This blog post will be dedicated to the hard ware part of the installation. The final execution differed from the intended form. I will be talking now about its intended form. The difference from the final executed version and reasons behind will be explained in another blogpost. Intended form of installation consists from:

• 16 programable LED strips approx 190cm tall (107 programmable LEDs) positioned in the circle.
• Pair of WiFi motion tracking gloves
• Control Station
• Pole with ToF sensor and Bluetooth for triggering the animation (or AV Game)

Gloves contain micro-controller ESP32, IMU sensor BNO055 for tracking the motion, DC-DC buck converter to bring small LiPo battery voltage of 3.7V down to desired 3.3V (operational voltage for both, ESP32 and BNO055). Raw x, y, z data from sensor are processed in micro-controllers and sent via WiFi on separate channels into Control Station.

Control Station contains two ESP32 receivers for each glove. Data those are being split and sent into Teensy 4.0 containing logic which converts specific angles from the 360 degrees radius into specific MIDI note of pre-programmed scales, as well as one MIDI CC control. Each MIDI note covers 45 degrees of the circle. Teensy 4.0 can be directly connected with any DAW. Second avenue from the data split is into two Teensy 4.1 which controls LED interface. Each Teensy 4.1 is handling 8 strips. I have chosen this way because I found necessary to use library octows2811. This library enables very fast LED animations simultaneously in comparison to other libraries like FastLED or NeoPixel. I tried those too and found them very inefficient for real-time and fast applications. Control Station also contains a Bluetooth module which receives data from the pole’s ToF sensor.

The Pole contains ToF (Time of Flight) sensor which essentially measures the proximity from and object. Distance data are being sent via Bluetooth module to the Control Station. In the installation it is used to trigger the initial animation and sound upon entering The Ring.

As I touched on briefly in my previous blog post, the Circle series is centered around the concept of audio-visual games, where a designated “conductor” takes control. Positioned within the circle and equipped with motion-tracking gloves, the conductor manipulates sound and visuals in real time, creating an immersive, interactive experience. The LED interface, consisting of 16 LED strips arranged in a ring, serves as the visual canvas for this dynamic interplay.

Building on my prior experience with creating interactive gloves and using motion to control sound, I feel confident in generating and manipulating audio elements through hand gestures. This familiarity has allowed me to focus more intently on exploring and refining the visual components of the installation. My goal is to design an engaging and intuitive system where light and sound not only complement but also amplify each other.

The “Entry Game”: A Gateway to Interaction

The first element I’ve programmed for The Circle series is the “Entry Game.” This game is designed to trigger automatically as the conductor steps into the circle. The concept behind the Entry Game is to provide an immediate, engaging introduction to the system. Upon entry, the motion-tracking gloves activate a sequence of lights on the LED strips, signaling that the conductor has entered a new interactive domain. This game acts as a gateway, setting the stage for deeper levels of interaction while ensuring the conductor feels immersed from the outset.

“Digital Hula Hoop”: A Work in Progress

Another game currently in development is the “Digital Hula Hoop.” This element focuses on creating a visual and sonic interplay that responds dynamically to the conductor’s movements. The idea is to program two light circles in different colors, representing the conductor’s hands. These circles will move and tilt within the LED ring based on the motion data captured by the gloves.

At this stage, the animation for the Digital Hula Hoop is automated and does not yet include sound integration. However, the visual elements are being refined to ensure smooth and intuitive responsiveness. The next step involves linking the motion-tracking data to control the position and orientation of the light circles dynamically.

On the auditory side, I envision pairing the light movements with evolving drone sounds. The amplitude and distortion of the sound would change in response to swift horizontal hand movements, creating a sense of energy and tension. Additionally, vertical hand motions could modulate the pitch, adding depth and variety to the soundscape. The ultimate goal is to achieve seamless synchronization between sound and visuals, where each gesture transforms the conductor into a performer and the LED ring into a living, reactive instrument.

I added dramatic sound design which is suppose to evoke entering to the cybernetic liminal space.

While the The Ring series is still in its early stages, the progress so far has been exciting and illuminating. The combination of intuitive hand-controlled soundscapes and visually dynamic LED animations offers immense creative potential. Moving forward, I aim to refine the interaction mechanics, ensuring that the system is not only responsive but also rewarding for both the conductor and the audience. Each game in the series will build on the others, gradually increasing in complexity and encouraging deeper engagement with the installation.

I have decided to incorporate my Sonokinetic Arduino gloves to complement the programmable LED strips in The Ring. This marks an initial step toward a broader interactive audio-visual installation.

The Ring explores the convergence of audience and artist roles within club culture through sonic and visual mediums. It examines how the commercialization of DJ culture and the rise of social media impact immersive experiences in nightclubs, where the focus often shifts from artistry to consumerism. The installation also considers whether the constant evolution of digital technologies might provide an alternative solution through the creation of hybrid art forms.

The piece aims to democratize and decolonize club spaces by encouraging direct audience participation, disrupting the traditional dynamic where the DJ serves as the central focus while the crowd remains passive. Instead, The Ring invites attendees to actively engage, turning them into co-creators of the experience.

Drawing on Haraway’s (Haraway, 2016) cyborgian narrative, The Ring integrates the communal aspects of a club night, affective immersion, and the blurring of boundaries between artist, artwork, and audience. It creates a semi-virtual space where sonic, visual, and social elements converge into a hybrid form, challenging conventional distinctions and offering a reimagined experience of club culture.

Bibliography:

Donna Jeanne Haraway (2016). Manifestly Haraway. University of Minnesota Press.