I know! I went back and resurrected some of my old code to make this video, and I can't help but feel like there was a lot more potential to this idea then I originally realized.
@@marcevanstein Plus a lot of time could be saved to generate a ton more ideas by using image processing to generate the contour traces of any leaf, with all the leaves out there, one can easily imagine finding enough inspirations to compose a set of distinct full length pieces.
That's my feeling about it! Humans and computers have different strengths and abilities. Of course, I think you can make wonderful art without computers, but I don't think you can do it without humans...
@@marcevansteinI wish you were right. AI is like that infinite monkeys with typewriters kind of thing. When AI does the equivalent of that one monkey writing Shakespeare, it gets isolated and trained further, further improving the AI model. Rinse and repeat until humans need not apply...
@@lllIIIlIllIIll That just is not true. We have too much proof that it is simply stealing from lesser known people. It also has an endpoint, where it can no longer generate "new" combinations.
@@KTibow i mean, look where ai image generation was 2 years ago and where it is now. Stabls Diffusion models, for example, habe been getting better and better, just compare base model 1.5 with SDXL or the latest 3.5 if you have the right tools. It's night and day difference. I assume same goes for AI in other implementations.
By some freakish serendipitous synchronicity I aim painting leaves at the moment and listening to this .Thanks RUclips algorithm and Marc Evanston! Painting my leaves is now much less boring!
Reminds me of Steve Reich. Not really interested in minimalism, however, I feel his music has tapped into a vein: it sounds as life unfolding, happening. Sometimes messy, chaotic, full of drive -- precisely where its beauty emerges from.
that's because it uses the whole tone scale, which, because of movie scores and sound effects, makes us think of rippling mirrors and 'flashbacks!' The more you know. + the harp, yeah, this is what time travel to the past sounds like...
Cool stuff. I have a bunch of geometric shapes I have been working on and that I use to create single cycle waveforms for wavetable synthesis. This has my brain racing on how I can reimplement my creations for this particular use case. Great stuff.
@@marcevansteinI sketch stuff in Desmos and implement in MATLAB. I then load the files into Vital and Serum mostly. The DAW Bitwig has some ability as well. There are a few HW options as well in Eurorack and standalone synths
Yes, I can. The whole song reminds me of cartoons when it’s fall and they’re showing the leaves flowing across the ground. They usually play music like that.
This is awesome! I made a physical version of something like this in 2019 with a proximity sensor and a turntable. It was much more limited than your approach (the data was simply quantized and sent to the Rings eurorack module at a steady rhythm), but "listening" to physical objects was really fun.
i love this so much, its so innovative and fills me with a new kind of wonder for music. I hope more artists start doing more fun, yet innovative and technical stuff like this piece.
should try this on a generated plot of a pine tree, where each single needle is its own potential note, tone, or other sound/instrument, would be wild af
Sounds a lot like the bit in rthe Soldier's Tale at the beginning when the soldier takes his violin out of his kit. There's probably something there with the innocence of the soldier, pre corruption, and the patterns of nature.
Thanks! Know that this will inspire my writing process and therefore the production of a novel which means everything to at least one person on earth (for now).
wow. while watching your video, I made the connection that, certain parts of this music production process, remind me of certain parts of my writing process. which was entertaining to reflect on. congruences in our processes; "improvise": generate (the foundational draft) as an (incoherent patchwork) of (improvised/free-orm/uncensored content). "refine": prune (the foundational draft) of (any parts) that are (off topic/redundant/meaningless) and (rephrase/iterate on) the (parts that remain). "organize": redistribute (parts/sections of content) into a (structured form) that most (coherently and digestibly) achieves (your intent). certain parts of your music production process; "improvise": feed (data that imitates/models nature, or any other thing) into (a music generation algorithm). "refine" & "organize": sculpt (your piece) in a manner that (evokes chiseling marble). certain stages of my writing process; "improvise": (record then transcribe) my (rambling explanation of everything I can think of on my topic). "refine": discard (filler words/redundant repetitions) and rephrase (sentences). "organize": redistribute (sentences) into (sections) in a (structured format) and (perform a final refining step) with (consideration) to the (newly formed vision/structure) of (the content). side notes; (my writing process; which isn't fully explained/detailed within this comment, that I use to minimize "creative block" through an incremental method.) (I tentatively think that these processes exist for the purpose of, being a guide through creating a cohesive and directed unit of creative content, from the starting point of gaining an inspirational spark/idea)
Something that's really stuck with me from when I studied with Curtis Roads was when he said that "cutting and pruning are deeply creative work". He's into gardening too, which may have something to do with that comment :-)
Somewhat off topic, maybe of use to you: Long ago I saw a method for identifying endless shapes of fossil brachiopods (two shell clam type animals). You isolate the "hinge" point of the shell shape in question. You place the hinge point at the origin of a 2D polar graph space. Next you basically do Fourier analysis but in polar coordinates. Your function is going to be r(theta) and describes the curvy shape that is tangent to the origin. If you have just one sine function r= sin (theta), you get a redunant circle, a circle traced over twice. Your functions have to be "single valued"... f(x) = f(x +2pi). Full rotations must bring you back to the same value for r. In the full method you expand your obervered shell shape into a sum of functions r(theta), sines and cosines, and retreive the coeffcients needed to reproduce the shape. With some good guidelines and techniques you can then use the coeffs to "identify" fossil species. There are shapes you can't do... There must be a clear radius "line of sight" to each point on the shape..... Can't have wiggly tendrils... But so so many natural shapes can be reduced in this way. Finally... to your specialty... one more recipe to exploit? Maybe every shape plays a chord? Or vice versa... What are the fossil shapes of the diatonic chords. Might be something to see...
considering my first thought when hearing the music was "whimsical forest scene in a fantasy movie", i'd say you succeeded at injecting leafiness into music.
This is really awesome !! I wonder how it would sound by following not only the shape, but then the veins of the leaf ? I mean of course the path would be strange because it isn't just a line to follow. Maybe it could go through the leaf entirely. I don't know your process and I'm not sure it's even realizable without taking extremly long. But imagine an oak leaf (like the first result in google images), and you go from the stem with a strong low note, and as it goes up it extens in all directions, getting higher pitched notes as the lines get thinner and thinner, while still drawing the overall wavy shape of the leaf. I think the result would be extremly interesting. I don't know if something like this is possible (biggest issue would be how long it would take to follow all lines), but the idea in itself is nice I think. Anyway, great job here ! I like how those leaves sound at the start, and the melody you made at the end !
You could also take inspiration from the phyllotaxic arrangement of the leaves themselves by using phi, aka the golden angle, so that the same angle around the leaf is never chosen twice, to create unique music using the shape of the leaf forever!
lovely.. I like to use math based midi loopy thing to generate 'beds' and then do live improvisation over them.. then sculpt these more compositionally.. It's always good to find ways to cut through the habits paths that we can't see so easily from within,,
I think this is beautiful and beautifully done, I'm not sure I can hear the leaf but I think I can still see it in the way you have shown the notes. it got me wondering if you'd do other spiraling shapes and, if you might consider a model of DNA, I think it'd be poetic to make music of the leaf miner
A pure linear sequence seems more faithful to me if the source is an object found in nature (bird song is not scalar, for example), not to mention more adventurous. Early 20th c music sounded like noise to so many people back then and our appreciation of it has changed over time as we’ve been exposed to it more and more. That said, I love what you do here.
That was amazing! I've done some numerological melody writing before, and thought I was cool - but consider you Miles Davis! (A little Billy Madison quote for you)
Excellent work man. Your video popped up on my feed because it dovetails with my work and research using relativistic and non-relativistic physics models to understand the complexity of language. I applied some of my methods to audio a few weeks ago and the results were pretty awesome. You have .py in your name so I'm guessing you'll be able to understand this without me having to explain what goes on either side of this code? Anyway, I'm glad I stumbled across your video, it's really nice to see someone so creative and into what they're doing. theta = np.linspace(0, np.pi, 50) phi = np.linspace(0, 2*np.pi, 50) theta, phi = np.meshgrid(theta, phi) # Map audio features to geometry magnitude = quantum_features['magnitude'][:50] phase = quantum_features['phase'][:50] spectral = quantum_features['spectral'][:50] # Create dynamic radius based on spectral content r_base = 20 * (1 + 0.3 * np.sin(5*theta)) r_mod = np.sum([m * np.cos(p * phi) for m, p in zip(magnitude[:10], phase[:10])], axis=0) r = r_base * (1 + 0.2 * r_mod) # Generate coordinates x = r * np.sin(theta) * np.cos(phi) y = r * np.sin(theta) * np.sin(phi) z = r * np.cos(theta) # Create color mapping based on spectral content colors = np.zeros((x.size, 4)) for i in range(min(10, len(spectral))): hue = (i / 10) % 1.0 saturation = np.clip(spectral[i] / np.max(spectral), 0, 1) colors += self.hsl_to_rgb(hue, saturation, 0.5, 0.1) # Create visualization pos = np.vstack([x.flatten(), y.flatten(), z.flatten()]).T scatter = gl.GLScatterPlotItem(pos=pos, color=colors, size=2.0) You can apply other math concepts from classical and quantum physics as well # Calculate vacuum fluctuations vacuum_energy = np.abs(hilbert(magnitude)) * np.exp(1j * phase) vacuum_field = np.angle(vacuum_energy) # Create quantum potential field r_base = 20 * (1 + 0.3 * np.sin(5*theta)) # Add vacuum fluctuations n_components = min(20, len(magnitude)) vacuum_fluctuations = np.zeros_like(theta) for i in range(n_components): vacuum_fluctuations += magnitude[i] * np.sin(phase[i] * phi + spectral[i] * theta) # Scale using fine structure constant alpha = 1/137.036 vacuum_scale = alpha * np.abs(vacuum_fluctuations)
At around 2:32 of the video, why are the step widths of the distance to pitch curve for a diatonic scale not of equal width? Is there something else going on under the hood that gives certain notes a higher probability of being sounded? TIA
the pitch curve is linear with rounding to the nearest pitch of the scale. So, the step width of a note is proportional to the step height. A diatonic scale has a couple half steps amongst whole steps, so those half height steps get half width.
@@MNbenMN Thanks for the reply and that makes total sense. I should have thought that through before posting my question :) BTW, for you, what does one revolution around your geometry signify? Are you starting off with BPMs and associating that to the rotational vector in some manner?
this is cool once you explained it it made sense and i was ablet o hear the leafyness in the final version after having it explained and the circle video is great. it reminds me of orbital gravity simulations and those are my favorite things. would love to somehow play with that software. or learn how to recreate it, not sure if youve made a video going into that but would love to see it if you havent. it would be cool to combine gravity simulations with the pitch scaling idea, although i think ive seen it before somewhere i really wanna try making something like that
Yeah, so that' just because it's http instead of https, which means you shouldn't enter your credit card info or anything, but it's just an informational page. I really need to switch to https anyway, but frustratingly, my web hosting provider charges extra for this, even though it doesn't cost them anything to implement. Anyway, hope you check out the page anyway!
it would be very hard while circles and leaves are technically 1D shapes mapped radially, snowflakes are very very detailed 2D shapes with various cavities
The fact that the piece worked out to being 5/8 time signature is really neat as those are the two most common numbers found in the Fibonacci sequence. The sequence of numbers found in all natural things.
Fibonacci isn't special or unique. It certainly isn't found in all living things. You are confusing the golden ratio with the fibonacci sequence. This is really just an art project, and there's nothing wrong with that.
@@acmhfmggru Phi, or the Golden ratio, is intrinsically related to and can be derived from the fibonacci sequence. The ratio between the numbers of the fibonacci sequence converge to Phi. So to say that one is present in nature while the other isn't, doesn't make much sense. Fibonacci is "not present" only insofar as units of measurement are necessarily arbitrary, but ratios are not arbitrary, so any object with Phi built into it can be measured in terms of fibonacci by adjusting the unit measurement, really. Tl;Dr: in the context of expression in natural forms, there is no meaningful difference between the fibonacci sequence and the golden ratio, because the latter is simply the relationship between the elements of the former.
Whatever it is you call this style of teaching, it's what I've been wanting out of music theory for ten years now
The Lark Spur leaf (3:25) with the blues sounds great!
I know! I went back and resurrected some of my old code to make this video, and I can't help but feel like there was a lot more potential to this idea then I originally realized.
@@marcevanstein Plus a lot of time could be saved to generate a ton more ideas by using image processing to generate the contour traces of any leaf, with all the leaves out there, one can easily imagine finding enough inspirations to compose a set of distinct full length pieces.
thank you for a digression that’s secretly the point
im stealing this sentence and keeping it without remorse
It kinda is, isn't it? :-)
This is how people should use generative programs. As a jumping off point for the human imagination to make it shine.
That's my feeling about it! Humans and computers have different strengths and abilities. Of course, I think you can make wonderful art without computers, but I don't think you can do it without humans...
@@marcevansteinI wish you were right. AI is like that infinite monkeys with typewriters kind of thing. When AI does the equivalent of that one monkey writing Shakespeare, it gets isolated and trained further, further improving the AI model. Rinse and repeat until humans need not apply...
your comment won't make any sense until agi is invented
@@lllIIIlIllIIll That just is not true. We have too much proof that it is simply stealing from lesser known people. It also has an endpoint, where it can no longer generate "new" combinations.
@@KTibow i mean, look where ai image generation was 2 years ago and where it is now. Stabls Diffusion models, for example, habe been getting better and better, just compare base model 1.5 with SDXL or the latest 3.5 if you have the right tools. It's night and day difference. I assume same goes for AI in other implementations.
By some freakish serendipitous synchronicity I aim painting leaves at the moment and listening to this .Thanks RUclips algorithm and Marc Evanston! Painting my leaves is now much less boring!
I love it!
PLEASE release a version where you dont use a step function! some people (like me) love mircotones
This!
Microtonal bananas unite!
yes please!
It could be cool to get a macrostucture by moving around *another* leaf's outline. That's what first came to my mind at least
Yeah, could be a series of leaves, or an interpolation!
Yes! What a great idea!
@@marcevanstein Or perhaps the light shining on the leaf through other leaves from above.
@@marcevanstein like a tree!
Reminds me of Steve Reich. Not really interested in minimalism, however, I feel his music has tapped into a vein: it sounds as life unfolding, happening. Sometimes messy, chaotic, full of drive -- precisely where its beauty emerges from.
Ah so THAT'S how Scott Joplin wrote that one!
I feel like I really missed an opportunity to troll the viewer after reading this
Maple Leaf Rag?
Looked around during performance and... Audience just leaves...😂
LOLOL this is clever
Me, when I have a flashback of an earlier event: 3:33
that's because it uses the whole tone scale, which, because of movie scores and sound effects, makes us think of rippling mirrors and 'flashbacks!' The more you know. + the harp, yeah, this is what time travel to the past sounds like...
I appreciate that you started out playing a beautiful, fascinating piece of music. It pulled me in and the “how to” portion kept my attention.
About 8 years ago i thought of some of these basics a completely different musical interface instrument that allows interaction. Well done, bravo!
Cool stuff. I have a bunch of geometric shapes I have been working on and that I use to create single cycle waveforms for wavetable synthesis. This has my brain racing on how I can reimplement my creations for this particular use case. Great stuff.
Nice! What are you using to do wt synthesis?
@@marcevansteinI sketch stuff in Desmos and implement in MATLAB. I then load the files into Vital and Serum mostly. The DAW Bitwig has some ability as well. There are a few HW options as well in Eurorack and standalone synths
Hey Marc! Nice to see you still at it. It was lovely to see your big hit videos but this is the stuff I love!
now you gotta try and create a leaf that matches an already existing piece of music
the final output sounds like a theme for an area in a video game where you’re platforming on really big leaves
that's such a cool way to generate intricate MIDI sequences
1:31 GameCube intro
haunted GameCube intro
linux jumpscare at 0:35
if you reverse the process, you are an artist
Yes, I can. The whole song reminds me of cartoons when it’s fall and they’re showing the leaves flowing across the ground. They usually play music like that.
i felt like i gained some kind of hidden knowledge from your digression
Amazing, Marc! Your work is beautiful!!
Thanks for your kind words! Also, I just listened to one of your videos and it was wonderful!
@marcevanstein thank you, man! How kind 🙏❤️
This would make a great zelda forest temple music.
I love this, its so rythmic and yet melodic
This is awesome! I made a physical version of something like this in 2019 with a proximity sensor and a turntable. It was much more limited than your approach (the data was simply quantized and sent to the Rings eurorack module at a steady rhythm), but "listening" to physical objects was really fun.
Wow. Absolute musical masterpiece. Genius work!
Amazing work!! Thanks for sharing your process so transparently, great video
i love this so much, its so innovative and fills me with a new kind of wonder for music. I hope more artists start doing more fun, yet innovative and technical stuff like this piece.
Wonder is the goal :-)
What the heck did i just watch? What a video, man. Give your animator a raise
Well, I am my own animator, but I'll be sure to do so metaphorically
instead of the curvy paths, can you perhaps follow the vein structure of the leaves so you get more of the actual structure of a leaf in there?
That turned out really well. Reminds me of some prog bluegrass sections a la Punch Brothers
It's beautiful and I love how you started out with nature to write music! :D
Nice piece, it still reminds me of the leaf shapes in the final version. Which I like very much!
should try this on a generated plot of a pine tree, where each single needle is its own potential note, tone, or other sound/instrument, would be wild af
3:10 sounds like a Ruth Underwood solo from Frank Zappa, Inca Roads maybe?
Sounds a lot like the bit in rthe Soldier's Tale at the beginning when the soldier takes his violin out of his kit. There's probably something there with the innocence of the soldier, pre corruption, and the patterns of nature.
Thanks! Know that this will inspire my writing process and therefore the production of a novel which means everything to at least one person on earth (for now).
This method would make some insane Meshuggah solos. If there's a way to get the code for this and apply it to guitar pro I would pay money for it
Leaf Loops gives me big Cosmo Sheldrake energy
ah, a leaf, I thought about LeaF
wow.
while watching your video, I made the connection that, certain parts of this music production process, remind me of certain parts of my writing process. which was entertaining to reflect on.
congruences in our processes;
"improvise": generate (the foundational draft) as an (incoherent patchwork) of (improvised/free-orm/uncensored content).
"refine": prune (the foundational draft) of (any parts) that are (off topic/redundant/meaningless) and (rephrase/iterate on) the (parts that remain).
"organize": redistribute (parts/sections of content) into a (structured form) that most (coherently and digestibly) achieves (your intent).
certain parts of your music production process;
"improvise": feed (data that imitates/models nature, or any other thing) into (a music generation algorithm).
"refine" & "organize": sculpt (your piece) in a manner that (evokes chiseling marble).
certain stages of my writing process;
"improvise": (record then transcribe) my (rambling explanation of everything I can think of on my topic).
"refine": discard (filler words/redundant repetitions) and rephrase (sentences).
"organize": redistribute (sentences) into (sections) in a (structured format) and (perform a final refining step) with (consideration) to the (newly formed vision/structure) of (the content).
side notes;
(my writing process; which isn't fully explained/detailed within this comment, that I use to minimize "creative block" through an incremental method.)
(I tentatively think that these processes exist for the purpose of, being a guide through creating a cohesive and directed unit of creative content, from the starting point of gaining an inspirational spark/idea)
Something that's really stuck with me from when I studied with Curtis Roads was when he said that "cutting and pruning are deeply creative work". He's into gardening too, which may have something to do with that comment :-)
Thank you! We are now living in a time when we can hear "the music of the spheres!"😊
Somewhat off topic, maybe of use to you: Long ago I saw a method for identifying endless shapes of fossil brachiopods (two shell clam type animals). You isolate the "hinge" point of the shell shape in question. You place the hinge point at the origin of a 2D polar graph space. Next you basically do Fourier analysis but in polar coordinates. Your function is going to be r(theta) and describes the curvy shape that is tangent to the origin. If you have just one sine function r= sin (theta), you get a redunant circle, a circle traced over twice. Your functions have to be "single valued"... f(x) = f(x +2pi). Full rotations must bring you back to the same value for r. In the full method you expand your obervered shell shape into a sum of functions r(theta), sines and cosines, and retreive the coeffcients needed to reproduce the shape. With some good guidelines and techniques you can then use the coeffs to "identify" fossil species. There are shapes you can't do... There must be a clear radius "line of sight" to each point on the shape..... Can't have wiggly tendrils... But so so many natural shapes can be reduced in this way. Finally... to your specialty... one more recipe to exploit? Maybe every shape plays a chord? Or vice versa... What are the fossil shapes of the diatonic chords. Might be something to see...
You could also change tempo according to how close or far it is to the center
considering my first thought when hearing the music was "whimsical forest scene in a fantasy movie", i'd say you succeeded at injecting leafiness into music.
Imma be honest, that thumbnail leaf thing looks like a sick ass drift track
im sorry.
time to summon a literal fandom.
Leaf litter.
@ yes 😔.
This is really awesome !!
I wonder how it would sound by following not only the shape, but then the veins of the leaf ? I mean of course the path would be strange because it isn't just a line to follow.
Maybe it could go through the leaf entirely. I don't know your process and I'm not sure it's even realizable without taking extremly long.
But imagine an oak leaf (like the first result in google images), and you go from the stem with a strong low note, and as it goes up it extens in all directions, getting higher pitched notes as the lines get thinner and thinner, while still drawing the overall wavy shape of the leaf.
I think the result would be extremly interesting. I don't know if something like this is possible (biggest issue would be how long it would take to follow all lines), but the idea in itself is nice I think.
Anyway, great job here ! I like how those leaves sound at the start, and the melody you made at the end !
Would take some reworking, bit I agree, that would be interesting!
Wow. Larkspur Blues is awesome!
You could also take inspiration from the phyllotaxic arrangement of the leaves themselves by using phi, aka the golden angle, so that the same angle around the leaf is never chosen twice, to create unique music using the shape of the leaf forever!
You're telling me a leaf synthesized this warble
lovely.. I like to use math based midi loopy thing to generate 'beds' and then do live improvisation over them.. then sculpt these more compositionally..
It's always good to find ways to cut through the habits paths that we can't see so easily from within,,
Jonny Greenwood used a similar technique when writing '48 responses to polymorphia'!
I think this is beautiful and beautifully done, I'm not sure I can hear the leaf but I think I can still see it in the way you have shown the notes. it got me wondering if you'd do other spiraling shapes and, if you might consider a model of DNA, I think it'd be poetic to make music of the leaf miner
A pure linear sequence seems more faithful to me if the source is an object found in nature (bird song is not scalar, for example), not to mention more adventurous. Early 20th c music sounded like noise to so many people back then and our appreciation of it has changed over time as we’ve been exposed to it more and more. That said, I love what you do here.
There's a second faithful mapping: a linear mapping into frequency rather than pitch.
That was amazing! I've done some numerological melody writing before, and thought I was cool - but consider you Miles Davis! (A little Billy Madison quote for you)
I love the lark spur blues scale one
I love this! I would also be curious to see (or hear?) what some conifers sound like
My favourite genres as of late.
Polyrhythms Bouncing Circles/Squares
Desmos
This channel
7:30 good lord there is penice
LMAO
What if you make the center trace the pave of another leaf? you could vary the speeds to get different revolutions
That's a great idea!
Id love to hear a chello, maybe base too, playing the the leaf too. Maybe the same track but ran in reverse?
Excellent work man. Your video popped up on my feed because it dovetails with my work and research using relativistic and non-relativistic physics models to understand the complexity of language. I applied some of my methods to audio a few weeks ago and the results were pretty awesome. You have .py in your name so I'm guessing you'll be able to understand this without me having to explain what goes on either side of this code? Anyway, I'm glad I stumbled across your video, it's really nice to see someone so creative and into what they're doing.
theta = np.linspace(0, np.pi, 50)
phi = np.linspace(0, 2*np.pi, 50)
theta, phi = np.meshgrid(theta, phi)
# Map audio features to geometry
magnitude = quantum_features['magnitude'][:50]
phase = quantum_features['phase'][:50]
spectral = quantum_features['spectral'][:50]
# Create dynamic radius based on spectral content
r_base = 20 * (1 + 0.3 * np.sin(5*theta))
r_mod = np.sum([m * np.cos(p * phi) for m, p in zip(magnitude[:10], phase[:10])], axis=0)
r = r_base * (1 + 0.2 * r_mod)
# Generate coordinates
x = r * np.sin(theta) * np.cos(phi)
y = r * np.sin(theta) * np.sin(phi)
z = r * np.cos(theta)
# Create color mapping based on spectral content
colors = np.zeros((x.size, 4))
for i in range(min(10, len(spectral))):
hue = (i / 10) % 1.0
saturation = np.clip(spectral[i] / np.max(spectral), 0, 1)
colors += self.hsl_to_rgb(hue, saturation, 0.5, 0.1)
# Create visualization
pos = np.vstack([x.flatten(), y.flatten(), z.flatten()]).T
scatter = gl.GLScatterPlotItem(pos=pos, color=colors, size=2.0)
You can apply other math concepts from classical and quantum physics as well
# Calculate vacuum fluctuations
vacuum_energy = np.abs(hilbert(magnitude)) * np.exp(1j * phase)
vacuum_field = np.angle(vacuum_energy)
# Create quantum potential field
r_base = 20 * (1 + 0.3 * np.sin(5*theta))
# Add vacuum fluctuations
n_components = min(20, len(magnitude))
vacuum_fluctuations = np.zeros_like(theta)
for i in range(n_components):
vacuum_fluctuations += magnitude[i] * np.sin(phase[i] * phi + spectral[i] * theta)
# Scale using fine structure constant
alpha = 1/137.036
vacuum_scale = alpha * np.abs(vacuum_fluctuations)
3:33 POV you just fell into wonderland
I love the dry sarcasm 😂
You can do the same with crossections of objects, which you can then also change to have a new axis to move thru ❤
My gosh this is so COOL!
well done sir...
i think some people could really learn a thing or two from 8:16 to 9:18
At around 2:32 of the video, why are the step widths of the distance to pitch curve for a diatonic scale not of equal width? Is there something else going on under the hood that gives certain notes a higher probability of being sounded? TIA
the pitch curve is linear with rounding to the nearest pitch of the scale. So, the step width of a note is proportional to the step height. A diatonic scale has a couple half steps amongst whole steps, so those half height steps get half width.
@@MNbenMN Thanks for the reply and that makes total sense. I should have thought that through before posting my question :)
BTW, for you, what does one revolution around your geometry signify? Are you starting off with BPMs and associating that to the rotational vector in some manner?
Wendy Carlos mentioned🗣️🔥
this is cool once you explained it it made sense and i was ablet o hear the leafyness in the final version after having it explained
and the circle video is great. it reminds me of orbital gravity simulations and those are my favorite things. would love to somehow play with that software. or learn how to recreate it, not sure if youve made a video going into that but would love to see it if you havent. it would be cool to combine gravity simulations with the pitch scaling idea, although i think ive seen it before somewhere i really wanna try making something like that
You should try shards of glass next!
I feel like this could be a fun way to generate drum loops
That's actually a really cool idea. Different bands of radius could be different drums, and you could use pointiness to determine rhythm.
after listening to Mushroom music made from electrical Signals and this video, I'd like to imagine If we could hear the forest it would be amazing.
What vst was used for.that violin and harp lol
Commenting in order to get a notification when there's a response.
+1, really need to know
and now 4 people wanna know the vst
Harp was pianoteq, and violin/viola were this amazing VST called real people playing real instruments ;-)
@@marcevanstein thanks, will check it out!
Not me thinking you were going to use leaf veins for the composition 🍃
More like this please RUclips.
2:20 you could even try with microtonal scales
amazing work! is this program available anywhere for free use?
I thought for a sec you're talking about LeaF-
It's criminal to talk about the leaf miner in this context and not calling anything the "miner scale"
Very nice! Thanks for sharing!
3:33 Flashback time
This video was really cool! I checked the link to your lessons in the description, but the link is giving a 'your connection is not private' warning.
Yeah, so that' just because it's http instead of https, which means you shouldn't enter your credit card info or anything, but it's just an informational page. I really need to switch to https anyway, but frustratingly, my web hosting provider charges extra for this, even though it doesn't cost them anything to implement. Anyway, hope you check out the page anyway!
@@marcevanstein Ah, that makes sense. I tried to proceed anyway, but the page just gives a 404.
Who's Lee Floops?
Absolutely brilliant interpretation of______using_______Can someone fill in the blanks?
I wonder if this could be done with snowflakes...
it would be very hard
while circles and leaves are technically 1D shapes mapped radially, snowflakes are very very detailed 2D shapes with various cavities
1:26 flight of the bumblebee?
The fact that the piece worked out to being 5/8 time signature is really neat as those are the two most common numbers found in the Fibonacci sequence. The sequence of numbers found in all natural things.
I wouldn't take that 8 too seriously ... ;-)
Fibonacci isn't special or unique. It certainly isn't found in all living things. You are confusing the golden ratio with the fibonacci sequence. This is really just an art project, and there's nothing wrong with that.
@@acmhfmggru8/5 = 1.6 ≈ 1.618 ≈ φ
Fibonacci (and other sequences of adding the previous two terms) always approach the golden ratio
wdym?
@@acmhfmggru Phi, or the Golden ratio, is intrinsically related to and can be derived from the fibonacci sequence. The ratio between the numbers of the fibonacci sequence converge to Phi. So to say that one is present in nature while the other isn't, doesn't make much sense. Fibonacci is "not present" only insofar as units of measurement are necessarily arbitrary, but ratios are not arbitrary, so any object with Phi built into it can be measured in terms of fibonacci by adjusting the unit measurement, really.
Tl;Dr: in the context of expression in natural forms, there is no meaningful difference between the fibonacci sequence and the golden ratio, because the latter is simply the relationship between the elements of the former.
W RUclips pull. 10/10
can you make a program which generates new leaves from the music?
iterating between the two might be interesting.
Great video.
What is name of program you workin in?
you mean to write the score? It's MuseScore. The leaf thing was python code
what software do you use for music annotation? that ui looked slick
Is cool, would you try a pine branch? I think it might work similar to a leaf.
8 minutes in and I'm like... oh it was from SimCity game maybe?
this is just creepy Leaf music