SAE Magazine 13-2

Photo:KernelFestival2011 A, Kernel Festival 2011, Milan, IT Index onal intervals, the math- os and, by changing the nd extending the frequen- continuum between pulse rate a visual counterpart nship between the sounds partly due to my sound I opted for a ‘technical’ en a purely visual-FX nted a two channel (XY) fed sine wave signals, ating patterns known as e patterns are a visual plitude and pitch relation- ppearing at the X and Y ic motion), just like in a g console. For example a perfect unison (1:1 ratio) of two pitches at similar amplitudes creates a nearly stationary elliptical shape, an octave (1:2 ratio) results in a figure-8 shape and more elaborate patterns begin to emerge with more complicated intervals (fifth 3:2, major third 5:4) etc. The trigonometric equations governing Lissajous figures tend to produce the most interesting and structured patterns for consonant musical ratios such as unison, third, fifth, octave etcetera, so the user experience and interaction is further enriched by discovering harmonic consonance both in the auditory and visual domains. Finally I wanted the system to be able to interact with the acoustics of each installation space and I implemented a flexible output routing system so that each element and oscillator could be mixed internally to a stereo feed or, more interestingly, discretely fed to separate loudspeakers that could be arranged in the venue to achieve interesting effects based on the acoustic combination of dis- tinct pitches in space. A good example of the poten- tial of such arrangement was demonstrated in one of OSCILLA’s first appearances (Kernel Festival, Milan, IT, 2011) where the interactive surface was projected onto the marble altar of a small church and four loudspeakers were placed in a choir-like semicircular fashion in the apse (Figures 3-5). ➤ Finally I wanted the system to be able to interact with the acoustics of each installation space…

SAE Magazine 13-2

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