SoundScratch

SoundScratch

SoundScratch, a part of my MIT Master’s Thesis, is a set of extensions I wrote to manipulate audio in a children’s programming language called Scratch. The environment emphasizes the expressive capabilities of sound through the act of creation and design. It is biased toward digital sound manipulation as a personal, meaningful and fun artistic endeavor, rather than as a venture into mathematical, electronic or networking relationships.

Lead by their own curiosity, children can design their own sounds by exploring SoundScratch. In doing so, they will indirectly learn a great deal about networks, mathematics and hardware synthesizers and sequencers.

SoundScratch is intended to shift the child’s focus from the product of creation to the process of creation. Audio processing was written in Csound.

MIT Master’s Thesis.pdf

Similar Posts

  • Avian Migration

    In 2018 I collaborated with Artist Lisa Rundstrom and artist/engineer Tom McGuire to create the public art sculpture, Avian Migration at Wichita’s new Advanced Learning Library. Avian Migration consists of more than 1,300 LEDs controlled by 8 motion-activated sensors spread throughout the library. I was primarily responsible for the development and implementation of the software…

  • Microphone with proximity detection

    Around 2004 I developed a few protoype microphones enhanced to also offer proximity detection. The microphone could adjust it’s amplitude and bass response based on the proximity of the person using it. This would lessen the variable results users experience when holding a microphone too close or too far. Moreover, with proximity or its derivative mapped to a combination…

  • Ghost in the Machine

    Originally conceived in 2008, Ghost in the Machine (GITM) consists of a webcam and display which mixes and crossfades events in realtime with motion-activated video it has recorded previously. It continually shifts between 3 states: individual, community, and the world. GITM has been shown in many venues and contexts.

  • Still Life

    In 2011, as part of Hack.Art.Lab, I collaborated with composer Mary Ellen Childs and percussionist Michael Holland to create live animation triggered by live performance of Mary Ellen Childs’ composition “Still Life.” We analyzed the piece into 11 sections and created algorithmic video triggered by sound and motion to match each of the 11 sections. The video was projected…

  • Digital Puppetry

    I worked with a team of colleagues, community members, and urban youth. Our intention was to help the youth learn in a playful environment, find personal self-expression, and have their voices heard by communities in Boston. To do this, we adapted commercially available technology to provide a unique medium: digital puppetry.