{"id":1046,"date":"2021-09-12T22:20:50","date_gmt":"2021-09-13T02:20:50","guid":{"rendered":"https:\/\/www.joshuarosenstock.com\/teaching\/imgd3200-a21\/?p=1046"},"modified":"2021-09-12T22:20:50","modified_gmt":"2021-09-13T02:20:50","slug":"will-aaron-interactive-touch-concept-sketch","status":"publish","type":"post","link":"https:\/\/www.joshuarosenstock.com\/teaching\/imgd3200-a21\/waaaron\/will-aaron-interactive-touch-concept-sketch\/","title":{"rendered":"Will Aaron- Interactive Touch Concept Sketch"},"content":{"rendered":"\n

For my interactive touch project, I really wanted to somehow bring in poetry to the audio tools available with Max and what we’ve already tried with the Makey Makey. One of my recent favorite poets is Fahria Roisin. She’s an Australian-Canadian poet who writes about her identity as a queer South Asian Muslim woman. My idea is to make a mock Sitar using conductive string to mimic the sitar sound and feel, and while the participant plays the instrument, they’ll be shown one of Roisin’s poems which will animate itself around their sitar playing. My question is “How much of the sitar playing should be based on the participants movements, versus using pre-recording sounds?”<\/p>\n\n\n\n

\"\"<\/a><\/figure>\n","protected":false},"excerpt":{"rendered":"

For my interactive touch project, I really wanted to somehow bring in poetry to the audio tools available with Max and what we’ve already tried with the Makey Makey. One of my recent favorite poets is Fahria Roisin. She’s an Australian-Canadian poet who writes about her identity as a queer South Asian Muslim woman. My… <\/p>\n

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