vvvv audio-reactive

collada

in vvvv,
to import external 3D mesh file(Zbrush, Maya...)
/
collada :
 .dae

Z-brush,



http://www.zbrushcentral.com/showthread.php?93650-Second-Life-Sculpties-in-ZBrush-4-ZSculpty-Tools


To create a SL sculpty:


1. Select one of the ZBrush Primitives.
2. Press the ZSculpty Tools>Initialize Prim button. Select an option from the dialogue box. These options will set up the primitive so that the exported sculpty map can be uploaded to SL using lossless compression. It isn't essential to use lossless compression but you will get best results, particularly with hard-surface or mechanical objects. 
3. The Switch button can be used to switch the HDivide and VDivide values for the primitive. Use whichever gives the best results for your model.
4. Adjust the other values in the Tool>Initialize menu if desired.
5. Press the ZSculpty Tools>Make Polymesh button. This will create a polymesh (with adjusted UVs) which you can sculpt and polypaint. 
6. When you have finished sculpting switch to the lowest subdivision level and press the Export Sculpty map button to export a map. Create any textures you want and export those separately. Your sculpty is then ready for uploading to SL. (In the SL image upload preview check 'unconstrained' to preserve the image proportions.)


Notes:
* The Arrow3D primitive can be used for sculpties but the lossless compression options can't be used. Simply set up the primitive how you want before folowing stages 4 - 6 above.
* Sculpty maps can be exported from higher subdivision levels. This will give bigger maps with more detail (if the limited sculpty map format allows) but mostly they will not be suitable for lossless compression upload.
* The Scale UVs button is for scaling UVs for any mesh so that they fit within the 0-1 range. It's not necessary to use this button if you have used the ZSculpty Tools>Make Polymesh button.


To export a mesh:


1. Create your model. SL meshes should not have too many polygons. 
2. Your model must have UVs assigned. UV Master is a good way of doing this.
3. If you want to use different subdivision levels for SL Levels Of Detail turn on the Create LOD switch.
4. The Smooth switch will create smoothed normals for your model. For a hard-surface object turn off the Smooth switch.
5. Press the Export SL Mesh button. Your model will be saved as a Collada DAE file which can be uploaded to SL using the Mesh Beta viewer. If there is a texture applied to your model this will be exported as a BMP file with the same name.


Notes:
* If your model has Polygroups then these can be used as separate texture/material regions in SL. Up to 8 polygroups are allowed by SL.






MAYA,


install the Open collada


http://jinustudio.com/blog/archives/2828


https://collada.org/mediawiki/index.php/COLLADA_-_Digital_Asset_and_FX_Exchange_Schema


http://www.opencollada.org/download.html

dread

Mike Davis, Ecology of Fear (Vintage Books, 1999)

'dread' explore w/ sound

+picnolepsie

+node-knot
+picnolepsie
Paul Virilio: theorist for an accelerated culture

  A text published for 'Stage Fright', an installation by Laura Buckley, Haroon Mirza and Dave MacLean, at Rokeby Gallery, London, January 2009 Picnoleptic seamless
Our reassuring belief in a unified reality betrays a rather more fragmented truth, in which what appears to be constituted by its own essence is in fact rendered by the cuts, breaks and interruptions between discrete parts, each one too small to fully grasp.

 Swapping skills and materials, the artists behind Stage Fright have, over the past few months, formed a web of exchange and quotation, with each artist applying his or her preferred techniques and methodologies to the products of the others. In the first stage of the process, videos shot by Laura Buckley were selected and cut by Haroon Mirza according to their visual and audio shapes. The resulting samples were then given to Dave MacLean, who juxtaposed them based on their sound values alone, composing four audio tracks whose corresponding visual sequences were ther esult of chance, albeit within carefully set-out parameters. Temporarily segregating the sensory registers of audiovisual material — i.e. image and sound, this process allowed each, in turn, a guiding role before they were joined together again in the finished videos. The resulting montages consist of extremely brief clips that operate independently of their original sources and are infused with the preferences, styles and speeds of the three collaborators. The web of exchange then developed a feedback loop, in which the new video mixes were returned to Buckley to be staged in an installation that is typical of her aesthetic of geometric constructions and plain industrial materials.

 The recording, editing and sequencing technologies used in the making of Stage Fright have produced richly patterned films that rely on the rapid sequencing and repetition of very short clips — too short, in fact, to be clearly or distinctly comprehended. Their rapid-fire pace compels the viewer to keep up, charmed and baffled by the intensity of the rhythm. Such a feat seems almost within reach, until the spell is broken by the comedy of a sample taken so entirely out of context as to be ridiculous, its outlandishness snapping one’s attention back to the physical surroundings and prosaic edges of the here and now.
While it is methodologically driven by an ethos of collaboration and synthesis, Stage Fright, with its staccato videos and exact sculptural lines, enjoys an aesthetic of striking fragmentation. This paradox of togetherness and separation — flow and interruption — is emblematic of the conflicted nature of consciousness, whose sense of a integrated temporality, impressions of smoothness and illusions of identity mask an altogether different reality in which multiplicity and fragmentation rule, and meaning is generated by endings; by the little deaths of image, sound and text.

 In Pure War (1988), Paul Virilio refers to the notion of ‘picnolepsy’ in relation to the splintering of both the external world and inner mental life that characterises our era. Due in part to technologies of speed and warfare, the relentless and rhythmic shattering to which picnolepsy alludes is in fact essential to existence. For Virilio, it is interruption, not continuation, which constitutes the whole. From the physical (sleeping) to the existential (death), momentary stoppages produce knowledge and duration; they constitute a life, an idea, a thing. Picnolepsy opens the gates for individual consciousness, vision and works of art to be admitted to the regime of interruption:


“Epilepsy is little death and picnolepsy, tiny death. What is living, present, conscious, here, is only so because there’s an infinity of little deaths, little accidents, little breaks, little cuts in the soundtrack, as William Burroughs would say, in the sound track and the visual track of what’s lived. […] Our vision is a montage, a montage of temporalities which are the product not only of the powers that be, but of the technologies that organise time.”1


 The apparent seamlessness of individual consciousness and the seeming unity of a work of art betray the shattered reality of their constitutive processes and components. In the case of Stage Fright, this reality is mirrored in the work’s aesthetic. There is a fundamentally unresolved identity at play in the making of Stage Fright, with Mirza extracting fragments of Buckley’s artistic voice, offering them to MacLean to integrate the two blind, before handing them back to Buckley for a final synthetic chorus. Such behind-the-scenes exchanges and shared authorship, while revealing a strong sense of trust, also hint at the fundamental — or rather, metaphysical — disconnections implicit in any group, process or product.



1 Paul Virilio and Sylvère Lotringer. Pure War. Semiotext(e). Second edition:1998. P. 40 white dish ambient soft light with

vvvvpractice

will explore sound visualization with vvvv.

I want to express the movement of nature in the mass, like city. It could be nature signal processing. move something into abstraction.

leaf and glow in the dark

1

2

3

Photography by Jinseong Kim
when leaf met strangers / lantern, phospherent liquid, bamboo took @ namsan park

circuit bending and visual

circuit bending and visual experiment with glow in the dark
-
space gun toy used here, and two tone generator.
to input the sound from the circuit.
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second try was successful to make sound.

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sound, circuit bending, signal processing,
what is the reason, history, theory,

my work,
a -
anlayze what i did, potential of developing, what i like. writing context,
and what can you do with this.

sound, visual
explain why the visual look like they do.

visual experiment with glow in the dark powder
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analogue way to make digital looking
using uvpowder with premier pro

sound2

disound