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Ultrasonic Sensor MIDI Control

Today, in preparation for the exhibition, I went back and made adjustments to the previous ultrasonic sensor MIDI tests, based on the knowledge gained from the project.

Now, these sensors work much better with Hairless MIDI, and will be available at the exhibition for the attendees to interact with. I’ve programmed the sensors to work in two ways:

Beam-Break

Simply breaking the “beam” of the sensor at any distance will trigger an effect.

Distance

The intensity of an effect will increase/decrease based on proximity to the sensor.

Code used for ‘Break’ version:

#include <MIDI.h> #include <midi_Defs.h> #include <midi_Message.h> #include <midi_Namespace.h> #include <midi_Settings.h>

/*List of Ultrasonic Sensors*/ //Sensor 1 #define trigPin1 3 #define echoPin1 2

/*List of integers for Sensor.*/ long duration, distance, Sensor1;

/*List of values to be stored for each sensor.*/ int val = 0; int lastVal = 0; int breakPoint = 10; int sensorVal = 0;

//Sends out converted MIDI value to Hairless. void MIDImessage(byte command, byte channel, byte output) { Serial.write(command); Serial.write(channel); Serial.write(output); }

void SonarSensor(int trigPin,int echoPin) { /*Sends out pulse for the sensor to read.*/ digitalWrite(trigPin, LOW); delayMicroseconds(2); digitalWrite(trigPin, HIGH); delayMicroseconds(10); digitalWrite(trigPin, LOW);

duration = pulseIn(echoPin, HIGH); distance = (duration/2) / 29.1; }

long microsecondsToCentimetres(long microseconds) { //Converts values into centimetres. return microseconds / 29 / 2; }

void setup() { Serial.begin(9600);

/*Sensor 1*/ pinMode(trigPin1, OUTPUT); pinMode(echoPin1, INPUT);

}

void loop() {

//Sensor 1 SonarSensor(trigPin1, echoPin1); Sensor1 = distance;

val = distance/8;

if (val != lastVal) { if (val <= breakPoint){ sensorVal = 127; MIDImessage(176,1,sensorVal); }

else { sensorVal = 0; }

MIDImessage(176,1,sensorVal); }

lastVal = val;

delay(10); }

Code used for ‘Proximity’ Version:

#include <MIDI.h> #include <midi_Defs.h> #include <midi_Message.h> #include <midi_Namespace.h> #include <midi_Settings.h>

/*List of Ultrasonic Sensors*/ //Sensor 1 #define trigPin1 3 #define echoPin1 2

/*List of integers for Sensor.*/ long duration, distance, Sensor1;

/*List of values to be stored for each sensor.*/ int val = 0; int lastVal = 0; int difference = val - lastVal; int sensorVal = 0;

//Sends out converted MIDI value to Hairless. void MIDImessage(byte command, byte channel, byte output) { Serial.write(command); Serial.write(channel); Serial.write(output); }

duration = pulseIn(echoPin, HIGH); distance = (duration/2) / 29.1; }

long microsecondsToCentimetres(long microseconds) { //Converts values into centimetres. return microseconds / 29 / 2; }

void setup() { Serial.begin(9600);

/*Sensor 1*/ pinMode(trigPin1, OUTPUT); pinMode(echoPin1, INPUT);

}

void loop() {

//Sensor 1 SonarSensor(trigPin1, echoPin1); Sensor1 = distance;

val = distance/8;

if (lastVal != val) {

if (val == 0) { MIDImessage(176,1,127); }

else if (val == 1) { MIDImessage(176,1,100); }

else if (val == 2) { MIDImessage(176,1,80); }

else if (val == 3) { MIDImessage(176,1,60); }

else if (val == 4) { MIDImessage(176,1,40); }

else if (val == 5) { MIDImessage(176,1,20); }

else { MIDImessage(176,1,0); }

}

lastVal = val;

delay(10); }

#seán #physical computing

CO2 Sensor MIDI Control

In preparation for the final year show in May, I’ve been preparing some additional sensors that weren’t used during the live demonstration.

Focusing on the idea of future iterations of the project incorporating elements of audience participation, I was successfully able to get a sensor that measures the level of CO2 in its vicinity to control a MIDI value, which can then be used in Resolume to control aspects of the visuals.

Wiring:

Code used in the video:

/*—MIDI Libraries—*/ #include <MIDI.h> #include <midi_Defs.h> #include <midi_Message.h> #include <midi_Namespace.h> #include <midi_Settings.h>

/* Arduino Cozir Sensor GND ——————- 1 (gnd) 3.3v——————- 3 (Vcc) 10 ——————– 5 (Rx) 11 ——————– 7 (Tx) */ #include <SoftwareSerial.h>

SoftwareSerial mySerial(10, 11); String val= “”; double co2 = 0; double multiplier = 1; uint8_t buffer[25]; uint8_t ind =0;

//Sends out converted MIDI value to Hairless. void MIDImessage(byte command, byte channel, byte output) { Serial.write(command); Serial.write(channel); Serial.write(output); }

void report(){ for(int i=0; i < ind+1; i++){ if(buffer[i] == ‘z’) break;

if((buffer[i] != 0x5A)&&(buffer[i] != 0x20)){ val += buffer[i]-48; } }

co2 = (val.toInt()); co2 = int(co2/40);

ind=0; val=“”; }

//This code runs once. void setup(){ Serial.begin(9600); mySerial.begin(9600); }

//Within the loop, the serial is converted into a range suited to MIDI. (0-127) void loop() {

while(buffer[ind-1] != 0x0A){ if(mySerial.available()){ buffer[ind] = mySerial.read(); ind++; } } report();

/*—CO2 SENSOR—*/ if (co2 > 127) { MIDImessage(176,1,127); }

else if (co2 < 0) { MIDImessage(176,1,0); }

else { MIDImessage(176,1,co2); }

delay(10); //Delay added to prevent fluctuations in MIDI value output. }

#seán #physical computing

Sensor Embedding Tests

Today, we quickly put together miniature prototypes of the sensors being embedded in a manner similar to how they will be during the live prototype.

The first part of the short video shows the sensor being “toggled” when the pedal is pressed; like how the guitarist or bassist will do when changing effects on their instruments.

The second part covers how the sensor can be attached to a drum surface, and when hit, will trigger certain effects during the performance.

#seán #pre-production #physical computing

Pre-show Build Complete

Before the live experiment in the Rory Gallagher Theatre, we’ll be testing all components of the build tomorrow.

The screens have been put in place, ready to be projected onto with all 4 projectors and featuring the interactive elements from the 2 Arduino boards. This prototype serves as a stress-test for the computer, and will help us be better prepared for the live experiment in 3 weeks time.

#seán #production

MIDI Sensors Finalised

All MIDI Sensors Ready

Controller 1 = Kick Drum

Controller 2 = Snare Drum

Controller 3 = Guitar Pedal

Controller 4 = Bass Pedal

These individual controllers can be mapped to specific elements within Resolume. The kick/snare sensors function like a pulse while the guitar/bass sensors have toggle-like effect. (0 = OFF, 100 = ON)

The coding has also been improved to make the toggle functionality of the pedal sensors more consistent.

Toggle - Old

As you can see, the toggle isn’t consistent and usually outputs unusual figures before finally settling.

Toggle Updated

However, the toggle is much more consistent and accurate now after making a small adjustment to the arduino’s code. The sensors are now ready to be embedded on the performers’ instruments.

Final Code for MIDI Sensors:

/*---MIDI Libraries---*/ #include <MIDI.h> #include <midi_Defs.h> #include <midi_Message.h> #include <midi_Namespace.h> #include <midi_Settings.h>

/*----------------------------------------------------|| * Each sensor has a NEW and OLD value integer. * This is to prevent a continuous stream of data * being outputted into MIDI, instead only activating * when in use. ||----------------------------------------------------*/ /*---DRUM INPUTS---*/ //Kick Drum Piezo int kickNew = 0; int kickOld = 0;

//Snare Drum Piezo int snareNew = 0; int snareOld = 0;

/*---PEDAL INPUTS---*/ //Guitar Piezo int guitarNew = 0; int guitarOld = 0; int guitarToggle = 0;

//Bass Piezo int bassNew = 0; int bassOld = 0; int bassToggle = 0;

//Threshold for pedals int threshold = 70;

//Sends out converted MIDI value to Hairless. void MIDImessage(byte command, byte channel, byte output) { Serial.write(command); Serial.write(channel); Serial.write(output); }

//This code runs once. void setup(){ Serial.begin(9600); }

//Within the loop, the serial is converted into a range suited to MIDI. (0-127) /*----------------------------------------------|| * MIDImessage(176,CHANNEL,OUTPUT MIDI VALUE) * Changing the CHANNEL value allows you to map * specific sensors outputted from Hairless. ||----------------------------------------------*/ void loop() {

/*---DRUM OUTPUTS (PULSE)---*/ //Kick Drum (A0) kickNew = analogRead(0)/8; if (kickNew != kickOld) { MIDImessage(176,1,kickNew); delay(400); } kickOld = kickNew;

//Snare Drum (A1) snareNew = analogRead(1)/8; if (snareNew != snareOld) { MIDImessage(176,2,snareNew); delay(400); } snareOld = snareNew;

/*---PEDAL OUTPUTS (TOGGLE)---*/ //Guitar (A2) guitarNew = analogRead(2)/8; if (guitarNew >= threshold){ if (guitarToggle != 0) { guitarToggle = 0; } else { guitarToggle = 100; }

MIDImessage(176,3, guitarToggle); delay(100); }

//Bass (A3) bassNew = analogRead(3)/8; if (bassNew >= threshold){ if (bassToggle != 0) { bassToggle = 0; } else { bassToggle = 100; }

MIDImessage(176,4, bassToggle); delay(100); }

delay(10); //Delay added to prevent fluctuations in MIDI value output. }

#seán #production #physical computing

Have you ever heard a piece of music that triggered a powerful emotional response? Neuroscientist Daniel Levitin explains the connection between music and the brain…

Neurons fire in synchrony with the tempo of music when listening to it

Visual information is taken through the retina sent to the visual cortex of the brain and from here the signal is sent out to different areas of the brain to be processed. Attributes such as shape, colour, size/spatial location,movement etc are processed individually and brought together , 40ms after the light hits the retina.

The same is done with music, different areas of the brain process specific characteristics of music. Tambre, tempo, pitch etc

#paul #research

This paper addresses the broad question of understanding whether and how a combination of tactile and visual information could be used to enhance the experience of music by the hearing-impaired. Initially, a background survey was conducted with hearing-impaired people to find out the techniques they used to ‘listen’ to music and how their listening experience might be enhanced. Information obtained from this survey and feedback received from two profoundly deaf musicians were used to guide the initial concept of exploring haptic and visual channels to augment a musical experience.

#paul #research

Snare drum: the "thwack", or the transient of a snare is generally in the 1.5K - 2.5K region. The "thump" is somewhere around 200-300hz. The "sizzle" is somewhere around 7K-10K, with harmonics going up to 15K or higher.

Regular Toms – Sky’s the limit! 100-500-600Hz

General guidelines for drum frequencies

Kick Drums – usually 80-130-150 Hz

Snares – usually 120-250 Hz

Floor Toms – usually 60-80-110 Hz

(most of the time the lowest drum tone)

#design #paul

A fascinating exploration of the relationship between music and the mindΓÇöand the role of melodies in shaping our lives Whether you load your iPod with Bach...

Extracts:

Pleasurable music (in the mind of the listener) is a balance between predictably and surprise - novelty with familiarity - complexity with simplicity.

Talks about the invert U in the rules of Aesthetics. When people are played frequencies between 50hz to 5000hz they then to like the frequencies somewhere in the region of the middle of the spectrum curve. This is similar to showing people images or listening to music which ranges from familiar to novel. People will then to become easily bored of familiar images but also frustrated when things become to novel or unfamiliar. The most powerful emotional response is somewhere balanced between the too.

Auditory perception and auditory visualisation invoke nearly the exact same regions of the brain so when you image a piece of music it is almost the same as listening to it.

#paul #research

Can’t recommend this book enough, some amazing insights and anecdotes into music creation and performance but also the psychology and social aspects of music.

Extract to note for our show, inspired by Japanese Theatre he talks about making things bigger, more theatrical or purposely deconstructed and not be afraid to make them unrealistic or letting the audience see the workings of a piece is not necessarily a bad thing,they are there for a performance and to suspend their belief but must also be led on that journey of the optimum effect:

Chapter 2 My life in performance:

The tour eventually took us to Japan , where I went to see the traditional th eater forms: Kabuki, Noh, and Bunraku. These were , compared to Western theater , highly stylized; presentational is the word that is sometimes used, as opposed to the pseudo-naturalistic theater we in the West are more used to. Everyone wore massive, elaborate costumes and moved in ways that were unlike the ways people move in real life. They may have been playing the parts of noblemen , geishas , or samurai , but their faces were painted and they spoke in voices that were far from natural. In Bunraku, the puppet theater , often a whole group of assistants would be onstage operating the almost-life-size puppet. We weren't supposed to "see " them , but they were right there , albeit dressed in black. The text, the voices , would come from a group of guys seated off to the side. The character had in effect been so fragmented that the words they spoke didn 't come from close to or even behind that puppet , but from oth er performers on an entirely different part of the stage. It was as if the various parts of an actor 's performance had been deconstructed, split into countless constituent parts and functions. You had to reassemble the character in your head. Was any of this applicable to a pop-music performance? I didn't know, but over dinner in Tokyo one night the fashion designer Jurgen Lehl offered the old adage that "everything onstage needs to be bigger." Inspired, I doodled an idea for a stage outfit. A business suit (again!), but bigger, and stylized in the manner of a Noh costume. This wasn't exactly what he meant; he meant gesture, expression, voice. But I applied it to clothing as well.

There is another way in which pop-music shows resemble both Western and Eastern classical theater : the audience knows the story already. In classical theater , the director 's interpretation holds a mirror up to the oft-told tale in a way that allows us to see it in a new light. Well , same with pop concerts . The audience loves to hear songs they 've heard before , and though they are most familiar with the recorded versions , they appreciate hearing what they already know in a new context. They don 't want an immaculate reproduction of the record, they want it skewed in some way. They want to see something familiar from a new angle .

******************************

While we were performing the shows in Los Angeles that would eventually become the Stop Making Sense film, I invited the late William Chow, L a great Beijing Opera actor, to see what we were doing . I'd seen him perform not too long before, and was curious what he would make of this stuff. He'd never been to a Western pop show before, though I suspect he'd seen things on TV.

The next day we met for lunch after the show. William was forthright, blunt maybe; he had no fear that his outsider perspective might not be relevant. He told me in great detail what I was "doing wrong" and what I could improve. Surprisingly, to me anyway, his observations were like the adages one might have heard from a vaudevillian, a burlesque dancer, or a standup comedian: certain stage rules appear to be universal. Some of his comments were about how to make an entrance or how to direct an audience's attention. One adage was along the lines of needing to let the audience know you're going to do something special before you do it. You tip them off and draw their attention to you (and you have to know how to do that in a way that isn't obvious) or toward whoever is going to do the special thing. It seems counterintuitive in some ways; where's the surprise if you let the audience in on what's about to happen? Well, odds are, if you don't alert them, half the audience will miss it. They'll blink or be looking elsewhere. Being caught by surprise is, it seems, not good. I've made this mistake plenty of times. It doesn't just apply to stage stuff or to a dramatic vocal moment in performance, either. One can see the application of this rule in film and almost everywhere else. Stand-up comedians probably have lots of similar rules about getting an audience ready for the punch line.

A similar adage was "Tell the audience what you're going to do, and then do it." "Telling" doesn't mean going to the mic and saying, "Adrian's going to do an amazing guitar solo now." It's more subtle than that. The directors and editors of horror movies have taught us many such rules, like the sacrificial victim and the ominous music (which sometimes leads to nothing the first time, increasing the shock when something actually happens later). And then while we sit there in the theater anticipating what will happen, the director can play with those expectations, acknowledging that he or she knows that we know. There are two conversations going on at the same time: the story and a conversation about how the story is being told. The same thing can happen onstage.

#research #paul

Music is one of the most important aspects of movies, so how does music contribute to the emotional weight of a scene? Let's look at the power of a film scor...

Arron Copland:

5 Ways the score serves the screen:

Convincing atmosphere of time and place

Music should be suitable for the time period being depicted ie. Westerns using Mexican/Hispanic folk music.

Music can underline Psychological referent

Music can suggest or forebode the underlining danger ie.Jaws

Build and sense of continuity

(montage or flashback)

If the music is the same over contrasting shots a link or continuity is understood by the viewer.

Sense of Finality

Triumphant music at the end of a movie or success in overcoming and obstical

Stylistic

Often used in extreme juxtaposition to the visual narrative to create tension. (clockwork orange: Relaxed classical music coupled with scenes of extreme violence)

#research #paul

Very interesting paper about the development of a haptic chair coupled with visual representation of sound to enhance the musical experience of deaf people.

Main outcomes concerning the visuals was, the most positive enhancement of experiencing music was when human gestures with in sync with the music ie. watching a conductor of an Orchestra.

Deaf people could understand music through vibrations and lip movements of lyrics.

Using abstract 3D animations was significantly better than using 2D abstract animation as 3 D space could be used to better emphasis rising or falling dynamic or spacial location of sound in an audio field ie. far away and faint or getting closer and louder etc.

Other things of note:

“Csikszentmihalyi’s ‘theory of flow’ (Csikszentmihalyi, 1975). The timelessness, effortlessness and lack of self-consciousness one experiences are what Csikszentmihalyi would describe as being ‘in flow’. He describes ‘flow’ as a state in which people are so involved in an activity that nothing else matters: the experience itself is so enjoyable that people will do it even at a high cost, for the sheer ‘joy’ of doing it. Flow has been described as having nine main components (Csikszentmihalyi, 1990; Sheridan & Byrne, 2002):

• No worry of failure—a feeling of being ‘in control’

• Clear goals—a feeling of certainty about what one is going to do

• Immediate feedback—feedback confirming a feeling that everything is going according to plan

• Complete involvement—a feeling of being entirely focused

• Balance of challenge and skill—a feeling of balance between the demands of the situation and personal skills

• No self-consciousness—not having to watch ourselves as if a third party while concurrently performing the activity

• Unaware of time—thoroughly focused on present and not noticing time passing

• Merger of action and awareness—a feeling of automaticity about one’s actions

• Autotelic experience—a feeling of doing something for its own sake Although ‘flow theory’ has been widely used to analyse interactive experiences such as theatrical plays, sports or gaming, among the passive activities that can result in flow, is relaxing while listening to music (Lowis, 2002).”

“This explains the link between enjoying a musical performance and optimal experience—when someone is really enjoying a musical performance, he or she is said to be in ‘flow state’. It has also been suggested that the flow model could be used as a reflective tool for monitoring, regulating and assessing the learning of music (Byrne, MacDonald, & Carlton, 2003; Sheridan & Byrne, 2002)”

#paul #research

MIDI Sensors Complete

From left to right:

Kick Drum (Pulse) | Snare Drum (Pulse)

Guitar Pedal (Toggle) | Bass Pedal (Toggle)

Today, I managed to successfully wire all piezo transducers simultaneously for an in-class prototype.

Adjustments made to the programming made the technology easier to map to visual effects in Resolume as values are only sent out when the sensor is triggered, rather than a continuous stream of data.

Some minor adjustments might need to be made to the code, but the MIDI component is otherwise ready to be used.

Finalised Code for MIDI Circuit.

/*---MIDI Libraries---*/ #include <MIDI.h> #include <midi_Defs.h> #include <midi_Message.h> #include <midi_Namespace.h> #include <midi_Settings.h>

/*---DRUM INPUTS---*/ //Kick Drum Piezo int kickNew = 0; int kickOld = 0;

//Snare Drum Piezo int snareNew = 0; int snareOld = 0;

/*---PEDAL INPUTS---*/ //Guitar Piezo int guitarNew = 0; int guitarOld = 0;

//Bass Piezo int bassNew = 0; int bassOld = 0;

//Threshold for pedals int threshold = 50;

/*---TOGGLE VARIABLES---*/ int toggleGuitar = 1; //Guitar int toggleBass = 1; //Bass

//Sends out converted MIDI value to Hairless. void MIDImessage(byte command, byte channel, byte output) { Serial.write(command); Serial.write(channel); Serial.write(output); }

//This code runs once. void setup(){ Serial.begin(9600); }

/*---DRUM OUTPUTS (PULSE)---*/ //Kick Drum (A0) kickNew = analogRead(0)/8; if (kickNew != kickOld) { MIDImessage(176,1,kickNew); } kickOld = kickNew;

//Snare Drum (A1) snareNew = analogRead(1)/8; if (snareNew != snareOld) { MIDImessage(176,2,snareNew); } snareOld = snareNew;

/*---PEDAL OUTPUTS (TOGGLE)---*/ //Guitar (A2) guitarNew = analogRead(2)/8; if (guitarNew >= threshold){ if (toggleGuitar == 0) {toggleGuitar = 1;} else {toggleGuitar = 0;} }

if (guitarNew != guitarOld){ if (toggleGuitar == 0) {guitarNew = 0;} else {guitarNew = 100;}

MIDImessage(176,3,guitarNew); }

//Bass (A3) bassNew = analogRead(3)/8; if (bassNew >= threshold){ if (toggleBass == 0) {toggleBass = 1;} else {toggleBass = 0;} }

if (bassNew != bassOld){ if (toggleBass == 0) {bassNew = 0;} else {bassNew = 100;}

MIDImessage(176,4,bassNew); }

delay(10); //Delay added to prevent fluctuations in MIDI value output. }

#seán #physical computing #pre-production

Construction of Screens

Having determined a solution that is suitable for the project, construction of the four screen displays has begun. This week we will be purchasing the fabric and stretching it across the frame, to ensure everything is working as intended.

Assembly of one frame (Weights are yet to be added):

Easily disassembled for transportation.

#seán #production

Audio/Visual questionnaire

Devised and sent out questions to numerous industry professionals to generate opinion to inform the development of the project.

Audio/Visual questionnaire:

This questionnaire asks a few broad questions relating to the psychological relationship artists and musicians have towards music and visual art and how one works with or inspires the other.

Please be as open or general as you wish, the questions don’t all have to be answered (some directed more towards musicians and other visual artists) and are just some suggestions or prompts for discussion, we understand things are never clear cut and depend on mood, situation or atmosphere etc - just some musings or situations where you felt a musical and visual experience was memorable and maybe why that was?

1. If composing music (that wasn’t specifically a soundtrack piece), have you ever used a specific visual (film, photograph, artwork) to directly inspire a piece? - was there any specific characteristic you honed in on to inspire your work - tone, colour, structure, figurative form etc

2. If creating a visual work (that’s not specifically a music video) has music ever been a direct inspiration for a piece? If so was there a specific characteristic that stood out the most - the groove,dynamic, lyrics, mix of sounds etc?

3.Do you feel more immersed in music when there is a visual representation (music video, soundtrack to a film or even seeing the musicians’ interaction in a live setting) or do you sometimes find the visual commands more of your focus and music becomes a more peripheral experience to the visual?

4.When watching a film or music video , what jumps out at you the most when you feel a soundtrack or piece of music does not work with a visual? - what should be the most important connection between audio and visual?

(the narrative themes, genre style, tempo or dynamic etc)

5.Does a bad visual representation of music that you like (music video, film, advertising etc ) diminish or effect your previous emotive response to the music?

6.Do narrative or personal lyrics focus your visual imagination of a piece of music?

7.When you listen to music, what sort of mental visual imagery do you often see?

-is it abstract (do certain sounds represent colour or shapes perhaps?)or more figurative

(reflection of personal experiences, situations invoked by the music etc)

-do you always picture some visual scenario for the piece of music when writing, performing or listening ?

8. Have you ever seen a visual piece such as a painting, sculpture, graphic design or installation and felt a musical response to it in your mind?

#research #paul

Paper discussing the phycological condition of “The uncanny” or “unheimlich” - un-homely, unfamiliar or beyond strange.

Touches upon how people’s animism (the attribution of a living soul to plants, inanimate objects, and natural phenomena)

can be closely associated with or linked to early primitive understandings of the world and cause repressed early desires or fears to manifest themselves upon sight of such objects or situations.

“the uncanny as something which ought to have been kept concealed but which has nevertheless come to light.”

- Schelling

#research #design #paul #pre-production

Been reading this book by Tony Godfrey “Conceptual art”. Came across this mention of Rene Margritte - Word and Images. Could prove useful and in keeping with some of the visual themes explored - seeing things in new perspectives - particularly in the relationship words have to their signified object.

“An object is not so attached to it’s name that one cannot find another for it which suits it better”

“Any shape whatsoever may replace the image of an object”

“There are objects which do without a name”

“an object can make one think there is an object behind it”

“an object never performs the same function as it’s name or it’s image”

“a word sometimes only serves to designate itself”

“The visible contours of objects in reality touch each other as it forming a mosaic”

“vague figures have a meaning a s necessary and as perfect as precise ones.”

“words which serve to designate two different objects do not show what may distinguish those objects from one another”

#paul #design #pre-production

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