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Pi Symphony -Data Material : Currently unable to be uploaded/embedded. Download Link Here

π Symphony is a piece which explores the relationship between the number “PI”, its relationship to music , and as a metaphor for one of the virtues in life.  I originally conceptualized the idea to use the 10 million digits of π from the provided data set and map them to musical scales, with the idea that theoretically, since π is a mathematical constant with a start point however no end point, every song that contains the notes I map it to would eventually be played out if it was mapped indefinitely.  I later did a search for existing artist interpretations of π and music. Of the pieces I looked at, specifically Michael Blake’s what Pi sounds like and aSongScout’s Song from π!, what interested me was how it bothered me slightly that while both pieces incorporated π, the fact was that both pieces tried to musically aestheticize π by adding in components that were not π related to please the YouTube audience. In aSongScout’s piece, he adds in a left hand which harmonizes the mapped right hand PI melody quite nice, but it has no relation to PI. While in Blake’s piece he makes it a bit more relevant by arranging a quartet of different instruments playing at a tempo of 314/2 (157), there is no relation between π and the different instruments coming in as well as a background harmonics which is not π related. For my piece I wanted to focus on simply π mapped to the basic keys in the major pentatonic scales in order to state that the focus is on the tones mapped to π and nothing else fancy. Only the Major pentatonic scales are featured – in stating that we should always look, focus, and play to the positives: not to deny that they exist, but to recognize that there is always another path (or scale) nearby when the current one does not seem right. While we may not have the power to change what we face, we do have the freedom to face them with whatever attitude we choose.

Originally planned to play all the 10 million notes of the first 10 million digits of π using the major and minor scales mapped to the first 10 notes, this idea was later revised thanks to the help of David Bouchard to instead map it to a pentatonic scale (which contains 5 notes) x 2 octaves which then provide 10 notes, which would thus be able to be mapped to the 10 possible digits that are contained in π. Minim was used for the sound generator in the sketch, keeping it simple by using the “note delay, note duration, note tone” parameters. The tab named “ifmapping” contains the if statement that maps the character notes (in the tab “Notes”, referenced in the “note tone” parameter) to the current digit of PI. The speed of which PI is counting is set by a counter, which along with the note duration parameter can be controlled by keys pressed. 
The interface was designed so that every possible current note of each key major would be seen at all times, to reinforce the message of the piece – that every possibility of our past and current lives are in front of us, if we take the time and initiative to consider them.

Skyrim Alchemy Visualizer

       The purpose of this piece was to create a data visualization of the relational connections that ingredients have with one another in Skyrim. Skyrim is an action role playing game in which one of the activities players may partake in is alchemy. The process is done through a mix and match of combining ingredients together, with each ingredient having 4 possible effects that are shared within other ingredients. A successful potion is created when 2 or more ingredients share the same effects, be them positive or negative. Having only spreadsheets on various wiki sites such as this one,I felt there there was a need for a platform where one could actively interact with the ingredients which they were using. As well, the amount of raw information laid out on those websites felt overwhelming as there was no visual presentation (aside from the charts) of the relationships shared between the ingredients. The current interface is unorganized by default however it allows the user to drag ingredients to be organized in whichever manner they prefer. For example they may choose to drag ingredients containing mostly positive effects to the top left corner shelf, and drag ingredients with mostly negative effects to the bottom right corner shelf. Or, drag all "restore stamina" ingredients to one section.

       The Skyrim Alchemy Visualizer draws on data sources to create visual patterns and creates an interface where data can be manipulated and organized by the user to create a meaningful exchange. By being able to play with an interactive application that allows the user to experience and visually perceive the compiled data which the program uses, The Skyrim Alchemy Visualizer succeeds in creating a tangible experience which shifts dimensions from its original source. More so it allows the user to personalize the data, by allowing them to shape the piece in whatever meaningful layout that makes sense to them. The piece uses aspects of data mining as multiple data bases are used, such as one that compiles the images with their names, their description, and 4 effects, as well as another data source that divides all possible effects into positive or negative. The piece uses simple algorithms to generate colour coded lines signifying positivity or negativity.

       The Skyrim Alchemy Visualizer uses Processing, an open source programming language and environment for people who want to program images, animation, and interactions.  The sketch imports the data  spreadsheets as well as an array of images for the ingredients. The ingredients are put in alphabetical order and the images are named from 1-96, so that they may be called in as integer values by the sketch and matched to their appropriate quadrant in the main spreadsheet. A total of 3 spreadsheets are imported and used by the sketch: one for the focused ingredient's overlay (seen as the Abecean Longfin in the image above), one for identifying positive effects (seen as the green line in the preview), and one for identifying negative effects (seen as the red line). All of the ingredients begin as an array of objects (named Circle). When an ingredient is selected by mouse press , detected by a boolean overlap by calculating for the objects' radius (every ingredient's "mesh" is drawn as a circle), it turns into a variant of that object (named focus). Every object (Circle) has its own fielded variables that contain the overlay, however it is drawn only when the mouse is pressed on the focused object. A unfilled circle object is drawn around the focused object, to improve the user interface. It uses simple if statements of whether it has reached a certain size; grow smaller, when it has reached the said size, grow bigger/repeat.   If statements are also used to make "checks" to see if the focused ingredient has a matching effect to all of the other ingredients. It makes a total of 16 checks, as since each ingredient has 4 possible effects, each 4 effects have to check the 4 effects of the other:

If any effect matches, it is given a "true" declaration, placed as integer values. These are afterwards returned as String and Boolean variables (I use integer variables to begin with and then convert to string/boolean that way I only have to do a 4x4 check rather than having to do a 4x4x96 check (4=focused ingredient, 4= other ingredient, 96 ingredients total).  The result is being able to write an if statement to see: if so and so effect is matching, if so which one, and is it a negative effect (stroke:red) or a positive effect (stroke:green). The background image of which the sketch is laid upon is a room in the College of Winterhold (the guild of mages) in Skyrim, which I emptied the shelves and took a screenshot of.


Click here for the sketch+files


All images and logos belong to and is property of Bethesda Softworks. Data spreadsheets were provided by the Unofficial Elder Scrolls Pages.
Special thanks to David Bouchard and Steve Daniels for helping make this piece possible.
For more information on Skyrim, click here.