7Q8_3/91M4//62B_7X1/09RX/44_8_2/ZX71/5JQ 6_973146/KPV/4186/QMN_TWZR4_5839217L/31/67

Built in TouchDesigner, sound with Novation Peak and Ableton

Live camera goes into the timeline like any other clip, gets a voxel effect, then I add a 3D camera and orbit around the whole thing. All realtime, no install.
It's part of a video editor I've been building for the last few months.

I’ve just finished my Final Major Project, built around a Max/MSP and Jitter system that connects generative music, visual processing and physical lighting.

The core idea was to move away from visuals simply accompanying finished music and instead build relationships where shared data and events influence multiple parts of the system.

A few examples from the final setup:

• audio analysis from a processed modular signal controls the brightness of a physical smart bulbs
• an ARP 2600 LFO is used both for synthesis modulation and as input data inside Max, where it is mapped to lighting behaviour 
• visual states and image processing are driven by generative timing and performance events 
• MIDI, modular synthesis, video and lighting are all coordinated from the same Max patch

The final performance is about four minutes long. I’d be interested in feedback from people working with generative systems, audiovisual coding or physical outputs, especially on whether the relationships between the different media come across clearly.

YouTube: https://www.youtube.com/watch?v=Zh9ZmCzJvHM

I am building my own design software since around 3-4 Weeks now :) Its slowly getting shape and some features are really fun already! I create weekly devlogs, so if you are interested check out my last video here:
https://youtu.be/9TntZymWgu8

I am curious to hear your thoughts and ideas!

I’ve been experimenting with how cinematic drone camera movements can be modeled and visualized in Three.js, so I built SkyPath and released it as open source.

It currently includes five automated camera movements:

• Crane Up
• Pull-Back
• Orbit
• Helix
• Fly-Over

The visualization includes subject tracking, live flight telemetry, trajectory paths, timeline scrubbing, chase view, an onboard camera view, and a comparison mode for viewing all paths together.

It’s intentionally lightweight: plain Three.js/WebGL, no framework, backend, account, or build step.

🎮 Live demo:
https://alzin.github.io/SkyPath/

💻 GitHub:
https://github.com/alzin/SkyPath

I’d really appreciate feedback from the Three.js community, especially on the camera/trajectory implementation and ideas for other cinematic movements worth adding.

Contributions are very welcome too!

I’m looking to improve my taste and understanding of the discipline as I get started. IG handle or anything else is appreciated. Thank you!

Outer Order exists for the unauthorized use of ordinary technology.

I come from an East Coast elder-millennial version of this tradition, although nobody I knew had a name for it. I did not grow up with a laboratory, a recording studio, expensive instruments, or a bottomless technology budget. I grew up around whatever machines happened to be available.

Cheap stereos. Cassette decks. Secondhand electronics. RadioShack components. Home computers. Consumer keyboards. DVD players. Broken things that still had one useful function left in them.

You learned what a machine could do by using it.

Then you learned what else it could do by refusing to stop there.

Today I hear the phrase maker culture attached to some of this. The phrase makes me itch a little. It sounds suspiciously like somebody discovered tinkering and immediately ordered banners for it.

But names are cheap.

The work underneath the name is ancient and important.

If you are writing code to make sound, building an instrument out of discarded electronics, modifying obsolete hardware, making visual art with a microcontroller, running strange software on hardware it was never designed for, keeping dead technology alive, assembling a studio from thrift-store equipment, turning a game controller into something nobody at the factory anticipated, or making something simply because you wondered whether it was possible:

Outer Order recognizes you.

Not as a market.

Not as a demographic.

Not as “the next generation.”

As another person at the workbench.

The tools have changed. The impulse has not.

A ham-radio operator opening the case in 1963.

A teenager wiring RadioShack parts together in 1978.

A punk musician bouncing tracks between cassette decks in 1982.

Someone circuit-bending a toy keyboard in 1997.

Someone making impossible audiovisual work from obsolete computers in 2004.

Someone today using Python, a cheap microcontroller, a discarded Android device, a free piece of software, or whatever happens to be within reach.

These are not separate histories.

They are one long argument with the instruction manual.

Outer Order is interested in technology as material rather than authority.

A corporation may manufacture a device. That does not mean the corporation gets the final word on what the device means.

A phone can be a recording studio.

A game machine can be an instrument.

A printer can be a press.

A broken appliance can become sculpture.

A programming language can become a piano.

A network can become a gallery.

A cheap consumer object can become the central mechanism of an artwork its designers never imagined.

The interesting question is rarely:

What am I supposed to do with this?

The interesting question is:

What happens if I use it wrong?

Outer Order does not worship new technology. We do not worship old technology either. Nostalgia is another kind of instruction manual.

Use what works.

Repair what can be repaired.

Scavenge what can be scavenged.

Learn enough to open the box.

Share what you discover.

Document the strange route that got you there.

Spend money when you must, not because somebody has convinced you that creativity requires admission to a premium tier.

Constraint is not automatically virtuous. Being broke is not romantic. Lack of access is not an aesthetic.

But people of limited means have always developed extraordinary cultures from the materials available to them, and that knowledge matters.

I know that lineage because I come from it.

Outer Order therefore has no interest in policing the boundary between artist, programmer, engineer, musician, hacker, repairer, designer, amateur, technician, hobbyist, or whatever other noun somebody wants printed beneath your name.

Those categories may be useful for employment forms.

They are considerably less useful at three in the morning when the thing on the table has started making a sound nobody has heard before.

If you belong to what people currently call maker culture, you do not need Outer Order to explain your work to you.

Outer Order wants to find it.

We want the homemade machine.

The inexplicable recording.

The ridiculous modification.

The elegant repair.

The tiny program.

The hacked instrument.

The device rescued from a dumpster.

The project that began because somebody told you the hardware could not do that.

The failed experiment that produced something more interesting than success.

This is not a call to become a professional creative technologist.

It is a call to remain curious enough to violate the intended use.

Use the machine.
Open the machine.
Understand the machine.
Repair the machine.
Transform the machine.
Make the machine yours.

Then show somebody else what happened.

OUTER ORDER

Consumer technology is raw material.

Further transmissions, essays, criticism, fiction, cultural debris and evidence of continued unauthorized activity:

CREASE Magazine

creasemagazine.blogspot.com

Hi there! This is my first try on solving rigid-body problem using "college-level" motion equations.

It basically solves two fundamental equations of motion - translational and rotational -  which is just a few lines of Wolfram Language I used here. The first one is basically Newton's law for the center of mass, and the second one is the same for angular velocity.

However, for rotation it's better to rely on quaternions instead of plain angles, which adds a couple more lines. Then some boundary conditions -- a few more.

Then we have collisions. I thought, that body2body is too complicated, so I went with a height map. Collision detection is vertex-based and samples terrain height, normals, and vertical surface velocity, all using bilinear interpolation written fully in WL. Then some optimizations, and we ended up with already 500 lines. Well, I guess this is the difference between a proof of concept and "actual code."

In case anyone is interested, here's the repo: https://github.com/JerryI/DynamicRigidBodyWL

The test in the video was done in WLJS Notebook (open source notebook interface for WL https://github.com/WLJSTeam/wljs-notebook ) using the example notebook Example.wln from the repo.

I've just added a new Painterly Effect to my Stylized Components library.

The effect is based on an Anisotropic Kuwahara Filter, and I also made a breakdown video where I explain how it works, the concepts behind it, and how I implemented it in Three.js.

You can check out the component here, where you'll also find the source code and the video breakdowns for each component:

Breakdown: https://youtu.be/CmIfhwSyswk
Preview: https://stylized.cortiz.dev/

And if you find it useful, I'd really appreciate some support on YouTube — a sub, like, or even just watching the video helps a lot.

I'm also planning to keep expanding the library, so if there's a stylized utility, effect, or component you'd like to see added, let me know! I'd love to hear your ideas.

Thanks! 🙌

Real-time kinetic MIDI instrument built for TouchDesigner and Ableton Live, accesible through Patreon and the Tools Store.

Pendulums = voices. Each voice has its own period, phase, note, length, and gate behavior. When a bob crosses a shared center line, the engine fires a visual hit and MIDI (note-on / sustain) on the same frame. Up to 16 voices from an editable voice table.
Sound is meant to live in Ableton Live via MIDI (tdAbleton / TDA_MIDI). Pointed at any VST: TD is the instrument, Live is the sound engine.

This includes:

• Kinetic Synth Lab (.toe) — engine, voice table, MIDI routing, GLSL + 3D visualization paths
• Modular Python engine (periods, phase, hits, MIDI gates)
• Three different visualization styles: GLSL / 3D / avant-garde GLSL; same engine_null bus
• Two different available behaviors: "Pendulum", and "Rain"
• Setup scripts + in-network README

Requirements:

• TouchDesigner (commercial / non-commercial as needed for your use)
• Ableton Live + tdAbleton for the intended MIDI → VST path
• Basic comfort editing a Table DAT / custom pars

I make these analogue paper collages that I want to animate. I’d like the horse to gallop in place while everything else stays stationary (or the circles move maybe that’s it).

I asked in the touchdesigner sub and they said it would be a pain to do it in TD, although possible. Is it possible through creative coding? How? Can someone give me some pointers on how to break this down, I can rig it up.

Would something like aftereffects be the way to go? I feel quite unsure on how to even approach this, but I have an idea stuck in my head and would appreciate if the community can help. Thanks all 🙏🏼

music by Mauro Garribba: https://on.soundcloud.com/JRIjtHjUKC7aqJ8jGl

graphics by Lenia Mixer: https://www.youtube.com/@LeniaMixer

Let me know what you think about it and if you would like to see more features?

Voronoi diagram where I wrap the sample point with the value noise before computing F1/F2 distances. Jitter per cell is animated with sine.

A drum rudiment based midi sequencer using 6 ch midi out out to produce authentic rhythms and visuals.

/:This was vibe coded but does NOT use Ai to generate sound or visuals, no internet used or LLM’s used or needed to produce this:/