Insomnia. Hell on earth. Cognitive confinement. Hours of obsessive inane atrocities. What better subject for a sketch!

tileCube — phenomena

click on image to VIEW DEMO

Navigation note: It auto-plays at a pace conducive to induce a mild uncomfortable trance. But if reviewing or bored, to trigger new phrases simply click anywhere. As always, use right-mouse button to go ‘FULL screen’.

Dissect it : SOURCE CODE + videos + sound or SOURCE CODE ( Code note: The cruft alert is again extreme. In accessing myself I realize I am an incompetent anachronism: I prefer functional programming and in fact despise classes and strict typing. Strict compiling makes it impossible to refer to imaginary objects (that might have been deleted or simply not even created yet). In my world, I just like to see stuff work, I don’t have any extreme efficiency ambitions. Evolution shows a similar indifference to efficiency: cruft is everywhere in codons. Politically strict-typing corresponds to boundary regulations: fierce, formal, effective yet ultimately ruthless and inflexible. It slows the flow of my feeble creation, so I find myself stitching together badly formatted fragments (tike transposon codons adrift in a nucleic soup or like a lukewarm derivative of Bauhaus dictums: function to make form.)

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The cube is a artifact of the tile grout matching; each wall is a floor. The sustained effect is mildly hallucinatory confinement.

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In addition to thanking insomnia. Again I offer thanks and homage to my muse and critic sophie who shared her thoughts on the preliminary design and shared her time and body in the making of this film in the bathroom on the same floor as the loft where we live: their beige tiles saturated in alienated banality provided the perfect complement to my mood.

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The music is an Ableton Live (LE) mutilated version of Dvorak’s Cello Concerto. Ableton’s use of FM synthesis took me back to look at John Downing and Frequency modulation synthesis in Wikipedia, the free encyclopedia

FM synthesis is a form of “distortion synthesis” or “nonlinear synthesis”. It begins with an oscillator generating an audio-frequency “carrier” waveform with a frequency of Fc . An audio-frequency modulating waveform, with a frequency Fm, is then applied to change or “modulate” the frequency of the carrier oscillator.

If the amplitude of the modulator is 0, the output frequency of the carrier oscillator is simply Fc . Otherwise, the amplitude of the modulating signal causes the frequency of the carrier oscillator to swing above and below Fc . This frequency swing is known as “deviation”.

In simple terms, the “louder” the modulating signal is, the more the carrier frequency changes. For illustration, suppose Fc is 1000 Hz. Modulation amplitude might be applied that causes the carrier to swing between 900 Hz and 1100 Hz, that is, 100 Hz in either direction. This is termed a “deviation” of 100 Hz.

Posted on February 12th, 2008 | filed under Uncategorized |

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