Mapping Eve Online to music with Nodal
The Kor-Azor sector
The Lonetrek sector
The maps from Eve Strategic Maps where used as a basis for mapping the systems to Nodal nodes. The pitch was set be security level;. In the case of Kor-Azor the installations modified the basic pitch. In the Lonetrek project each installation added a note upwards in the scale. Velocity was set roughly from the amount of asteroids and moons. There is not as much movement in the music and that would entail different pitch choices and even using the paths to modify CC values.
This was the second method thought of to create music from Eve Online maps. The first idea was to convert Eve system data to Nodal files. Eve system data can be downloaded as SQLite files. These files can be viewed in the Base application and exported as XML.
An Nodal node in pList is :
<key>35</key>
<dict>
<key>ContainerType</key>
<string>StrDict</string>
<key>DurationList</key>
<string>100%</string>
<key>TickPos</key>
<string>{-2372832, -776160}</string>
<key>Type</key>
<string>Node</string>
<key>ArcIdentifiers</key>
<dict>
<key>ContainerType</key>
<string>IntDict</string>
<key>41</key>
<integer>0</integer>
<key>44</key>
<integer>1</integer>
</dict>
<key>VelocityList</key>
<string>24</string>
<key>PitchList</key>
<string>C4</string>
<key>SignallingMethod</key>
<string>Random</string>
<key>ArcUsageList</key>
<string>41=1,44=1</string>
</dict>
and from an XML export of the Eve systems table:
<mapsolarsystems> <regionID>10000001</regionID> <constellationID>20000001</constellationID> <solarSystemID>30000001</solarSystemID> <solarSystemName>Tanoo</solarSystemName> <x>-8.85107925999806e+16</x> <y>4.23694439668789e+16</y> <z>4.45135253464797e+16</z> <xMin>-8.85119031484906e+16</xMin> <xMax>-8.85092564717606e+16</xMax> <yMin>4.23692979274891e+16</yMin> <yMax>4.23696457492639e+16</yMax> <zMin>4.45130363558928e+16</zMin> <zMax>4.45141116897829e+16</zMax> <luminosity>0.01575</luminosity> <border>1</border> <fringe>0</fringe> <corridor>0</corridor> <hub>1</hub> <international>1</international> <regional>1</regional> <constellation>1</constellation> <security>0.858324068848468</security> <factionID>NULL</factionID> <radius>1323338364984.0</radius> <sunTypeID>3802</sunTypeID> <securityClass>B</securityClass> </mapsolarsystems>
But there are a lot of programming issues which are beyond me such as mapping the 7000+ 3D Eve system co-ordinates to Nodal 2D.
This is using Nodal 1.7. Nodal 1.8 has been released and this may present some new ideas.
MIFF – The Yellow Sea
Rising star of the South Korean film scene Na Hong-jin returns with an ambitious follow up to The Chaser (MIFF 2009) that was a box office hit domestically.
In a lawless Chinese border town, where the boundaries of North Korea, China and Russia intersect, Gu-nam lives one day at a time. Faced with mounting mahjong gambling debts, he reluctantly accepts a proposal to assassinate a business man in South Korea. But when things don’t go as planned he finds he must flee for his life – with the cops, a rival hitman and an army of underworld thugs hot on his tail.
I liked the directors previous work “the Chaser” and “The Yellow Sea” continues to show the skills of Na Hong-jin . This is a well paced action film with the typically bleak South Korean results. Some of the violence and abilities of the main characters ventures a bit too much into comic book style. That is some of the escapes and action are almost super human.
The police could have been integrated more into the film apart from the few bumbling scenes they are in. While bumbling police is a staple of Korean action/crime films the film would have been better if the police seemed at least capable of capturing the main character.
Director: Na Hong-jin
Release: 2010
MIFF – The Unjust
“Achieves a happy marriage between commercial savvy and artistic integrity in its hard-hitting depiction of Seoul as a city of corruption.” - Hollywood Reporter
A massive critical and commercial success in South Korea, The Unjust is a complex crime thriller, set against the background of police and corporate corruption in contemporary Seoul.
I thought I picked something else but was very happy with the end result. This like the US series “Law and Order” but with :
In the South Korean Criminal Justice System the people are represented by two separate, yet equally important groups.
The police who investigate crime, somewhat dubiously, and work for one criminal gang and the Prosecutors who prosecute the offenders or don’t because they work for another criminal enterprise . This is their story.
This is a accessible and suspenseful crime drama that I enjoyed watching. This film did not include Hollywood cliches about a love interest, the male bonding or a one dimensional rogue cop. The Hollywood Reporter quote gets it.
Director: Ryoo Seung-wan
Release: 2010
MIFF – End of Animal
“A remarkable debut, a post-apocalyptic, existential quasi-monster movie on a shoestring budget, it recalls the darker works of Cormac McCarthy with an added supernatural tinge.“ -Cinephile
A passive pregnant Korean girl is an a taxi which picks up a stranger in desolate country side. The stranger knows intimate details about the driver and the girl then there is a flash of light and the girl wakes to no working technology and no one else in the car. Nearby houses are abandoned. As the girl attempts to make her way to a rest stop with a working phone she is beset with the few people left. Then there is the strange howling in the distance.
This is a strange film where people don’t really connect with each other despite the difficult situation and as the film progresses they move further apart. The horror aspect of the howls and beast is a weak part of the film with the real horror being the people indifference to each other. There is probably a lot of social Korean context I am missing. It is a well constructed movie that was well paced. It was not boring which is sometimes an issue of film which follow these some what surrealistic themes.
Director: Jo Sung-hee
Release: 2010
MIFF – Cold Fish
Cult Japanese director Sion Sono (Love Exposure, MIFF 2009; Guilty of Romance, MIFF 2011) brings us a gore-drenched, pitch black comedy about a man drawn into the clutches of a deranged couple.
This is an outrageously violent comic book styled movie. The audience certainly laughed at the various parts but is a scene where a husband is raping his wife and then punches his daughter in the face really funny? Given the differences in culture would Japanese audiences laugh at the same parts?
I got the feeling that the plot was put together more as a collection of gross out scenes rather than an effort in coherence.
Director: Sion Sono
Release: 2010
‘Parallel Forces’ comments by ACMI – email exchange
To: tladb@ymail.com
Sent: Tue, 19 July, 2011 1:56:54 PM
Subject: Shaun Gladwell: Stereo Sequences
Dear Theo,
As it says on the sign at the entry to the gallery, we apply the same conditions no matter what is showing in the gallery or any particular view of it – no photography or recording of any sort is allowed. We don’t have an issue with criticism, however out of respect for the work, the artist and our agreement with him, this was a polite request to respect the conditions of your free entry to the gallery.
Many thanks,
Chris.
From: tladb@ymail.com
Sent: Thursday, 21 July 2011 2:15 PM
To: Chris Harris
Subject: Re: Shaun Gladwell: Stereo Sequences
Hello Chris,
thank you for your faint praise.
I believe the work is covered by fair dealing provisions of copyright for the purpose of criticism possibly even parody.
The parts used in my critical piece are not substantial and any appearance that they are is due to the repeditive nature of the content in the current exhibition.
More importantly you seem to miss a crucial element of the “Parallel Forces”. It is an eight screen exhibit in a specific room. It is purposely not a piece of distributed video. (That is actually one one my criticisms.) Therefore my extracts are even less substantial in the totality of the exhibited work.
I look forward to the space being used for some interesting work in the future.
Sincerely,
Theo L. A. den Brinker
From: Chris Harris
To: tladb@ymail.com
Sent: Tue, 19 July, 2011 1:56:54 PM
Subject: Shaun Gladwell: Stereo Sequences
Hi Theo
Thanks for your message regarding Shaun Gladwell: Stereo Sequences. We appreciate that any form of art evokes a personal and subjective response from the audience and we would be the first to say that every individual is entitled to their respective opinions. It is always good to hear how our visitors respond to our programming so thanks for taking the time to send us your thoughts. I would like to point out though that filming or photography of artworks within our gallery spaces is not allowed and reproducing the artists work online via You Tube breaches copyright. As such, we would appreciate if you would remove the video at your earliest convenience.
Regards,
Chris.
Chris Harris
Exhibitions Manager
Australian Centre for the Moving Image
Federation Square, Melbourne
Comments on “Parallel Forces”
This work is a comment on a video installation by Shaun Gladwell at ACMI in Melbourne.
I used Final Cut Pro X for the video editing and I am finding it very easy to edit and assemble video. However there are a few areas which are not intuitive such as adding transitions to audio clips for example which require more training materials not less. The audio first needs to be detached from the video then made into a new story line and then a transition can be edited. I think this is because of the trackless nature of FCP X that these extra steps are required. The information was contained in the Larry Jordan training files.
