OrigamiOrigami

Hiroko Terasawa, Grace LeslieHiroko Terasawa, Grace Leslie

Today’s talkToday’s talk

• Motivation & Aesthetics• Musical Goal• Links btw/ objects and music• Score & performance• Acoustic properties• Electronics & computer use• Controllability• Summary

• Motivation & Aesthetics• Musical Goal• Links btw/ objects and music• Score & performance• Acoustic properties• Electronics & computer use• Controllability• Summary

Why Origami?Why Origami?

• Analogy between computer music and origami – flexible medium– complexity by processing and combining si

mple materials and parts.

• Antiphon to futurism – Fragility– Modality

• Analogy between computer music and origami – flexible medium– complexity by processing and combining si

mple materials and parts.

• Antiphon to futurism – Fragility– Modality

Our musical goalOur musical goal• Hiroko

– Evocative / metaphoric match between parameter dimensionality, timbre and form.

– Fragility and transformation

• Grace– Clear expectations (e.g. traditional crane) – Openness in a few parameters (i.e. paper and size i

n origami)– Each performance will be slightly different but the o

verall character and integrity will be maintained.

• Hiroko– Evocative / metaphoric match between parameter d

imensionality, timbre and form.– Fragility and transformation

• Grace– Clear expectations (e.g. traditional crane) – Openness in a few parameters (i.e. paper and size i

n origami)– Each performance will be slightly different but the o

verall character and integrity will be maintained.

Physical to sonic translationPhysical to sonic translation

Predetermined parameters

Open parameters

Physical incarnation (origami)

Fragility, form, clear boundaries

Material and size

Musical incarnation(our piece)

Form and space timbre

Score and performanceScore and performance

• Degree of control– Score and instructions

• Predetermined form: “score” - origami itself.• Causality with limitations in: physical medium and musica

l possibilities. • These limitations exist in the number and types of folds p

ossible, and the final form of the origami.– Improvisation

• The performer is able to choose the material and size of the origami they create, which in turn affects the timbral characteristics of the piece.

• Degree of control– Score and instructions

• Predetermined form: “score” - origami itself.• Causality with limitations in: physical medium and musica

l possibilities. • These limitations exist in the number and types of folds p

ossible, and the final form of the origami.– Improvisation

• The performer is able to choose the material and size of the origami they create, which in turn affects the timbral characteristics of the piece.

Acoustic propertyAcoustic property

• Source - Filter Model• Source - Filter Model

Excitation Resonance Sound

• Tapping

• Rubbing

• Blowing

static

pulse

• large - small

• thick - thin

• elastic - stiff

• folded - plain

• large cavity - small cavity

low high

Electronics and Musical MaterialsElectronics and Musical Materials• Folds / objects and filters

– “an analogy between combinations of paper folds and both traditional and extended permutations of musical materials (that is, not only invertibility etc, but also a particular sequence of folds as a filter.)” (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

• 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 filter.)” (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 controlExternal control

• Switch– Mute when folded

• Variable capacitors?

• Switch– Mute when folded

• Variable capacitors?

Time controlTime 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: translation of physical space from

simple to complex and chaotic to ordered.– Our mappings will reflect these

transformations.

• 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: translation of physical space from

simple to complex and chaotic to ordered.– Our mappings will reflect these

transformations.

Spatialization controlSpatialization control

• Boundaries / discreteness• Grace’s head

• Boundaries / discreteness• Grace’s head

An open end.. An open end..

• What we covered today– Aesthetics, musical style, form, technology,

control. • More details

– To be determined upon more prototyping / discussion / feedback

• What we covered today– Aesthetics, musical style, form, technology,

control. • More details

– To be determined upon more prototyping / discussion / feedback