Friday, 08 June 2018 | 15:00 > 18:00 2018-06-07T15:00:00.000Z | Classroom 3
The worksop will be focusing on various techniques inside Max, Max for Live and Live that represent the basis of my audiovisual compositional practice and can be easily extended to performance. These techniques are anchored around a conceptual node that could be called “in-betweenness” - being in-between very opposite compositional practices such as indeterminacy, randomness or probabilities on one hand and planning, total control or repetition on the other. In other words I am influenced by techniques that span from very experimental to very genre based and I will share with you how I bridge that gap using Max, Max for Live and Live. During the workshop we will create few simplified sequences from the LPM 2018 promo video.
Topics that will be covered:
How to use Live’s time-line to control visuals in Max.
How to efficiently analyse audio in Live for the purpose of controlling visuals (tricks with existing Live’s analysis tools and custom made Max for Live devices).
How to use Max to add indeterminacy, randomness or non-metric time to your audiovisual language.
Generating and processing 3D geometry inside Max using noise and physics based algorithms.
Using visuals to control audio (*only if there will be enough time).
TADEJ DROLJC is a Slovenian artist and creative coder who works at the intersection of sound, image and light.
For his work Tadej was awarded the Lumen Prize Student Award, Dennis Smalley scholarship in electroacoustic music and he won the most promising Video Artist prize at Madatac. His practice based doctoral research was awarded the Vice Chancellorʼs Award for an outstanding thesis at the Centre for Research in New Music. A work from his collaborative project Synspecies won the Edigma Semibreve...