TY - GEN
T1 - Sonic Explorations of Gumowski-Mira Maps
AU - Tan, Timothy S. H.
AU - Lindborg, PerMagnus
PY - 2017/10
Y1 - 2017/10
N2 - This paper studies the use of Gumowski-Mira maps for sonic arts. Gumowski-Mira maps are a set of chaotic systems that produce many organic orbits that resemble cells, flowers and other life forms. This has prompted mathematicians and eventually artists to study them. These maps carry a potential for use in the sonic arts, but until now such use is non-existent. The paper describes two ways of using Gumowski-Mira maps: for synthesis and spatialization. The synthesis approach, which runs in real-time, takes the dynamical system output as the real and imaginary input to an inverse Fourier transformation, thus directly sonifying the algorithm. The spatialization approach uses the shapes of Gumowski-Mira maps as shapes across the acoustic space, using the first 128 iterations of each map as audio particles. The shapes can change based on the maps' initial parameters. The maps are explored in live performance using Leap Motion and Cycling'74's MIRA for iPad as control interfaces of audio processing in SuperCollider. Examples are given in two works, Cells #1 and #2.
AB - This paper studies the use of Gumowski-Mira maps for sonic arts. Gumowski-Mira maps are a set of chaotic systems that produce many organic orbits that resemble cells, flowers and other life forms. This has prompted mathematicians and eventually artists to study them. These maps carry a potential for use in the sonic arts, but until now such use is non-existent. The paper describes two ways of using Gumowski-Mira maps: for synthesis and spatialization. The synthesis approach, which runs in real-time, takes the dynamical system output as the real and imaginary input to an inverse Fourier transformation, thus directly sonifying the algorithm. The spatialization approach uses the shapes of Gumowski-Mira maps as shapes across the acoustic space, using the first 128 iterations of each map as audio particles. The shapes can change based on the maps' initial parameters. The maps are explored in live performance using Leap Motion and Cycling'74's MIRA for iPad as control interfaces of audio processing in SuperCollider. Examples are given in two works, Cells #1 and #2.
UR - http://www.scopus.com/inward/record.url?scp=85040033883&partnerID=8YFLogxK
UR - https://www.scopus.com/record/pubmetrics.uri?eid=2-s2.0-85040033883&origin=recordpage
UR - http://hdl.handle.net/2027/spo.bbp2372.2017.031
M3 - RGC 32 - Refereed conference paper (with host publication)
AN - SCOPUS:85040033883
SN - 9780984527465
T3 - International Computer Music Conference Proceedings
SP - 195
EP - 200
BT - 2017 ICMC/EMW
PB - Shanghai Conservatory of Music
CY - Shanghai, China
T2 - 43rd International Computer Music Conference (ICMC 2017) and 6th Electronic Music Week (EMW 2017)
Y2 - 16 October 2017 through 20 October 2017
ER -