A big thanks goes out to Jason Striegel and Nick Watts for inviting us to perform at Make: Day at the Science Museum of Minnesota. I performed with my group Keston and Westdal. Other performers included Savage Aural Hotbed and Tim Kaiser. Besides the performances there were some excellent presenters. Myself, Nils Westdal, our drummer Graham O’Brien, and our intern, Ben Siegel greeted visitors at our table. We presented bits and pieces that Graham used with his drums including sticks, pencils, and a chain. We also showed materials from Unearthed Music, Audio Cookbook, and I revealed a gestural music sequencer (GMS) I developed in Processing.
I was really excited to see the reaction to the sequencer. The application samples video and displays it inverted so it looks as though you’re looking into a mirror. Each frame is analyzed for brightness, then the X and Y data of the brightest pixel is converted into a note. The X axis is used to select a pitch, while the Y axis determines the dynamics. As visitors moved, danced, or gestured in front of the camera notes were generated based on a predetermined scale. Here’s a short sample of what the GMS can produce. I’ll post more about this soon.
Gestural Music Interface
I’m calling this one minute and twenty four second experiment Six Machines, simply because after applying the first round of processing and looping the phrase a vague melody in six / eight time is discernible. The first round of involved applying destructive processing in 
This chord is much more similar to an example of close harmony than the open voicings that I posted earlier. Close harmony is essentially the opposite of open harmony. The notes are often clustered together and might include minor seconds. This example could be written, once again, as a poly chord or by referencing the notes used. I tend to think of it as a poly chord because In the left hand I’m playing an incomplete B flat major seventh made up of B flat, F and A, followed by a C major triad in the right, starting with the G below the A in the left hand. This means my thumbs are crossed leaving me in a good position to play arpeggios around the C triad.
This chord is a good example of open harmony. Open harmony is simply the use of intervals that are widely dispersed to produce chord structures. 
The second voicing in my series of Rhodes chords is a suspended F chord with a flatted ninth. The flatted ninth might also be referred to as a minor second because I’m playing it right next to the root. You could also call this an A flat thirteen over F. I’m not sure what the most correct way to write this chord is, but the minor second and suspended note (B flat) seem to dominate the harmonic structure.