Sunday, 10 August 2014

Singularity | Recursive Arts

This piece proposes a non-interactive linear macro-structure, where materials have been preselected and organised following a premeditated direction, just in the manner of the fixed-media tradition. However, once we examine the sound materials in detail, we can observe how most of them are being algorithmically generated in real-time using a sonification of cellular automata, producing an ever-different concatenative synthesis effect. These automata are fed by a large array of micro-sounds that have been carefully dissected from a large corpus of industrial recordings at Manchester's MOSI museum.
Recursive Arts

Monday, 28 July 2014

This is not cinema Live (excerpt) | _blank

"This is not cinema" was born as an ironic remark on the digital obsession of imitating the look of old chemical and analog media, but also as a reflection on the blurry lines between film and video, two media closely linked to each other that seem to be eternally confronted. It is a live performance based on digital videos recorded using low-fidelity digital devices, but inspired by the 60s and 70s flicker films by Peter Kubelka, Tony Conrad and Paul Sharits.

The intro images are digital videos, and the flickering colours are animated GIFs, both recorded directly from a computer screen using an iPod Touch app called 8mm that imitates 8mm film. As it is a work inspired in structuralist cinema, the duration and the rhythm of the flickering colours are based on the Fibonacci Sequence. The colours change following a sequence based on their wavelength, from red to blue.

The sound was generated from the frames, converting them first to .raw and then to .aiff, a data bending technique inspired in the experimental optical sound films from the 70s . It is not ‘optical sound’, obviously, but it’s a digital method based on the same idea (you see what you hear), and the resulting sounds are similar to those from the original optical sound experimental films ("Synchromy" by Norman McLaren, "Dresden Dynamo" by Lis Rhodes, "Railings" by Guy Sherwin, etc.)
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Friday, 14 March 2014

CONTACT: Augmented Acoustics | Felix Faire

CONTACT is a tangible audio interface to manipulate and visualize sounds generated from interaction with a simple wooden surface.
Felix Faire

Found at: Soundry

Friday, 7 March 2014

Soundshapes | Ricky van Broekhoven

As a sounddesigner and musician I always experience music as something very tangible. Almost in the same degree as experiencing a landscape. But sound always remains something ungraspable. I got fascinated by the Chladni patterns. They visualise resonance patterns of sound in a miraculous way. Salt or a similar substance is poured on a thin metal plate that is resonating on a clear tone. Every tonefrequency has it’s own specific symetrical organic drawing that appears. The device used is called a Chladni plate. During my research I built several. I made the process of transformation within the drawing on the Chladni plate threedimensional inspired by CT scan technology. A piece of sound is now spatially recorded.

Every soundbit will have it’s own characteristic scultpture. What will your favourite melody look like? The results of this study consists of a 3d print of a soundbit of approx. 400-600hz and a handmade model of tulip wood of approx. 550-600hz.
Ricky van Broekhoven

Tuesday, 21 January 2014

Swan Lake | Tokujin Yoshioka

capturing the tonal vibrations of Pyotr Tchaikovsky’s Swan Lake, Yoshioka’s painting materializes from the repeated pulsation after a nearly half-year long growth process of crystal formations. Designboom
Tokujin Yoshioka

Found at: Errejebe

Monday, 6 January 2014

Spectral Density Estimation | Andreas Nicolas Fischer

Spectral Density Estimation is a pair of sculptures commissioned by the SECCA and the Winston-Salem Symphony orchestra. Two sound recordings of the first organized tuning were taken at the last 2 orchestra performances of the 2012 / 2013 season. Each recording was analyzed and transformed into a spatial arrangement of the audio frequencies over time. The resulting geometry was then carved into a block of wood from a cedar tree, that had fallen outside the museum.
Andreas Nicolas Fischer

Found at: @FiberFestival