“Live Coding extends(Vision Factory)” Workshop

7 January 2009 at 11:56 am (3D, First ones, Hypermedia, Live Coding, openframeworks, Processing.org, School of Art)

2008 ended with style : a full week workshop around Julien V3GA‘s Vision Factory API.

LiveCoding is an extension of Vision Factory framework (used by Julien V3GA in his studio for professional purposes and for Vjing in a personal purpose) and exists in two different “beta”-versions : 
● On a single computer;
● Up to 5 computers (Up to 4 computers using Processing plus an extra one where the API actually runs).

In order to use Vision Factory, you have to edit a javascript file where you enter your code lines. When you save the javascript file, SpiderMonkey re-interprets the script and sends a “bug report” to Vision Factory. If no bugs were found, the script is validated and displayed, else the previous script is kept running and Vision Factory stands by for a new/corrected bugs-free version of the JavaScript file.

We use pre-programmed Vision Factory functions as base structures for the javascript files. The most basic ones are equivalent to the Processing‘s or OpenFramework‘s “void setup()”, “void update()” and “void draw()” functions. The init() -equivalent of setup()- is run only once, but it can be recalled in any moment by the programmer. Both update() and render() -equivalent of draw()- are loops and work like in OpenFrameworks. Here you can find some new features recently added by Julien V3GA.

Video from Julien V3GA

Another characteristic of Vision Factory is the fact that it was built on a layer structure concept. Vision Factory has a built-in OSC protocol management. It is simple to get access to layer proprieties and to change them using OSC messages. In the network version, each computer gets assigned to a layer (their javascript is assigned to the specific layer). Using several computers, each computer receives a layer, and like in photoshop, the higher layers mask the lower ones. Each computer runs a Processing client that sends the script whenever it is saved, Vision Factory receives them and treats them like the non-network version. Finally, we can control Vision Factory’s final render : splitting the screen, giving a render for each JavaScript or assembling the different layers into one unique screen, having superpositions from the different scripts.

Vision Factory is currently not released.


Julien V3GA also showed us an iPhone/iPod Touch application called Mrmr that he uses when he makes some Vjing stuff. The aplication allows one to configure an interface and send data using Open Sound Control. The devices (iPhone/iPod touch) interface (multitouch screen) is highly adapted to control sound and visualization’s parameters (like a MIDI controller) with the advantage is that you can do it wireless.

Considering all this, I am more then willing to start a project to implement Open Sound Control into a Blackberry mobile phone (if someone heard about an opensource project on this direction, please leave me a comment presenting this project). The advantage of a Blackberry over other phones is the full (and comfortable) QUERTY/AZERTY keyboard. Allowing you to type fast enough to make LiveCoding. The first stage is to implement OSC, then to make a programming interface (the built-in notepad?) to finally add the command features (connect to server, reload the “setup()” function of the script, disconnect, open a script, etc).

Well, I believe that I have some work to do now…


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Sans titre 1.0

2 November 2008 at 2:32 pm (Hypermedia, openframeworks, School of Art, Wiimote) ()

Sans_titre_1.0 (or in English Untitled_1.0) is the first version of an interactive game-art installation. Visitors have to shake a teddy bear and to scream as loud as it can in order to get a maximum amount of points and blood drops. All this within a 20 seconds time window (and believe me, it’s really physical).

This installation is a reflexion about violence and anger. My objective here is to provide a liberation experience. With this experience I hope to also provide a reflexion on the reason why I made this game.

The game is still in its early development state. There are therefore new versions coming up soon.

An article was written in a local newspaper (La Marseillaise – October 27 2008) :

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Pages Blanches / Blank Pages

24 October 2008 at 12:00 pm (Links, School of Art, Sound)

Some days ago, I’ve seen in my academy (Ecole d’Art d’Aix-en-Provence) a Blank Pages jam-section. But… What is Blank Pages? The easy answer is visit this link.

 On this link you can watch the video (sorry for that, I stopped using Youtube since they started to put adds in the video itself and wordpress.com still don’t allow to embed videos… grr…) Blank Pages session at the Aix-en-Provence School of Art on Vimeo.

Ok… I’ll explain you in a more explicit way. Blank Pages is a jam session (improvisation) concept, initiated by Thomas Thiery and Erwan Inyzant, using Pure Data (free) or MAX/MSP (not-free). People with all levels in programming, without having prepared themselves for the occasion, get together and produce sound starting with a blank patch (in Pure Data or MAX/MSP). There are some rules :

The session lasts 60 minutes ;

Only use MAX/MSP or Pure Data ;

Start with a blank page ;

You cannot load previous projects or save ;

Some notes : You cannot use abstractions or objects that are not built-in Pure Data or MAX/MSP ; you can use help files ; the number of participants is unlimited.

An advice : Think to listen your mates while programming your patch.

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3 June 2008 at 12:09 am (Exhibition, School of Art, Sound)

Sorry for the text in French : 

Arno Laurens

Expérimentation de rencontres entre art et science organisée par le collectif l’Art FéEcho, réunissant six étudiantes en information et communication de l’Université de Provence. L’exposition de l’installation plastique Drop est l’une des dernières étapes de l’expérience menée depuis décembre 2007 par le collectif L’Art FéEcho.

La création de l’œuvre s’est nourrie, au fil de plusieurs mois, de regards, de perceptions, d’expérimentations artistique et scientifique sur la thématique de l’eau. Au cœur de ce processus, Arno Laurens, artiste à l’École Supérieure d’Art d’Aix-en-Provence et Elio Flesia, chimiste et chargé de partenariats au Laboratoire Chimie de Provence ont été sollicités pour échanger sur leurs pratiques respectives. Réflexions, rencontres et entretiens ont permis à cet artiste de créer son œuvre.

Drop est une installation expérimentant l’impact de l’eau sur le métal. Une recherche s’est portée sur les aspérités, la couleur et le son lors de l’association de ces deux matériaux.
En lien avec la création et l’exposition de l’œuvre, un compte-rendu présente le cheminement des échanges et des démarches de médiation du collectif L’Art FéEcho.

Le son est le bruit de la goutte qui tombe dans le sceau d’eau.

English summary : 

The Art FéEcho collectif, composed by six students in information and communication in Provence University, Arno Laurens, artist at the Aix en Provence School of Art and Elio Flesia, chimist and partnerships responsable in the Chemistry Laboratory of Provence worked together, debating and exchanging information, to build the presented piece (exhibited in the Arbois Europole).

Dorp is an installation experiencing the impact of water on the metal.

The sound is the sound of the falling drop in the bucket.

Here a video:

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Metronome v1.2

2 June 2008 at 11:45 pm (Exhibition, School of Art, Sound, Videos)

During the Festival C’est Sud in Aix en Provence, the Metronome group was, together with other students for Aix en Provence school of art, got invited to present a part of our work.

The metronome was originally build during the Hybrid workshop. For this exhibition we made some revisions : the aesthetic, the sound now is pickup live and treated by Pure Data (thanks to the help of François Parra), we improved the sonic isolation, we installed lights in it.


We still have some work to do on this piece to get it even better. And I am willing to keep on improving it.

Here is a video of the piece presented in the Aix en Provence city Hall :

General video : 


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Olivier Grossetête in Aix

2 June 2008 at 11:28 pm (Exhibition, School of Art)


Saturday, May the 24th 2008, a group of students, including myself, from Aix en Provence school of art assisted Olivier Grossetête for his performance/installation in the Cours Mirabeau (in Aix en Provence downtown).

Structure - Olivier Grossetête in Aix by night

His performance was to build with the help of locals a replica of the Madeleine church, also located in Aix en Provence, using cardboard boxes. In this work, Grossetête is interested in how forces are put together randomly (people passing in the streets are invited to come help). From this chaotic force emerges an organization that is capable to build a complex structure. People that never knew each-other before, that never worked together, with different study levels and different social status, creating a chaotic force emerging an organization power that is capable to build a complex structure, just like ants or bees.

The fact that during the time of this performance, people from different horizons and social classes, makes his work some how political. De facto, people involved could speak with each other in an equal level. No superiors, no bias, just dialogue, and unification.

Here is a video :

Here you can find other structures built by Olivier Grossetête.


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Laboratoire des Fictions

2 June 2008 at 9:13 pm (Hypermedia, Mechatronics, Processing.org, School of Art, Sound, Videos)


The second semester of my academic year turned around a “group project” called “Laboratoire des Fictions”.

We had to get together to think on the fiction laboratory topic. The project ends up with a public presentation in the Studio space (in Aix en Provence School of Art).

We (the class) had to think on different art works and space arrangement in this big room that is the Studio. Each of us presented projects, ideas, concepts, definitions and we debated on theme in order to get a coherent set.

We decided to build a space where the visitor is manipulated, and used as laboratory object of study. The visit starts with charming attendants dressed like nurses/scientist that gives the visitor a placebo pill explaining that the active substance in the pill will make theme feel never before felt sensations. Then the visitor passes through a set of two corridors built with elastic fabrics with the objective to disturb the visitor’s senses. The visitor passes through a third corridor where the soil is soft, the left wall captures the visitors’ shadows and the right wall (nearly invisible because of the darkness)  keeps falling on the visitor’s head. This third corridor leads the visitor to the main room where several installations are establish. The first installation the visitor sees is an anamorphosis activated by a giant hamster wheel where visitors are invited to run. In the same room, the visitor can see the other side of the falling wall, this side of the wall has mirrors, when it falls (this time away from the visitor) our perception of verticality is disturbed and we feel like if we were falling. Another installation is a set of green neon lights that turn off after some time in order for the visitor to see the “Vie en rose” (there is an effect of persistence of vision, when the green light is switched off, the eyes have a adaptation time and you see everything in the opposite color – pink). When the neon light is turned off, we can hear a specialized quadriphonic mix of several versions of  “La vie en rose”. On the floor, a crazy robot drives around avoiding walls and visitors, presenting bugs and errors, annoying people. Finally, a door, in the center of the room, is used to play a Tetris game projected on a waterwall. The waterwall is also the exit. The visitor has to choose between waiting for a random waterfall stop, playing the game to see if it makes the water stop or just cross it with water anyway. Once outside the room, the visitor could find an evaluation machine called “I.D.I.O.” (in french it means “stupid”), where, during a performance, some of the visitors are randomly chosen to get evaluated by a group of (crazy) scientistes.

Since it’s hard to explain the exhibition with words, here are some videos showing it :

Here is a 3D animations made by Floriane Rebatue:

My work in this project is the Tetris waterwall projection. I have designed, built and programmed a big part. The game was programmed using Processing, the door has sensors linked to a PIC 16F876. The waterwall is 4 meters width and 3 meters high, it’s a closed circuit using a water-pump to inject water in a pipe with 1500 holes (1mm diameter). The collector is 4 meters width (in the central part) and is 1 meter large. A small bridge allows visitors to cross the water. The sound is generated by Pure Data (thanks to François Parra). I also got help from Jane, Pierre Loup and Florent.

Here are some sketches :

Here is a video :

Here you can find the code source (addapted to use with a computer keyboard and with a PIC) – Requires oscP5 (project site) library and Processing

Here is the PureData patch (activation of the OSC Library and PureData required).

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Drawing/Sketches/Achilles Heel

2 June 2008 at 7:34 pm (School of Art)

With some courage, I present here in this post, my Achilles Heel (and my personal Hell) : drawings.

I won’t comment that much this part since it’s not my favorite and I see the drawings and sketches here presented more as an academic exercise then as my fully personal work.

The only comments I will make is that this year’s course was focus on the machine/architecture topic and we had made some nude drawings.

Work about the wind and force fields:

Works about architecture :


Works about tools and the machine :

Nude – Men :

Nude – Women :


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Mechatronics initiation course (AOC Mécatronique)

2 June 2008 at 5:47 pm (Mechatronics, School of Art)

In the early part of my school year, I have followed the mechatronics initiation course (AOC Mécatronique is the French course name). The course objective was to introduce us to the basics of electronics and micro-controller programming.


In the first part of the course, we had a quick course about basic linear electronic components (resistors, diodes, LEDs, capacitor, color codes) with some physics (Ohm’s law, Joule’s law). We also learned to conceive, design, print and assemble electronic circuit boards. Finally, we had a quick intuitive look at measurement and testing devices (multimeter, voltmeter, ohmmeter).

The second part of the course was to learn how to program a PIC 16F876 using SDCC compiler and Tiny Boot Loader for communication between the computer (using an GNU operating system) and the micro-controller board (the boot loader installed in the PIC 16F876 was developped by Jean-Pierre Mandon). We started with simple programs, to learn how to use the I/Os from the chip (LED chase, teleruptor, communication between the PIC’s board and Processing). We also briefly saw the different electric motors and we focus on step motors. We programmed the PIC to make a step motor work for the end of the course.

Here are some source codes.

(image from Jean-Pierre Mandon’s site)

For more info :

Jean-Pierre Mandon’s site

France Cadet’s site

Hacking Lab site

Aix en Provence school of art‘s site – Mechatronic section 

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Back in Aix en Provence

24 February 2008 at 11:55 pm (Exhibition, Links, School of Art, Semaine thématique, Sound)

Here I am, back home again, in Aix en Provence, after a two week trip to the Netherlands. In a future post, I’ll be giving more details about the 12th edition of Sonic Acts. I’ll also present Yolande Harris, English artist in residence at the Montevideo institute in collaboration with the STEIM (STudio for Electro-Instrumental Music, located in Amsterdam), working with sound.

Coming week, in the Aix en Provence School of Art, we will have Sonotorium, 3 days with conferences about sound and art.

first result in google image for

The first day, February the 25th, Jean-Paul Ponthot, headmaster of the Aix en Provence School of Art, will present “Idéologie du bruit” (Ideology of noise). Then Bastien Gallet will held “Le son et ses dehors” (Sound and its outsides). Finally, Christina Kubisch programmed a sound projection.

The 26th, Alexandre Castant will start with “Le son, l’image et son double” (Sound, image and its double). Jerome Hansen will continue with ““Le problème d’image“ des arts sonores, une généalogie en trois zones de contacts” (The sound art “image problem“, a genealogy in three contact zones). We’ll finish the day with Kaffe Matthews‘ performance.

The last day, February the 27th, will start with “La forme comme traversée” (The shape as crossing) presented by Christophe Kihm. The next conference will be “Son et déraison” (Sound and unreason) by David Zerbib. To enclose the conference week, we will watch Philippe Franck’s selection of films:

Luc Ferrari face à sa tautologie, 2 jours avant la fin” (2006, 52min) by Guy-Marc Hinant and Dominique Lohlée;

“The movement of people working” (2003) by Phill Niblock.

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