Isadora Examples

[Rosalia Kemme]

Can anyone share any video examples of Isadora in action in a live performance? I want to gather clear examples to showcase what you can do with Isadora to a new student group, without the functionality seeming too daunting. Ideally the examples would have replicable qualities and show elements that new users could recreate and play with.

Also, while it's not a live performance, our Example File showcases some cool techniques to experiment with in Isadora and as a bonus, the students will actually have access to the patch so they can play with it and dissect it.

Maybe @mark (help...sorry to tag you), or anyone else can provide a better way to do this? I have done communication the other way a lot, Arduino to Isadora, but not this way, I see some references to posts on the old forum, but no examples or posts that are relevant

can you post the Isadora file you are suing to send the strings?
I can't imagine why it would be limited in speed. The string is much shorter than a universe of dmx, and that is easy sent at 40hz.

Hmmm interesting. I just did a project with controlling Servo's using Isadora, personally I use OSC to make the communication between both. It makes no sense that Isadora has a limit on the speed of the Serial output, your code is correct.

@dusx I think there is a problem with the serial send function in Isadora, not sure. I just made the same structure with openframeworks, the same Arduino and same servos and pins etc and it works perfectly. Also just sending a string a cutting it up the same way on the Arduino.

It would be great if someone else could test this, or suggest another way to send multiple values and verify that the send serial is functioning, before I go for a bug report. To me it seems there is something wrong with the serial sending, like it is sending a really huge buffer that is pre allocated and takes ages to send and receive.

I have just fired up an Arduino Micro with a PMW 12v relay plus a 3v infrared remote, I had no problem communicating to both at the same time running a pulse generator at 30 hz through a sequential trigger to switch the relay and a pulse generator at 5 hz switching the remote. I did not see any issues with the Send Serial Data in the patch setup.

@bonemap Cheers, I just took a look, and I also had no trouble sending single characters as you are doing in this example, the issue I am getting is sending more than that, I need to control 4 servos so I have to send 4 different kinds of messages, that should be readable as strings and then split them out at the other end. I make a string like this (using either send serial or send raw serial) ABCD where are integers (without using the :C delimiter in the send serial so they are sent as ascii), or just using the text formater and creating a string and sending with send Raw Serial.

Either way the messages are received properly but with a lot of delay and not reliably. As I said, the simple versions, just sending a char to switch a Boolean seems to work fine, but more than that gives issues.

Sending the same strings from an application I wrote myself works fine and is very responsive, so either I am misunderstanding how the formatting in the send serial actor works, or there is an issue. It would still be great if someone can test something closer to what I am doing.

I found out what the issue is. Arduino read as string is very slow and takes 2.5 seconds to resolve. I have a version now that reads byte by byte and it works great. I have attached the Arduino and Isadora files here.Isadora-Arduino serial version _WORKING!.zip

Is this working with a standard Isadora example, or your own code? If it is a standard example, what is it? If it is yours, can you share an MCVE? Was the code once working, and it stopped, or did it never work? Have you ever gotten Isadora working on the machine you are using -- or at all?

HI @Jeremydouglass and @GoToLoop. Thank you for this. This is very interesting. Yes the Isadora tutorial patch which was designed for Kinect specifies to use it with Processing 2, however I have been working on Processing 3 using this pre-done patch and it has worked. This is first time it has not. @GoToLoop the thred for the previous discussion is useful. Is this only way to go back to Processing 2? The patch for Isadore you can view here: -isadora-kinect-tracking-tutorial-part-2That is what I am using on MAC which provides the processing patch. Thank you.

As the manual states above, the Cue Sheets rely on you to use the keyboard watcher in order to control the events required. So for this tutorial I am going to show you the keyboard watcher actor and a few examples of how you can use it.

Then press anything, eg: space bar, enter, the letter S, anything you want BUT make sure it is something you will not use as Isadora is a Real Time and Live performance software so once you chose the letter or keystroke you need to make sure you will not be pressing it a lot, especially if you are using other software or it will conflict.

Important Note: Make sure you click above the start of the Cue Editor before the start of a performance, so that a horizontal bar flashes at the top of Cue 1. Otherwise the Cues may start half way through, or even at then end.

Genthe's negatives, like those of most photographers, were a means to making a print and not an end in themselves. They were never intended to be seen by the public. On them, one can detect Genthe's cropping marks, retouching lines, and other printing instructions. These alterations would not be visible on the print.

There are often great differences between Genthe's original negatives and his final printed or published images. This is Juliet Barrett Rublee as Tacita in one of the Genthe photographs that illustrated the 1913 publication of Percy Mackaye's drama "Sanctuary: A Bird Masque." This final version is tightly cropped to emphasize Juliet.

Genthe again used cropping to create this image of the dancer Isadora Duncan, included in Duncan's book, The Art of Dance (1928). Duncan asserted that Genthe's photography went beyond the representation of her physical being to capture, in her words, "my very soul indeed."

Genthe used this negative to make the preceding published image. The negative shows Duncan with her manager Paris Singer. To make the final version, Genthe cropped Singer out and isolated Duncan's face. In the process of enlarging and printing, Duncan's face was softened to create an ethereal effect. The differences between Genthe's original negative and the finished print are striking.

Retouching was another photographic technique Genthe employed. At times he drew, etched, or applied dye onto a negative in order to change how the image would print. In "Pigtail Parade," published in Old Chinatown (1908), Genthe drew directly on the negative to enhance certain details of the figures.

Examination of the original film negative of the "Pigtail Parade" shows that it was, in fact, underexposed and captured little detail or contrast. Genthe found it necessary to define the children's legs, arms, and braids by retouching.

Genthe, like many photographers, made work or "copy" negatives. Copy negatives are later generations of the original and allow the photographer to modify a negative without damaging the original. Illuminated by a raking light, Genthe's graphite pencil retouching marks are visible on this copy negative.

Shown together, the differences between the original negative and the finished print are remarkable. The original negative is underexposed, lacking detail and contrast, whereas the finished print has detail and contrast.

This print, though different from the published version, was made from the same negative. It represents one stage leading to the creation of the finished print. To Genthe's left is a blurry area that once included a second figure. Genthe, through retouching, eliminated this second figure from the photograph.

The original negative is different from the two preceding prints. In it, Genthe occupies a small part of the street scene and the second figure on Genthe's left is visible. Genthe created the printed or final version by cropping the background and retouching the second figure.

There are other examples of Genthe altering his original negatives in the collection. Techniques like retouching and cropping allowed Genthe to produce prints that differed radically in design, visual effect, and actual content from the original negative.

I would get a MIDI inteface for the Mac, that is s much more straight forward. For example -audio.com/products/en_us/Uno.html very cheap and reliable. The only drawback with MIDI is length, you shouldn't go over 15m/50feet.

For example, you could send the following 20 byte-long chunk of data -- which is a simple OSC message. (NOTE: please view the bit below with a monospaced font if possible -- It will make much more sense!)

If you wanted a simple trigger, and you could send the exact hex string above. The message shown above would be received by a Isadora "OSC Listener" actor that is set to channel 1. The value it would receive would be the integer number 1.

You could trigger a different OSC listener by changing the 'channel number' -- i.e., the number that comes after the second slash '/' in the address string. E.g., to send to channel 14 you'd use an address of "/isadora/14" (Note that, for this address, you would then need to reduce the number of padding bytes.)

You can send a different integer value by changing the last four bytes. Note that this integer value is in "network order", i.e,. big endian order, with the most significant byte first. If you wanted to send the decimal number 4660, (which, in hex, is 1234) the last four bytes of the message would be 00 00 12 34. This endian order is _not_ the same as one would encounter on an Intel processor.

Phew! I think that's it. I hope that the Eos can send a string with all that nasty hex stuff in it. (Usually it's the 0 padding that is most problematic.) I'll let an ETC/Eos expert help out with that.

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