{"id":3319,"date":"2022-09-17T15:37:11","date_gmt":"2020-07-10T08:44:01","guid":{"rendered":"https:\/\/archiexpo.ulb.be\/wordpress\/option-aim-i-duwez-ohlhoff-2\/"},"modified":"2022-09-17T15:39:31","modified_gmt":"2022-09-17T13:39:31","slug":"option-aim-i-demoulin-mabire","status":"publish","type":"post","link":"https:\/\/archiexpo.ulb.be\/wordpress\/option-aim-i-demoulin-mabire\/","title":{"rendered":"QA AIM I | Gaston Demoulin, Loic Mabire"},"content":{"rendered":"","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":3332,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"jetpack_post_was_ever_published":false},"categories":[29,1],"tags":[],"class_list":["post-3319","post","type-post","status-publish","has-post-thumbnail","hentry","category-cours-tfe-21-22","category-productions"],"jetpack_featured_media_url":"https:\/\/archiexpo.ulb.be\/wordpress\/wp-content\/uploads\/2022\/09\/ONLINE_Thumbnails-QA-DEMOULIN-MABIRE.jpg","grid":"{\r\n  \"colCount\": 6,\r\n  \"colGutter\": 1.5,\r\n  \"rowGutters\": [],\r\n  \"frameMargin\": 5,\r\n  \"topFrameMargin\": 10,\r\n  \"bottomFrameMargin\": 5,\r\n  \"rowAttrs\": [\r\n    {}\r\n  ],\r\n  \"bgColor\": null,\r\n  \"cont\": [\r\n    {\r\n      \"type\": \"stack\",\r\n      \"cont\": [\r\n        {\r\n          \"type\": \"text\",\r\n          \"cont\": \"<p class=\\\"_Head1\\\"><span lang=\\\"FR\\\">Philip Glass, Music in Similar Motion (1969)<br \/>Interpr\u00e9tation par mod\u00e8le proc\u00e9dural<br \/><em>Gaston Demoulin, Loic Mabire<br \/><span class=\\\"_Head2\\\">Question d'Architecture, Informatique et Multim\u00e9dia<\/span><br \/><\/em><\/span><\/p>\",\r\n          \"align\": \"top\",\r\n          \"row\": -1,\r\n          \"col\": 0,\r\n          \"colspan\": 3,\r\n          \"offsetx\": 0,\r\n          \"offsety\": 0,\r\n          \"spaceabove\": 0,\r\n          \"spacebelow\": 2,\r\n          \"yvel\": 1,\r\n          \"push\": 0,\r\n          \"relid\": 6,\r\n          \"absolute_position\": false\r\n        },\r\n        {\r\n          \"type\": \"hr\",\r\n          \"cont\": \"\",\r\n          \"align\": \"top\",\r\n          \"row\": -1,\r\n          \"col\": 0,\r\n          \"colspan\": 3,\r\n          \"offsetx\": 0,\r\n          \"offsety\": 0,\r\n          \"spaceabove\": 0,\r\n          \"spacebelow\": 0,\r\n          \"yvel\": 1,\r\n          \"push\": 0,\r\n          \"relid\": 7,\r\n          \"absolute_position\": false\r\n        },\r\n        {\r\n          \"type\": \"text\",\r\n          \"cont\": \"<p><span>Ce projet a \u00e9t\u00e9 r\u00e9alis\u00e9 dans le cadre du cours \u00ab Analyse formelle et processus informatique \u00bb (enseignants: Denis Derycke (coord.), Michel Lef\u00e8vre, Julien Rippinger). Le travail propos\u00e9 aux \u00e9tudiants consiste \u00e0 explorer un syst\u00e8me de composition autonome en se basant sur l\u2019analyse d\u2019une \u0153uvre d\u2019art. Les \u00e9tudiants transcrivent leur interpr\u00e9tation de l\u2019\u0153uvre choisie dans le langage de programmation Python, et g\u00e9n\u00e8rent des configurations spatiales param\u00e9triques pour investir l\u2019espace d\u2019un cube de 10 cm de c\u00f4t\u00e9. Ces processus analytiques et g\u00e9n\u00e9ratifs s\u2019op\u00e8rent exclusivement dans un espace graphique axonom\u00e9trique et utilisent \u00e0 des fins exploratoires l\u2019impression 3D par extrusion de plastique ou par solidification de r\u00e9sine.<\/span><\/p><p><span>\u00a0<\/span><\/p><p><span>Ecrite en 1969 par Philip Glass, Music in Similar Motion est une pi\u00e8ce compos\u00e9e de 14 mesures qui \u00e9voluent chacune en ajoutant ou supprimant des notes par rapport \u00e0 la mesure pr\u00e9c\u00e9dente. Le morceau commence avec un instrument \u00ab\u00a0meneur\u00a0\u00bb qui joue la premi\u00e8re mesure en boucle. Quand le meneur d\u00e9cide de passer \u00e0 la mesure suivante, il lance un signal aux autres instruments. Ceux-ci savent alors que la mesure va \u00eatre r\u00e9p\u00e9t\u00e9e 2 fois avant de passer \u00e0 la suivante. Chaque musicien peut d\u00e9cider de son entr\u00e9e dans le morceau \u00e0 condition que ce soit au commencement d\u2019une nouvelle mesure. La musique se termine avec tous les instruments jouant simultan\u00e9ment, jusqu\u2019\u00e0 ce qu\u2019ils s\u2019arr\u00eatent tous de jouer en m\u00eame temps \u00e0 la fin de la r\u00e9p\u00e9tition de la 14\u00e8me mesure.<\/span><\/p><p><span>L\u2019interpr\u00e9tation formelle de cette \u0153uvre suit les r\u00e8gles de composition de la partition originale. Un algorithme cr\u00e9e une s\u00e9rie de 14 courbes \u00e9volutives repr\u00e9sentant les mesures. Plus on avance dans le morceau, plus les courbes ondulent et se complexifient. Chacune de ces courbes se r\u00e9p\u00e8te entre 3 et 10 fois, et est diff\u00e9rente \u00e0 chaque lancement de l\u2019algorithme. Les courbes ainsi g\u00e9n\u00e9r\u00e9es sont empil\u00e9es et mises \u00e0 l\u2019\u00e9chelle pour former une face de 10cm de large. Ensuite, les courbes sont dupliqu\u00e9es et extrud\u00e9es sur la largeur en fonction du nombre d\u2019instruments (de 2 \u00e0 5) et de la hauteur de leur son, de fa\u00e7on \u00e0 cr\u00e9er une tour de 10cm de c\u00f4t\u00e9 et de hauteur variable. La courbe correspondant au signal du meneur est extrud\u00e9e sur l\u2019enti\u00e8ret\u00e9 de la largeur et relient tous les instruments entre eux de fa\u00e7on harmonique. Le cube final est un extrait al\u00e9atoire de cette tour. 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Le travail propos\u00e9 aux \u00e9tudiants consiste \u00e0 explorer un syst\u00e8me de composition autonome en se basant sur l\u2019analyse d\u2019une \u0153uvre d\u2019art. Les \u00e9tudiants transcrivent leur interpr\u00e9tation de l\u2019\u0153uvre choisie dans le langage de programmation Python, et g\u00e9n\u00e8rent des configurations spatiales param\u00e9triques pour investir l\u2019espace d\u2019un cube de 10 cm de c\u00f4t\u00e9. Ces processus analytiques et g\u00e9n\u00e9ratifs s\u2019op\u00e8rent exclusivement dans un espace graphique axonom\u00e9trique et utilisent \u00e0 des fins exploratoires l\u2019impression 3D par extrusion de plastique ou par solidification de r\u00e9sine.<\/span><\/p><p><span>\u00a0<\/span><\/p><p><span>Ecrite en 1969 par Philip Glass, Music in Similar Motion est une pi\u00e8ce compos\u00e9e de 14 mesures qui \u00e9voluent chacune en ajoutant ou supprimant des notes par rapport \u00e0 la mesure pr\u00e9c\u00e9dente. Le morceau commence avec un instrument \u00ab\u00a0meneur\u00a0\u00bb qui joue la premi\u00e8re mesure en boucle. Quand le meneur d\u00e9cide de passer \u00e0 la mesure suivante, il lance un signal aux autres instruments. Ceux-ci savent alors que la mesure va \u00eatre r\u00e9p\u00e9t\u00e9e 2 fois avant de passer \u00e0 la suivante. Chaque musicien peut d\u00e9cider de son entr\u00e9e dans le morceau \u00e0 condition que ce soit au commencement d\u2019une nouvelle mesure. La musique se termine avec tous les instruments jouant simultan\u00e9ment, jusqu\u2019\u00e0 ce qu\u2019ils s\u2019arr\u00eatent tous de jouer en m\u00eame temps \u00e0 la fin de la r\u00e9p\u00e9tition de la 14\u00e8me mesure.<\/span><\/p><p><span>L\u2019interpr\u00e9tation formelle de cette \u0153uvre suit les r\u00e8gles de composition de la partition originale. Un algorithme cr\u00e9e une s\u00e9rie de 14 courbes \u00e9volutives repr\u00e9sentant les mesures. Plus on avance dans le morceau, plus les courbes ondulent et se complexifient. Chacune de ces courbes se r\u00e9p\u00e8te entre 3 et 10 fois, et est diff\u00e9rente \u00e0 chaque lancement de l\u2019algorithme. Les courbes ainsi g\u00e9n\u00e9r\u00e9es sont empil\u00e9es et mises \u00e0 l\u2019\u00e9chelle pour former une face de 10cm de large. Ensuite, les courbes sont dupliqu\u00e9es et extrud\u00e9es sur la largeur en fonction du nombre d\u2019instruments (de 2 \u00e0 5) et de la hauteur de leur son, de fa\u00e7on \u00e0 cr\u00e9er une tour de 10cm de c\u00f4t\u00e9 et de hauteur variable. La courbe correspondant au signal du meneur est extrud\u00e9e sur l\u2019enti\u00e8ret\u00e9 de la largeur et relient tous les instruments entre eux de fa\u00e7on harmonique. Le cube final est un extrait al\u00e9atoire de cette tour. La variation de la porosit\u00e9 de ce cube \u00e0 chaque it\u00e9ration d\u00e9montre la complexit\u00e9 des mesures jou\u00e9es et le nombre d\u2019instruments engag\u00e9s dans le morceau \u00e0 ce moment.<\/span><\/p>\",\r\n      \"align\": \"bottom\",\r\n      \"row\": 3,\r\n      \"col\": 0,\r\n      \"colspan\": 1,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 651,\r\n      \"absolute_position\": false\r\n    },\r\n    {\r\n      \"type\": \"shortcode\",\r\n      \"cont\": \"[shared_counts]\",\r\n      \"align\": \"bottom\",\r\n      \"row\": 4,\r\n      \"col\": 0,\r\n      \"colspan\": 1,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 5,\r\n      \"shortcodeid\": 1594817507803\r\n    }\r\n  ]\r\n}","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/archiexpo.ulb.be\/wordpress\/wp-json\/wp\/v2\/posts\/3319","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/archiexpo.ulb.be\/wordpress\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/archiexpo.ulb.be\/wordpress\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/archiexpo.ulb.be\/wordpress\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/archiexpo.ulb.be\/wordpress\/wp-json\/wp\/v2\/comments?post=3319"}],"version-history":[{"count":0,"href":"https:\/\/archiexpo.ulb.be\/wordpress\/wp-json\/wp\/v2\/posts\/3319\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/archiexpo.ulb.be\/wordpress\/wp-json\/wp\/v2\/media\/3332"}],"wp:attachment":[{"href":"https:\/\/archiexpo.ulb.be\/wordpress\/wp-json\/wp\/v2\/media?parent=3319"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/archiexpo.ulb.be\/wordpress\/wp-json\/wp\/v2\/categories?post=3319"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/archiexpo.ulb.be\/wordpress\/wp-json\/wp\/v2\/tags?post=3319"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}