-
Notifications
You must be signed in to change notification settings - Fork 0
/
Copy pathCreativeOutput.html
335 lines (335 loc) · 13.3 KB
/
CreativeOutput.html
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
64
65
66
67
68
69
70
71
72
73
74
75
76
77
78
79
80
81
82
83
84
85
86
87
88
89
90
91
92
93
94
95
96
97
98
99
100
101
102
103
104
105
106
107
108
109
110
111
112
113
114
115
116
117
118
119
120
121
122
123
124
125
126
127
128
129
130
131
132
133
134
135
136
137
138
139
140
141
142
143
144
145
146
147
148
149
150
151
152
153
154
155
156
157
158
159
160
161
162
163
164
165
166
167
168
169
170
171
172
173
174
175
176
177
178
179
180
181
182
183
184
185
186
187
188
189
190
191
192
193
194
195
196
197
198
199
200
201
202
203
204
205
206
207
208
209
210
211
212
213
214
215
216
217
218
219
220
221
222
223
224
225
226
227
228
229
230
231
232
233
234
235
236
237
238
239
240
241
242
243
244
245
246
247
248
249
250
251
252
253
254
255
256
257
258
259
260
261
262
263
264
265
266
267
268
269
270
271
272
273
274
275
276
277
278
279
280
281
282
283
284
285
286
287
288
289
290
291
292
293
294
295
296
297
298
299
300
301
302
303
304
305
306
307
308
309
310
311
312
313
314
315
316
317
318
319
320
321
322
323
324
325
326
327
328
329
330
331
332
333
334
335
<!DOCTYPE html>
<html xmlns="http://www.w3.org/1999/xhtml" lang="" xml:lang="">
<head>
<meta charset="utf-8" />
<meta name="generator" content="pandoc" />
<meta name="viewport" content="width=device-width, initial-scale=1.0, user-scalable=yes" />
<title>Creative output</title>
<style>
html {
color: #1a1a1a;
background-color: #fdfdfd;
}
body {
margin: 0 auto;
max-width: 36em;
padding-left: 50px;
padding-right: 50px;
padding-top: 50px;
padding-bottom: 50px;
hyphens: auto;
overflow-wrap: break-word;
text-rendering: optimizeLegibility;
font-kerning: normal;
}
@media (max-width: 600px) {
body {
font-size: 0.9em;
padding: 12px;
}
h1 {
font-size: 1.8em;
}
}
@media print {
html {
background-color: white;
}
body {
background-color: transparent;
color: black;
font-size: 12pt;
}
p, h2, h3 {
orphans: 3;
widows: 3;
}
h2, h3, h4 {
page-break-after: avoid;
}
}
p {
margin: 1em 0;
}
a {
color: #1a1a1a;
}
a:visited {
color: #1a1a1a;
}
img {
max-width: 100%;
}
svg {
height: auto;
max-width: 100%;
}
h1, h2, h3, h4, h5, h6 {
margin-top: 1.4em;
}
h5, h6 {
font-size: 1em;
font-style: italic;
}
h6 {
font-weight: normal;
}
ol, ul {
padding-left: 1.7em;
margin-top: 1em;
}
li > ol, li > ul {
margin-top: 0;
}
blockquote {
margin: 1em 0 1em 1.7em;
padding-left: 1em;
border-left: 2px solid #e6e6e6;
color: #606060;
}
code {
font-family: Menlo, Monaco, Consolas, 'Lucida Console', monospace;
font-size: 85%;
margin: 0;
hyphens: manual;
}
pre {
margin: 1em 0;
overflow: auto;
}
pre code {
padding: 0;
overflow: visible;
overflow-wrap: normal;
}
.sourceCode {
background-color: transparent;
overflow: visible;
}
hr {
background-color: #1a1a1a;
border: none;
height: 1px;
margin: 1em 0;
}
table {
margin: 1em 0;
border-collapse: collapse;
width: 100%;
overflow-x: auto;
display: block;
font-variant-numeric: lining-nums tabular-nums;
}
table caption {
margin-bottom: 0.75em;
}
tbody {
margin-top: 0.5em;
border-top: 1px solid #1a1a1a;
border-bottom: 1px solid #1a1a1a;
}
th {
border-top: 1px solid #1a1a1a;
padding: 0.25em 0.5em 0.25em 0.5em;
}
td {
padding: 0.125em 0.5em 0.25em 0.5em;
}
header {
margin-bottom: 4em;
text-align: center;
}
#TOC li {
list-style: none;
}
#TOC ul {
padding-left: 1.3em;
}
#TOC > ul {
padding-left: 0;
}
#TOC a:not(:hover) {
text-decoration: none;
}
code{white-space: pre-wrap;}
span.smallcaps{font-variant: small-caps;}
div.columns{display: flex; gap: min(4vw, 1.5em);}
div.column{flex: auto; overflow-x: auto;}
div.hanging-indent{margin-left: 1.5em; text-indent: -1.5em;}
/* The extra [class] is a hack that increases specificity enough to
override a similar rule in reveal.js */
ul.task-list[class]{list-style: none;}
ul.task-list li input[type="checkbox"] {
font-size: inherit;
width: 0.8em;
margin: 0 0.8em 0.2em -1.6em;
vertical-align: middle;
}
.display.math{display: block; text-align: center; margin: 0.5rem auto;}
</style>
</head>
<body>
<header id="title-block-header">
<h1 class="title">Creative output</h1>
</header>
<h1 id="creative-output">Creative output</h1>
<p>This page which can be found under
https://johanlilius.fi/creativeoutput documents my more creative
projects, some of them private, others more work related.</p>
<p>My main creative interest has always been technological and more
formal approaches to music and sound.</p>
<p>I want to make a distinction here between music and sound, as,
although I’m an amateur musician and have played in bands, I’m really
interested in sound itself. Therefore my musical interests are more
towards noise, drone, musique concrete. The inspiration for all this was
a short sentence in an interview of Magnus Lindberg about his work <a
href="https://en.wikipedia.org/wiki/Kraft_(Lindberg)">Kraft</a>, where
he explains that he had been collecting a database of words that
describe sounds, and that he used this database in selecting sound
combinations for Kraft. Later on I found out about the ideas on
listening by <a
href="https://en.wikipedia.org/wiki/Pierre_Schaeffer">Pierre
Schaeffer</a>, and the concept of <a
href="https://en.wikipedia.org/wiki/Spectromorphology">Spectromorphology</a>
as defined by <a
href="https://electrocd.com/en/artiste/smalley_de/biographie">Denis
Smalley</a>, which then lead to a cooperation with a PhD Student and
some publications (c.f. below).</p>
<h2 id="musical-output">Musical output</h2>
<p>I’m an amateur musician, or what you could call a “bedroom producer”,
that is a person with equipment, technical competence, but very little
output. However I have managed to upload some pieces from my harddisk
archives to soundcloud so you can get an idea of what the sonic output
is that I like.</p>
<p>More to come hopefully.</p>
<p>You can find the playlist of releases here: <a
href="https://soundcloud.com/int3/sets/releases">Stream int3 | Listen to
Releases playlist online for free on SoundCloud</a></p>
<h2 id="artistic-output">Artistic output</h2>
<p>I have 2 things that I consider proper artistic output: 1. Helsinki
Street Noise Project, and 2. The ornamented table.</p>
<h3 id="helsinki-street-noise-project">Helsinki Street Noise
Project</h3>
<p>The project was realized together with my brother-in-law Tatu Ahlroos
(<a href="http://www.tcd.fi/info-kontakti-ta.html">TCD-Taking care of
design</a>) as part of the <a href="https://www.ornamo.fi">Ornamo</a>
associations 100 year jubilee <a
href="https://web.archive.org/web/20240802061739/https://oonkaupungissa.wordpress.com/category/ornamo-100-v/">Ornamo
100 v | OON KAUPUNGISSA</a> festivities.</p>
<p>The idea was simple: record live audio from a microphone and project
it back processed and amplified in the the street environment. E.g. we
wanted to do busking, but not with traditional music, to observe peoples
reactions. I was in charge of the technical aspects, while Tatu planned
the performances. We did 3 performances. The first was in Opintoputki
near the Porthania building, while the other 2 were in the intersection
between Mikonkatu and Alexanterinkatu. The goals was to perform for at
least 2 hours each time, but we were thrown out of Opintoputki after 1h
because we had not reserved a performance slot (which we did not know
you had to do). In hindsight I’m a bit sorry about this, because due to
the resonances of the space in Opintoputki, in my ears the sounds we
obtained there were better than then ones on Alexanterinkatu.</p>
<p>The reactions of people to the performance could be categories as
follows: 1. People just did not react, somehow most people were
impervious to the extra noise we injected into the street soundscape,
altough sometimes when I injected a recording of the clicks traffic
lights made people were confused 2. People were angry. Either they came
to complain, or just made an angry face and hurried further. 3. People
were genuinly interested, this was a new experience for them and they
wanted to know more. We interacted with them and had some brochures
about Ornamo and the OON KAUPUNGISSA event available 4. Nerds. A few
times we got talking with some very excited young men, who thought this
was very cool, and wanted to know more about all the technical
stuff.</p>
<p>For some time we had a website for the project up and running, but I
let the site lapse at some point. I still think the ideas is good, but
in hindsight I would now implement it differently, given the technical
knowledge I have accumulated over the years.</p>
<p>We made a 25min mix-down of some of the material and published is a
part of our Lakoon Group EP <a
href="https://laokoongroup.bandcamp.com/album/dasein">Dasein</a> on
Bandcamp, as the track Gewöhnungsbedürftig.</p>
<h3 id="the-interactive-coffe-table">The interactive coffe table</h3>
<p>The <a
href="https://web.archive.org/web/20240802061916/https://svenska.yle.fi/a/7-1237084">table
that reacts to sound</a>, was a joint project with Jan-Erik Andersson <a
href="https://www.anderssonart.com">Jan-Erik Andersson – Jan-Erik
Andersson</a>. The contribution of my reseaarch group was to technical
implementation of the table, sensing, visualistion and programming. The
project was demonstrated at a few local events in Turku, but due to lack
of funding and time, never really went further.</p>
<p>The table does however rise some interested research problems. The
interface to program the table was quickly hacked togehter by a
sstudent, and was very intuitive from his point of view, but not from
anybody elses. So how would and enduser (a potential buyer of the table
as a product) program such a table, given its capabilities. This is the
a case of end-user programming, a standard problem in computer science.
A good example of a successfull end-user programming system is Excel,
where non-programmers regularly write short scripts to create more
complex analyses of the data in the spreadsheets. Excel is succesfull
because there is a strong underlyihng metaphor, the checkbook, and its
extension into graph paper, that people were using before. But what
would be the metaphor for the table that would be good for a customer
buying the table?</p>
<h2 id="automated-sound-annotation">Automated sound annotation</h2>
<p>This topic is a long term research interest of mine, inspired
originally by something Magnus Lindberg said in an interview about the
piece Kraft (add link). To guide him in the selection of sonic
combinations (found objects, extended techniques, etc) he had devised a
database with sounds and words that describe the sounds. Trivially a
flute tone could be classified as “hollow”, cymbals as “metallic”, etc.
Obviously there is a lot of subjectivity involved, but initially I was
maybe a bit naively thinking that there still could be a set of words
that we could agree on.</p>
<p>In terms of results there are 2 different strands.</p>
<p>The first strand is summarised in the 3 papers mentioned below. The
main idea in these works is to find words that can be associated with
sounds, and then also find characterisations of these sounds based on
sound descriptors. Sound descriptors are numerical values that
characterise a particular property of the sounds. E.g. beat, Cepstrum,
etc. You can find readymade dsp libraries that provide such functions.
<a href="https://librosa.org/doc/latest/index.html">librosa</a> seems to
be the most prominent. Since we realised that association of words to
sounds is always going to be subjective and defined by the user, the
focus of this work was towards sound designers working in game
development who have large sample libraries, with often weak ways to
properly organise the sounds needed in a particular project.</p>
<ul>
<li>Chernyi, E., Lilius, J., Brusila, J., & Mouromtsev, D.
(2016). <a
href="A%20Knowledge%20Engineering%20Approach%20to%20Computational%20Creativity%20in%20Sound%20Design.pdf">A
Knowledge Engineering Approach to Computational Creativity in Sound
Design</a>. In S. Jan, & V. Valerio (Eds.), <em>Proceedings. 1st
Conference on Computer Simulation of Musical Creativity</em> (pp. –).
University of
Huddersfield. https://csmc2016.wordpress.com/proceedings.</li>
<li>Chernyi, E., Lilius, J., Brusila, J., Mouromtsev, D., &
Rogozinsky, G. (2016). <a
href="Cherny%20et%20al.%20-%202016%20-%20An%20Approach%20for%20Structuring%20Sound%20Sample%20Libraries.pdf">An
Approach for Structuring Sound Sample Libraries Using Ontology</a>. In
A.-C. Ngonga Ngomo, & P. Křemen (Eds.), <em>Knowledge Engineering
and Semantic Web</em> (pp. 202–214).
Springer. https://doi.org/10.1007/978-3-319-45880-9_16.</li>
<li>Chernyi, E., Lilius, J., & Mouromtsev, D. (2017). <a
href="Cherny%20et%20al.%20-%202017%20-%20A%20Method%20for%20Automatic%20Whoosh%20Sound%20Description.pdf">A
Method for Automatic Whoosh Sound Description</a>. In A. Torin, B.
Hamilton, S. Bilbao, & M. Newton (Eds.), <em>Proceedings of the 20th
International Conference on Digital Audio Effects (DAFx-17), Edinburgh,
UK, September 5–9,
2017</em> (pp. 459–465) http://urn.fi/URN:NBN:fi-fe2020102788476</li>
</ul>
<p>I also supervised a masters thesis on this topic, but in this case I
decided to forego the use of words and stick with sound descriptors. We
used the Timbral models <a
href="https://github.com/AudioCommons/timbral_models/">GitHub -
AudioCommons/timbral_models: Python scripts for modelling timbral
attributes</a> developed as part of the <a
href="https://www.audiocommons.org">Audio Commons</a> project.</p>
<ul>
<li>Näsman, Andreas. <a
href="Näsman%20-%20Personal%20annotation%20of%20sounds%20using%20subjective%20tag.pdf">Personal
annotation of sounds using subjective tags</a>.</li>
</ul>
<p>I have a lot of ideas on how to develop this work further, but it
remains to be seen to what extent I can find time for it.</p>
</body>
</html>