The underlying idea for this generative system was elicit, an overall complex behaviour from a very simple mechanical process. This was drawn on ideas from artificial life in which complexity results from interactions between simple behaviours and processes. Rather than using a hidden rule system, I wanted to simplify the process so that it is shown and easily understood, thus the viewer can understand how these complex movements arise. Rather than using an idea based on ruled systems and simple logic, I chose to use a simple mechanical metaphor, something that could be physically created. Then I wished to allow some small level of interaction with the system, but in a simple manner, so users are able to see and hear how the overall behaviour changes both visually and sonically. Thus drawing on a parallel to our everyday actions, in which the collective interactions of many simple things we do, can have consequences which we could not predict nor begin to model in our minds. This music machine used simple mechanical-like processes, which through their interconnectedness created more complex spatio-dynamic behaviours. This basic process is a square moving along its connection between two other squares. Behavioural and spatial-data of certain squares is used to control some aspects of the sound and music generators. The actual generator’s algorithms were intentionally kept simple so that any complexity with the sound would be the direct result of the complexity in changes of data. This provides an integration of process, sound and its visual representation.
The machine is also exploring how a commercial, general midi tone-generator (Yamaha MU128) is pushed to extremes as to create sounds not normally associated with it. It does this by flooding the MU128 with lots of system-exclusive data. This is a kind a granular synthesis technique but using short midi notes, and continually altering the timbral quality of the grains with filter, envelope and effect changes.
Once networks are created and moving, it is possible to engage with the sound generation by simply re-positioning the squares, which due to their interconnectedness will amplify this change - as they may alter the movement and position of other squares affecting the generators. Or, you may alter it's speed of movement, create a network or mutate a network. Again with this work, once the system is operating, you can switch from being a passive receiver of what is generated, to an active participant.
I also had a simple visual mode in which traces, echoes and ripples of the movements were animated instead of the main control interface. This produced simple graphics very like early 60's computer generated work.