John is an application meant for collective free improvisation, which was born out of the needs encountered in free improvisation practice with the Orchestre National Electroacoustique.
Namely, John was invented as a virtual companion to find stimulating answers for issues encountered in collective free improvisation, like precise timings for transitions between contrasting parts, articulations of large movements, or the proposal of unusual scores taking us off the beaten path.
It is made of two parts :
a score editor which can generate random scores based on constraints and probablities defined by the user
a real-time “conductor” displaying the score during live performance
Its name refers to both John Cage and John Doe.
Original development with Max. Ongoing port to a reactive web app with d3.js and Meteor. Sources available at GitHub.
Le phonétogramme consists in a graph showing the pitch versus the loudness of a voice. It shows various characteristics of one’s voice, including the ambitus, the change of amplitude at vocal register shifts, and possible voice disorders.
The installation involved a multitouch screen to control the multilingual app for the Cité des Sciences audience. A distance sensor was also used to ensure the distance between the user and the microphone was correct. All the graphics and sound interaction design was made with Cycling’74 Max.
It was a challenging thing to design the UI with Max/jitter, but a good opportunity to test the limits of what could be achieved there. This project triggered the development of the MP.TUI package.
Morphogenius is an application for tablet that was proposed for the exhibition on Leonardo Da Vinci at Cité des Sciences, Paris. It is inspired by Leonardo Da Vinci morphological drawings.
It allows to “transfer” reality as captured by the tablet’s camera into 3d drawings. The camera stream is processed with an edge detection algorithm easing the readability of shapes and structures. All drawings are done in 3d and the user can move, rotate and zoom them in any direction.
Pascal Criton, a french composer of contemporary music as well as a musicologist who studied Wyschnegradsky’s works, created an interactive piece inspired by Wyschnegradsky’s “ultrachromatic compositions” for association Puce Muse.
I designed a collective instrument able to produce complex polyrhytmic sequences of filtered sound texture. Each step of the sequence can be assigned a color nuance and a pitch, possibly micro-tonal. The result produces visual and sonic moires, reminding of Wyschnegradsky’s chromatic drawings.