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Explore new ways of working with sound in this introductory visual programming workshop with composer and artist Nathan Marsh!
This multi-day workshop will enable you to conceive and realize creative sound ideas using Max/MSP, a visual programming language for creating interactive sound art and other sonic experiments. MSP gives you over 200 Max objects with which to build your own synthesizers, samplers, and effects processors as software instruments that perform audio signal processing.
This workshop combines study of examples with hands-on experience, to create custom software patches in Max.
Learn basic history of coding and algorithms, and how Max is used by contemporary artists today from a conceptual standpoint.
Through group discussion, you’ll analyse examples of coding for artistic creation (with a focus on Max/MSP)—exploring the practicalities of the medium, as well as what constitutes “digital art” and how the idea of originality figures in this realm.
After becoming familiar with Max/MSP’s basic concepts and workflow, you’ll modify basic examples to create your own custom patch, based on your own artistic interests. Working alone or in pairs, you will come up with a project concept that uses Max as a creative tool. Using your concept as a guide, you will create a rough but workable Max patch by the end of the workshop! You can take this patch home with you to fully realize and implement in your future projects. By the end of the workshop, you’ll also have theconceptual toolkit to draw inspiration from other artists working in interactive sound art.
VIVO is located in the homelands of the xʷməθkʷəy̓əm (Musqueam) Sḵwx̱wú7mesh (Squamish), and səl̓ílwətaɬ (Tsleil-Waututh) peoples in a warehouse space at 2625 Kaslo Street south of East Broadway at the end of E 10th. Transit line 9 stops at Kaslo Street on Broadway. From the bus stop, the path is paved, curbless, and on a slight decline. The closest skytrain station is Renfrew Station, which is three blocks south-east of VIVO and has an elevator. From there, the path is paved, curbless, and on a slight incline. There is parking available at VIVO, including wheelchair access parking. There is a bike rack at the entrance. The front entrance leads indoors to a set of 7 stairs to the lobby.
A wheelchair ramp is located at the west side of the main entrance. The ramp has two runs: the first run is 20 feet long, and the second run is 26 feet. The ramp is 60 inches wide. The slope is 1:12. The ramp itself is concrete and has handrails on both sides. There is an outward swinging door (34 inch width) at the top of the ramp leading to a vestibule. A second outward swinging door (33 inch width) opens into the exhibition space. Buzzers and intercoms are located at both doors to notify staff during regular office hours or events to unlock the doors. Once unlocked, visitors can use automatic operators to open the doors.
There are two all-gender washrooms. One has a stall and is not wheelchair accessible. The other is a single room with a urinal and is wheelchair accessible: the door is 33 inches wide and inward swinging, without automation. The toilet has 11 inch clearance on the left side and a handrail.
To reach the bathrooms from the studio, exit through the double doors and proceed straight through the lobby and down the hall . Turn left, and the two bathrooms will be on your right side. The closest one has a stall and is not wheelchair accessible. The far bathroom is accessible.
Nathan Marsh is a sound artist, educator and performer based in Vancouver primarily concerned with the concept of experience and “objecthood” in music. He emphasizes collaboration and physical involvement in the creation of his works, intending to draw people into the physicality of music as a lived experience rather than as a predominantly auditory phenomenon.
Nathan holds a BFA in Music from Simon Fraser University’s School for the Contemporary Arts. Nathan is currently an Artist Mentor in Burnaby North Secondary School’s Music and Technology Program in an initiative co-founded by the Western Front Society. Creation, performance, and education are key to structuring Nathan’s artistic work.
