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Sarah Kolster and Derek Holzer: Two-day Pure Data Workshop Details Pure Data is a free and open source software similar to Max/MSP which can be used on Linux, OSX and Windows to process data, sound and image in real time. Combined with GEM and PDP, Pure Data is a powerful tool for realtime audiovisual manipulation and synthesis. This workshop covers the basic syntax of the program as well as its use in live performance. The workshop is an overview of Pure Data, GEM and PDP. Participants will learn the basic "grammar" and "vocabulary" of Pure Data, upon which objects for sound, 3D and video will be added. Emphasis will be placed on direct connections between sound and image through three different methods: influence of sound on image, influence of image on sound and the use of common "control data" for both image and sound. Attendance of the first day is a prerequisite for the second day, since information and concepts introduced in the beginning of the workshop will be used later on. Participants should bring their own laptops to get the most out of the workshop. If you do not have a laptop please indicate this during registration and Video In will work towards finding a solution.
DAY ONE: BASICS AND AUDIO 1) Installation Clinic The first part of the workshop will be devoted to installing Pure Data, GEM, PDP and several other externals on the participants' computers. For PD and GEM, Mac OSX, Windows and most Linux distributions can be accomodated. Please note that PDP is NOT available for Windows, and only runs on Linux or OSX 10.3/4! 2) Pure Data as a Language Like learning any new language, PD starts with learning vocabulary and grammer. In this case, we will learn the names of many common objects and the syntax of how to use them, in a clear "Geek-to-English" translation which makes the complex data-flow operations of PD understandable to non-programmers. 3) Pure Data for Sound Synthesis PD has powerful signal-processing abilities, and we will explore these by building a simple, monophonic synthesizer controllable from either a MIDI device or from the keyboard of your computer. Different types of sound sythesis, such as Additive, Subtractive, Amplitude Modulation, Frequency Modulation and Wavetable Synthesis will be covered, along with the use of filters and delays for a variety of effects. 4) Pure Data for Sample Manipulation Because PD uses a range of very basic building-blocks to store and playback sampled sound, a wide range of manipulations are possible. Here, we will explore pitchshifting, time stretching, looping and basic granular synthesis. Other uses of data stored in tables for control purposes will also be touched on.
DAY TWO: VIDEO AND CROSS-SYNTHESIS 1) Pure Data for 3D: GEM GEM is an external library used in PD for moving 3D graphics under the OpenGL protocol. It is also an ideal environment for VJ mixing. We will explore how to create and manipulate simple 3D objects, how to texture them with images, how to playback and mix video clips in GEM and how to use a live camera input. 2) Pure Data for Video: PDP PDP (Pure Data Packet) is used primarily for video playback and effects filters. We will investigate PDP for direct video synthesis, for the playback and mixing of (audio)visual clips and for the processing of a live camera input. PDP includes several tools for the analysis of video for movement, change and color, which in turn can be used to control sound playback and other events in PD. 3) Pure Data for Audio Analysis We continue our investigation of the audio side of Pure Data by looking at different methods of analyzing sound signals for pitch and amplitude information. The data we extract from the audio can be used to either (re)synthesize new sounds or to control 3D or video graphics manipulations. 4) Pure Data for Cross-Synthesis Combining what we have learned so far about sound and image in PD, we'll explore the interrelation of sound and image in three ways: the analysis of sound to control video (PD-->GEM/PDP), the analysis of video to control sound (PDP-->PD) and the use of data to simultaneously control sound and image (PD, GEM, PDP).
ABOUT THE ARTISTS Sara Kolster [NL 1978] is a visual artist with a background in design. Recently, the focus of her work shifted more towards video and film; capturing details from urban locations, visualizing fragments of stories of these environments. She uses different strategies, from time-based media (video, film, photography) to appropriated research methods belonging to different observational disciplines (journalism, documentary and archeology). Derek Holzer [USA 1972] is a sound artist with a background in radio and streaming media technologies. His work has focused on capturing and transforming small, unnoticed sounds from various natural and urban locations, networked collaboration strategies, experiments in improvisational sound and on the use of free software such as Linux and Pure-Data. Their work resonanCITY!" has been performed live in Holland, Brazil, the former Yugoslavia, the Baltic States and at the Transmediale 05 festival in Berlin. resonanCITY!" also took the Second Prize at the 11th International WRO Media Art Biennale in Wroclaw, Poland in May 2005.
ARTIST LINKS
http://umatic.nl |
