https://shawngreenlee.com Shawn Greenlee Sun, 02 Feb 2025 05:32:11 +0000 https://shawngreenlee.com en https://shawngreenlee.com/Front Fri, 24 Mar 2023 10:19:55 +0000 Shawn Greenlee https://shawngreenlee.com/Front https://shawngreenlee.com/Squaller Sun, 02 Feb 2025 05:32:11 +0000 Shawn Greenlee https://shawngreenlee.com/Squaller Squaller (2024-curr.) <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/d885598e91c1caab4f09ac6feb2e5ddb5d2d88c9bf261dcb832f73b5d103c8f2/frame.png" data-mid="225883613" border="0" src="https://freight.cargo.site/w/1000/i/d885598e91c1caab4f09ac6feb2e5ddb5d2d88c9bf261dcb832f73b5d103c8f2/frame.png" />Squaller is an improvisational performance system comprised of a modular synthesizer featuring several digital modules with custom firmware made with the Electrosmith Daisy embedded computing platform and Cycling ‘74 Gen programming environment. Custom-programmed modules include erratic synthesis voices, audio and CV loopers, and idiosyncratic granulators paired with gestural controllers including a high-resolution, multitouch surface for control voltage. Experimental in sound design, Squaller harnesses chaotic oscillators, nonlinear feedback loops, unstable delays, and cross modulation to generate raw, unpredictable sonic textures. It produces an expressive range of timbres, from guttural howls to fierce harmonics, fusing structured synthesis with organic unpredictability. The Squaller system was initiated in March 2024 and has evolved over the course of several months, expanding to two cases for a total of 188 HP with a mix of digital and analog modules. The documentation here was recorded in July 2024 in a live performance setting as the work was still in development. &nbsp; A primary goal of this project is to explore the affordances of digital modular synthesis and new possibilities with current workflows in embedded computing for creating custom firmware. It is intended that Squaller will evolve as new versions of custom firmware are authored. https://shawngreenlee.com/Sluicer Sat, 17 Feb 2024 05:15:44 +0000 Shawn Greenlee https://shawngreenlee.com/Sluicer Sluicer (2023-curr.) s3g · Shawn Greenlee "Sluicer - trial 1" (2024, stereo decode) Sluicer is a performance system for spatial audio improvisation, adaptable to various output channel configurations from stereo to high density loudspeaker arrays. In this work, two 20-voice, erratic synthesizers operate as a roving “chorus” under the player’s direction. Both synths have a series of multichannel effects designed to work specifically with high order ambisonic signals, allowing the player to create and alter spatial dimensions. As audio flows, the guiding action is like closing/opening gates in a lock on a waterway. The results are timbral and spatial churns, swells, floods and drains, motion in repetition, expansion, and contraction. Sluicer is programmed in Max with tactile interfaces being high resolution, multi-touch control surfaces and a DJ-style MIDI controller.Among other performances, Sluicer was featured at Virginia Tech’s Cube Fest 2024 ︎︎︎ on 140 loudspeaker channels; at the New Interfaces for Musical Expression 2024 ︎︎︎ conference at HKU in Utrecht, Netherlands, prepared for the 160 loudspeaker channels of the Game of Life Wave Field Synthesis speaker array ︎︎︎; the Residual Noise fest 2025 at RISD/Brown University for the IKO 3D loudspeaker ︎︎︎; the International Computer Music Conference 2025 ︎︎︎ at Northeastern University on a 15.1 system; and for the Trace Fields 2026 concert at Lindemann Performing Arts Center for a 41.4 system. &nbsp;&nbsp; <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/d129c205e7fb0764d7659f181edc84a0fb7021b81dee174c38dde95ec024edca/sluicer-mwm3.png" data-mid="204834753" border="0" alt="︎︎︎ Live at Machines with Magnets, November 6, 2023" data-caption="︎︎︎ Live at Machines with Magnets, November 6, 2023" src="https://freight.cargo.site/w/1000/i/d129c205e7fb0764d7659f181edc84a0fb7021b81dee174c38dde95ec024edca/sluicer-mwm3.png" /> <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/64d0ef37fa01168f2e7a4b45c70ab8efaa1b4265cd1c248f1a2a19ab3376c955/sluicer-mwm1.png" data-mid="205022260" border="0" src="https://freight.cargo.site/w/1000/i/64d0ef37fa01168f2e7a4b45c70ab8efaa1b4265cd1c248f1a2a19ab3376c955/sluicer-mwm1.png" /> <img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/9de28e2c9df86b1fcc127df2b2a6c0eddfeb6e3bb1f78b7a13064e00d8664efa/nime25_wfs1.jpg" data-mid="234472249" border="0" alt="︎︎︎ Live at NIME 2024, Wave Field Synthesis" data-caption="︎︎︎ Live at NIME 2024, Wave Field Synthesis" src="https://freight.cargo.site/w/1000/i/9de28e2c9df86b1fcc127df2b2a6c0eddfeb6e3bb1f78b7a13064e00d8664efa/nime25_wfs1.jpg" /> <img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/5fd156b060e20dbb33392dd491543a10f30bd80def01d893ba165c44ab76ecd4/nime25_wfs2.jpg" data-mid="234472250" border="0" src="https://freight.cargo.site/w/1000/i/5fd156b060e20dbb33392dd491543a10f30bd80def01d893ba165c44ab76ecd4/nime25_wfs2.jpg" /> https://shawngreenlee.com/SFFX Sat, 25 Mar 2023 05:25:27 +0000 Shawn Greenlee https://shawngreenlee.com/SFFX SFFX (2022-curr.) Work in progress Talk from March 12, 2025 that summarizes recent advances in this work: Background: Since 2015, my artistic work and research has been primarily focused on an area within spatial audio involving High Density Loudspeaker Arrays (HDLA) which are typically permanent installations with 24 or more loudspeakers in a cube or hemispherical configuration. Some HDLA facilities feature arrays with hundreds of loudspeakers to provide more resolution and precision, and to support a wider range of spatial audio techniques. For this work, I have traveled to various HDLA facilities to participate in residencies and workshops and to perform/present at conferences and festivals. In 2018, I founded at RISD the Studio for Research in Sound and Technology (SRST) which houses a 25.4 channel loudspeaker array. I serve as Faculty Lead for SRST overseeing its staff, curriculum delivery, research advancement, and public engagement. A prevalent technology for creating immersive audio experiences in HDLA facilities, SRST included, is High Order Ambisonics (HOA).&nbsp; <img width="1080" height="1080" width_o="1080" height_o="1080" data-src="https://freight.cargo.site/t/original/i/b4be394909cc49874a44b5e7d368d37f18e135a8baa91a226338fc047cd51f21/srst_array_top.png" data-mid="173018567" border="0" src="https://freight.cargo.site/w/1000/i/b4be394909cc49874a44b5e7d368d37f18e135a8baa91a226338fc047cd51f21/srst_array_top.png" /> <img width="1080" height="726" width_o="1080" height_o="726" data-src="https://freight.cargo.site/t/original/i/6fbaef610f560ee61243711b00b39c667650609092c3ce851229819615eca412/srst_array_front.png" data-mid="173018539" border="0" alt="︎︎︎︎︎︎ Diagrams of RISD SRST 25.4 channel loudspeaker array (top and side views). Each point represents 1 of 29 loudspeakers." data-caption="︎︎︎︎︎︎ Diagrams of RISD SRST 25.4 channel loudspeaker array (top and side views). Each point represents 1 of 29 loudspeakers." src="https://freight.cargo.site/w/1000/i/6fbaef610f560ee61243711b00b39c667650609092c3ce851229819615eca412/srst_array_front.png" /> In 2021-22, I was the Project Director for a NEA grant-funded software development project that provides proof of concept for my new work in spatial audio going forward. An outcome of this work is FOAFX, a command line tool for applying spatially positioned audio effects to first order ambisonic sound files. It is currently available as a Node.js program, including source code. With this project complete and a wealth of preliminary research accomplished, I am now building on this work to create “SFFX.”&nbsp; SFFX is a new, multiyear software development project with the goal of producing an open package for 3d audio effect processing intended for sound designers and composers working with High Order Ambisonics (HOA). Because SFFX employs HOA in its approach, the outcomes will be scalable to a variety of loudspeaker systems, as well as to stereo headphones through binaural rendering. <img width="1546" height="992" width_o="1546" height_o="992" data-src="https://freight.cargo.site/t/original/i/46c6c473ac2768cec2f60037fe1a2b1a929752c2dad222acc99fd422446441ec/sffx_energyviz1.png" data-mid="173227270" border="0" alt="︎︎︎ Ambisonic energy visualization of gain isolation effect at 90&deg; azimuth. This creates a &ldquo;spotlight&rdquo; in the 3d sound field. " data-caption="︎︎︎ Ambisonic energy visualization of gain isolation effect at 90° azimuth. This creates a “spotlight” in the 3d sound field. " src="https://freight.cargo.site/w/1000/i/46c6c473ac2768cec2f60037fe1a2b1a929752c2dad222acc99fd422446441ec/sffx_energyviz1.png" /> <img width="1546" height="992" width_o="1546" height_o="992" data-src="https://freight.cargo.site/t/original/i/286458aea8b2897acddaec2ee186e7614d169712e1b7e32ee5d6795fddea464c/sffx_energyviz2.png" data-mid="173227339" border="0" alt="︎︎︎ Ambisonic energy visualization of gain reduction effect at 90&deg; azimuth. This creates a &ldquo;hole&rdquo; in the 3d sound field." data-caption="︎︎︎ Ambisonic energy visualization of gain reduction effect at 90° azimuth. This creates a “hole” in the 3d sound field." src="https://freight.cargo.site/w/1000/i/286458aea8b2897acddaec2ee186e7614d169712e1b7e32ee5d6795fddea464c/sffx_energyviz2.png" /> SFFX aims to solve a problem encountered in audio workflows involving ambisonics, wherein several audio effect processes, (e.g. compression, distortion, noise cancellation) cannot be used with encoded 3d audio without ruining the spatial dimensions of the source file or stream. While there are some workarounds known within the 3d audio community, these methods involve combining several tools and complex signal routing which can be puzzling, detering most users. The goal is to apply an effect to the entire sound field or a region within it without entirely losing the 360° fidelity. An exciting affordance provided by the SFFX approach is that a spatially positioned audio effect can be automated to move through the sound field, resulting in a dynamic spatial wet/dry effect mix which can provide a wellspring for creativity. As a practical example, similar to a spotlight tracking a performer on a stage, SFFX could be used to focus in and increase the gain of a moving sound source while suppressing background noise.&nbsp; Further SFFX will offer several unconventional methods for altering 3d audio through a process I have termed, Sound Field Displacement (SFD). &nbsp; SFD relies on the polygon configurations that underpin HOA for virtual microphone/loudspeaker positions whereby each vertex represents an individual audio channel in the 3d decoding/encoding scheme.&nbsp; With SFD, these vertices are repositioned in uniform ways to create rotations and transpositions or nonuniform ways to create spatial artifacts and discontinuities, offering new immersive qualities. <img width="1080" height="1174" width_o="1080" height_o="1174" data-src="https://freight.cargo.site/t/original/i/10230487b788f874182dd6e3e4a2d2e0eb81517f9948b8fa1b3f40f7f24173c4/sffx-tetra-points.png" data-mid="173224281" border="0" src="https://freight.cargo.site/w/1000/i/10230487b788f874182dd6e3e4a2d2e0eb81517f9948b8fa1b3f40f7f24173c4/sffx-tetra-points.png" /> <img width="1080" height="1174" width_o="1080" height_o="1174" data-src="https://freight.cargo.site/t/original/i/09958d459eeae722cf50bb6c71d710d2e98c1cb08b4e2f75db3044e9e0b7ab99/sffx-tetra-poly.png" data-mid="173224283" border="0" src="https://freight.cargo.site/w/1000/i/09958d459eeae722cf50bb6c71d710d2e98c1cb08b4e2f75db3044e9e0b7ab99/sffx-tetra-poly.png" /> <img width="3020" height="1856" width_o="3020" height_o="1856" data-src="https://freight.cargo.site/t/original/i/9a8e87dc09023117ef2b78be2717d0956a21b634b25113885f96c4ff7e80a0f7/energyVector_6octahedral_7OA.png" data-mid="173017480" border="0" src="https://freight.cargo.site/w/1000/i/9a8e87dc09023117ef2b78be2717d0956a21b634b25113885f96c4ff7e80a0f7/energyVector_6octahedral_7OA.png" /> ︎︎︎ 3d point, polygon, and energy vector representations of octahedral octahedral (6-channel) ambisonic coding <img width="3020" height="1856" width_o="3020" height_o="1856" data-src="https://freight.cargo.site/t/original/i/ece78c5e9c1648c61acc97fae7a494926bc873969bff21c3a2355d3971d9a1e6/energyVector_6displace3_7OA.png" data-mid="173017476" border="0" src="https://freight.cargo.site/w/1000/i/ece78c5e9c1648c61acc97fae7a494926bc873969bff21c3a2355d3971d9a1e6/energyVector_6displace3_7OA.png" /> <img width="3020" height="1856" width_o="3020" height_o="1856" data-src="https://freight.cargo.site/t/original/i/436d39115bc598ad6d06fba2e759f95302e2f799afd4e327a9d00dec611c18d9/energyVector_6displace1_7OA.png" data-mid="173017472" border="0" src="https://freight.cargo.site/w/1000/i/436d39115bc598ad6d06fba2e759f95302e2f799afd4e327a9d00dec611c18d9/energyVector_6displace1_7OA.png" /> <img width="3020" height="1856" width_o="3020" height_o="1856" data-src="https://freight.cargo.site/t/original/i/5641cd2d45a87de3e59c21aeab3977373aa7b8ebc75e64c1ff358ad53d3e3580/energyVector_6displace2_7OA.png" data-mid="173017474" border="0" src="https://freight.cargo.site/w/1000/i/5641cd2d45a87de3e59c21aeab3977373aa7b8ebc75e64c1ff358ad53d3e3580/energyVector_6displace2_7OA.png" /> ︎︎︎ Energy vector visualizations of Sound Field Displacement, 6-channel <img width="1600" height="333" width_o="1600" height_o="333" data-src="https://freight.cargo.site/t/original/i/9c977755f09e783bd3d8dbe8afea920f0a35ce66fb34aa5adad813415e329c1f/sffx-chart.png" data-mid="173226966" border="0" alt="︎︎︎ Signal flow for Sound Field Displacement technique" data-caption="︎︎︎ Signal flow for Sound Field Displacement technique" src="https://freight.cargo.site/w/1000/i/9c977755f09e783bd3d8dbe8afea920f0a35ce66fb34aa5adad813415e329c1f/sffx-chart.png" /> <img width="1080" height="1174" width_o="1080" height_o="1174" data-src="https://freight.cargo.site/t/original/i/24ff5719e4ace9e7eece1aac9fac731fcde2cf0bf8010679935f5f3c9bd19a86/sffx-dodeca-points.png" data-mid="173224646" border="0" src="https://freight.cargo.site/w/1000/i/24ff5719e4ace9e7eece1aac9fac731fcde2cf0bf8010679935f5f3c9bd19a86/sffx-dodeca-points.png" /> <img width="1080" height="1174" width_o="1080" height_o="1174" data-src="https://freight.cargo.site/t/original/i/bafaab7b1e3fa612bdc9e0bcbd2756387dbd8fe21da11c1730ac9f172fc9d265/sffx-dodeca-poly.png" data-mid="173224726" border="0" src="https://freight.cargo.site/w/1000/i/bafaab7b1e3fa612bdc9e0bcbd2756387dbd8fe21da11c1730ac9f172fc9d265/sffx-dodeca-poly.png" /> <img width="3020" height="1856" width_o="3020" height_o="1856" data-src="https://freight.cargo.site/t/original/i/5ca272f1a88e5c9b4bd0a35ebda2dbc6eafc8cb560c29b6338b3c26bfe90226b/energyVector_20dodecahedron_7OA.png" data-mid="173017387" border="0" src="https://freight.cargo.site/w/1000/i/5ca272f1a88e5c9b4bd0a35ebda2dbc6eafc8cb560c29b6338b3c26bfe90226b/energyVector_20dodecahedron_7OA.png" /> ︎︎︎ 3d point, polygon, and energy vector representations of octahedral (20-channel) ambisonic coding <img width="2720" height="1500" width_o="2720" height_o="1500" data-src="https://freight.cargo.site/t/original/i/8a26a97ca74a6cbde64a7cf7e4363903834ba05a58eb5233e439258ea5ffcff5/20vert_aformat_pointsx2.png" data-mid="173017886" border="0" alt="︎︎︎ 3d point representations of spherical 20-channel ambisonic coding. Uniform distribution (left), displacement (right) to create spatial artifacts and discontinuities." data-caption="︎︎︎ 3d point representations of spherical 20-channel ambisonic coding. Uniform distribution (left), displacement (right) to create spatial artifacts and discontinuities." src="https://freight.cargo.site/w/1000/i/8a26a97ca74a6cbde64a7cf7e4363903834ba05a58eb5233e439258ea5ffcff5/20vert_aformat_pointsx2.png" /> <img width="2990" height="1550" width_o="2990" height_o="1550" data-src="https://freight.cargo.site/t/original/i/b32580e362c292096b9dd26a566be4429c1abbbb7a36e8b5751bb6e73a604270/20vert_aformat_polyx2.png" data-mid="173017938" border="0" alt="︎︎︎ Polygon representations of spherical 20-channel ambisonic coding. Uniform distribution (left), displacement (right) to create spatial artifacts and discontinuities." data-caption="︎︎︎ Polygon representations of spherical 20-channel ambisonic coding. Uniform distribution (left), displacement (right) to create spatial artifacts and discontinuities." src="https://freight.cargo.site/w/1000/i/b32580e362c292096b9dd26a566be4429c1abbbb7a36e8b5751bb6e73a604270/20vert_aformat_polyx2.png" /> <img width="3020" height="1856" width_o="3020" height_o="1856" data-src="https://freight.cargo.site/t/original/i/588ce4a6821cfea30f6384cde8f28466000ea5f2273c95d3e3df8e31a66c7ff7/energyVector_20sphere_7OA.png" data-mid="173017389" border="0" src="https://freight.cargo.site/w/1000/i/588ce4a6821cfea30f6384cde8f28466000ea5f2273c95d3e3df8e31a66c7ff7/energyVector_20sphere_7OA.png" /> <img width="3020" height="1856" width_o="3020" height_o="1856" data-src="https://freight.cargo.site/t/original/i/ba3ce9b1cc18bd8015002622367fd391c1f7cfaa4b6a46e75c444244b614874f/energyVector_20disp1_7OA.png" data-mid="173017482" border="0" src="https://freight.cargo.site/w/1000/i/ba3ce9b1cc18bd8015002622367fd391c1f7cfaa4b6a46e75c444244b614874f/energyVector_20disp1_7OA.png" /> <img width="3020" height="1856" width_o="3020" height_o="1856" data-src="https://freight.cargo.site/t/original/i/e609d479b348214baa7e6ac137d9ff2889964bd8ff211bff4e28181ab79f5b4f/energyVector_20disp4_7OA.png" data-mid="173017488" border="0" src="https://freight.cargo.site/w/1000/i/e609d479b348214baa7e6ac137d9ff2889964bd8ff211bff4e28181ab79f5b4f/energyVector_20disp4_7OA.png" /> <img width="3020" height="1856" width_o="3020" height_o="1856" data-src="https://freight.cargo.site/t/original/i/392bccaaf66a3c491b317fbab3cd3cb75552f34053473f85a803841b1446cf51/energyVector_20disp3_7OA.png" data-mid="173017486" border="0" src="https://freight.cargo.site/w/1000/i/392bccaaf66a3c491b317fbab3cd3cb75552f34053473f85a803841b1446cf51/energyVector_20disp3_7OA.png" /> <img width="3020" height="1856" width_o="3020" height_o="1856" data-src="https://freight.cargo.site/t/original/i/0ac28072b644713323fd477ee5755c18e3241000409ae5511c47f588268925b2/energyVector_20disp2_7OA.png" data-mid="173017484" border="0" src="https://freight.cargo.site/w/1000/i/0ac28072b644713323fd477ee5755c18e3241000409ae5511c47f588268925b2/energyVector_20disp2_7OA.png" /> ︎︎︎ Energy vector visualizations of Sound Field Displacement, 20-channel For SFD, I have created a link between color models and HOA exploring shared usage of spherical and cartesian coordinate systems.&nbsp; For instance, 3d color models such as Hue, Chroma, Luminance (HCL) can be mapped as XYZ spatial positions to place virtual microphones/loudspeakers for the HOA process.&nbsp; This repositioning of vertices based on color data gives composers a new means to graphically score or automate spatial parameters, thus providing an alternative to inadequate standard music notation systems and software compromises such as timeline-based, breakpoint editors. Furthermore, real-time visualization based on spherical coordinates (azimuth and elevation) is another aspect where salient color models can be applied to support sound design and musical analysis. <img width="1500" height="820" width_o="1500" height_o="820" data-src="https://freight.cargo.site/t/original/i/5791025046f7182ea74e6fad26c6e0102afb6eeedac53e8f57294d959e640347/5000LCH_combined.png" data-mid="173018115" border="0" alt="︎︎︎ 5000 randomly distributed points in a 3d color-coordinate space. XYZ positions determine Hue, Chroma, and Luminance values of the points" data-caption="︎︎︎ 5000 randomly distributed points in a 3d color-coordinate space. XYZ positions determine Hue, Chroma, and Luminance values of the points" src="https://freight.cargo.site/w/1000/i/5791025046f7182ea74e6fad26c6e0102afb6eeedac53e8f57294d959e640347/5000LCH_combined.png" /> <img width="1000" height="1000" width_o="1000" height_o="1000" data-src="https://freight.cargo.site/t/original/i/17116ae7474db4a3ead5b0546ef181670d72b29dca891c185025966f2432fb6d/LCH20_sphere_pixels_scaleUp.png" data-mid="173020576" border="0" src="https://freight.cargo.site/w/1000/i/17116ae7474db4a3ead5b0546ef181670d72b29dca891c185025966f2432fb6d/LCH20_sphere_pixels_scaleUp.png" /> <img width="1000" height="1000" width_o="1000" height_o="1000" data-src="https://freight.cargo.site/t/original/i/85e38a6654b95b896a049b866e22b296845103c2cbdc50e230bad0e5cc2652e5/LCH20_disp_pixels_scaleUp.png" data-mid="173020577" border="0" alt="︎︎︎ ︎︎︎ Two color-score frames for 20-channel ambisonic coding. Each row will determine the XYZ position of a virtual mic/speaker using HCL values, uniform spherical distribution (left), displacement (right)." data-caption="︎︎︎ ︎︎︎ Two color-score frames for 20-channel ambisonic coding. Each row will determine the XYZ position of a virtual mic/speaker using HCL values, uniform spherical distribution (left), displacement (right)." src="https://freight.cargo.site/w/1000/i/85e38a6654b95b896a049b866e22b296845103c2cbdc50e230bad0e5cc2652e5/LCH20_disp_pixels_scaleUp.png" /> <img width="1500" height="1600" width_o="1500" height_o="1600" data-src="https://freight.cargo.site/t/original/i/da1623df6cd0887923665405d004da873fa878a7df9f3801c68bbf2b068f31a7/20LCH_combined.png" data-mid="173018431" border="0" alt="︎︎︎ Rows of color-score frames mapped to their XYZ positions using HCL values. Top left and right: Uniform spherical distribution, 3d and front views. Bottom left and right: Displacement, 3d and front views. " data-caption="︎︎︎ Rows of color-score frames mapped to their XYZ positions using HCL values. Top left and right: Uniform spherical distribution, 3d and front views. Bottom left and right: Displacement, 3d and front views. " src="https://freight.cargo.site/w/1000/i/da1623df6cd0887923665405d004da873fa878a7df9f3801c68bbf2b068f31a7/20LCH_combined.png" /> https://shawngreenlee.com/Sifting Fri, 24 Mar 2023 10:19:57 +0000 Shawn Greenlee https://shawngreenlee.com/Sifting Sifting (2018-21) s3g · Shawn Greenlee "Sifting" (2021, stereo mix) In 2018, I was awarded a Polar Lab Residency supported by the Anchorage Museum. My project was titled Edges in the Alaskan Soundscape. Over the course of three weeks in April / May 2018, I concentrated on spatial audio field recording in areas of the Kenai Peninsula and Denali National Park. During this timeframe, alongside field work, I met with National Park Service scientists to learn about acoustic monitoring and soundscape ecology from their perspective as researchers. The aim of my project was to conduct ambisonic field recording in areas with low human population density in order to observe and document “edges” while creating source material for new compositions and sound installations. Sifting is an outcome of this work. It debuted as a 4-channel sound installation for the Listen Up exhibition at the Anchorage Museum (April - October 2021).&nbsp; It was composed in third order ambisonics and may be presented on larger speaker arrays.&nbsp; A stereo mix is provided on this page.In my field work, edges recurred thematically as:A spatial relationship, areas between the built environment and natural land A seasonal timeframe, the period between winter (ice break-up) and spring A practical situation, what was manageable for solo expeditions in difficult weather and terrain Ecotone, a region of transition between biological communities Geographical identity, the Alaskan areas of Kenai and Denali as at the edge of the ArcticPortend of climate change and with it a transforming phenology (alteration of life cycle events) <img width="1080" height="1080" width_o="1080" height_o="1080" data-src="https://freight.cargo.site/t/original/i/5e53b76502bace0716ab95ffd3e6dcbd4ea6421ef0916b6a87e77afc1b9deab4/sifting1.png" data-mid="173100045" border="0" alt="︎︎︎ Recording site: Resurrection Bay" data-caption="︎︎︎ Recording site: Resurrection Bay" src="https://freight.cargo.site/w/1000/i/5e53b76502bace0716ab95ffd3e6dcbd4ea6421ef0916b6a87e77afc1b9deab4/sifting1.png" /> Through the residency, I was able to:Explore spatial audio field recording techniques by focusing on the use of ambisonic microphones.Develop and test strategies for distributed spatial audio recording using several GPS-tracked, time-synchronized recorders.Create an extensive library of sound recordings for use in new compositions, performances, and installations for multichannel sound systems and high-density loudspeaker arrays; the total amount of audio captured on this trip was approximately 120 hours. <img width="980" height="576" width_o="980" height_o="576" data-src="https://freight.cargo.site/t/original/i/c4876c7e411ed7416a40599257bd1bca137296ac0dd6d1db47632d995a1e0bd9/sifting10.png" data-mid="173100341" border="0" alt="︎︎︎ Recording site: Holgate Glacier" data-caption="︎︎︎ Recording site: Holgate Glacier" src="https://freight.cargo.site/w/980/i/c4876c7e411ed7416a40599257bd1bca137296ac0dd6d1db47632d995a1e0bd9/sifting10.png" /> <img width="980" height="576" width_o="980" height_o="576" data-src="https://freight.cargo.site/t/original/i/7b063b7597cc38f815f2f2d61bc8f27822350390ee243ba3aae1faae0765d0e5/sifting11.png" data-mid="173100342" border="0" alt="︎︎︎ Recording site: Alyeska" data-caption="︎︎︎ Recording site: Alyeska" src="https://freight.cargo.site/w/980/i/7b063b7597cc38f815f2f2d61bc8f27822350390ee243ba3aae1faae0765d0e5/sifting11.png" /> Kenai and Denali proved to be excellent sites because:As places new to me, they required a high level of attention.I could experience an expanded acoustic horizon; without competition from human-caused noise, one can hear further, and recordings have a related expansive quality. It is easy to find quietness; different figure / ground relationships become noticeable, and new minimum technical requirements for equipment are evident.There is a great diversity in the built environment, land-use, and natural land areas accessible from Alaskan highways.There is extended daylight, which provides more time for exploration / experimentation. <img width="1080" height="1080" width_o="1080" height_o="1080" data-src="https://freight.cargo.site/t/original/i/47ec30193024f7627b664ddacea429ff385427df68dbe73f67e925a239a66734/sifting2.png" data-mid="173100057" border="0" alt="︎︎︎ Recording site: Homer Spit" data-caption="︎︎︎ Recording site: Homer Spit" src="https://freight.cargo.site/w/1000/i/47ec30193024f7627b664ddacea429ff385427df68dbe73f67e925a239a66734/sifting2.png" /> <img width="2098" height="1026" width_o="2098" height_o="1026" data-src="https://freight.cargo.site/t/original/i/715d28ac5cf5e7846c3a50dbf8746e32a18cca40be2307685713184991979880/sifting3.png" data-mid="173100065" border="0" alt="︎︎︎ Recording sites: Exit Glacier, Seward; Resurrection Creek and Porcupine Creek, Hope; Denali State Park " data-caption="︎︎︎ Recording sites: Exit Glacier, Seward; Resurrection Creek and Porcupine Creek, Hope; Denali State Park " src="https://freight.cargo.site/w/1000/i/715d28ac5cf5e7846c3a50dbf8746e32a18cca40be2307685713184991979880/sifting3.png" /> <img width="680" height="500" width_o="680" height_o="500" data-src="https://freight.cargo.site/t/original/i/dff396eb39748d7608c179cab5b2a5383640be51ecf226ed665a5f785fa54403/sifting9.png" data-mid="173100311" border="0" alt="︎︎︎ Acoustic monitoring sketch" data-caption="︎︎︎ Acoustic monitoring sketch" src="https://freight.cargo.site/w/680/i/dff396eb39748d7608c179cab5b2a5383640be51ecf226ed665a5f785fa54403/sifting9.png" /> <img width="900" height="840" width_o="900" height_o="840" data-src="https://freight.cargo.site/t/original/i/a7a7f8afff5bf2488076534b17606f0b6e1dedd0e430f70b048c147aa7d9f612/sifting5.png" data-mid="173100111" border="0" alt="︎︎︎ Travel routes" data-caption="︎︎︎ Travel routes" src="https://freight.cargo.site/w/900/i/a7a7f8afff5bf2488076534b17606f0b6e1dedd0e430f70b048c147aa7d9f612/sifting5.png" /> <img width="900" height="840" width_o="900" height_o="840" data-src="https://freight.cargo.site/t/original/i/97a2ac52c52229ea499110735722aec0f2b19e0beff0bf57c3e85c8680b239d9/sifting4.png" data-mid="173100110" border="0" alt="︎︎︎ Recording gear" data-caption="︎︎︎ Recording gear" src="https://freight.cargo.site/w/900/i/97a2ac52c52229ea499110735722aec0f2b19e0beff0bf57c3e85c8680b239d9/sifting4.png" /> <img width="640" height="440" width_o="640" height_o="440" data-src="https://freight.cargo.site/t/original/i/3d70de56afb9d2237f93b0fedf2978a33f808efcc27737775c7ee32ae44bc796/sifting7.png" data-mid="173100305" border="0" src="https://freight.cargo.site/w/640/i/3d70de56afb9d2237f93b0fedf2978a33f808efcc27737775c7ee32ae44bc796/sifting7.png" /> <img width="640" height="440" width_o="640" height_o="440" data-src="https://freight.cargo.site/t/original/i/a4126693e0cf7c8aa4f425bd9f53d50ead972ebc690a9f7951509442dd811dc4/sifting6.png" data-mid="173100270" border="0" alt="︎︎︎ Recording site: Ninilchik" data-caption="︎︎︎ Recording site: Ninilchik" src="https://freight.cargo.site/w/640/i/a4126693e0cf7c8aa4f425bd9f53d50ead972ebc690a9f7951509442dd811dc4/sifting6.png" /> <img width="1040" height="940" width_o="1040" height_o="940" data-src="https://freight.cargo.site/t/original/i/0a9c19646f579240704e8186da2812db65ab8d5b7741c06cb476863c967b8569/sifting8.png" data-mid="173100310" border="0" alt="︎︎︎ Tracking distributed field recorders (GAIA GPS)" data-caption="︎︎︎ Tracking distributed field recorders (GAIA GPS)" src="https://freight.cargo.site/w/1000/i/0a9c19646f579240704e8186da2812db65ab8d5b7741c06cb476863c967b8569/sifting8.png" /> <img width="2320" height="3088" width_o="2320" height_o="3088" data-src="https://freight.cargo.site/t/original/i/5d0844b20e4d9c6b9f5fb843a98829c4082c300fd4168abcfad259b8b975a621/IMG_0545.jpg" data-mid="173235516" border="0" src="https://freight.cargo.site/w/1000/i/5d0844b20e4d9c6b9f5fb843a98829c4082c300fd4168abcfad259b8b975a621/IMG_0545.jpg" /> https://shawngreenlee.com/Outwash Fri, 24 Mar 2023 10:19:58 +0000 Shawn Greenlee https://shawngreenlee.com/Outwash Outwash (2019) s3g · Shawn Greenlee "Outwash" (2019, binaural/stereo mix) Outwash was composed in 2019 for high density loudspeaker arrays (HDLA) with high order ambisonics. Development of the piece began during a residency at Virginia Tech’s Cube in March 2019 and it was later completed at RISD’s Studio for Research in Sound and Technology (SRST). In this work, twenty independent voices reliant upon the same underlying erratic synthesis procedure move throughout the room in varied spatial formations. Audible contours and modulations are produced by parametric deviation and distance fluctuations between the voices of this ensemble. While the piece is set in its duration and sequence, real-time processes afford unique outcomes in each performance. The piece was created in MaxMSP and runs autonomously. Outwash premiered at the Cube Fest with a 140 channel loudspeaker array (2019 Virginia Tech, Blacksburg) and was also included in the International Computer Music Conference (2021 Santiago). Outwash was most recently presented in fifth order ambisonics for a 41.4 channel loudspeaker array on June 9, 2023 in concert at the Lindemann Performing Arts Center, Brown University. &nbsp; ︎︎︎ Composition documentation, Virginia Tech 2019&nbsp; <img width="1922" height="1281" width_o="1922" height_o="1281" data-src="https://freight.cargo.site/t/original/i/c17d2250105bd7c48529ea68d95a6f96f6beb01b2bede99ffa6f60d380e280b3/m11_array1-2.jpg" data-mid="173100829" border="0" alt="︎︎︎ RISD Studio for Research in Sound &amp; Technology (SRST)" data-caption="︎︎︎ RISD Studio for Research in Sound &amp; Technology (SRST)" src="https://freight.cargo.site/w/1000/i/c17d2250105bd7c48529ea68d95a6f96f6beb01b2bede99ffa6f60d380e280b3/m11_array1-2.jpg" /> <img width="1080" height="410" width_o="1080" height_o="410" data-src="https://freight.cargo.site/t/original/i/0201179e712cc8558397ade4d520768e74a28aef4298943d3e2d3b7d0c64913e/vt_cube2.png" data-mid="173100730" border="0" src="https://freight.cargo.site/w/1000/i/0201179e712cc8558397ade4d520768e74a28aef4298943d3e2d3b7d0c64913e/vt_cube2.png" /> <img width="1080" height="635" width_o="1080" height_o="635" data-src="https://freight.cargo.site/t/original/i/6b6bc58e1cc5ce50c1f59ff289727eb956b379beb68fd2d6ca8600b98cd4aecd/vt_cube1.png" data-mid="173100728" border="0" alt="︎︎︎ Virginia Tech ICAT Cube&nbsp;" data-caption="︎︎︎ Virginia Tech ICAT Cube&nbsp;" src="https://freight.cargo.site/w/1000/i/6b6bc58e1cc5ce50c1f59ff289727eb956b379beb68fd2d6ca8600b98cd4aecd/vt_cube1.png" /> <img width="2070" height="720" width_o="2070" height_o="720" data-src="https://freight.cargo.site/t/original/i/76096f4d77018ab67f3fd2e5e705fee743491eb3a82ed125b5f521832db30b42/outwash_screen.png" data-mid="173100638" border="0" alt="︎︎︎ Outwash screenshot" data-caption="︎︎︎ Outwash screenshot" src="https://freight.cargo.site/w/1000/i/76096f4d77018ab67f3fd2e5e705fee743491eb3a82ed125b5f521832db30b42/outwash_screen.png" /> <img width="3506" height="2086" width_o="3506" height_o="2086" data-src="https://freight.cargo.site/t/original/i/4080aa254c6387e97331c3054cbb15af94c99c948bbdaeb47aad8a69cf91e5d9/decoderVT.png" data-mid="173100759" border="0" alt="︎︎︎ Spat5 decoder for VT Cube" data-caption="︎︎︎ Spat5 decoder for VT Cube" src="https://freight.cargo.site/w/1000/i/4080aa254c6387e97331c3054cbb15af94c99c948bbdaeb47aad8a69cf91e5d9/decoderVT.png" /> <img width="3742" height="2240" width_o="3742" height_o="2240" data-src="https://freight.cargo.site/t/original/i/0d68d388dd73a218ebed0657d67b693d288f0caf45d3b9d0b1e4f23424cc0303/decoderSAS.png" data-mid="173100760" border="0" alt="︎︎︎ Spat5 decoder for RISD SRST" data-caption="︎︎︎ Spat5 decoder for RISD SRST" src="https://freight.cargo.site/w/1000/i/0d68d388dd73a218ebed0657d67b693d288f0caf45d3b9d0b1e4f23424cc0303/decoderSAS.png" /> https://shawngreenlee.com/Quarries Fri, 24 Mar 2023 10:19:58 +0000 Shawn Greenlee https://shawngreenlee.com/Quarries Quarries (2016-22) ︎︎︎ October 23, 2022. Machines with Magnets, Pawtucket, RI Quarries is a flexible, evolving system for electroacoustic improvisation building upon aspects of my prior systems with refined approaches to synthesis, sampling, and audio processing. Quarries has evolved over a period of seven years, developed between performances at club venues, taking into account the discoveries made along the way. The underlying programming language has shifted from Pure Data (Pd) to MaxMSP.At first focused on the processing of contact mic’ed percussion instruments, the software has expanded to include its own internal synthesis engine with I/O for external effects and modular synths. For gestural control, the performer presently uses three Sensel Morph multitouch sensors and a DJ-style MIDI controller (Faderfox DJ-44), among other equipment to augment the system. ︎︎︎ January 15, 2021. Non-Event at Home Both through chance and intention, the performer adjusts parameters of an erratic synthesis process. Responding to the results, the player samples segments for further manipulation, hunts for emergent patterns, provides contrast with sampled live percussion, and improvises within the arising circumstances. Quarries was first presented at the Pure Data Convention (PdCon) in 2016 (NYU / Stevens Institute of Technology). Following performances included several venues in Rhode Island, Anchorage Museum (2017 Alaska), Human Resources (2019 Los Angeles), and a livestream for Boston’s Non-Event Experimental and New Music Series in January 2021. ︎︎︎&nbsp;March 30, 2018. Machines wiht Magnets, Pawtucket, RI ︎︎︎ May 6, 2017. AS220, Providence, RI︎︎︎ July 22, 2016. Machines with Magnets, Pawtucket, RI <img width="1600" height="895" width_o="1600" height_o="895" data-src="https://freight.cargo.site/t/original/i/e5595451f6ef2fb47be0ae4bb2e4f2a013d71f80837c53e66d886347ba535f62/greenlee_quarries-xl-1.png" data-mid="173087730" border="0" src="https://freight.cargo.site/w/1000/i/e5595451f6ef2fb47be0ae4bb2e4f2a013d71f80837c53e66d886347ba535f62/greenlee_quarries-xl-1.png" /> <img width="3012" height="1456" width_o="3012" height_o="1456" data-src="https://freight.cargo.site/t/original/i/fed16ac32143da65d195575349371c3b2865023abcda4bd030f11a9be7a526cf/PdCon2016-2.png" data-mid="173101044" border="0" src="https://freight.cargo.site/w/1000/i/fed16ac32143da65d195575349371c3b2865023abcda4bd030f11a9be7a526cf/PdCon2016-2.png" /> <img width="1000" height="577" width_o="1000" height_o="577" data-src="https://freight.cargo.site/t/original/i/9769e76791ca4934d187e00c479507130c8b77f82ad2fbb6fa21061ee7230eea/quar3.png" data-mid="173101436" border="0" src="https://freight.cargo.site/w/1000/i/9769e76791ca4934d187e00c479507130c8b77f82ad2fbb6fa21061ee7230eea/quar3.png" /> <img width="1000" height="578" width_o="1000" height_o="578" data-src="https://freight.cargo.site/t/original/i/0db9dc89a80e91c555ae8050564a4005b878ef52311b6fc821a7a4622f2e5c95/quar2.png" data-mid="173101432" border="0" src="https://freight.cargo.site/w/1000/i/0db9dc89a80e91c555ae8050564a4005b878ef52311b6fc821a7a4622f2e5c95/quar2.png" /> <img width="1000" height="577" width_o="1000" height_o="577" data-src="https://freight.cargo.site/t/original/i/3848e1a1922add2a82c2e63f272389548548012053e5d0822dc7593aae82cd12/quar1.png" data-mid="173101430" border="0" src="https://freight.cargo.site/w/1000/i/3848e1a1922add2a82c2e63f272389548548012053e5d0822dc7593aae82cd12/quar1.png" /> <img width="3006" height="1452" width_o="3006" height_o="1452" data-src="https://freight.cargo.site/t/original/i/a645f1fe360035ce0ff22adfda3a8c679a13b27c46ec3c16a509d4afa40d36d1/PdCon2016-1.png" data-mid="173101071" border="0" src="https://freight.cargo.site/w/1000/i/a645f1fe360035ce0ff22adfda3a8c679a13b27c46ec3c16a509d4afa40d36d1/PdCon2016-1.png" /> ︎︎︎ Quarries in performance&nbsp; Quarries HSL (2016-18) Quarries HSL is an improvisational performance approaching high density loudspeaker arrays as new interfaces for musical expression. Central to the piece is the use of visual image data scanned from works on paper using a live camera, applied as spatial audio positions and movements. For example, color data is applied as ambisonic coordinates with hue = azimuth, saturation = distance, and lightness = elevation. The works on paper from which the scans are taken function as a catalog of possibilities to be explored during performance. The performer refines the sonic experience through image processing, including adjustments to scan rate, zoom, hue shift, brightness, contrast, and saturation. Using multitouch sensors and a MIDI controller, the performer also creates the sounds spatialized by the camera scanning process. These interfaces provide access to parameters for sound synthesis and transformations of field recordings.The piece builds upon my previous investigations in graphic sound synthesis, and was developed between 2015-2017 at Virginia Tech’s Cube, University of Birmingham’s BEAST, and RPI’s EMPAC. It has been configured for as many as 140 channels. As the title suggests, this work is a variation on my Quarries system detailed above. This workwas performed at the International Conference on New Interfaces for Musical Expression (2018 Virginia Tech, Blacksburg) and the International Computer Music Conference (2018, Daegu). It was also performed at the BEAST FEaST (2017, Birmingham UK) and Cube Fest (2016 Virginia Tech, Blacksburg). ︎︎︎ Quarries HSL demonstration ︎︎︎ Quarries HSL sound check at VT Cube <img width="980" height="682" width_o="980" height_o="682" data-src="https://freight.cargo.site/t/original/i/98bc570be375fa3d14b622a4e73d4f90dba340cdea3c566f1dd227bb13b02ac8/qhsl_screen.png" data-mid="173102019" border="0" alt="︎︎︎ Quarries HSL screenshot" data-caption="︎︎︎ Quarries HSL screenshot" src="https://freight.cargo.site/w/980/i/98bc570be375fa3d14b622a4e73d4f90dba340cdea3c566f1dd227bb13b02ac8/qhsl_screen.png" /> <img width="1080" height="1080" width_o="1080" height_o="1080" data-src="https://freight.cargo.site/t/original/i/6d560302c71a3fefebf8b3bc24af69c79c160a959c03a4d6b6679606bc98387d/qhsl_table.png" data-mid="173102020" border="0" alt="︎︎︎ Quarries HSL setup" data-caption="︎︎︎ Quarries HSL setup" src="https://freight.cargo.site/w/1000/i/6d560302c71a3fefebf8b3bc24af69c79c160a959c03a4d6b6679606bc98387d/qhsl_table.png" /> <img width="2160" height="692" width_o="2160" height_o="692" data-src="https://freight.cargo.site/t/original/i/8a82cbf6206615278f009fcd6eb5a5a1386dede6e240c5c999c3f31795cce268/beast.png" data-mid="173101920" border="0" alt="︎︎︎ BEAST, Univ. of Birmingham UK" data-caption="︎︎︎ BEAST, Univ. of Birmingham UK" src="https://freight.cargo.site/w/1000/i/8a82cbf6206615278f009fcd6eb5a5a1386dede6e240c5c999c3f31795cce268/beast.png" /> <img width="820" height="1080" width_o="820" height_o="1080" data-src="https://freight.cargo.site/t/original/i/af149db4b7ffa05804ec1936230c3e0ae1dfab8a28653f7b8f6992534da60263/cube2.png" data-mid="173101922" border="0" alt="︎︎︎ Virginia Tech Cube" data-caption="︎︎︎ Virginia Tech Cube" src="https://freight.cargo.site/w/820/i/af149db4b7ffa05804ec1936230c3e0ae1dfab8a28653f7b8f6992534da60263/cube2.png" /> <img width="920" height="692" width_o="920" height_o="692" data-src="https://freight.cargo.site/t/original/i/a922818bed9d4cda40a21325b4f1c8b16706fd76e42abf7055ce352dea0ddf66/cube1.png" data-mid="173101921" border="0" alt="︎︎︎ Virginia Tech Cube, exterior" data-caption="︎︎︎ Virginia Tech Cube, exterior" src="https://freight.cargo.site/w/920/i/a922818bed9d4cda40a21325b4f1c8b16706fd76e42abf7055ce352dea0ddf66/cube1.png" /> <img width="1080" height="809" width_o="1080" height_o="809" data-src="https://freight.cargo.site/t/original/i/26cec4652b688e819b50e7e32c42a0758ea9207a9f905e2c7e39ea4b4eee36c3/empac_wfs2.png" data-mid="173101929" border="0" alt="︎︎︎ RPI EMPAC" data-caption="︎︎︎ RPI EMPAC" src="https://freight.cargo.site/w/1000/i/26cec4652b688e819b50e7e32c42a0758ea9207a9f905e2c7e39ea4b4eee36c3/empac_wfs2.png" /> <img width="809" height="809" width_o="809" height_o="809" data-src="https://freight.cargo.site/t/original/i/e12cf3eb25febefcb8c4dceb48fe2ff3ef48385c968210d6aa6bced1093f64b1/empac_wfs.png" data-mid="173101925" border="0" alt="︎︎︎ EMPAC Wave Field Synthesis array" data-caption="︎︎︎ EMPAC Wave Field Synthesis array" src="https://freight.cargo.site/w/809/i/e12cf3eb25febefcb8c4dceb48fe2ff3ef48385c968210d6aa6bced1093f64b1/empac_wfs.png" /> https://shawngreenlee.com/Subsitutions Fri, 24 Mar 2023 11:10:59 +0000 Shawn Greenlee https://shawngreenlee.com/Subsitutions Substitutions (2015) Substitutions is inspired by a Chinese lithophone within the Museum of the Rhode Island School of Design’s Asian collection. Lithophones are ancient instruments, stones that vibrate and produce sound when struck. The RISD Museum’s Lithophone (or qing) is an L-shaped jade stone dating from 1761, created during the Qing Dynasty. The Museum piece is not available to be handled (or struck for that matter). In order to compose for this instrument within a computer music context, I fabricated an approximation in granite for use as a percussive interface for sound synthesis and signal processing. In the performance of Substitutions, a Barcus-Berry Planar Wave piezo transducer is fixed to the stone’s vertex between the drum and femur. The transducer’s signal is sent to custom software created in the programming language Pure Data (Pd). In software, two computational substitutions take place. First, a real-time sinusoidal analysis of the audio signal is conducted. This analysis is used to drive a re-synthesis procedure with an oscillator bank. Thus, spectral information is used to produce drifting, sustained tones initiated by and fluctuating with percussive actions. The second substitution is created via convolution reverb. Pre-recorded impulse responses from metallic percussion instruments are used to change the perceived material quality of the stone chime. Sonically, the qing becomes gong. I performed Substitutions on December 4, 2014 and February 26, 2015 at the RISD Museum and later authored a short text about it for the Museum’s online publication Manual. This work was performed at the International Conference on New Interfaces for Musical Expression (2015 LSU, Baton Rouge). &nbsp; &nbsp; <img width="640" height="640" width_o="640" height_o="640" data-src="https://freight.cargo.site/t/original/i/1b691f4d504deda57a0964240b041a2313166c33a86866cbe7cfe0058b2c9442/channel.jpg" data-mid="173096333" border="0" alt="︎︎︎ Demonstration December 4. 2014, RISD Museum" data-caption="︎︎︎ Demonstration December 4. 2014, RISD Museum" src="https://freight.cargo.site/w/640/i/1b691f4d504deda57a0964240b041a2313166c33a86866cbe7cfe0058b2c9442/channel.jpg" /> <img width="4000" height="2326" width_o="4000" height_o="2326" data-src="https://freight.cargo.site/t/original/i/60a02f362f809776e8c9f7e3e7e1603ab484e01f13eced1415a696e990fdfa73/screengrab3.png" data-mid="173096187" border="0" src="https://freight.cargo.site/w/1000/i/60a02f362f809776e8c9f7e3e7e1603ab484e01f13eced1415a696e990fdfa73/screengrab3.png" /> <img width="2004" height="1164" width_o="2004" height_o="1164" data-src="https://freight.cargo.site/t/original/i/35a57eb7d124c9bc960f5524881282c62b7438942e01f694c8ecfc1e8d30aaad/screengrab2.png" data-mid="173096166" border="0" src="https://freight.cargo.site/w/1000/i/35a57eb7d124c9bc960f5524881282c62b7438942e01f694c8ecfc1e8d30aaad/screengrab2.png" /> <img width="2004" height="1164" width_o="2004" height_o="1164" data-src="https://freight.cargo.site/t/original/i/8ab61a43ad7183a0f7d6871f5b1ba24083b1672e9b4d23d8e4cf53927ef59e0e/screengrab.jpg" data-mid="173096194" border="0" src="https://freight.cargo.site/w/1000/i/8ab61a43ad7183a0f7d6871f5b1ba24083b1672e9b4d23d8e4cf53927ef59e0e/screengrab.jpg" /> The original qing (L-shaped lithophone) was likely adapted from agricultural ploughshare stones and used for signaling over distances to mark time, summon people, and for sounding warnings. Later, these concussion idiophones were arranged for ritual court music in pitch-ranged sets featuring 12, 16, or 32 qing. According to the inscriptions on the RISD Museum’s Lithophone, it is the pitch nanlü, the 10th stone in a set of 12. In the second month of autumn, it would be used to mark the end of each musical movement during important ceremonies. With the dissolution of the Qing Dynasty by 1912, instruments specific to court rituals, like qing, fell out of use. At the end of the 19th century, sets were broken up and sold. Qing Dynasty lithophones are scattered across private and public collections in the United States. The Chinese lithophone shares many characteristics with the Korean pyeongyeong. Notably there is a geometrical effect on the stone’s tuning, with the top obtuse angle being a primary factor. The long leg is known as the “drum,” and the shorter leg, the “femur” or “thigh.” Traditional playing technique is with a wooden mallet and use of either striking or tapping gestures. My stone instrument is close to the original in terms of dimensions. The biggest differences are the material used (granite vs. jade) and the position of the bottom curve. Otherwise, original angles and measurements were followed. As fabricated, the stone’s fundamental frequency is 690 Hz, not a match to the original which, according to the literature, should be near 440 Hz. Differences were expected, especially given the material choice; the goal was not an exact replica. &nbsp; &nbsp;&nbsp; <img width="4074" height="2851" width_o="4074" height_o="2851" data-src="https://freight.cargo.site/t/original/i/b4cb72ceb4111cabc86103c55b05867875ce343ef584b03365fba4c3332d1232/RISDM-37-113-v_02.jpg" data-mid="173096350" border="0" alt="︎︎︎ Chinese Lithophone, 1761-62, collection of RISD Museum" data-caption="︎︎︎ Chinese Lithophone, 1761-62, collection of RISD Museum" src="https://freight.cargo.site/w/1000/i/b4cb72ceb4111cabc86103c55b05867875ce343ef584b03365fba4c3332d1232/RISDM-37-113-v_02.jpg" /> <img width="3264" height="2448" width_o="3264" height_o="2448" data-src="https://freight.cargo.site/t/original/i/979ee38d3bda7ee8272ccdf7a609f948816b82fc0efa515e3984ff0c080c51d2/IMG_0444.jpg" data-mid="173096376" border="0" alt="︎︎︎ Pyeongyeong at the National Gugak Center, Seoul, South Korea" data-caption="︎︎︎ Pyeongyeong at the National Gugak Center, Seoul, South Korea" src="https://freight.cargo.site/w/1000/i/979ee38d3bda7ee8272ccdf7a609f948816b82fc0efa515e3984ff0c080c51d2/IMG_0444.jpg" /> https://shawngreenlee.com/Missents Fri, 24 Mar 2023 11:11:02 +0000 Shawn Greenlee https://shawngreenlee.com/Missents Missents (2015) s3g · Missents - excerpt <img width="980" height="576" width_o="980" height_o="576" data-src="https://freight.cargo.site/t/original/i/e3d25420d5489a169d42f79a07a94e9246e3676cdb137682e987ade779febc1e/missents_1.png" data-mid="173097135" border="0" src="https://freight.cargo.site/w/980/i/e3d25420d5489a169d42f79a07a94e9246e3676cdb137682e987ade779febc1e/missents_1.png" /> <img width="980" height="576" width_o="980" height_o="576" data-src="https://freight.cargo.site/t/original/i/18ea465d7da5f465bab1ab9068827cb743f1eea4a85c66c8a4b853653e001df7/missents_2.png" data-mid="173097140" border="0" alt="︎︎︎ ︎︎︎ Waterplace Park Providence, loudspeakers" data-caption="︎︎︎ ︎︎︎ Waterplace Park Providence, loudspeakers" src="https://freight.cargo.site/w/980/i/18ea465d7da5f465bab1ab9068827cb743f1eea4a85c66c8a4b853653e001df7/missents_2.png" /> Missents was composed for the network of loudspeakers installed along the canal in downtown Providence, generally used for the periodic WaterFire events. The piece was played on October 9, 2015 over the course of twelve hours. This multichannel sound work explores the interaction between different loudspeaker zones and the surrounding architecture, particularly aspects of phasing and latency due to the long distances between speakers spread over the geographic area. Custom software was written to produce a non-repeating soundscape over long durations. This work featured both synthesized material and field recordings from sites near waterways. <img width="2448" height="3264" width_o="2448" height_o="3264" data-src="https://freight.cargo.site/t/original/i/4cba447279dab36318285b0c27fc4b0e3b1a46114ef10f828476337345a9a0b0/IMG_1320.JPG" data-mid="173097251" border="0" alt="︎︎︎ Software running to three loudpspeaker zones " data-caption="︎︎︎ Software running to three loudpspeaker zones " src="https://freight.cargo.site/w/1000/i/4cba447279dab36318285b0c27fc4b0e3b1a46114ef10f828476337345a9a0b0/IMG_1320.JPG" /> <img width="824" height="1080" width_o="824" height_o="1080" data-src="https://freight.cargo.site/t/original/i/c41c8a7ea819e0f2653418647881c06c69abcb4717dc48e5fe5ec8cec98b8c65/missents_3.png" data-mid="173097245" border="0" alt=" ︎︎︎ Waterplace Park Providence, loudspeakers" data-caption=" ︎︎︎ Waterplace Park Providence, loudspeakers" src="https://freight.cargo.site/w/824/i/c41c8a7ea819e0f2653418647881c06c69abcb4717dc48e5fe5ec8cec98b8c65/missents_3.png" /> https://shawngreenlee.com/Multipass Fri, 24 Mar 2023 11:11:04 +0000 Shawn Greenlee https://shawngreenlee.com/Multipass Multipass (2015) ︎︎︎ Kyungso Park performing Multipass, Gyeonggi Creation Center in Daebudo <img width="2448" height="3264" width_o="2448" height_o="3264" data-src="https://freight.cargo.site/t/original/i/da2c1704733ae2273cf15cc00a8a4892bfb33b8c5a10f7b9df22a98026cfa50a/IMG_0504.jpg" data-mid="173099443" border="0" src="https://freight.cargo.site/w/1000/i/da2c1704733ae2273cf15cc00a8a4892bfb33b8c5a10f7b9df22a98026cfa50a/IMG_0504.jpg" /> Multipass is a piece for solo gayageum. It is based on the algorithmically generated score made for an earlier work (Multipath). This adaptation was created during studies at the National Gugak Center in June 2015. The title is a reference to digital file encoding where key perceivable aspects are retained, but some information is inevitably lost. <img width="427" height="640" width_o="427" height_o="640" data-src="https://freight.cargo.site/t/original/i/50f58d909ed1e53e80684a22856edbb744004ee88b902c2ebad040accaa76161/DSC_1726.jpg" data-mid="173099434" border="0" alt="︎︎︎ Kyungso Park performing Multipass, National Gugak Center in Seoul" data-caption="︎︎︎ Kyungso Park performing Multipass, National Gugak Center in Seoul" src="https://freight.cargo.site/w/427/i/50f58d909ed1e53e80684a22856edbb744004ee88b902c2ebad040accaa76161/DSC_1726.jpg" /> <img width="1416" height="2362" width_o="1416" height_o="2362" data-src="https://freight.cargo.site/t/original/i/66ec1de5fd781e335f2274f5337a82113e354028c8b0c9fc64274d5f9b442b0c/AURA-2012-Flyer---Gayageum-Telecom.jpg" data-mid="173099219" border="0" src="https://freight.cargo.site/w/1000/i/66ec1de5fd781e335f2274f5337a82113e354028c8b0c9fc64274d5f9b442b0c/AURA-2012-Flyer---Gayageum-Telecom.jpg" /> <img width="1416" height="2362" width_o="1416" height_o="2362" data-src="https://freight.cargo.site/t/original/i/d98d78888da9ec7421790f60fd703e64b5e339e49ddbcd2e8b5dcf60d4979c72/AURA-2012-Flyer---Gayageum-Telecom2.jpg" data-mid="173099220" border="0" src="https://freight.cargo.site/w/1000/i/d98d78888da9ec7421790f60fd703e64b5e339e49ddbcd2e8b5dcf60d4979c72/AURA-2012-Flyer---Gayageum-Telecom2.jpg" /> Multipath (2012) My first work for the gayageum premiered on December 27, 2012 at the Welcomm Theatre in Seoul, South Korea. In the autumn of 2012, I was commissioned to create a new work on the theme of telecommunications for gayageum ensemble AURA (Kyungso Park, Hyein Min, and Seolhyun Park). I had two initial challenges. The first was to study the gayageum in order to learn its playing technique and history. The second was to find a way to interpret telecommunications principles as a compositional framework. <img width="512" height="384" width_o="512" height_o="384" data-src="https://freight.cargo.site/t/original/i/f1993d682ebbf01c0fe18a4a52e7c2aa82372d52ff6c670a8206365fc38442f7/ktv.png" data-mid="173098835" border="0" src="https://freight.cargo.site/w/512/i/f1993d682ebbf01c0fe18a4a52e7c2aa82372d52ff6c670a8206365fc38442f7/ktv.png" /> <img width="3003" height="1689" width_o="3003" height_o="1689" data-src="https://freight.cargo.site/t/original/i/7496aa61c9d5147fbc26f1ec8eef700954db1ac4a35eeceb8d254ef7357cf893/42_aura.jpg" data-mid="173098884" border="0" src="https://freight.cargo.site/w/1000/i/7496aa61c9d5147fbc26f1ec8eef700954db1ac4a35eeceb8d254ef7357cf893/42_aura.jpg" /> <img width="1280" height="720" width_o="1280" height_o="720" data-src="https://freight.cargo.site/t/original/i/c82393710cc7f4dff1477de35b6d27f8c9b7d83a51c94405d34cfeeea0a23343/43_aura.png" data-mid="173098881" border="0" alt="︎︎︎ AURA trio performing Multipath, Welcomm Theatre in Seoul" data-caption="︎︎︎ AURA trio performing Multipath, Welcomm Theatre in Seoul" src="https://freight.cargo.site/w/1000/i/c82393710cc7f4dff1477de35b6d27f8c9b7d83a51c94405d34cfeeea0a23343/43_aura.png" /> In learning about the history of gayageum notation, I found a starting point in the jeongganbo (jeongak) notation system invented by King Sejong in 1445, considered to be Asia’s first notation system to use varying note shapes and to indicate temporal durations. In this matrix form of notation, I found a conceptual link to the grids we encounter everyday as the pixel arrays of digital screens, in the many ways we encounter them, on cell phones, mobile devices, computers, and televisions. During the research for this work, I studied various aspects of wireless telecommunications. I have been particularly interested in phenomena that occur when transmitted signals do not arrive at the receiving end as intended, when new images and sounds occur that usually cause us to change our position, move antennae, or finely tune a dial so that we can better receive. One reason we may experience such interference is due to multipath propagation of wireless signals. This is the origin of the piece’s title. In multipath propagation, a wirelessly transmitted signal reaches a receiver by more than one path thereby causing interference due to near-simultaneous or time- delayed occurrences of the same signal. Typically this phenomenon is caused by reflections off of bodies of water, landmasses, and buildings. In a visual transmission, we might call these effects “ghosting” or “jitter.” In order to make this concept audible, I composed a computer program that generates scores for individual performers via an idiosyncratic data sonification procedure. I developed a way to translate a visual image into musical passages, following a system where the image is reduced in resolution (pixilated or down-sampled) into a grid of 16 x 32 pixels. Importantly, a full-color image is composed of red, green, and blue values, so I prepared the translation with each player in AURA performing a different color channel. In simple terms, brighter color values within each channel produce higher pitches and longer durations; darker color values produce lower pitches and shorter durations. The very darkest and very brightest values produce rests. <img width="4000" height="3000" width_o="4000" height_o="3000" data-src="https://freight.cargo.site/t/original/i/2cdf6af113655234c3206d01600761866e279845c019b61d016463846a9707ca/IMG_8839.JPG" data-mid="173099346" border="0" alt="︎︎︎ Presentation at Brown Univ. Digital Scholarship Lab" data-caption="︎︎︎ Presentation at Brown Univ. Digital Scholarship Lab" src="https://freight.cargo.site/w/1000/i/2cdf6af113655234c3206d01600761866e279845c019b61d016463846a9707ca/IMG_8839.JPG" /> <img width="1440" height="480" width_o="1440" height_o="480" data-src="https://freight.cargo.site/t/original/i/7fa027a0f59280816b51d233883c37be2687e5cd10f227626d923fc387c39320/mp_section1_w_source.png" data-mid="173099069" border="0" src="https://freight.cargo.site/w/1000/i/7fa027a0f59280816b51d233883c37be2687e5cd10f227626d923fc387c39320/mp_section1_w_source.png" /> <img width="1940" height="458" width_o="1940" height_o="458" data-src="https://freight.cargo.site/t/original/i/edd1e31c1e64ce628da962ccaf853f16f7c53db3a1436e0d88e3026434a7e805/mp_sec1_RGB.jpg" data-mid="173099104" border="0" src="https://freight.cargo.site/w/1000/i/edd1e31c1e64ce628da962ccaf853f16f7c53db3a1436e0d88e3026434a7e805/mp_sec1_RGB.jpg" /> <img width="1440" height="480" width_o="1440" height_o="480" data-src="https://freight.cargo.site/t/original/i/0d152e7fc380be62112da319830144f9185bd32c2a8f448079576f97c1d32756/mp_section2_w_source.png" data-mid="173099154" border="0" src="https://freight.cargo.site/w/1000/i/0d152e7fc380be62112da319830144f9185bd32c2a8f448079576f97c1d32756/mp_section2_w_source.png" /> <img width="1940" height="458" width_o="1940" height_o="458" data-src="https://freight.cargo.site/t/original/i/7b4b8d325aa48c59c95f5c56994d5a499cc124e26500b27e4ea8061c469be852/mp_sec2_RGB.jpg" data-mid="173099155" border="0" src="https://freight.cargo.site/w/1000/i/7b4b8d325aa48c59c95f5c56994d5a499cc124e26500b27e4ea8061c469be852/mp_sec2_RGB.jpg" /> <img width="1440" height="480" width_o="1440" height_o="480" data-src="https://freight.cargo.site/t/original/i/f42d0cbe59de8d282f06f4081b7c4c30bdd442281c6b1991797690c271279266/mp_section3_w_source.png" data-mid="173099157" border="0" src="https://freight.cargo.site/w/1000/i/f42d0cbe59de8d282f06f4081b7c4c30bdd442281c6b1991797690c271279266/mp_section3_w_source.png" /> <img width="1940" height="458" width_o="1940" height_o="458" data-src="https://freight.cargo.site/t/original/i/dac22acc04bd373ecd8a6b480ad1fc36afc05f9c34c94c7b4f0a207f040300f8/mp_sec3_RGB.jpg" data-mid="173099158" border="0" src="https://freight.cargo.site/w/1000/i/dac22acc04bd373ecd8a6b480ad1fc36afc05f9c34c94c7b4f0a207f040300f8/mp_sec3_RGB.jpg" /> ︎︎︎ Source images, downsampled versions and separated RGB channels In the 16 pixels per row, 8 of these describe the pitch to be played with the 8 adjacent pixels describing the duration for that note. After the 8 notes are complete, then the next row is played until the end of the image is reached. Because each player is performing a different color channel, the pitches and durations for each performer vary. Each player moves through rows at a different pace, rendering the sound. The effect is that coordinated musical phrases are experienced as somehow time-delayed, a bit off. There is a shadowing, ghosting, or echoing process happening between the players (arising from the offset between color channels). The listener hears the image slowly, row by row, with the induced error apparent as a feeling of asynchronicity between players.