final blog from Alvin


      Kaixin Mao(Alvin)

The inspiration of this work comes from the Halloween activities of the student government. If one can meet a ghost, why can’t one meet another himself? The other self is a ghost in your image, producing a duplication of you. This project is a story about how people deal with the other self.


In fact, in the real world, everyone can have another self, or another side of himself. A person lives in this world by his particular part and he is constrained and suppressed by this society. Therefore, you are unique in society, because you suppress the other you so that he cannot exist in this world. The other self is an unknown and a very different self. Sometimes you are more materialistic, and the other you may be spiritual. Sometimes you may show kindness and tolerance, while the other side of you may be dark and narrow. What would you do if, by the power of the ghosts, another one of you appeared in our world, and appeared in your world?


This performance is divided into four parts. At the beginning, when Tony was walking up the corridor, he met his another self on the corner and immediately he hid himself in a small room. Secondly, He was afraid and crying in the small room, as well as the intense fear, tension and panic he showed. Tony fled from his other self and dared not face it. Then, the climax is that the more he escapes, the more likely Tony is to meet another self, and at the same time, another self is smiling at him, which makes Tony had to look for measures. In the last scene, Tony and his other self are running opposite each other. As they run, the other one disappears. Tony is the original Tony. Through this work, I want to express how to deal with the relationship between people and their hearts, that is, to face it frankly and accept it. Even if it is horrible, unknown, we can not escape. The result of escaping can only be to be swallowed up by the other self, and then the other self lives in this world instead of you through its own body.


What Inspired me strongly is about some VJ performance videos, such as the four screens in the course including the man’s head smile to each other, and the use of split screen in Max (a way that use part of the multiple videos respectively and put them together with mixer) It is a very useful technique, and at the first stage we use the method. We superimposed Tony’s walking in different stages to create a wonderful feeling. And painted an atmosphere of horror.


The video was filmed by us and the audio was downloaded from freesound. The oscillator and the beat are tuned according to the audio frequency. We originally planned to use audio2vizzie to link the audio and video to form an interaction. Later, because the computer was really stuck, we had to separate the audio and video. I am also responsible for the audio part including the selection and adaptation of the original music; the interaction between the oscillator and video and other things like the final Max combination and the final detailed tuning. I also participated in the shooting the video and the control of video during the performance. Here is our link to github.


The most important thing in cooperation is to clarify the division of labor, each person should do his own part well, and finally put them together before making modifications. Of course, there are many problems in the process of our cooperation, such as procrastination and laziness.


During the performance, video was not particularly good because the computer had some lag. At the same time, we took a reflection on the professor’s suggestion and felt that we could shoot video even if it was about plot, and we could shoot it outside the school, which seemed more attractive.


Of course, in the preparatory stage, we also encountered many problems like we don’t know how to play sounds separately and other problems like we are also not very familiar with the different oscillator functions, so we need to explore by ourselves. For special effects that are particularly unsuitable, we had to find ways to avoid them. When we were dealing withcroppr” , there was also the issue of adjusting screen space. In the end we all managed to get him to take care of us.


There are also some hardware problems, such as the controler is incompatible with the computer, and every time you open the max, there will be some player problems and so on. I think I’m going to make a little complaint about Max here, which is not very friendly to Windows.


In a word, I think there are many things that can be modified and improved in our works, and we should always pay attention to solving these problems in the future. Finally, I would like to thank my partners and professor Eric again for their help.


final project (Alvin Tony Chiharu)

Shanghai in the Rain
Inspired by a series of rainy days in Shanghai and the song “Paris in the Rain” by Lauv, we decided to capture the aesthetics of a rainy day in a metropolis. In a fast-paced city like Shanghai, people are often overwhelmed by the immense amount of information they receive every day. As you hear the raindrops by your feet, you can feel the sudden disconnection from daily pressure. When you see  Neon lights in Shanghai projecting on a windshield full of raindrops, you’ll unconsciously slip into your dreamland, slowly but numbly. We are trying to present this indescribable flow of emotions to our audience.

difference between VJ, Live cinema, audiovisual performance.

VJ is a representation for real-time vision and should be an art form. The feature of VJ is to generate or manipulate images in real time on music by means of technology mediation and audience synchronization. VJ often performs at events such as concerts, nightclubs, music festivals or as part of a show.


VJ is more like a concept, an art form, or a general term, while live cinema and audiovisual performance are more inclined to an actual performance. Live cinema is used to distinguish with traditional cinemas. Traditional cinemas are restricted by space and emphasize the narration of events and the integrity of stories. On the contrary, the plots are mostly absent or abstract, and the narration does not need to be connected, and real-time and audience interaction can be added. Audiovisual performance is just like his name, emphasizing that this performance is a combination of video and audio, and this combination is not only different co-existence, but also interrelated, and interrelated in time or in pictures, giving people a sense of unity. As a result, this kind of performance is more likely to arouse other people’s feelings and generate similar empathy.

Heleen Blanken is the representative of VJ, Ari Dyker is the representative of live cinema and Benoit Palop is the representative of audiovisual performance.

VJ reflection from Alvin

VJing is a very wonderful art form. Vjing is a milestone in the history of realtime media, which generates or manipulates images in realtime on music through technology intermediaries and viewers simultaneously. Vjing has made unprecedented innovations. It has added audience elements in the original unchanging music and video, connecting the audience with music and allowing the audience to participate in controlling music.

I can hardly feel the charm of a musical or drama I have seen on the spot. However, in the music festival prepared by the high school, we have been trying to control the pitch of music and the image through the volume and surrounding environment, audience performance, and achieved great success.

midterm reflection from Alvin

Shadow play and the lumia (from Alvin)

Our performance added some of the Chinese shadow elements to the lumia. Taking The Journey To The West ,one of the four great masterpieces of ancient China as the plot, it tells the story of how the four monks of Tang dynasty overcame many difficulties and gathered together to obtain the authentic scriptures in Tianzhu(ancient India). The story is told by shadow play, and the challenges on the journey to the west are abstracted by light and shadow. Finally, four people, united together, to the west as the end.

We suddenly had a shadow play of light and material inspiration from the screen and projection. At the same time, generally the lumia is poorer in story-telling, we hope that we can be in it with shadow play, such a strong narrative art form, not only as a supplement to the plot, but also can use the contrast to show its unique charm.

We found a connection with lumia in the change of light and shadow. From the early abstract films, I learned that we could control audience’s emotions with rhythm and shock the audience. (from Hans Richter’s Rhythmus 23) From the sympathetic study, I learned that I could use different colors to express the effects I needed. In terms of rhythm, we add the abstraction of video to the camera, and create different atmosphere effects by photographing corrugated paper, maple leaves, wooden slips and baskets. In terms of color, we use red to represent flame mountain (corrugated paper), gold to represent temple (basket) along the way, and yellow to add the effect of maple leaves to make the feeling of crossing maple forest.

After we designed the way shadow play and lumia to express each other, we began to conceive the plot. We first used shadow play to explain the background of the story: the Monkey King was pressed under the five -finger-mountain because of his pride, and the passing tang priest came to rescue him. The Monkey King repented himself and went west with the tang priest. And then the first chapter with the encounter pig eight quit as the end. In the second chapter, shadow puppetry and streamer are combined to express how the four masters and the four apprentices go through hardships and dangers, gather together and go to the west together. Chapter three tells the story of the four master and apprentice on the way to get scriptures and exorcise demons, through a long time of continuous walking, finally fulfill themselves.

In terms of system operation, we mixed three pieces of music, and added them together in an orderly way with max8. We also did some beat and post-processing of rhythm. On the opposite side of video, we use abstract light and shadow to convert back and forth with the camera, and use different tones to show different layers of the background where the story takes place.

During the making stage, we also encountered many problems, mainly in the application of Max. Like how to switch music on its own, we want to do that but it doesn’t work. There are also all kinds of little problems that make the music sound silent, beat disordered and so on. Thanks to professor Eric for his help.

During the performance, we control our own path, and of course there were some minor problems. For example, due to the difference in placement and rehearsal, the shadow of hand is found in the play. The camera switch is a bit hasty, while the quality of the camera is not very good, and the picture is not clear enough.

All in all, the performance was very good and I learned a lot from it. On the one hand, I mastered the operation of Max more skillfully; on the other hand, I learned a lot about shadow play. At the same time, I also know how to put back and forth freely on the stage, and how to prepare more to prevent accidents, which can also be improved in the future.

Finally, I would like to thank my partner, Elisa. For a performance , cooperation is also very important.

Cosmic Consciousness – Reflection from Alvin

The work of Brakhage, Belson, and the Whitneys all use images, or lines, or graphics, or color changes to reflect changes in music, while echoing music to form a unified whole.

The main difference is in the way they think. For example, how to introduce the image, how to control the rhythm gradient, whether to use the image line or color, how to control the gradient, whether to add new colors, or to zoom in or zoom out the image. These all give a different visual experience.

They are all impressions of posterity. The previous artists inspired the later artists, and the young artists improved and added new elements on the basis of their ideas and predecessors

They had an enlightening role for whirlpool music and later popular music, dance concerts, such as the sense of rhythm and rhythm he brought, as well as the publicity and passion of breaking through tradition. At the same time, other ideas, other senses and even other emotions (such as the youthful energy of pop music in the relaxation of classical music) are added to traditional music or pure music.

Audio-Responsive Vizzie (from Kaixin Mao)