Upcoming Performances

past performances

2015

Jan 23

Berlin, Germany
Performance with Stefan Schultze at Ausland in Berlin.

Jan 27

Weimar, Germany
Improvisation workshop at the University Weimar with Stefan Schultze.

Jan 28

Weimar, Germany
Improvisation workshop at the University Weimar with Stefan Schultze.

Feb 02

Cologne, Germany
Performance and collaboration with Stefan Schultze and artists at Loft in Cologne, Germany.

Feb 03

Cologne, Germany
Performance and collaboration with Stefan Schultze and artists at Loft in Cologne, Germany.

Feb 04

Weimar, Germany
Performance at Tangobrücke in Weimar with Stefan Schultze.

Feb 07

Leipzig, Germany
Performance with Ludger Hennig and Stefan Schultze in Leipzig.

Feb 08

Berlin, Germany
Performance with Ludger Hennig and Stefan Schultze in Leipzig.


Past Performances

upcoming performances

2014

Sep 13

Shanghai, China
Live improv set in the lobby of Magnolia Mansion in Pudong, Shanghai, CN.

Aug 16

Zhenjiang, China
Performance with Piotr Tomasz at the Mercedes showroom in Zhenjiang, CN.

Aug 15

Shanghai, China
FaceArt concert at the Yamaha center in Shanghai, CN.

Jul 04

Brighton, UK
Algorave with Glitch Lich and along side Mico Rex, Sarah Angliss, and Luuma at the Loft in Brighton, UK.

Jun 06

London, UK
Performing with Glitch Lich at Valuing Electronic Music at The Lexington in London, UK.

Jun 05

Shanghai, China
Performing with Glitch Lich and others at The Shelter.

May 10

Shanghai, China
Presenting my video work Duality and playing a mini algorave with Glitch Lich along side Dr. Jaroslaw Kapuscinski and Dr. Robert McClure at the FaceArt Institute of Music.

May 06

Beijing, China
Performance of Glitch Lich at Zoomin' Night.

Apr 26

Gateshead, UK
Performing with Glitch Lich at the Old Police House algorave.

Apr 17

Suzhou, China
Guest lecture on aesthetics and approaches to experimental improvisation at Suzhou University.

Apr 05

Tokyo, Japan
Performing with Glitch Lich at Soup.

Mar 22

Shanghai, China
Improvising electronics on a concert with Stefan Schultze, Jenny Q Chai , and Piotr Tomasz at FaceArt .

Mar 02

Shanghai, China
Performance at Shanghai Concert Hall with FaceArt faculty Jenny Q Chai and Piotr Tomasz.

Feb 20

Guangzhou, China
Performing at Loft 345 in Guangzhou, China with Glitch Lich.

Feb 01

Brooklyn, New York
Performing with Glitch Lich and Rachel Devorah Trapp at the 17 Frost performance space in Williamsburg.

Jan 11

Shanghai, China
FaceArt will be hosting a new music concert of US clarinetists Jessica Lindsey, Christy Banks, and US composer Rusty Banks, which will include a collaboration with myself.

Jan 05

Tokyo, Japan
Kicking off the new year, I will be performing at Tokyo's inaugural Algorave as part of Glitch Lich and along side Renick Bell and Jon He at Nanahari.


2013

Dec 12

Shanghai, China
Lecture on American experimental electronic and network music and performance by Glitch Lich at the American Consulate in Shanghai.

Dec 09

Quzhou, China
As part of an all Chopin concert performed by FaceArt's own Piotr Tomasz and sponsored by the Polish Consulate, we presented a performance of Chopin Re-imagined: a collaboration between myself and Tomasz for piano and electronics. Here is a video of the concert aired on the Quzhou local news that evening.

Nov 30

Shanghai, China
Premiered Line Walk as part of FaceArt's first faculty new music concert along side Jenny Chai and Piotr Tomasz.

Nov 26

Mexico City, Mexico
Performance with Glitch Lich at /*vivo*/ Simposio Internacional de Musica y Codigo.

Sep 27

Shanghai, China
Lecture on music theory requirements for US music students and performance with Glitch Lich at FaceArt.

May 28

Seoul, Korea
New Interfaces for Musical Expression with Glitch Lich.

May 21

Boulder, Colorado
Performance of Aether at the 2013 International SuperCollider Symposium.

Apr 19

Karlsruhe, Germany
live.code.festival with Glitch Lich.

Apr 17

Brighton, United Kingdom
Algorave with Glitch Lich

Apr 13

London, United Kingdom
Slave to the Algorithm with Glitch Lich.

Mar 06

Palo Alto, California
Guest on KZSU radio's Minimum Entropy with Glitch Lich.

Feb 27

Boulder, Colorado
Premiere of Homunculus at the University of Colorado's ATLAS Black Box theater as part of Pendulum New Music with Glitch Lich.

Feb 26

San Jose, California
Premier of Sieglinde Van Damme's master's thesis work Things Change and the Nothing Happens for which I composed the music.

Feb 22

Birmingham, United Kingdom
Network Music Festival with Glitch Lich.

Feb 15

Boulder, Colorado
Premiere of my dissertation work Canvas (4 screen projection, 8.1 surround sound) at the University of Colorado's ATLAS Black Box theater.

Feb 05

College Station, Texas
Lecture on improvisational electronic music and concert with Glitch Lich as artists in residence at Texas A&M University.


2012

Dec 30

Louisville, Colorado
Solo noise, drone, improv show at Gravity Brewing.

Nov 28

Boulder, Colorado
Premiere of Tarasque at the University of Colorado as part of Pendulum New Music with Glitch Lich.

Oct 31

Boulder, Colorado
Premiere of Aether by the Orava String Quartet at the University of Colorado as part of Pendulum New Music.

Oct 26

Gainesville, Florida
Performance at the University of Florida with Glitch Lich.

Sep 14

Ljublana, Slovenia
Performance with Glitch Lich at the International Computer Music Confrence.

Mar 28

Boulder, Colorado
Premiere of Vapor (for eight or more violins) by the University of Colorado violin studio as part of Pendulum New Music.

Feb 29

Boulder, Colorado
Premiere of Finger Paint at the University of Colorado's ATLAS Black Box theater as part of Pendulum New Music with Glitch Lich.

Jan 29

Birmingham, United Kingdom
Network Music Festival with Glitch Lich.

Jan 14

London, United Kingdom
NOISE=NOISE with Glitch Lich.


2011

Oct 28

Boulder, Colorado
Performance of Vantage Points (six screen surround video, 10.1 surround sound) at the University of Colorado's ATLAS Black Box theater.

Oct 26

Boulder, Colorado
Performance at the University of Colorado as part of Pendulum New Music.

Sep 30

Greeley, Colorado
Performance at the University of Northern Colorado as part of a tour with Michael Straus and Glitch Lich.

Sep 28

Boulder, Colorado
Performance at the University of Colorado on Pendulum New Music as part of a tour with Michael Straus and Glitch Lich.

Sep 26

Denver, Colorado
Performance at the University of Denver as part of a tour with Michael Straus and Glitch Lich.

Sep 02

San Jose, California
Photo installation of works by Sieglinde Van Damme accompanied by my music.

Apr 08

Kansas City, Missouri
Chaos Geometry presented at the first Colorado, Missouri, Iowa composer exchange.

Feb 23

Boulder, Colorado
Premiere of Chaos Geometry at the University of Colorado's ATLAS Black Box theater as part of Pendulum New Music.


2010

Nov 13

Bozeman, Montana
Digital Sunrise of the New Era with Glitch Lich.

Sep 26

Berlin, Germany
Performance of LAGMonster by Glitch Lich at the 2010 International SuperCollider Symposium.


2009

Jun 13

Oakland, California
Pulses performed at Music for People and Thingamajigs.

Feb 21

Oakland, California
My master's thesis work Pulses premiered at Mills College as part of the Signal Flow festival.


2007

Oct 27

Stockton, California
Recital of undergraduate works at the University of the Pacific.

Composer, Performer, Programmer, Educator

Originally from the San Francisco bay area in California, American composer and multimedia artist Cole D. Ingraham holds a B.M. in Music Composition from the University of the Pacific, an M.F.A. in Electronic Music and Recording Media from Mills College, and a D.M.A. in Music Composition from the University of Colorado at Boulder. He actively performs and teaches electronic music, creative programming, both solo and as part of the international network laptop quartet Glitch Lich. His aesthetic involves experimentalism, noise, drone, and all things abstract. Currently Cole is living in Shanghai, China and teaches music composition and theory at FaceArt Music InterNations.

One of his primary focuses for the past five years has been tuning systems other than the current standard in Western music. With a particular interest in just intonation (the harmonic relationship between frequencies found in nature) Ingraham’s music employs many “notes between the notes” in a very sonorous manner. These tunings however are impossible to achieve on many standard instruments with fixed intonation. Therefore he primarily works with instruments with some pitch flexibility. In addition to existing instruments, Ingraham has build a number of original instruments. These include the Pentachord: a 1.5m, bowed instrument with 5 piano strings, and the Overtone Bonang: a percussion instrument consisting of a series of tuned aluminum disks.

Beyond the realm of acoustic instruments, he regularly writes software instruments and systems to realize his musical ideas. These range from stand-alone programs, to custom synthesized instruments and effects, to novel analogue and/or digital interfaces for controlling the software. Particularly of note is a custom app for the iPad called Un:Limit. This is a multitouch interface with a variable number of “virtual strings” and visual guides to aid in locating various tunings. The app also responds to the amount of surface area the performer’s finger is covering, adding an extra level of expression control. Un:Limit has been used in a number of performances of works written both specifically for it and those originally for other instruments.

Cole Ingraham's C.V.

Electronic Works

back to works


Vantage Points

One hour performance of 6 screen fixed media surround projection and 10.1 realtime surround sound. All video and music created and performed by Cole D. Ingraham. The work is divided unto 8 sections:

1. Draw and Erase (0:00)
2. Line Intersections (6:35)
3. Phase Web I (16:05)
4. Moments of Symmetry (20:30)
5. Phase Web II (36:31)
6. Jitter (39:25)
7. Organic Cage (45:25)
8. Phase Web I (56:26)

Performed October 28,29 2011 at the University of Colorado’s ATLAS black box theater.

Vantage Points from Cole Ingraham on Vimeo.

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Live Coding Drones #3

More tweaks to my live coding setup in vim. Trying out the motus color scheme. Using delimitMate for automatic enclosures, SuperTab for autocomplete, snipmate for snippet expansion. Also decided to try using keyCastr to display all my keystrokes.

Started out with a basic master effects synth and bussing setup. I have a routine spawning a one synth that I constantly tweak. Later I add in a simple band passed noise synth for a little variation while I keep messing with the other one. Pitches are all derived from the overtones of two ratios which I alter from time to time.

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Live Coding Drones #2

Practicing jumping around Vim to quickly edit parts of existing code. All code was pre-written with the intent that certain parts would be edited as things progressed.

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Live Coding Drones #1

This is the first of possibly a series of recordings of my live coded drone music practice. For this session, I decided:

-start with one background synth that I coded beforehand and code the rest on the fly
-the primary synth would be made primarily from a SinOsc
-do a generic arch form

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Duality

An exploration of parallel gradual processes in audio and video, focusing on density and black/white balance (notan).
Video created with Processing. Music created with SuperCollider.

Duality from Cole Ingraham on Vimeo.

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Homunculus

Homunculus is a live performance network piece. Performers manipulate various objects which create their sound by reading from and writing to various buffers, creating and altering new feedback chains. The location of the object on the screen also alters various control parameters with influence each sound as well. Performed on February 27, 2013 at the University of Colorado Pendulum New Music concert series in the ATLAS Black Box Theater by the Glitch Lich network laptop quartet.

Homunculus from Cole Ingraham on Vimeo.

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OSX Bash music…

So this is a little something that I though of years ago based on a quote from The Simpsons. If you are on OSX and know what you are looking at you know what to do (and I’m sorry).


#!/bin/bash
for i in {1..13}
do
say "a night with Phillip Glass followed by"
done
for i in {1..11}
do
say "a night with Phillip Glass followed by"
say "a night with Phillip followed by"
done
for i in {1..8}
do
say "a night with Phillip Glass followed by"
say "a night with Phillip followed by"
say "a night with followed by"
done
for i in {1..5}
do
say "a night with Phillip Glass followed by"
say "a night with Phillip followed by"
say "a night with followed by"
say "a night followed by"
done
for i in {1..3}
do
say "a night with Phillip Glass followed by"
say "a night with Phillip followed by"
say "a night with followed by"
say "a night followed by"
say "a followed by"
done
for i in {1..2}
do
say "a night with Phillip Glass followed by"
say "a night with Phillip followed by"
say "a night with followed by"
say "a night followed by"
say "a followed by"
say "followed by"
done
say "a night with Phillip Glass followed by"
say "a night with Phillip followed by"
say "a night with followed by"
say "a night followed by"
say "a followed by"
say "followed by"
say "by"

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Canvas

An hour long audio/visual work created and performed by Cole Ingraham. The original video is 4 screen 1080p and this version maintains the same aspect ratio which is why this version is so narrow. Video created using Processing. Music is a combination of SuperCollider, Moog Guitar, and Roland VG-99. Premiered on 2/15/2013 at the University of Colorado ATLAS black box theater. This version features the Orava String Quartet performing Aether at 7’43″ whereas the live performance is played with SuperCollider and iPad using my custom OSC interface Un:Limit.

Canvas from Cole Ingraham on Vimeo.

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Nothing Happens

Nothing Happens was made to accompany a 2 channel video installation by Sieglinde Van Damme titled “Things change and then nothing happens.”

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Double Sided

Double Sided is a drone work for Moog guitar and SuperCollider. The guitar sustains two tones that rock back and forth between two microtonal versions of a major second. This is then entered into a feedback loop in SuperCollider in which short clicks gradually increase in density.

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Improv @ Gravity Brewing

Recently I played a set at Gravity Brewing in Louisville, CO. Here’s one take that turned out pretty well.

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Æther

Æther for string quartet and amplified difference tones. This is a drone piece in Just Intonation. The instruments are processed by the computer to amplify their difference tones: pitches naturally produced which are the difference between the frequencies of any two pitches.

Performed on 10/31/12 by the Orava String Quartet on Pendulum New Music at the University of Colorado.

Video of the performance (unfortunately the audio is very quiet)

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OakStyle

This is the result of playing around with some ideas for an upcoming show.

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Finger Paint

Finger Paint performed by the Glitch Lich network laptop quartet.

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Ambient Music for Photo Exhibit

This is a work I created recently to accompany a photo exhibit by my friend Sieglinde Van Damme with whom I have collaborated many times. It was created using a Moog guitar and and Logic.

Photo Installation by coledingraham

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Flute drones (sketch)

Here is short piece made for a memorial concert for my friend Christina Parks who died recently. I recorded myself playing the first 7 partials of the low B and C# and the first 6 of the low F# of the flute, all in just intonation, composed with only those pitches, and run them through some overdrive distortion to bring out the difference tones. This version was intended to be one part of a collaboration between Krista Penney, Caroline McCaskey, and I so I kept it short. Sometime soon I intend to expand this to a larger work that could be performed by a flute ensemble with live processing.

FluteDrones by coledingraham

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Chaos Geometry

Chaos Geometry (2011) explores the union of sonic and visual chaos. Complex geometry is created by deforming simple shapes and driving their transformations with noise, all created with Blender. The visual effect of dissolving into the background was created via Processing. The music consists completely of analog mixer feedback and theremin with minor post processing in Logic.

 

Chaos Geometry from Cole Ingraham on Vimeo.

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For The End Of Space

For The End Of Space is a quartet of virtual instruments being performed by four players each on their own computer.

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Sonus Ex Machina

Sonus Ex Machina is a network game piece for any number of performers. Each player is assigned a unique sound which is heard any time a ball bounces off of a line they drew on the screen. The goal is to create a sequence of interlocking rhythms by causing various balls to ricochet around the screen.

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LAGMonster

LAGMonster was originally created to be a group improvisation between the LAG Laptop Quartet and the Montana State University Electric Monster Laptop Ensemble. It consists of a single group instrument which all performers jointly play. The number of performers trying to do the same thing at once varies the character of the sound.

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CodePool

CodePool is both a specific piece as well as a system for group live coding performance. Users compile blocks of code on demand which then run on both their own machine and the machines of all other users in the group. Everyone can thus see everyone’s code and hear the result. The piece asks performers to both use their own code and modify the code from other players as a group improvisation. Due to the networking aspect of the piece, it can and has been rehearsed and performed with the performers in separate physical spaces by way of the internet.

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Stargazing

Stargazing (2008) is a piece for solo performer and computer audio/visual elements. Derived from the basic idea of my installation Squares and Rectangles the piece uses pitch and amplitude information from the performer to alter elements of the computer’s output. Projected onto a screen is the image of various fictional constellations which the performer uses as a score. A transparent shape is overlaid which changes shape as the performer plays different pitches and dynamics. Elements of the electronic sound are influenced by the shape of the overlay and how similar (or dissimilar) it is to the other constellations.

Stargazing (excerpt)

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Pong for One or Two Musicians

Pong for One or Two Musicians (2008) is an audio/visual performance for any solo or duo of pitched instruments. For a more detailed description, please click here.

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Expansion

Expansion (2008) grew out of an interest I have in creating sounds which have their own inherent character. Through a rather unconventional system of oscillators modulating each other, I constructed a sound which could be controlled only on a very limited scale. The result is a sound which has a life of its own and refuses to be “played” like a traditional synthesized sound. This sixty second rendering was realized by slowly changing frequency spread of the sound to gradually bring out its inherent qualities.

Expansion

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Abyss

Abyss (2006) is a live performance computer piece created in Max/MSP. While performing the piece, I add a visual element by appearing to be possessed. This is done to emphasize the live performance aspect of the piece.

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From Within

From Within (2006) is a tape piece of various flute and violin sounds and techniques, the goal of which is to give the impression of being inside the instruments. It was created using Pro Tools.

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Acoustic Works

back to works


Æther

Æther for string quartet and amplified difference tones. This is a drone piece in Just Intonation. The instruments are processed by the computer to amplify their difference tones: pitches naturally produced which are the difference between the frequencies of any two pitches.

Performed on 10/31/12 by the Orava String Quartet on Pendulum New Music at the University of Colorado.

Video of the performance (unfortunately the audio is very quiet)

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Vapor

For eight part violin ensemble with any number of people on a part. In this video, the CU violin studio performs live with Carnegie Mellon University and University of South Florida over the internet via JackTrip.

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Flute drones (sketch)

Here is short piece made for a memorial concert for my friend Christina Parks who died recently. I recorded myself playing the first 7 partials of the low B and C# and the first 6 of the low F# of the flute, all in just intonation, composed with only those pitches, and run them through some overdrive distortion to bring out the difference tones. This version was intended to be one part of a collaboration between Krista Penney, Caroline McCaskey, and I so I kept it short. Sometime soon I intend to expand this to a larger work that could be performed by a flute ensemble with live processing.

FluteDrones by coledingraham

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Pulses

Pulses (2009) for Bonang Pelog, Electric Guitar, Pentachord, and Contrabass explores the unique timbral qualities of the gamelan and a long string instrument mixed with more “traditional” instruments. The string instruments play only natural harmonics in order to match the Just Intonation tuning of the bonang. The Pentachord is a long string instrument built by Cole Ingraham.

Pulses

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Third Transmutation

Third Transmutation (2008) is a djembe solo written to emphasize the rich timbral qualities of the drum. Through a progression of gradually changing rhythms, dynamics, and tones, a wash of overtones is created.

Third Transmutation (excerpt)

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Aurora

Aurora (2007) for solo male flautist deals with blurring the line between performer and instrument. The piece evolves over a series of one breath long phrases and fuses traditional playing with singing and extended techniques to create a sonic hybrid between the flute and the flautist.

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Portrait of a Viola

Portrait of a Viola (2007) is a concerto for Viola and woodwind quartet. The woodwinds imitate the sound of the viola through voicings informed by FFT analysis. This results in gradual, subtle changes in overtones that causes the listener to focus on the structure of the sound.

Portrait of a Viola (excerpt)

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Schweinskoteletten Mit Bratwurst Und Kartoffeln

Schweinskoteletten Mit Bratwurst Und Kartoffeln (2006) for tenor and piano is a theatrical art song setting the recipe for a German dish in a quirky way. The goal behind this piece was to start with a text that is completely anticlimactic and instructive and then give it a dramatic, or in this case comedic, character.

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Second Transmutation

Second Transmutation (2006) is a percussion trio for hand drums. The piece revolves around gradual timbre changes and the eventual shift from playing to speaking.

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Sanctuary

Sanctuary (2005) is a work for SATB a cappella choir based on a mosostic I had written. This piece employed some stylistic references to Bulgarian music while formally depicting the key word from the mosoctic in a number of ways.

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Emotions

Emotions (2005) for solo violin demonstrates my early exploration with the timberal possibilities of string instruments.

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Reflection of Shadows

Reflection of Shadows (2005) for mezzo soprano and piano sets a haiku I wrote and deals greatly with the piano as the expressive outlet for the singer’s feelings. This piece has also been performed by musical saw and piano.

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Order & Chaos

Order & Chaos (2004) is a polymodal work for woodwind quintet and piano which uses a single melodic gesture that is developed throughout the piece.

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Video Works

back to works


Vantage Points

One hour performance of 6 screen fixed media surround projection and 10.1 realtime surround sound. All video and music created and performed by Cole D. Ingraham. The work is divided unto 8 sections:

1. Draw and Erase (0:00)
2. Line Intersections (6:35)
3. Phase Web I (16:05)
4. Moments of Symmetry (20:30)
5. Phase Web II (36:31)
6. Jitter (39:25)
7. Organic Cage (45:25)
8. Phase Web I (56:26)

Performed October 28,29 2011 at the University of Colorado’s ATLAS black box theater.

Vantage Points from Cole Ingraham on Vimeo.

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Duality

An exploration of parallel gradual processes in audio and video, focusing on density and black/white balance (notan).
Video created with Processing. Music created with SuperCollider.

Duality from Cole Ingraham on Vimeo.

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Canvas

An hour long audio/visual work created and performed by Cole Ingraham. The original video is 4 screen 1080p and this version maintains the same aspect ratio which is why this version is so narrow. Video created using Processing. Music is a combination of SuperCollider, Moog Guitar, and Roland VG-99. Premiered on 2/15/2013 at the University of Colorado ATLAS black box theater. This version features the Orava String Quartet performing Aether at 7’43″ whereas the live performance is played with SuperCollider and iPad using my custom OSC interface Un:Limit.

Canvas from Cole Ingraham on Vimeo.

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Organic Cage (excerpt)

This is a small segment from an 11 minute 6 screen piece being created for my performance in University of Colorado’s ATLAS Blackbox theater. Here the audience sits inside an organic form which is constantly distorting and moving around the space.

Created entirely using Blender 2.58a.

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Line Intersections (sketch)

An other source video for my Punto y Raya project. Here a number of lines are generated which move about the screen. Red dots show where the lines intersect. The trail effect is achieved by using blur and erode filters. This will be one of many layers used to create the final video.

Creates entirely using Processing. Toxiclibs used for calculating the line intersections.

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Point and Line Sketch

This is a quick test render for the project I hope to submit to Punto y Raya for this year. It consists of an animation processed through three different filter settings composited together. Image generation and compositing all done using Processing

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Etchings (60 second version)

This is a short version of a few ideas I’ve been playing around with lately. The video was generated completely with Processing and the sound with SuperCollider (mixed in Logic).

Etchings (60 second version) from Cole Ingraham on Vimeo.

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Chaos Geometry

Chaos Geometry (2011) explores the union of sonic and visual chaos. Complex geometry is created by deforming simple shapes and driving their transformations with noise, all created with Blender. The visual effect of dissolving into the background was created via Processing. The music consists completely of analog mixer feedback and theremin with minor post processing in Logic.

 

Chaos Geometry from Cole Ingraham on Vimeo.

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Contact Info

To contact Cole Ingraham, please send an email to
coledingraham [at] gmail [dot] com

Follow Cole on Twitter
@coledingraham