AV Brush

Interactive Media Facade

2011-02-18T07:58:00.000-08:00

AV Brush Drawing Show

Guro Arts Valley Opening Media Show
July.15th.2008.

Director : Kenny Kyungmi Kim
Sound Artist : Don Oung Lee / Sung Kyun Chang
Engineer : Kyoung Su Oh
Video Editor : Seul Gi Oh

AV Brush Drawing Show-Movie

2010-12-22T04:22:00.000-08:00

AV Brush 3.0

2009-12-01T07:40:00.001-08:00

AV Brush Drawing Show

2008-07-24T10:25:00.000-07:00

AV Brush version 2.0

2007-05-31T17:11:00.001-07:00

Click To Play

AV Brush is an integration of a drawing tool and a musical instrument based on the expression of synaesthesia.
AV Brush expresses a new computer interface for the real-time and simultaneous performance system of visual and sound. A user can draw using real world materials or paper pallet by "picking up". As the user is drawing, generative sound comes out from this AV Brush system. Impromptu movement is expressed like an action painting. Continual sound is generated from these gesture abstractions.
This project is based on the concept of Visual Music, the idea of synaesthesia served to mediate between Art and Music since 1900 and proven essential to the development of abstraction.
The AV Brush creates synaesthesia in visual and sound by using a MaxMSP/Jitter program and Sound Fonts program. The AV Brush is based on A Study on the Cyber Visual Music Library. The study was sponsored by the Korean Ministry of Information and Communication (1998-1999). At Media Art Lab, an information technology & interactive design studio, I founded this project, which included the creation of the software applications Those are the AV Visualizer, and the AV Composer. The AV Brush is more developed version of the AV Composer. Therefore, AV brush is an interactive device expressing synaesthesia of auditory and visual senses.

AV Brush

2007-04-17T01:38:00.000-07:00

AV Brush is an integration of a drawing tool and a musical instrument based on the expression of synaesthesia.

Background

My projects were combined both audio and visual. From 1998 to now, I made 3 software applications which were AV Composer, SoResVi(Sound Responsive Visualizer) and VSRL(Virtual Sound Responsive Landscape) System. This AV Brush is based on the AV Composer. Before ITP, I wanted to make a specialized interactive device developed from the AV Composer. I really wanted to make a tool that can create color, shape and reverb as well as a musical instrument. This instrument would express sound with visual image like Wassily Kandinsky's theory. My goal was to make an advanced system as definend by Visual Music, which combines audible elements and visual elements. Visual Music will produce a dynamic form of fine arts which can only be attained through the interactive collaboration of audio and visual.
Existing Visual Music works were musical composition made separately from image. Undoubtedly, these pieces present aesthetic qualities of completion and juxtaposition. I will make a real time interactive system. AV Brush system is more free, impromptu, and gesture-based. I expect AV Brush to make more correspondence between audio and visual, as resulting in a new computer interface for real-time system.

Personal Statement

I established a company, Media Art Lab co.ltd., in 1998. The first project was academic research and making of software applications. The AV Brush is based on a Study on the Cyber Visual Music Library. The study was sponsored by the Korean Ministry of Information and Communication(1998-1999). At Media Art Lab, researchers, engineers, designers, and artists founded this project, which included the creation of the software applications the AV Composer and the AV Visualizer. The AV Brush is more developed version of the AV Composer.
Visual Music occurred different areas like paintings, photographs, color organs, films, light shows, installation, and digital media. Visual Music refers to the use of musical structures in visual imagery, which can also include silent films or silent Lumia work. It also refers to methods or devices which can translate sounds or music into a related visual presentation. An expanded definition may include the translation of music to painting. Visual music also refers to systems which convert music or sound directly into visual forms, such as film, video or computer graphics, by means of a mechanical instrument, an artist's interpretation, or a computer. The reverse is applicable also, literally converting images to sound by drawn objects and figures on a film's soundtrack. Filmmakers working in this latter tradition include Oskar Fischinger (Ornament Sound Experiments), Norman McLaren, and many contemporary artists. Visual music overlaps to some degree with the history of abstract film, though not all Visual music is abstract. There are a variety of definitions of visual music, particularly as the field continues to expand. Visual music has also been defined as a form of intermedia.

AV Brush Document

Click To Play

This video is my thesis material.

I presented on May 4th, 7p.m. in ITP Thesis Presentations 2007.

I. AV Composer from A Study on the Cyber Visual Music Library
- Media Art Lab (sponsored by the Korean Ministry of Information and Communication, 1998-1999)

Cyber Visual Music Library

The essence of multimedia is simultaneous audio and visual. Visual music is music that you can see not only a representational concept and an essential concept in multimedia, but an essential theoretical intermediary in the expressive methodology of audio and visual. Audio-visual music in multimedia, or what people call the new media, has the possibility of becoming the method of communication that expresses best the times we live in.
Music video, various AV games, the design of multi-media credit titles all is based on visual and audio harmony, which is also essential to visual music. Visual music suggests the new direction and technological development in multimedia. Our project goal was to do theoretical research and to present the findings on the concept and the history of visual music and to demonstrate the possibilities of visual music by having Korean artists create experimental musical audio-visual works on a Web site.

This research project can be divided into three sections.
1. Theoretical and historical research.
2. The creation of a professional web site.
3. The creation of software applications.
- AV Composer / AV Visualizer

This project presents the concept of visual music through theoretical and historical research. This web site presents theoretical research, an exhibition library of works, and a software program with which site visitors can create visual music. The project researchers present their works and student works on the site library. There is also two software applications. One is AV Composer with which the site visitor can create sound while drawing. The other is the Win amp plug-in that, once it is downloaded, provides visual music in the MP3 format to computers equipped with an AV Visualizer.

We present the theoretical research part of the project in the first issue of Multimedia Research of Korea Society of Image Arts and Media. We think that our web site design reflects the harmony of sight and sound. Some remarkable works of visual music are available on the web site library. We have created a visual music software application that we also consider to be original. Upgrades will follow at regular intervals. All in all, we think that the Internet Visual Music library is a great success.

II. Visual Music

The history traced by "Visual Music" includes paintings, photographs, color organs, films, light shows, installation, and digital media. Visual music has a long history, since Wassily Kandinsky's quote. The idea of synaesthesia served to mediate between music and visual art in the early twentieth century and proved essential to the development of abstraction.

Daniel Palkowski

Visual Music

2007-04-12T21:09:00.000-07:00

Visual Music
Artist Archive
History of Visual Music

Early age of Visual Music

Oskar Fischinger
Early Abstractions(1946-57)

James Whitney
Lapis(1963-66)

Len Lye - Rhythms
A fine retrospective of the pioneer of 'direct film' whose techniques included painting and scratching images directly onto celluloid, using found footage, casting shadows of objects onto unexposed film and experimenting with early colour techniques.

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Contemporary Visual Music

VISUAL : John Maeda / SOUND : Ryuichi Sakamoto

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VIDEO : LIA / SOUND : ac

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3D Image

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Max/MSP(Jitter) - OpenGL

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Audio-Visual Performance & Installation

Golan Levin

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Toshio Iwai
Piano-as image media
TENORI-ON

EIV-For AV Brush version2.0 Insatallation

2007-03-31T18:27:00.000-07:00

AV Brush Installation example

EIV-For AV Brush Performance

2007-03-31T18:26:00.000-07:00

This video is one of my trial for AV Brush version 2.0.

Audio Art Field Trip

2007-03-29T08:47:00.000-07:00

March 24. 2007

Columbia Computer Music Center

This is a video tape.(01:02:22)

Audio Art -Final Project

2007-03-21T15:27:00.000-07:00

Audiovisual Performance of the AV Brush 2.0

My final project will present a new computer interface metaphor for the real-time and simultaneous performance of visual and sound. AV Brush is a new drawing tool as well as a musical instrument.I will use AV Brush version 2.0 system for this performance. This project is based on the concept of Visual Music, synaesthesia in Art and Music since 1900.

This is AV Brush version 1.0
That is based on Wassily Kandinsky's Concerning the Spiritual in Art.
Orange - Viola / Yellow -Trumpet / Bright Blue - Flute / Green - Violin / Red -Tuba
Each color correspond with specific instument sound.

Reference & Research

I. Visual Music - Synaesthesia in Art and music 1900, organized by Kerry Broughter, Jeremy Strick, Ari Wisemen, Judith Zilczer, Essay by Olivia Mattis,
II. A Study on the Cyber Visual Music Library (1998-1999)
-Media Art Lab co. ltd
III. Golan Levin’s Thesis, Painterly Interface for Audiovisual Performance (2000)
IV. Danny Rozin’s Eassel
V. I/O Brush

AV Brush version 2.0 is gestured-based real-time interactive system.

Coming soon.....

ISSUE Project Room

2007-03-21T14:46:00.000-07:00

See Hear Now: Visible Music

I went to see this show on Thurday night, March 8 at ISSUE Project Room in Brooklyn. At that time, It was really cold. I expected the show too much. Because, my final project stuck mappings of sound and image. I wished a sort of soultion. I thought the show is a kind of visual music performance. But the show was contray to my expectation. I coudn't find interface between sound and images in the show. In addition to, images were too dark and dismal. My feeling also was gloomy. I was sick all through Spring break. I was in agony interface sound and image all during vocation. I did nothing but read a book,The Hidden Order of Art, last week. I realized Music is huge part. It is infinitude.

Thursday, March 8 + Friday, March 9
see hear now: visible music

David Gamper – multi-instrument acoustic music with live digital transformation using Max/MSP/Spat and 16 channel sound

Gisela Gamper – live video mixing and multi-stream projection using Isadora on laptops, video mixers, mirrors and servomotor shutters

Geoff Gersh – electric guitar with electronic devices and found objects
+ Guest on March 8

David and Gisela Gamper’s See Hear Now (www.seehearnow.org) is a real-time music and video collaboration that merges the sonic and the visible into a transcendent experience. In their individual work, the artists are fascinated by sounds and images from nature and life. To create his live improvisations, David begins with the acoustic sounds he draws from his instruments and found objects. When he expands them through live electronic transformations they retain the power of natural sound. Originally a photographer, Gisela has extended her image making into video. Her imagery reveals how movement and rhythm create our world. With a system David developed, Gisela performs her imagery with the same immediacy as David performs his music. For these live improvised performances at Issue Project Room, the Gampers create a unique installation using projectors, mirrors, and speakers.

See Hear Now premiered in upstate New York in 1999 and has performed and given workshops widely. In a series of loft installations, the Gampers have explored alternative ways of immersing both audience and performers. Many of these performances included guest artists. RouletteTV produced a performance which was first broadcast in 2003. The duo was featured in Brooklyn College’s Electroacoustic Music Festival in 2003, the 2004 SOUNDPlay festival in Toronto and in Juilliard’s 2005 Beyond the Machine festival in New York City. They released their DVD See Hear Now: Visible Music in 2005. Their 2006 performances include the Krannert Art Museum at the University of Illinois at Urbana-Champaign, Roulette’s Festival of Mixology, and at Optisonic Tea at Diapason Gallery in NYC.

David Gamper moves freely among the worlds of music performance, improvisation, and electronic instrument design. These passions merge in the performer controlled sound processing environments he has created for acoustic improvising musicians. A member of Deep Listening Band (with Pauline Oliveros and Stuart Dempster) since 1990, he developed a major redesign of the Expanded Instrument System for DLB and others. In addition to his other ensemble and solo work, Gamper has performed frequently as a duo with Oliveros. The recording of their concert at the IJsbreker in Amsterdam has been described as “the pinnacle of the Oliveros-Gamper collaborations, music that through its depth, reveals ever more profound expression.” Gamper’s solo piece Conch was in the Whitney Museum of American Art’s BitStreams exhibition and is on the CD of sound art from that show.

OTHER Site-Specific Sound
La Monte Young
Max Neuhaus
Dream House
Christopher Janney
REACH-New York
His interview /His Acoustic Architecture

Reading:Basic Concepts of Minimal Music, by Wim Mertens
A Second-generation minimalist composer, Wim Mertens(1953-) is also an important theorist of musical minimalism. His book, American Minimal Music, was one of the earliest, and certainly the most philiosophically astute, studies of the four classic minialist composers: La Monte Young, Terry Riley, Steve Reich, and Philip Glass. In this excerpt from that book, Mertens considers the nature of structure, time, and memory in minimalist composition, contrasting the dialectical and teleological nature of traditional classical music with the non-dialectical, static character of minimalist music.

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Guest Speaker: Shawn Greenlee

2007-02-23T15:34:00.000-08:00

His Web
Alimomeni

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Noise vs Sound

2007-02-21T23:32:00.000-08:00

Noise vs Sound

Amplitude

Velocity

Speed vs Velocity

Pitch vs Frequecy

사운드

Audio Art -week 5 : Noise

2007-02-21T16:40:00.000-08:00

pink noise
noise_distortion

Audio Art -week 4 : Filtering

2007-02-15T13:51:00.001-08:00

chrous

Make a patch that uses your computers keyboard as a controller.

Audio Art -week 3 : Synthesis

2007-02-15T12:48:00.001-08:00

Synthesis

1. RM ( Ring Modulation )

Ring modulation is an audio effect performed by multiplying two audio signals, where one is typically a sine-wave or another simple waveform. It is referred to as "ring" modulation because the analog circuit of diodes originally used to implement this effect took the shape of a ring.

rm01

2. AM (Amplitude Modulation)

Create eight ten-second synthesis clips.
Reading - Handout: Curtis Roads, CMJ, Chapter 6, Modulation Synthesis,

Web conferencing-Crecloo Art Gallery

2007-02-02T11:23:00.000-08:00

NYC - Irvine - Seattle

Crossing Talks about Interactivity

Ensu Kang
Todd Holoubek
Byeong Sam Jeon
Anni On Ni Wan
Kenny Kyungmi Kim

Feb 6(Tuesday) 8:30pm. EST 2007
Crecloo Art Gallery
(50 W 36th St 3F)

http://www.newmediart.org

Audio Art-week2 : 8collage

2007-02-02T10:03:00.000-08:00

Heater noise

Metro

REACH-New York (An Urban Musical Instrument)-Herald Square Subway Statiom , N/R Platform 34thSt. at 6th Ave, Christopher Janney

Fountain water sound

Wild duck sound

tread down leves

2 VOICES -Ssaha~ / Hue~

READING
John Cage, Future of Music:Credo
Luigi Russolo, The Art of Noises

Audio Art -week1 : About Lsten

2007-02-02T10:00:00.000-08:00

My first semester in ITP, my English communication was not good than now. I concentrated not significance of language but sounds of nature. It gave the subtle sounds of nature consolation in my mind.

Listen Far – My old experience (Late fall 2005)

I go to Central Park to see the trees. Most of the times I am there to catch the sounds of the environment using Maranz. These days, the subtle sounds of nature resonate in my mind and heart. I listen and search within nature to translate images of nature into sound. My newfound interest is to create new images such as the tree branching out by stimulating the electrical notes of the Digital Circuit.
The outstretched branches in the night sky seem to be sending a message. I would like to create images with the signals sent to me by the tree. From the voices of two people, the trees grow to meet at a point. Upon the meeting, a new ‘something’ is created.
Can the branches of a tree be transformed into a circuit? Let us imagine the circuit branching out like a tree. What kinds of images and sounds can be created upon the meeting of these circuits? Also, imagine the circuits branching out to create a tree. Currently, I am working on how to make codes in several different ways. I want to make the codes so that they will incorporate both logic and the images of nature.

Listen Close – In my apartment, I hear a sort of noise these day. The noise is made much used heater. The noisy sound of the heater is so loud and harsh to the ear. I can’t hear the noise before quitting. If I concentrate the noise, I am nervous. So I neglect it consciously and shut down it unconsciously.

READING
Pauline Oliveros,Quantum Listening
Arcane Mysteries PDF

Kenny's web site & programs

2007-02-02T09:58:00.001-08:00

Kenny Kyungmi Kim dat com

AV Brush

Media Art & I

VSRL System(2000)

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Speaker Recognition Program(2004)

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