Bit Bender
The user selects a game to play and presses the power button on the Nintendo console. Players can choose between one or two-player games. Once the game loads, the game controller enables standard gameplay. As long as the user interacts with the joystick and buttons, the game operates normally. A complex sound pattern is generated by a synthesizer and broadcasted from a nearby amplifier. Characteristics such as rate and pitch, or the overall effect, change as more pads are pressed, with variations in pressure on each pad. The video output may become severely distorted, with the types of distortion being influenced by the pads pressed and the pressure applied. The distortion patterns are controlled by the synthesizer oscillators, meaning that the audio experience is directly linked to the visual experience. The intent is to create a hybrid interaction that explores a new form of music and performance. This setup incorporates electronic sound generation and video modulation controlled by sound, built around a gaming system, and is designed for public installation, enhancing the social aspect of the experience. The aim is to provide an intriguing and inspiring experience for users. Successful installations and experimental musical interfaces should guide users toward favorable outcomes while allowing for personal exploration. The pressure-sensitive touch interface achieves this balance, being user-friendly yet capable of subtlety. The interface allows for the exploration of how gaming conventions influence musical timing and flow. Users may make decisions based on both musical composition and game timing. The relationship between sound and video also affects the musical output, as audio is perceived differently when visually represented. Incorporating gaming provides an accessible and intuitive interaction form. The primary challenge in public installations is to encourage interaction, and gaming typically requires minimal explanation to engage users. The controls are designed using standard arcade hardware, which is large, simple, and inviting. Gaming carries social and emotional significance for many, creating expectations that can be subverted through dramatic sound and video modification. Additionally, gaming often fosters a competitive social experience, which is further explored through music-making. Each player can control sound and video, allowing for competitive or collaborative dynamics. Game systems like the Nintendo feature easily modifiable video generators, enabling various video glitching effects by shorting points on the video chips. Some effects may hinder gameplay, while others alter game characters or landscapes.
The electronic schematic for this interactive installation would encompass several key components: a Nintendo console modified for enhanced video output, a synthesizer for sound generation, and a pressure-sensitive touch interface that serves as the primary user input method. The Nintendo console would be connected to a video processing unit that allows for real-time manipulation of the video output based on user interactions. This unit would include circuitry for shorting specific points on the video chips to create various glitch effects, enabling dynamic visual transformations that correspond with the audio output.
The synthesizer would be connected to an audio processing unit, allowing for the generation of complex sound patterns. The audio output would be routed to an amplifier, which would broadcast the sound to the audience. The pressure-sensitive touch interface would consist of multiple pads, each capable of detecting varying levels of pressure. These pads would be interfaced with a microcontroller that translates user interactions into control signals for both the synthesizer and the video processing unit.
The overall system would be designed to ensure low latency between user input and audio/visual output, creating an immersive experience that encourages exploration and interaction. Various control parameters, such as pitch, rate, and distortion levels, would be mapped to the pressure-sensitive pads, allowing users to manipulate sound and video in real-time. The installation would also include a user-friendly interface, ensuring accessibility for individuals with varying levels of experience with gaming and electronic music.
In summary, the electronic schematic for this project combines gaming technology, electronic sound generation, and video modulation to create a unique interactive experience that emphasizes both individual and collaborative engagement in a public setting.The user selects a game to play and presses the power button on the Nintendo. 1 or 2 player games may be selected. Once the game has loaded, using the game controller allows for standard game play. As long as the viewer only touches the joystick and buttons the game will function normally. 2. A complex sound pattern is generated by the synth and b roadcast from a nearby amplifier. Characteristics such as rate and pitch or the entire kind of effect change as more pads are pressed the pressure on each pad changes. 3. The video becomes severely distorted. The kinds of distortion are determined by the pads being pressed as well as pressure applied. The distortion patters are controlled by the synth oscillators. Therefore what the user hears is also what they see. My goal was to create a hybrid of differing kinds of interaction in order to explore a new form of music and performance.
It incorporates electronic sound generation, video modulation controlled by the sound, is built around a gaming system and is intended to be installed in a public venue which introduces a strong social component to all of the aspects. Most importantly I want the experience to be intriguing and inspiring for the user. The key to successful installation and also experimental musical interfaces is to steer the user to a favorable outcome but also let them explore and come up with personal results.
It is important to make the interface as easy to access as possible but to then offer a depth of control for those who wish to delve deeper. The pressure sensitive touch interface does this perfectly. It is incredibly easy to use but can also be extremely subtle. As a musical interface I am interested in how the conventions of gaming translate into the relative timing and flow of musical output.
For instance one may be making decisions based on musical composition as well as timing aspects of the game. I am equally interested in how the coordination of sound and video impacts the musical output of the device.
One hears sound very differently when that sound is represented visually. The inclusion of gaming serves several purposes. First it is an accessible and intuitive form of interaction. The first challenge when making public installation is to get the public to interact with the piece. The next challenge is to get them to interact in the way you intended. One generally needs very little explanation or coaxing in order to play a video game. The controls were designed using standard arcade hardware which are big, simple and inviting. Gaming brings with it lots of social, personal and thematic baggage. Many people have a history of gaming and some form of emotional connection with that experience. This is an important aspect which generates expectations. Expectations create the wonderful opportunity to defy those expectations, which is what this piece does through dramatic sound and video modification. Gaming is also a social experience which more often than not is competitive in nature. This is an aspect I am especially interested in exploring as applied to music making. Each player is able to control the sound and video. One player can modulate the sound and video while the other is playing the game. Therefore there is an added level of competitive and even collaborative dynamic in this piece. Lastly, game systems such as the Nintendo have easily modifiable video generators. By shorting out points on the video chips it is possible to generate many different kinds of video glitching effects.
Some effects will inhibit game play while others simply change aspects of the game characters or landscape. The nintendo has been modified to allow points 🔗 External reference
The electronic schematic for this interactive installation would encompass several key components: a Nintendo console modified for enhanced video output, a synthesizer for sound generation, and a pressure-sensitive touch interface that serves as the primary user input method. The Nintendo console would be connected to a video processing unit that allows for real-time manipulation of the video output based on user interactions. This unit would include circuitry for shorting specific points on the video chips to create various glitch effects, enabling dynamic visual transformations that correspond with the audio output.
The synthesizer would be connected to an audio processing unit, allowing for the generation of complex sound patterns. The audio output would be routed to an amplifier, which would broadcast the sound to the audience. The pressure-sensitive touch interface would consist of multiple pads, each capable of detecting varying levels of pressure. These pads would be interfaced with a microcontroller that translates user interactions into control signals for both the synthesizer and the video processing unit.
The overall system would be designed to ensure low latency between user input and audio/visual output, creating an immersive experience that encourages exploration and interaction. Various control parameters, such as pitch, rate, and distortion levels, would be mapped to the pressure-sensitive pads, allowing users to manipulate sound and video in real-time. The installation would also include a user-friendly interface, ensuring accessibility for individuals with varying levels of experience with gaming and electronic music.
In summary, the electronic schematic for this project combines gaming technology, electronic sound generation, and video modulation to create a unique interactive experience that emphasizes both individual and collaborative engagement in a public setting.The user selects a game to play and presses the power button on the Nintendo. 1 or 2 player games may be selected. Once the game has loaded, using the game controller allows for standard game play. As long as the viewer only touches the joystick and buttons the game will function normally. 2. A complex sound pattern is generated by the synth and b roadcast from a nearby amplifier. Characteristics such as rate and pitch or the entire kind of effect change as more pads are pressed the pressure on each pad changes. 3. The video becomes severely distorted. The kinds of distortion are determined by the pads being pressed as well as pressure applied. The distortion patters are controlled by the synth oscillators. Therefore what the user hears is also what they see. My goal was to create a hybrid of differing kinds of interaction in order to explore a new form of music and performance.
It incorporates electronic sound generation, video modulation controlled by the sound, is built around a gaming system and is intended to be installed in a public venue which introduces a strong social component to all of the aspects. Most importantly I want the experience to be intriguing and inspiring for the user. The key to successful installation and also experimental musical interfaces is to steer the user to a favorable outcome but also let them explore and come up with personal results.
It is important to make the interface as easy to access as possible but to then offer a depth of control for those who wish to delve deeper. The pressure sensitive touch interface does this perfectly. It is incredibly easy to use but can also be extremely subtle. As a musical interface I am interested in how the conventions of gaming translate into the relative timing and flow of musical output.
For instance one may be making decisions based on musical composition as well as timing aspects of the game. I am equally interested in how the coordination of sound and video impacts the musical output of the device.
One hears sound very differently when that sound is represented visually. The inclusion of gaming serves several purposes. First it is an accessible and intuitive form of interaction. The first challenge when making public installation is to get the public to interact with the piece. The next challenge is to get them to interact in the way you intended. One generally needs very little explanation or coaxing in order to play a video game. The controls were designed using standard arcade hardware which are big, simple and inviting. Gaming brings with it lots of social, personal and thematic baggage. Many people have a history of gaming and some form of emotional connection with that experience. This is an important aspect which generates expectations. Expectations create the wonderful opportunity to defy those expectations, which is what this piece does through dramatic sound and video modification. Gaming is also a social experience which more often than not is competitive in nature. This is an aspect I am especially interested in exploring as applied to music making. Each player is able to control the sound and video. One player can modulate the sound and video while the other is playing the game. Therefore there is an added level of competitive and even collaborative dynamic in this piece. Lastly, game systems such as the Nintendo have easily modifiable video generators. By shorting out points on the video chips it is possible to generate many different kinds of video glitching effects.
Some effects will inhibit game play while others simply change aspects of the game characters or landscape. The nintendo has been modified to allow points 🔗 External reference
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