Nature’s Infinite Harmonies

[NATURES]_[INFINITE]_[HARMONIES] #————————————————————————-# Nature’s Infinite Harmonies in A (A440 – Axxx) Progression                   Regression A E B F# C# G# D# A# F C G D A   A D G C F Bb Eb Ab Db Gb B E A Infinite Ionian     (Neutral    Violet  Ambience) B F# C# G# D# A# F C G D A E B   B E A D G C F Bb Eb Ab Db Gb B Infinite Dorian     (Dimmest   Indigo  Ambience) C G D A E B F# C# G# D# A# F C   C F Bb Eb Ab Db Gb B E A D G C Infinite Phrygian   (Dimmer   Blue   Ambience) D A E B F# C# G# D# A# F C G D   D G C F Bb Eb Ab Db Gb B E A D Infinite Lydian..   (Dim     Green   Ambience) E B F# C# G# D# A# F C G D A E   E A D G C F Bb Eb Ab Db Gb B E Infinite Myxolydian (Bright   Yellow  Ambience) F C G D A E B F# C# G# D# A# F   F Bb Eb Ab Db Gb B E A D G C F Infinite Aeolian    (Brighter  Orange  Ambience) G D A E B F# C# G# D# A# F C G   G C F Bb Eb Ab Db Gb B E A D G Infinite Locrian    (Brightest  Red    Ambience) These musical harmonies can progress and regress scales (shift scale pitch) as we play chords according to the progression and regression map, this attempts to step on all of the notes throughout an interval in a harmonious manner. #————————————————————————-# #————————————————————————-# Nature’s Harmonical Color Map neutral  DO RE MI FA SO LA TI DO dimmest     RE MI FA SO LA TI DO RE dimmer         MI FA SO LA TI DO RE MI dim               FA SO LA TI DO RE MI FA bright               SO LA TI DO RE MI FA SO brighter                 LA TI DO RE MI FA SO LA brightest                    TI DO RE MI FA SO LA TI #————————————————————————-# #————————————————————————-# Progressing And Regressing The Infinite Harmony Sequence: In addition to the progressing and regressing harmonies, the Infinite Harmony sequence can also progress and regress it’s pitch forward, this can be done by moving one of the chords either two notes forward or three notes back, the great thing about this is we dont have to finish the whole sequence in order to progress or regress, when a chord in the sequence is played that chord automatically becomes the root, although that root still rests in the same note interval until it progress and regress. #————————————————————————-# #————————————————————————-# The Infinite Chord: The infinite chord is composed of the three note sequence starting from the current note. #————————————————————————-# #————————————————————————-# The Infinite Beat: The infinite beat has two modes, one for progressing harmonies and another one for regressing, and each of these modes has two parts a count and a volume. Progressing beat                     Regressing beat count  [beat1   , beat2 , beat3 ,beat4]   [beat1   , beat2 , beat3 , beat4] volume [perfect ,   hi  ,  mid  , lo  ]   [perfect ,  lo   ,  mid  ,  hi  ] The Perfect Volume: the perfect volume for the progressing and regressing beat can be calculated by dividing a volume into four parts and using that to create a ratio for the prf hi mid and lo volume/4  =  v_unit prf       =  v_unit * 4 hi        =  v_unit * 3 mid       =  v_unit * 2 lo        =  v_unit * 1 if we have a max volume of 4 and a volume of 1 the volume construction should be as follows: [prf + prf] = (4*1) = 4 [ hi + lo ] = (3*1) = 4 [mid + mid] = (2*1) = 4 [ lo + hi ] = (1*1) = 4 if you notice by combining the ratio of the progressing and regressing beats we have a perfect linear volume #————————————————————————-# #————————————————————————-# Converting Harmonies to Chromatic Sequences: There are two ways of converting harmonies to chromatics one is merging and the other expanding. Converting Progressing Harmonies To Merged Chromatics (Example in F Ionian): to collapse a harmony we simply collapse the next sharp and flat sequence in a scale to the notes before it or after it. <            <               or            >            > [F,_,G,_,A,A#,_,C,_,D,_,E,F]    [F,_,G,_,A,A#,_,C,_,D,_,E,F] [F,_,G,_,A,_,B,_,C#,_,D#,_,F] the result is a chromatic pattern interval Converting Progressing Harmonies To Expanded Chromatics (Example in F Ionian): to expand a harmony we simply move the outer notes of the next sharp and flat sequence one step away from the sequence. <                        > [F,_,G,_,A,A#,_,C,_,D,_,E,F] [E,_,F#,_,G#,_,A#,_,C,_,D,_,E] the result is also a chromatic pattern interval only this time it regressed one note downwards Converting Chromatics Back To Harmonies: The theory is simple, in order to break a chromatic sequence you must simply double one of the notes and you are back to constructing harmonies Constructing an E Locrian from an E Chromatic Sequence: (F#++) step 1 [E,_,F#,_,G#,_,A#,_,C,_,D,_,E] (B++) step 2 [E,_,F#,G,_,A,_,B,_,C#,_,D#,_,F] step 3 [E,_,F#,G,_,A,_,B,C,_,D,_,E] The rule is simple, in order to simplify this, an instrument can either jump one, two or three notes from a current note and a harmony might progress and regress infinitely just trust your ears and you might be able to create a new random hybrid harmony, and that’s about it for Harmonies… #————————————————————————-# #————————————————————————-# Some Exotic Harmonic Sequences: [1st,_,3rd,_,5th,6th,_,7th,_,8th,_,12th] major scale [1st,_,3rd,_,5th,6th,_,_,9th,_,_,12th] [1st,_,_,4th,_,6th,7th,_,_,10th,_,12th] #————————————————————————-# Nature’s Infinite Harmonies is a great exercise for musicians, it drives our senses and leads to an understanding of ambience. #————————————————————————-# #————————————————————————-# This realization has lead me to a conclusion that the widely accepted major scale is actually a logical man made concept taken from a non random sequencial pattern, certain ancient musical instruments do exist that was played with exotic harmonies back through our history. The major scale (do,re,mi,fa,so,la,ti) consists of two skipping and expanding patterns which can be visualized as: [do-re-mi] and [fa-so-la-ti] the dashes expressed in this figure are note skips, these are sharps and flats. if we apply this on a guitar fret it would look like this: 2 single note skipped set |do|-|re|-|mi| and 3 single note skipped set |fa|-|so|-|la|-|ti| if we combine these patterns together, the resulting pattern would be |do|-|re|-|mi| + |fa|-|so|-|la|-|ti| = |do|-|re|-|mi|fa|-|so|-|la|-|ti| there are also other types of skipping sets that exists on other exotic scales such as 1 single note skipped set |n|-|n| and the 1 double note skipped set |n|-|-|n| i also realized that playing these sets randomly would still sound ok and that the results are somewhat new but can still be harmonious depending on how the musician would express it. the expanding skipping patterns can also be played backwards, so instead of it expanding, it could also diminish for example the common major scale can also be flipped and played as such |fa|-|so|-|la|-|ti|do|-|re|-|mi| this is actually the lydian mode, of the major scale perhaps if we add another skip set we could have a longer version of it and it would still be harmonious, despite of it not having a similar pattern per interval here’s an example of a two interval scale 3 skip           2skip        1skip   2skip 1doubleskip |fa|-|so|-|la|-|ti|do|-|re|-|mi| + |n|-|n|n|-|n|-|n|n|-|-|n| harmonies can be accepted by many due to its logical patterns, it’s somewhat like a guide that allows us to agree, and such that is logical and acceptable do exist in both views of the listeners, if accepted by many that’s how it becomes a harmony. #————————————————————————-# [AMPLIFYING]_[MATTER]

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#—————————— Hypothesis ——————————-#

a pattern of 1[5] 1[7] per segment (idea originally taken from the haiku syllabus)
will break the pattern of NIH to an 8 unit pattern,that can break the
pace to refreshrates.

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#—————————- Experimentation —————————-#

count initial
|do-re-mi|fa-sol-re-mi|fa-sol-re-mi|.. >> repeats until 12 segments are complete,
this counts as one, the 12 segments, having 7units as one. total of 84 a refreshrate

regroup
|do-re-mi-fa*|fa-sol-re-mi-fa*|fa-sol-re-mi-fa| >> segments shrink to 9 a refresh rate
just double fa.

simplify          remove fa    replace it with do
|fa-sol-re-mi)fa*|sol-re-mi)fa|do-re-mi)fa-| >> segments shrink to 7 a refresh rate

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#—————————— Conclusion ——————————-#

It’s 1[84] regrouped to 1[9] simplified to 1[7]
that’s 84 a refreshrate compressed to 7 a refreshrate.
it’s simplified info… this goes for the Ionian mode.
A good syllabus count for a poem would be 1[7],1[9],1[7]
that’s 7 9 and 7 for the syllabus. A Natural Refreshrate.

1[5] 1[7] was short of the circuit not covering the whole 12 segments
perhaps this can be used for other modes. Other modes may contain larger
refreshrates… cymatics :)

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Theory of Sound and Colors

I was recently creating a study about harmonical progressions and came accross
a theory that sound ambience may create a feel for colors,
some underlying facts may prove that it could.

Anyways here is a short presentation of the theory..

Theory_of_Sound_and_Colors_v2

If the above assumptions are true, maybe it can be used to allocate color data by
bouncing sounds off of materials. Just a thought.

old treasure

Recently found this on my hard drive, it was a compilation of everything I was doing back @ the Tuldok headquarters before it shutdown.

Its a shame to let it go to waste so I uploaded it here. Here ya go.

I swear to myself ill continue these experiments one of these days given the time, space, and equipment that I need.

colored candies

ok another geeky post, me tracking candies in python.

Screenshot-1

no theyre actually refrigirator magnets stuck to my pentablet.

This is a python-opencv test that could be used to implement orientation tracking for the NI-droidcam.

I recently learned python-opencv from a site worth mentioning>> www.neuroforge.co.uk

so thank you Devs for the informative site.

Its still experimental, im still learning a thing or two about it.

next step is to get the data stream into blender and perhaps use the points for a camera rig.

hope it all goes well, wish me luck on this one.

NI-droidcam v1.0

Now presenting the lowcost NI-droidcam v1.0

tadaa!

droidcam

made from pvc pipes, an old laptop cooler, china tablet and accessories.

buttons

it has 2 buttons, one for quick animation playback and another for going back to frame start

(in case you made a mistake and need to restart the record)

keyboard

a mini keyboard for blender shortcuts

(Ill use this for custom shortcuts, viewing different layers, setting wireframe mode etc.)

hackednumpad

a hacked numpad for creating more custom buttons

(probably for the next versions)

display

and a lowcost china android tablet for the display.

super cheap and fast enough to run the virtualization.

This will basically implement the kinect virtualcam hack ive done in my previous posts

only this time itll be displaying through the tablet, allowing me to to move around and see

the changes being made even if I rotate 180 degrees.

here’s a video of the previous virtualization test i did with an android phone.

I havent actually tried this thing out with the droidcam, but ill make another post after I do so.

you can check out my other previous kinect camera vitualization tests here >> Through the looking glass

and dont forget to subscribe. thanks! :)

Through The looking glass

Here’s another cool Kinect test Ive done

I had this Idea of performing an old Headtracking Wii Hack done by Johnny Lee but with a Kinect sensor.

Originally done by Johnny Lee, the head tracking wii hack is an ingenious way of using headtracking to simulate a virtual room inside your monitor. He called it a VR Display or a “virtual room” display, the process includes tracking a user’s head position and using the tracked data to simulate the view of a virtual room, the feel is like getting to reach into another world  or having 3D objects pop right out of your screen.

here’s how it looks like

forest scene assets modelled by Ross Tec and Ramon Del Prado

The concept to achieving this is actually very simple, the kinect sensor tracks the user’s head
and tries to figure out it’s position, the extracted data is then used to change the angle of the scene tricking our eyes to believe that there’s another room inside our monitor.

now this is actually a really cool way to view and record animations and imitate a POV effect shot, which actually lead me to an idea of animating a camera in a whole new way.

So I had another concept that includes using the users hands to point the camera at certain angles,
it takes away the 3D experience but with this setup you could actually view the scene using hand movements.

i wont hold you guys back on this one, the video is pretty self explanatory
so here’s what we came up with @ the office. :)