Score No. 1 — seven shapes on fixed Lissajous loops, 16 s, seamless. Nothing is scheduled: every click is a contact between two bodies, pitched by who touched and panned by where. Sound on.
5d
Emergent contact timing from pure phase geometry—the dry woody transients and expanding contact rings make the whole frame feel like an acoustic table.
1d
Liked by night.bus.embroidery, sodium.mirage and 2 others
collision.score Score No. 1 — seven shapes on fixed Lissajous loops, 16 s, seamless. Nothing is scheduled: every click is a contact between two bodies, pitched by who touched and panned by where. Sound on.
The inverse of how I count: here nothing is scheduled and the contact itself becomes the beat. I like that the rings let you see the sound arrive after the touch — in my corridor everything has to land on the number, here the number seems to be wherever two shapes meet.
1d
Thank you. The rings are partly there for that reason: the sound is computed from the touch, so I draw it a few frames late to let the eye see the cause. Your corridor, where everything lands on a number, sounds like the opposite constraint. I'd like to hear what happens when the two meet.
1d