to re assess the illustrated bass) and change some of the parameters that effect the axis. Artefacts could be manipulated, especially along the z axis could be used to create a better sense of depth.
The same could be said for the direction of certain artefacts.
The bass colour and illustration needs some work to. This was also commented on.
Im not sure how to take this. However Jon suggested putting some black artefacts infront to block or mask some of the colour and the 'screensaver' vibe about the line families in their current state.
I will use this technique.
I will also try effecting some of the parameters of the line families to try to dissolve this screensaver element as this is the last thing i would like the piece to be remembered for.
(making a good screensaver)
The last issue from crit that needs addressing and the my main concern from making the a/v has been its output. Quartz not having an easy way of exporting compositions, after crit, it was discussed that using the sound booths at college, an av lead and adaptor, the big hi res monitor and a decent camera, the screen could be filmed and edited with the audio. This way, the issues of lost frames with video capture software and quicktime export fails are out the way. It was also discussed that if all else failed, i could do a 'performance' to tutors and that could be recorded for reference and this would be sufficient for hand in. (I want to be able to export properly in the future)
In making the a/v there were a few different artefacts and patches used to the midi tests and experimentation done prior to starting. I.e. Using complex arrangements of patches to create particle systems that have depth and movement, controlled via accurate animation of its parameters from within the patch-inspector-window. Previously, my understanding was so limited, the output had no element of control or creative expression. However, having had slightly more time with the software, and gaining a better understanding of the dexterity and capabilities of the 'patches', i have been able to gain slightly more control and accuracy in execution.
I began using line families, and particle systems and using input patches such as interpolation and random generators to further emphasise aspects of the audio.
This enables for example, the particle system that represents the hi-hat pattern, can now have the element of the flange effect over the patter (in and out), to also be emphasised. Hopefully amending elements that were pointed out in crit. (At least to some degree)
The composition evolution that has occurred throughout this project has had to have remained flexible due to having to learn new software. As this can is an excuse for poor execution, i didn't want to allow this to enter into the equation. And, although subjective, i dont think i have. I am so happy with the amount of new things i have learned and the potential for future growth.
Initially i wanted the actual arrangements of lines to be like the wave forms conceived in the Concept art and Art direction. This had to be altered as soon as i knew what i was up against in using Quartz. These would be possible, however, with my level of dexterity with the software, it would have ben far to time consuming to accomplish the effects i desired. They could be loosely modelled and replicated via the use if 'line families' from within Quartz's library. These are easier to animate and have far more parameters to control than just using 'lines', 'billboards' or 'sprites,' that are limiting.
I really liked the patch when i got to grips with it and plan to use it more. However, as pointed out in crit, they have a tendency to look like screen savers. I feel they may need to be abstracted slightly. Less lines involved and more clever use of the axis (z), to try to add a greater sense of depth. (Dynamic)
I feel the pieces evolution has been natural, in response to creative challenges that have arisen during the course of the project. It has moved along so far since the Statement of Intent. I feel these changes have ben justified and clearly examined during the course of analysis.
Ideas like synesthesezia went out the window early on, as my intentions swung towards accurately expressing sound in a visual format. My understanding of my intentions expanded as the project grew.
The initial foundations from my SOI are still there, however the details have been abstracted, the same as the details in the visuals, hopefully keeping a continuity within the concept initially conceived. Minimalism and defined rules that lie at the root of the proposed expression.
I am still perplexed with issues of minimalism and reductionism. I have reached the conclusion that to attempt any piece of minimalist work, there has to be an element or reductionism. A minimal aesthetic cannot be conceived without this process. Whether mental and philosophical, or physical and finite, some element of stripping away. EG Inherent within the question "How do i express the essence of an object, artefact, sound or judgement in a visual form?" Requires the artist to think of the object, and strip it of its shell and semiotic meaning. Thus already shredding and reducing an object in thought. This is the conclusion i have drawn from my investigation into minimalism and my attempts to use its ideology faithfully.
These new ideas will be implemented and evaluated.
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