Paul E. Dickson, David I. Warshow, Alec C. Goebel, Colin C. Roache, W. Richards Adrion
ITiCSE '12 Proceedings of the 17th ACM annual conference on Innovation and technology in computer science education
Leftbody is the moniker of my live music visualization experiance. Drawing from traditions of experimental film, computer graphics and video art, Leftbody utilizes a variety of aesthetics, computational techniques and interactive paradigms to augment musical performance, rendering a synesthetically immersive social augmentation.
Stay tuned on social media for new videos and upcoming event details.
ccr.io serves an openly accessible digital space to display a selection of my artwork.
ccr.io lives in two parts, the gallery and the pieces displayed within.
The core of the site, the gallery, handles navigational interaction and can manage an arbitrary number of rendered works efficiently.
The pieces all started as vivid visual ideas. In them I hope to explore and cultivate the emotional complexity that can arise from examining the seemingly simple.
I aim for this project to provide me with a highly flexible context into which I can display my existing works and create original creative works. It will change and morph with time, displaying a range of work from video to interactions.
The currently displayed works, Spectrums, are non-interactive, deterministically generative loops ranging from 20 to 60 seconds.
The works presented have been through ideation, prototyping, iteration, translation and optimization phases.
The site is mainly written using CoffeeScript and GLSL, utilizing a wide range of open source libraries and scripts.
Working with Oglivy & Mather and Minivegas, I was the sole developer of an iOS app for Huggies, Cry To Lullaby. Using digital signal processing, interactive shading and immersive interaction design, Cry To Lullaby offers a soothing, touch-reactive lullaby experience tailored to the specific emotions detected in a baby's cry.
While working for Scott Snibbe Studio I developed the second iOS version of Gravilux, which is an interactive and meditative experience allowing users to push and pull at gravitational fields of stars. My favorite added feature is the music visualizer, allowing users to play a song from their iPod library and control how that music moves the stars. Interactive typography, a new interface, and vastly improved performance made this update a completely new experience.
iOS App Store
Press in Co.Design
While working for Scott Snibbe Studio I had the opportunity to develop an iOS app for the musical act Passion Pit. Here's a short video of them using the app:
We began the project by combining imagery from the album with the geometric patterns of Scott Snibbe's app Bubble Harp into backing visuals for live projection at the 2012 Webby Awards.
We then took the aesthetic from the live visuals and created a fully interactive mobile experience. The iOS app allows users to listen to two songs from their new album, Gossamer, while giving the user the ability to interact with images using interaction idioms from Bubble Harp. The apps also allows users to remix both songs in novel music synthesis modes.
Band Project Link
Studio Project Link
iOS App Store Link
When starting at Scott Snibbe Studio I was responsible for build mastering, quality assurance and In-App Purchase engineering for the Biophilia App, as well as production of concert visuals for the live tour. In a collaboration between Björk, Scott Snibbe and M/M Paris, the iOS app provides numerous fully interactive experiences to accompany each song on the album Biophilia.
Press Release: Biophilia, the First App in MoMA’s Collection
These projection mapped animations are the result of a collaboration with Noah Eisenbruch
3ft3 constructed wooden cube for projection surface
After Effects for Animation
Quartz Composer for Projection Mapping
This experimental space, sound and projection installation was a collaboration with Eric Hnatow and Declan Murphy.
As the result of experimentation with audio-reactive visuals, we created a space which was highly immersive and audio-reactive. Eric and Declan created and amplified the soundscape portion of the work using analog and granular synthesizers. I projected a few of my music visualization sketches onto a polyester film, which then reflected onto sheet used as a simple rear projection screen.
We mounted the film such that the bottom was unattached from the frame, allowing it to move with wind. We positioned the bass speaker directly at the bottom of the film. The vibrations from the speaker caused wind which would move and warp the shape of the film. As the film moves, so do the normals of the reflection surface, and the rear projection is warped to the audio. Extending this further, we duplicated the system in a 'V' pattern, creating a narrowing hallway of cloth for a user to immerse themselves into. My partners created spatialized audio tracks, allowing us to visualize the effects of separate parts of the soundscape on the different reflections.
Quartz Composer for audio-reactive graphics
Reflective polyester film
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