1. Origami Hiroko Terasawa, Grace Leslie

2. Today’s talk Motivation & Aesthetics Musical Goal Links btw/ objects and music Score & performance Acoustic properties Electronics & computer use Controllability Summary Motivation & Aesthetics Musical Goal Links btw/ objects and music Score & performance Acoustic properties Electronics & computer use Controllability Summary

3. Why Origami? Analogy between computer music and origami – flexible medium –complexity by processing and combining simple materials and parts. Antiphon to futurism –Fragility –Modality Analogy between computer music and origami – flexible medium –complexity by processing and combining simple materials and parts. Antiphon to futurism –Fragility –Modality

4. Our musical goal Hiroko –Evocative / metaphoric match between parameter dimensionality, timbre and form. –Fragility and transformation Grace –Clear expectations (e.g. traditional crane) –Openness in a few parameters (i.e. paper and size in origami) –Each performance will be slightly different but the overall character and integrity will be maintained. Hiroko –Evocative / metaphoric match between parameter dimensionality, timbre and form. –Fragility and transformation Grace –Clear expectations (e.g. traditional crane) –Openness in a few parameters (i.e. paper and size in origami) –Each performance will be slightly different but the overall character and integrity will be maintained.

5. Physical to sonic translation Predetermined parameters Open parameters Physical incarnation (origami) Fragility, form, clear boundaries Material and size Musical incarnation (our piece) Form and spacetimbre

6. Score and performance Degree of control –Score and instructions Predetermined form: “score” - origami itself. Causality with limitations in: physical medium and musical possibilities. These limitations exist in the number and types of folds possible, and the final form of the origami. –Improvisation The performer is able to choose the material and size of the origami they create, which in turn affects the timbral characteristics of the piece. Degree of control –Score and instructions Predetermined form: “score” - origami itself. Causality with limitations in: physical medium and musical possibilities. These limitations exist in the number and types of folds possible, and the final form of the origami. –Improvisation The performer is able to choose the material and size of the origami they create, which in turn affects the timbral characteristics of the piece.

7. Acoustic property Source - Filter Model ExcitationResonanceSound Tapping Rubbing Blowing static pulse large - small thick - thin elastic - stiff folded - plain large cavity - small cavity lowhigh

8. Electronics and Musical Materials Folds / objects and filters –“ an analogy between combinations of paper folds and both traditional and extended permutations of musical materials (that is, not only invertibility etc, but also a particular sequence of folds as a filter.) ” (J. Berger) Max/MSP patch –translate the physical sounds of making origami into a sonic realization of the process. Signal and controller –Contact and condenser microphones and a digital audio interface (origami to the computer) –Switches, variable capacitors Folds / objects and filters –“ an analogy between combinations of paper folds and both traditional and extended permutations of musical materials (that is, not only invertibility etc, but also a particular sequence of folds as a filter.) ” (J. Berger) Max/MSP patch –translate the physical sounds of making origami into a sonic realization of the process. Signal and controller –Contact and condenser microphones and a digital audio interface (origami to the computer) –Switches, variable capacitors

9. External control Switch –Mute when folded Variable capacitors? Switch –Mute when folded Variable capacitors?

10. Time control The length of the piece –determined by the speed of the folds –how long performers meditate upon the final product. The form –determined by the types and complexities of the folds. –Origami: translation of physical space from simple to complex and chaotic to ordered. –Our mappings will reflect these transformations. The length of the piece –determined by the speed of the folds –how long performers meditate upon the final product. The form –determined by the types and complexities of the folds. –Origami: translation of physical space from simple to complex and chaotic to ordered. –Our mappings will reflect these transformations.

11. Spatialization control Boundaries / discreteness Grace’s head Boundaries / discreteness Grace’s head

12. An open end.. What we covered today –Aesthetics, musical style, form, technology, control. More details –To be determined upon more prototyping / discussion / feedback What we covered today –Aesthetics, musical style, form, technology, control. More details –To be determined upon more prototyping / discussion / feedback