2002-05-01T00:00:00Z 2005-10-21T11:14:34Z

Traber073 (initially made for digitalekunst.nl) is a piece that let's the user make an unique audiovisual composition. As with a lot of my pieces thiswork has to be explored by the user. At first glance you see 9 blocks and when they hit each other you hear sound. Going with a mouse over the piece you see the cursor changes into a finger or a hand, this means you can do something with the objects. The piece that is shown at soundtoys.net exemplifies an important aspect of my work, which is dealing with possibilities to let the user make his/her own audiovisual composition. Though this is quite important to me, it is not the only thing what is my work about. I'm especially interested in exploring and subverting possibilities of the software that I use. Next I take much concern with how to present my work on the net. The process by which I develop my work is like a kind ofexploration by itself, and the nice thing is that the user will also go through this "journey" of exploring when trying to find out how my pieces work and what you can do with them.]]>

2003-05-01T00:00:00Z 2006-02-01T20:26:20Z

2003-05-04T00:00:00Z 2005-10-21T11:14:34Z

2003-05-04T00:00:00Z 2005-10-21T11:14:34Z

2003-05-05T00:00:00Z 2005-10-21T11:14:34Z

soundscraper ...... 1999 - 2000
These works are an audio visual synthesis. These works in this series are between 200 - 230k. Much larger than most works I usually place online. The expense is due to the heavy sound layering and multichannel sounds in the soundscraper series. All of which are different in the six pieces in this series. You can click through areas and also drag with the mouse down to move through three d.]]>

2001-05-05T00:00:00Z 2009-06-03T15:31:13Z

2002-05-05T00:00:00Z 2005-10-21T11:14:34Z

2006-03-03T11:37:01Z 2006-04-19T10:14:54Z

2003-05-06T00:00:00Z 2009-06-24T13:52:43Z

2003-05-06T00:00:00Z 2005-10-21T11:14:34Z

2003-05-06T00:00:00Z 2005-10-21T11:14:34Z

2003-05-06T00:00:00Z 2009-06-29T14:53:29Z

2003-05-06T00:00:00Z 2005-10-21T11:14:34Z

2003-05-06T00:00:00Z 2005-10-21T14:55:20Z

2003-05-06T00:00:00Z 2009-06-24T16:38:51Z

The movie opens on a scene of absolute usuality (a road, the cars that spends), therefore a first sign intervenes, the passage of a butterfly that, for his position absolutely parallel to the visual layer, betrays his extraneousness to the scene. Immediately enter therefore in field a hand that 'touch' that image, which ripples in concentric circles, like water; did what we believe real (a vision with depth of field) does only being reveal itself one plain surface, liquid in addition (perhaps only a reflex of the reality?).

The crinkled image therefore absolves to black and, without solution of continuity, there shows the butterfly again, 'sustained' on the face with the intense look of a tuareg woman; fast, a cross fading focused on the eye returns us the face, by decidedly Oriental features, of a young laboratory researcher, underlining once more, with the use of the images, the multiplicity of the reality (from Africa to the Far East, from the nomadism to the hi-tech).

A fall of numbers (the 'binary' couple 01 of the digital) comes down to cover the face, while fast spend some screenshot of websites, connecting the movie to the final payoff: "the web too." A click and an effect of light like a TV putting off closes the movie definitely, moving the level of the reality once more.]]>

2003-05-06T00:00:00Z 2009-06-08T14:31:58Z

2003-05-07T00:00:00Z 2005-10-21T14:54:27Z

bits hit relation/simple amusing interactions between vision and sound

simple text to sound processing

sounds presented as bits in a field / attempt to embed the idea of sounds existence with their own behaviors]]>

2003-05-07T00:00:00Z 2009-06-24T13:44:33Z

2003-05-09T00:00:00Z 2005-10-21T11:14:34Z

2003-05-09T00:00:00Z 2005-10-21T14:53:33Z

2003-05-09T00:00:00Z 2005-10-21T11:14:34Z

Sounds recorded and photographs taken in Hamburg, Dec 2002]]>

2003-05-09T00:00:00Z 2005-10-21T11:14:34Z

i. Notes (samples) are triggered when any Note-Object collides with the larger Trigger-Object, there are twelve Note-Objects representing the pitches from one chromatic octave.

ii. Dynamic stereo position and loudness are derived from the respective X and Y coordinates of each collision. Therefore a collision occurring in the lower-right corner of the screen would result in a pianissimo sample heard in the right speaker only.

iii. When a collision occurs within the Roll-Area, represented by a moving blue square, a roll articulation is activated, rather than a single hit.

iv. The Repeat-Object is toggled upon contact with the Trigger-Object and creates the effect of an echo.

v. Objects Accel. and Rit.?, alter the velocity of the Trigger-Object upon contact and can dramatically affect the density of the music.

I believe that there are many possible applications and future directions for this work. For example, the rules outlined above could be extended or further timbres could be introduced to create much more varied and less aleatoric results. It would also be a simple step to dispense with the visual content altogether yet still employ the engine as a generator for ever changing background music for a website. However, personally I quite like the idea of allowing people to view the mechanics at work, perhaps it gives extra purpose to the music when one can predict what is likely to happen by visually tracking the Trigger-Object?

]]>

2003-05-09T00:00:00Z 2005-10-21T11:14:34Z

There is a small paragraph of text on the page alongside the instrument which can be read whilst experimenting with the instrument. Although in this case the information provided is hardly exhaustive, it at least shows the potential of projects such as this to be employed as hands on educational resources.]]>

2003-05-09T00:00:00Z 2005-10-21T11:14:34Z

i. Initial grain and drum position. ii. Number of grains and drum size. iii. Initial upward velocity. iv. Gravity. v. Drum skin tension. vi. Grain release angle.

I view this work as a combination of the two aforementioned experiments as here the user can interact with the environment, exploring the effect upon the musical output.]]>

2003-05-09T00:00:00Z 2005-10-21T11:14:34Z

2003-05-09T00:00:00Z 2005-10-21T11:14:34Z

2003-05-09T00:00:00Z 2005-10-21T11:14:34Z

2003-05-09T00:00:00Z 2006-01-12T15:00:14Z

also available as offline standalone:

os9: macronaut.sit.bin

osx: macronaut_osx.sit.bin

win: macronaut.zip]]>

2003-05-22T00:00:00Z 2009-06-24T13:40:42Z

2003-05-22T00:00:00Z 2005-10-21T11:14:34Z

2003-05-22T00:00:00Z 2005-10-21T11:14:34Z

2002-05-22T00:00:00Z 2005-10-21T11:14:34Z

2002-05-22T00:00:00Z 2005-10-21T11:14:34Z

imagine you're inside a very deep & dark well, near the water surface. everything is calm until you start making noises/screaming for help etc... the water surface suddenly starts coming to live by your reactions, ripples or tsunamis appear, strange objects and sounds, voices, whispers emerge from underneath, surrounding you, then slowly floating towards the daylight far above you...

so far i only managed to do the mesh deformation based on the sound input, but i'm quite impressed about it myself and think this will actually work as installation... objects and sounds will be triggered by certain frequencies and amplitude peaks of the input. the user will be able to control the view with the mouse (e.g. looking up towards the light). ideally, the piece will need a dark and initially quiet environment. speakers (rather than headphones only) are needed too, so that the triggered sounds will feedback into the input... any chance to get a small projector? ;) sooo, - the idea is, even though the initial situation seems quite creepy, one might actually have some fun and start enjoy staying in this place... i'm also thinking to record random bits and use these sounds later on - so the whole thing becomes like a "well of memories" - depending what people are going say...]]>

2002-05-22T00:00:00Z 2005-10-21T11:14:34Z

I'm interested in making unpleasant noise which is under appreciated in way; we are constantly surrounded by some kind of noise, especially if you live in a city. and i think poeple have their own ways to cope with it. So, i make this machine to emphasize that concept of it. In this piece you have to manipulate the noise. to see if you get a different experience out of it. ]]>

2002-08-28T00:00:00Z 2005-10-21T11:14:34Z

Sodaconstructor exploded across the internet in a wave of spontaneous e-mail communication and web postings in the summer of 2000 creating a massive growth of unusually dedicated users in a phenomenon known as viral marketing. Since then a large and active worldwide community of sodaplayers have been creating their own sodaconstructions which now populate the sodazoo with a bourgeoning menagerie of models that are stranger and more diverse than soda ever imagined possible.
Sodaconstructor generates sound online using a home brewed software synth written in java. The sound is not constructed from pre-loaded samples, instead sodaconstructor renders a single continously evolving and looping sample. Certain physical characteristics such as tension of muscles or collisions of masses contribute harmonics and noise to the sample, generating a dense sound texture that responds intimately to the interactive model movement.


Soda are experimenting with linking an application called sodaconstructor via the open sound control protocol (osc) to audio software such as supercollider and max/msp.there is also another version of sodaconstructor generating sound which has been shown as a plasma touch screen installation at the barcelona based sonar festival]]>

2006-02-20T13:32:53Z 2009-06-02T17:01:44Z

2002-08-12T00:00:00Z 2005-10-21T11:14:34Z

The animations are arranged on the radio dial in the order of their file size (from top to bottom), and their CPU overhead (from left to right).

content

The pieces range from simple evolving and random noise patterns, to self generating poetry based on the work of the Italian and Russian Futurists, such as F.T. Marinetti , Mayakovsky and Khlebnikov, based around the theme of "radio" (Cf. Telegraphic Language). They are based on scripts, which generate random, evolving and permutational sequences and structures, and have no determined duration. In most cases I would think of them as musical compositions with visuals, rather than animations with sound. However, this is not to say that the sound is more important than the graphics. I like to think of ether-1 as an online album of experimental music.

the project

This is an ongoing project, some pieces will be modified over time, some will disappear, and others will take their place. Ether-2 is planned to consist of contributions from other artists (a kind of compilation album). And Ether-3 will perhaps be a "remix? project where different artists tweak, recode and otherwise mess with the work of other artists.]]>

2004-08-13T00:00:00Z 2005-10-21T11:14:34Z

2004-08-13T00:00:00Z 2005-10-21T11:14:34Z

2004-08-13T00:00:00Z 2009-06-26T15:10:14Z

kultivo03.
http://www.bakteria.org/AniZmo
and a special bakteria kk-dura infection for your project soundtoys.]]>

1999-08-13T00:00:00Z 2005-10-21T11:14:34Z

2000-08-13T00:00:00Z 2005-10-21T11:14:34Z

1997-08-13T00:00:00Z 2005-10-21T11:14:34Z

1999-08-13T00:00:00Z 2005-10-21T11:14:34Z

2004-08-13T00:00:00Z 2005-10-21T11:14:34Z

Audio-visual design: Andrew Bucksbarg]]>

2004-08-13T00:00:00Z 2020-02-06T15:24:33Z

The aim was to build a sound application, which anyone could play, using simple graphic elements such as in the retro computer game Pong (1972) - a ball and some lines.

In K9-[1] bounce the balls off the pads to create a composition of sonic pings. Choose from a multitude of different instruments on the midi controller and change the pitch by moving the pads.

K9-1 click to download.mac ... for PC download]]>

2002-08-13T00:00:00Z 2005-10-21T11:14:34Z

Springtails is a colony of e-insects which react when touched. Touch the e-insects with your cursor and they catapult, entrap them in a spring and it chimes. This soundwork combines human interaction with autonomous behavior. The springtails respond to both the cursor and each other, compiling their own sound composition - this enables each performance to be unique.]]>

2002-08-13T00:00:00Z 2005-10-21T11:14:34Z

We designed a plethora of electronic species before deciding upon the 13 used within System 1.6. Like balancing the ecology of an aquarium, it was important to find the right combination of hunters and prey to ensure that the audio composition would shift between moments of franticness and tranquillity. When the digital species interact, they spark off an explosion of sound. Every time System 1.6 is re-launched, the species reconfigure. ]]>

2004-08-13T00:00:00Z 2005-10-21T14:57:10Z

2002-08-14T00:00:00Z 2009-06-24T11:55:58Z

2004-08-14T00:00:00Z 2005-10-21T11:14:34Z

The music of Sound Particles results from the interaction of a performer with a computer program. A visual representation makes the music production an intuitive process, no special skills are needed.

This is one of my attempts to produce a maximum of effect with a minimum of (programming) effort. The behavior of a particle is based on Newton's calculations of movement, but I use shortcuts. This results in an almost realistic behavior similar to the almost realistic 3d look of the particles.

I hope you enjoy the challenge to gain control over this mini universe. A more pleasing arrangement of the sounds will be the result of your efforts. (What a more pleasing arrangement sounds likeI is entirely up to you of course). As the amount of particles increase so does the complexity. No matter how skilled you are you will never be able to master this 'instrument'.

I gave this music piece some traditional characteristics. It has a start, it's building up to a climax and then it ends. The development and the duration of the piece is determined by you.

The visual representation is an essential part of the music, so if anyone would like to perform it, an audience must have access to this representation in order to make the piece complete..]]>

2001-08-14T00:00:00Z 2005-10-21T11:14:34Z

2004-08-27T00:00:00Z 2009-06-23T14:16:42Z

2004-08-27T00:00:00Z 2005-10-21T11:14:34Z

2004-08-27T00:00:00Z 2009-06-24T12:46:51Z

2002-08-27T00:00:00Z 2009-06-16T12:40:48Z

2004-08-27T00:00:00Z 2009-06-02T17:06:15Z

The process I apply for the research of particular kind of sounds, that?s here applied to the visual work too: then, images are submitted to the sound sample technique. Original material is not important: all that counts is process, audio-visual material?s treatment and filtering. Working on loops means digging in depth, putting magnifying glass on a minimal part of matter.

So, I?ve tried to see that sound and image described this point of view, this kind of ambient.

Flash frames help me to edit little portions of sound and image in short time cycles and then let user to decide possible combinations of cycles.

In the box #1 I constructed 4 different loops as for sounds and images, but with the same length; in the box #2 I constructed only one loop repeated 4 times. In the first way, variations are the four different loops? combinations; in the second, variations are given by superimposition-subtraction of the same loop on itself, and so the loop could multiply ad infinitum to the saturation.]]>

2004-08-27T00:00:00Z 2005-10-21T11:14:34Z

The process I apply for the research of particular kind of sounds, that?s here applied to the visual work too: then, images are submitted to the sound sample technique. Original material is not important: all that counts is process, audio-visual material?s treatment and filtering. Working on loops means digging in depth, putting magnifying glass on a minimal part of matter.

So, I?ve tried to see that sound and image described this point of view, this kind of ambient.

Flash frames help me to edit little portions of sound and image in short time cycles and then let user to decide possible combinations of cycles.

In the box #1 I constructed 4 different loops as for sounds and images, but with the same length; in the box #2 I constructed only one loop repeated 4 times. In the first way, variations are the four different loops? combinations; in the second, variations are given by superimposition-subtraction of the same loop on itself, and so the loop could multiply ad infinitum to the saturation.]]>

2004-08-27T00:00:00Z 2005-10-21T11:14:34Z

We do not as a society pay attention to ambient sounds. We are much more focused on the visual over the auditory. My goal is to articulate the ambient sounds as an instrument and a sonic geographical browser so that people can be provoked to realize an importance of the infrasonic soundscape. Because of the physical behavior of sound, my investigation also includes the focus on the notion of space by using New York City as a stage for my project. I chose New York City for its unique architectural nature to use the city's space as a potential sonic platform which clearly frames the design of the project's interface. We tend to ignore what we hear in our typical life because we have learned not to acknowledge them. Therefore, the sampled sounds from the city are a series of low frequency sounds that we do not normally perceive, so that by experiencing the interface the users are able to actively involved with an unusual sonorous interactio

]]>

2002-08-27T00:00:00Z 2009-06-24T12:07:01Z

1998-08-27T00:00:00Z 2009-06-24T21:34:57Z

2002-08-27T00:00:00Z 2005-10-21T11:14:34Z

2004-08-28T00:00:00Z 2006-01-08T19:15:19Z

2002-08-28T00:00:00Z 2009-06-24T15:38:14Z

800mhz needed to play smoothly.]]>

2002-08-28T00:00:00Z 2009-06-24T15:38:56Z

800mhz needed to play smoothly.]]>

2005-02-06T00:00:00Z 2005-10-21T11:14:34Z

Play back of traffic is sorted by source and destination addresses and ports. Ports are assigned individual midi instruments and played on odd or even ticks depending upon whether it is a source or destination packet. The note played by the port is based upon the number of hits (amount of traffic) occurring on the port.

Project development is on hold while a new audio engine is being developed. Requires a java system with access to tcpdump.
Written in Berkeley and Reno. John Weir ]]>

2002-08-28T00:00:00Z 2009-06-26T15:04:55Z

Its over 500k to download.... this is great fun.]]>

2004-09-03T00:00:00Z 2009-07-08T16:49:43Z

http://rnd.net-art.ws/ is an attempt to build an online habitat or environment where people can meet in a sociable fashion beyond simple chat and beyond 'shoot em up' or other competitive scenarios. multiAMAZE is also an attempt to take an online 3D environment beyond the facsimile (whether of exciting scenarios or sci-fi reference fantasy), the principle methodology I have used to try to achieve this is to create a 3D space which reacts in shape and lighting to sound input to the user's machine.

The realization of multiAMAZE brings together several avenues of technical and art practice that I have been following over the previous three or so years, plus it seems to fufill some basic vary early established creative patterns of my own. Reportedly since the age of four or less I could become very absorbed and also good at creating mini environments in 3D, whether hours building drip sand castles every summer holidays or demanding to be locked in play pen with building blocks (for protection from the marauding raids of my younger brother). In addition I am also a person of quite specific and in some cases rare enthusiasms and interests.

With the advent of the Internet I found a medium for communication and expression that harnessed the computer skills I had learnt in adult life previously and also a medium of communication that qualitatively enhanced the ability of a person with rare or especially selective tastes and interests to find like minded individuals and possibly audience. Working collectively is also one thing I like to try to do and over the last few years over the internet membership of no-such.com and now OFFLINE at http://offline.area3.net has provided both the resources and colleagues/friends to fufill that wish.

A specific area of creation and expertise I have developed, largely within no-such.com, has been the utilization of the XMLsocket functionality introduced with Flash 5 to create multi-user projects, that is multi-user projects that enable 'chat' at the speeds associated with IRC chat technology but with the ingredient of interactive multi-user visual stimulation. Some examples of an early re-skinnable multi-user project can be visited at http://fire.no-such.com/COLOURchat.html.

With the advent of 3D capability in Director/Shockwave I was again pulled along by new functionality in relatively mass communication technological extension to the internet medium. Of course various stabs at 3D have been around, with special 3D plug-ins for some time (and gone again), but I felt with these they were too minority in reach and also I was put off by the use I saw being made of them. 'The Garden of Eden' project by Michael and Aurea at http://eden.garden1.0.projects.sfmoma.org/ was to a certain extent a revelation for me in terms of the possibilities of expression in 3D.

During the summer of 2001 at http://no-such.com/E/7/fib/ I was introduced by http://www.area3.net/barcelona to the benefits of Antoine Schmitt's Xtra for Shockwave 'asFTT' which enables the translation of sound input into Shockwave applicable data across a range of mHz so that this data input can influence the creation of visual parameters on screen. Through this development I saw a possibility to create a sound sensitive, 3D and multi-user environment merging and adding to a number of the themes that I had been developing over the previous few years. multiAMAZE is the result.

With the advent of 3D capability in Director/Shockwave I was again pulled along by new funtionality in relatively mass communication technological extension to the internet medium. Of course various stabs at 3D have been around, with special 3D plug-ins for some time (and gone again), but I felt with these they were too minority in reach and also I was put off by the use I saw being made of them. 'The Garden of Eden' project by Michael and Aurea at http://eden.garden1.0.projects.sfmoma.org/ was to a certain extent a revelation for me in terms of 3D creation. test test]]>

2002-08-28T00:00:00Z 2009-06-24T12:24:12Z

2002-08-28T00:00:00Z 2009-06-24T11:58:15Z

2002-08-28T00:00:00Z 2005-10-21T11:14:34Z

Machine Based Creations [Design + Technology]
Other awards, festivals: winner of the Flashfruit/FoE music + code contest 2002]]>

2002-08-28T00:00:00Z 2009-06-24T15:46:40Z

The main navigational area is constructed in Flash, utilising action script for specific sound and visual interaction, where the objects respond to the actual waveform. Domestic E.M.I. uses external links as a resource of information, which relates to the interactive journeys through sound and vibration. The external links become part of the fiction the landscape portrays.

Domestic E.M.I. was produced by Semiconductor for their Artists Residency at the exhibition,"The Origin of Painting" by Disinformation, which took place at Fabrica in Brighton during November and December 2001.Semiconductorpresented their DVD-'Hi-Fi Rise' each week in the Gallery,showed and gave a talk about their films at related events at the Brighton Cinematheque,and performed their work at a special music event, 'Noise and Visuals'at the Hanbury Ballroom.Also to coincide with the exhibition Semiconductor presented 'Sonic City',an evening where the public could interact with their art and see some of their work installed in the gallery. The Films Shown at Cinematheque were:Sunday 18th November 2001 The Bride of Frankenstein with Semiconductors Retropolis Sunday 25th November 2001 Craig Baldwin?s Spectres of the Spectrum with Semiconductors New Antics Thursday 29th November 2001 Tesla night out with Semiconductors Linear The music event on the 2nd December 2001 at the Hanbury Ballroom featured: Antenna Farm People Like Us Janek Schaefer Disinformation Semiconductor. Semiconductor would like to thank Jonathon Swain and Joe Banks.]]>

2002-08-28T00:00:00Z 2005-10-21T11:14:34Z

2002-08-28T00:00:00Z 2009-06-02T16:55:12Z

1998-08-28T00:00:00Z 2009-06-24T12:04:26Z

Venus #1 is one of the variations of my works on artificial beings. I first created Venus #1 so that she could dance live during a concert in 1998. I wanted a creature with a real body, which internal states and forces would be directly influenced by the music. The influence between the music and the image happens at a deep physical level: the simulated muscles of Venus #1 are triggered by physical dynamic properties of the live sound. Venus #1 belongs to the realm of what I call the aesthetic of the cause : it is the cause of what we perceive that creates the aesthetic sensation.]]>

2002-08-28T00:00:00Z 2005-10-21T11:14:34Z

2002-08-28T00:00:00Z 2009-06-24T12:15:10Z

2002-08-28T00:00:00Z 2006-12-01T11:09:27Z

If you could freeze-frame sound; explode it into its constituent parts and then freeze it, it would look something like altzero4. Altzero explores issues to do with control and authorship in interactivity, and what we understand and expect from recorded media, by creating audiovisual compositions that are experienced spatially as well as over time. This is done in a variety of ways, but in particular by trying to evolve audio composition from its traditional form as an experience controlled almost entirely by the composer into one that is determined in part by the will of the listener. The musical experience is transformed into a 3-dimensional spatial journey where the listener chooses the route they take. By transferring the time component of sound into space, a linear path through a piece of music is transformed into an infinite array of possibilities. If one such navigable audio structure is perceived as a representation of a moment of music time in space, then a sequence of these structures represents individual key-frames of an audio animation, highlighting the development of the linear piece over time. Each spike represents a single sound fragment (much as in altzero3, where sounds have a physical appearance as columns of bubbles). The whole 3D structure is a soundscape in this case an explorable freeze-frame of a moment of sound. By moving through the structure, listeners hear a dynamic mix of all the sounds within earshot over time this becomes their experience of that moment of sound.

Altzero4 consists of several such structures, time slices of a fictional soundtrack. Taken as a whole and explored in sequence, they reveal another dimension to a recording, as the piece can be explored over both time and space. Each time slice will run on its own computer, and most of these will have low-volume multimedia speakers and headphones. The computers can be placed in a row, a circle or in various positions throughout the venue. If desired, some of the computers can use projection and non-tangible interaction (motion detection using video translated into movement within the virtual space, as we have done previously with altzero2) this could serve as a climax to the sequence. The exact setup is very flexible and needs to be defined in response to the space(s) available. It is important to have multiple computers running simultaneously in a defined order, so that visitors get the feeling of travelling through the musical piece as they move through the venue.

Formed in 1997, Squidsoup is a London-based art and design group whose work is known around the world. Altzero, their main art project for the last 2 years, has been shown at dozens of events including SIGGRAPH N-Space Art Gallery (LA, August 2001), SONAR (Barcelona, June 2001), and Web3D Symposium (Tempe Arizona, February 2002 and ICA, March 2002). Their work has also been shown at Milia (Cannes), Ars Electronica (Linz Austria), Microwave (Hong Kong), Doors of Perception (Amsterdam).

Icarus (Sam Britton and Ollie Bown) have been making electronic music for the past five years, releasing material on various independent record labels and achieving recognition for their distinct sound and complex drum programming styles.

Altzero squidsoup 2002]]>

2002-08-28T00:00:00Z 2005-10-21T11:14:34Z

2002-08-28T00:00:00Z 2005-10-21T11:14:34Z

After months of collaboration by the brothers Traub (Greg and Peter), 'sibling revelry' is ready for your ears. Simply type in a search term (preferably sound related), and the 'sibling revelry' engine will search the web for related sounds, bringing those it finds directly to your browser. Use your mouse or your keyboard (keys a,s,d,f, and g) to play back the sounds to create your own unique internet sound collage. Please be patient, as the engine sometimes takes a few minutes to find its first batch of sounds. We have given you some default sounds to play with while you wait.'sibling revelry' requires Macromedia Flash 5, and preferably a high-bandwidth connection (DSL or better).]]>

2002-08-28T00:00:00Z 2005-10-21T11:14:34Z

The objective is to programme generative, recombinant pixels that evolve and mutate, reacting to a call for actuation of the stimulus. The concrete relationship between the sensibilities of the user and interface are immaterial as all minds render forms and representation to experience objects in time. The breaks in lines and colour trace the metaphysics of aural space, by recontextualisng the planes via streams of colour and illusory sediments. Thus, the environment, and spatialisation of each apparatus lack succession as the sequentially of time cannot be thought to the end.

Ueda will further extend this work by obtaining recollections of automatic writing.]]>

2002-08-28T00:00:00Z 2005-10-21T11:14:34Z

2002-08-28T00:00:00Z 2005-10-21T11:14:34Z

Made initailly for chiidren it show how musical forms can be constructed.]]>

2004-08-06T00:00:00Z 2009-06-02T17:18:06Z

Example One:
http://www.adhocsound.org/feedme2.html

Example Two:
http://www.adhocsound.org/feedme3.html

Example Three:
http://www.adhocsound.org/feedme4.html

Artist credits: Visual Design/Photography-Andrew Bucksbarg, Sound Design- Aerostatic (Michele Darling and Terry Golob)

Andrew Bucksbarg spends hours involved in ?media-play;? integrating animation, audio, participation, text, video and vocalization. As an independent culture producer, Bucksbarg uses digital technology to compose hybrid textures and plays of sensation that investigate intentions and accidents of independent/non-profit creativity and culture, information/process/code, techno-utopia, regimes of power and net.democracy. Bucksbarg is the Executive Director of Adhocarts.org, a media-arts organization, which sponsors various projects, such as Mediatopia.net and Videacy.net. Bucksbarg received an M.F.A. from California Institute of the Arts and is currently a Professor of Telecommunications at Indiana University. His work travels both physically and digitally around the globe.

Email- andrew@adhocarts.org
Website- organicode.net

Michele Darling explores electronic and organic sound and music and it's relationship to visual media. Located in New York City, Darling has been a composer and sound designer for Sesame Workshop's Interactive department (the former Children's Television Workshop). She is a former sound designer for 4Kids Entertainment which produces Pokemon and Yugioh among other televised animated series. Darling has received degrees from the Indiana University School of Music and New York University's Graduate Music Technology program.? Currently, Darling performs with composer Terry Golob under the name Aerostatic and is a co-founder of 40 Lizards, Inc, an independent media organization.

Terry Golob utilizes artefacts of sound generated by digital and analog processing in conjunction with a variety of interactive technologies to compose and design audio environments for film, installations and music performance.

Terry lives, composes, and performs in NYC with Michele Darling under the name Aerostatic.

Website- http://www.aerostaticmusic.com]]>

2004-09-07T00:00:00Z 2005-10-21T11:14:34Z

Users could only turn on or off modules to get a ?thicker or lighter? sonic texture.
Samples are divided into three pentatonic sets, any set has a different timbre (one for each cell), because using pentatonic modes gives always consonant intervals (both harmonic and melodic) an euphonic soundscape is the final result.
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2004-09-07T00:00:00Z 2005-10-21T11:14:34Z

2004-09-07T00:00:00Z 2006-01-08T18:21:42Z

2004-09-07T00:00:00Z 2005-10-21T11:14:34Z

Visually, the work tries to reveal the pattern formed by the empty spaces among the words of a text page; this pattern is rather labyrinthic and similar to urban maps. The work with sound intends to reinforce this labyrinthic experience, when it presents sounds that in the beginning have a recognizable structure, but, due to the close distance between the melodic lines, become less and less recognizable separately as the work progresses.

In the second part of the work, there is a gradual disappearance of the page words, and the entry of new circles, accompanied by new sounds. As the words disappear, the circles routes become more visible, and the sounds are gradually changed. At last, there is the option of showing the first page again, without any sound, waiting for the users intervention, so that the work restarts.

Our goal is, from this work, to develop other animations, each of which would be based on one page of a different book. Among other possible books that will be used, there are Fices (Fictions), by Jorge Luis Borges, and pages of unconventional books, like menus and handbooks. As the index of the work, we have chosen a passage from Through the Looking-Glass, by Lewis Carroll, when the garden in which Alice walks becomes a maze: she sees a hill, walks toward it, but never manages to reach it, returning every time to the starting point.]]>

2006-02-28T19:16:39Z 2006-04-19T10:03:35Z

2004-09-08T00:00:00Z 2005-10-21T11:14:34Z

Online (large public screen and small screen display).
(Offline lush screens version proposed for debut with Transigence. Details: Content would be enriched by approx. 4x scale in audio layering, visual field play and text morphs. Interactive interface through mouse interaction via Director pairs shockwave to reiterative max/msp/jitter enabled triggers in a multiscreen space.

Fuorange comes from 'fuckyou orange' - construction workers' lingo for the orange mesh around forbidden zones, like manholes and tresspass lines. Fuorange is a short circuit past the fuck you, don?t go there, into a matrixial spacewalk via sound curves and cascades of text. Fuorange records the derive of a real world walk, captured and meshed within the artifice of the net. Audio and digital photography were recorded on location in Cornwall, July 2004. Sound processing and generative music design are by Patrick Simons from location/voice recordings. Photography and html edit is by Christina McPhee. Progressive movies created by Kate Southworth.

A coproduction of Glorious Ninth and naxsmash group. Produced with fellowship support from the Interactive Art & Design Research Cluster at Falmouth College of Arts, Falmouth, Cornwall 2004.

http://www.gloriousninth.com
http://www.falmouth.ac.uk/interactive
http://christinamcphee.net
http://www.naxsmash.net


Audio
Hardware: samplers
Software: signal processors and resamplers

Visuals
software: Macromedia Director mx, Dreamweaver, Photoshop CS, Photoshop 7

Optimized for Internet Explorer 5+]]>

2004-09-08T00:00:00Z 2005-10-21T11:14:34Z

The piece utilises a 3x3 grid as an interface for manipulating user-defined sequences of non-musical sounds. These can range from subtle heart-beats to high pitch blasts. Which sounds occur where are determined by adding or subtracting the shading in each part of the grid and/or manipulating the position of the grid lines to create the audiovisual environment.

The interface allows the user to apply explicit actions, that will effect an evolving acoustic sequence. However, the current state of the sequence itself will determine how each action effects the audio performance, subverting the explicit decision making of the user and giving rise to a sense of uneasy tmetic anxiety over how much control the user wields through command of the interface.

This is an important aspect of the work, for though the interface itself does explicitly conform to both the traditional 'point & click' paradigm of interactivity and the domination of the X/Y axis in the monitor display (and therefore may demonstrate a sense of redundancy in its mastery), the use of this traditional paradigm in the evolution of the sequence only serves to highlight and play with its entropic nature. In 'GridBox', a deliberate action may not have obviouse deliberate consequences. Actions may have immediate results or be indecipherable in terms of their specific nature and timing in the evolving composition.

This artefact is part of a series of pieces exploring the formation of narratives through the use of a variety of interactive devices.

The start point of this enquiry was an investigation into the manipulation of specific commands found in Macromedia Director that govern cursor control (such as mouseDown), and screen properties (such as locV and locH), and then explore ways of challenging the redundant nature of these pardigms.

]]>

2004-09-08T00:00:00Z 2006-01-07T21:38:11Z

It is the relationship between elements and the manner in which they interconnect which form the central focus of projects executed by Influenza. The objective is to take studies and experiments beyond the defined object, away from the restricted notion of authorship and direct them towards a diffuse environment, one that is hybrid, ?cybrid? and collective.

Map is a project that carries the debate along a different path: the digital image is not an image, but a system created from codes the input and output of which continue to reproduce results already obtained. It aims also to question the interactions using the mouse a graphic interface widely used on the web and which may generate certain automatisms (causing the disappointment by some users when an action involving the mouse does not generate an immediate response on the interface).

The element of chance has been included by random sequencing in an effort to integrate causality in the ordered structure of the work. It is known that there are rules in chaotic organizations, but rules not defined a priori, as a rationalized variety.]]>

2004-09-08T00:00:00Z 2005-10-21T11:14:34Z

Why: This continues my interest in applying computer game practices toward making interactive artworks. I like to create the resources and script responsive networks to build dynamic pieces. In this case I am exploring a few of the parameters of 3D interactive technologies.

How:
This was created using Directors 3D capabilities. Many of the sounds are generated by a Moog The Rogue, though there are some samples. 3D objects and textures were created by the artist, as was the Shockwave 3D scripting. ]]>

2004-09-08T00:00:00Z 2005-10-21T11:14:34Z

2004-09-08T00:00:00Z 2009-06-24T15:50:23Z

2004-11-26T00:00:00Z 2006-01-16T16:41:05Z

2004-11-26T00:00:00Z 2005-10-21T11:14:34Z

2004-12-06T00:00:00Z 2005-10-21T11:14:34Z

The project is in progress, a lot of new Seppes are planned and people over the Internet are suggesting new ideas.
It's simple, but I hope you enjoy.
I did all; sounds and inspiration credits are on the site.
Thanks to Keith Peters for the coil effect.
Barbara]]>

2004-09-08T00:00:00Z 2005-10-21T11:14:34Z

PET_00 compositions are based on small particle systems. Each particle represents a section of a sample. The movement of the particles can be influenced by attractor elements which vary in strength over time, thus creating fluxating patterns of movement amongst the particles. The samples attached to the particles are activated when they pass through "trigger zones" which adopt the colours from the particles as they play. This creates and kind of simple animated visual structure which refelcts the generated sound structure.

Compositions can be stored in an online database. Users can play other peoples' composiitons or re-edit existing ones.

The project was commissioned by the Paragon Ensemble who use it to open their live performances presented on a projection behind their performers. It is available online at http://www.pet-projects.org.]]>

2004-09-08T00:00:00Z 2006-02-21T18:20:48Z

alternatively http://squidsoup.org/freq/index2.html]]>

2003-09-09T00:00:00Z 2005-10-21T11:14:34Z

dotdotdot is the net?s first interactive radio streaming motion capture project. It is a on-line virtual choreographic work where viewers select the soundtrack whilst driving the performance animations.

dotdotdot: choreographies by Ruth Gibson, Antonia Grove, Steven Brett, Rick Nodine. Interactive media Bruno Martelli, Guy Hilton. Design Igloo. Special Thanks to Company InSpace and Marshall White, Televirtual & Vicon. An igloo production, commissioned by Future Physical Commission in association with essexdance and online support from SCAN

We have version 1.0 online already. We plan to add a user interface, a more integrated radio tuner and several more characters to complement the existing five. We are also developing methods of presentation. We have previously exhibited the work as a 2 plasma screen installation in Cambridge.
As well as via the net we are looking at several presentation possibilites.

1. Presented with laptop attached to plasma screens.
2. Distributed around the venue in a console or space invader table version.
3. Utilising novel interaction methods for controlling the characters, eg Data Glove, trackball, touch screen, stereoscopic display.

Technics
Optimised for WindowsXP with IE 5.2 - will run in OS X & Os 9.2 and but may crash browser when closing the window.) Requires the Shockwave plugin and Real Player or iTunes. The Radio tuner in the movie opens stream in player. The player can then be minimised.
]]>

2005-01-05T00:00:00Z 2005-10-21T11:14:34Z

2004-09-29T00:00:00Z 2005-10-21T11:14:34Z

He second one is called Randrum and manages the same principle as Armonia but in this case, the active area follows the mouse?s position. The loops are drum parts like snare drums, drum kick and hit hat. You can manipulate parameters of movement, volume, speed and alignment.

The third one is called Speedball and this one contains no loops, just sounds corresponding to each one of the keys from a keyboard, the elements will sound everytime they hit one side of the interface, you can manipulate parameters of movement, volume, speed, sound and alignment.

I decided to do this project in base of artists like Santiago Ortiz (Colombia) (http://moebio.com/santiago/#sonido ).
Theory of Golan Levin and John Cage, some projects of Michel van der Haagen, Robert Henke ( http://www.monolake.de ) and also based in a variety of projects contained in the ixi software webpage (http://www.ixi-software.net ) like the spinOSC and Connector
]]>

2004-09-29T00:00:00Z 2009-06-24T15:54:55Z

2004-09-29T00:00:00Z 2005-10-21T11:14:34Z

2004-09-29T00:00:00Z 2005-10-21T11:14:34Z

Virtual & Real: K-Dron and Light is the first project from my new series Virtual & Real. It was inspired by Janusz Kapusta's K-Dron shape and its luminous properties when stimulated by light. The project connects the viewer with a virtual space through the interaction of mouse and a virtual light in a three dimensional environment composed of K-Dron walls. The combinations of K-Drons and light evoke unique, mosaic like images, which when leaving traces of color create an ever-changing, spontaneous, and surreal blend of two dimensional and three dimensional compositions.

Directions:
Your mouse is directly connected to a virtual light and sound in the world of K-Drons. Move the mouse slowly left and right to change the position of the light and move it quickly to trigger various animations of the K-Dron walls. Click on the K-Dron's world to start over.

TECHNICS
To view the project you will need latest 3D graphics card, at least Pentium 4 processor. This is a stand alone application with resolution of 1280x1024. If you want me to adjust the resolution for a different setting just let me know.
]]>

2004-11-03T00:00:00Z 2005-10-21T11:14:34Z

The project that I've been developing is based in the Hip Hop culture and the generative art. It works with the programming language as a graphiter ould work with spray or a DJ with the sound.

The Gr@phite project abuses of this culture material, exploring the potential of the digital generative art and its possibilities, constructing a sonorous poetical experimentation and is visually interactive. This is another way to express the multiple markets already existing of the sonorous visual expression.
Gr@phite is a reactive, generative and interactive use of the software, where the applications figure as an amusement, a game where the user enters, and the rules are given so the user can make its choices of action. Depending on the objects chosen and the interaction of the user, he can be either a graphiteir or a DJ.
Perhaps the most original characteristic of this interactive experimentation is that it allows that the emergent phenomenon are considered. An emergent phenomenon cannot be foreseen, nor can it be entirely explained or simply moved away. The emergent phenomenon are, over all those that cannot be foreseen by the behavior of its components. They happen as successful, unexpected mutations. The interactive generative art of Gr@phite favors the surprises of the events that can or not be controlled.]]>

2004-11-06T00:00:00Z 2005-10-21T11:14:34Z

Using the mouse, interactions can be accomplished through clicking, dragging, and combinations of these actions.]]>

2004-11-06T00:00:00Z 2009-06-02T17:11:11Z

2002-03-04T00:00:00Z 2005-10-21T11:14:34Z

Your mouse's movement is recorded in the server for a little while when you start participating.
Then it is synthesized to mouse's movements of other people when the record ends, and new harmony appears to "Synchronize".

]]>

2005-03-05T00:00:00Z 2005-10-21T11:14:34Z

2005-03-16T00:00:00Z 2005-10-21T11:14:34Z

2005-03-24T00:00:00Z 2009-06-24T13:29:16Z

The concept is quite simple. It is to extend to user interface of audio software into the real world. It is to share these computing experiences with an audience and to invite collaboration.It is to explore the use of photographs of the Australian environment as the user interface for a series of sound toys. The photographs of the environment will not only be used as the basis of the user interface but as an integral part of the user interface of these sound toys. These soundtoys explore the nature musical software, the use of the environment as musical instruments and look to explore a musical interpretation of the environment around us.]]>

2005-03-26T00:00:00Z 2005-10-21T11:14:34Z

2005-03-31T00:00:00Z 2005-10-21T11:14:34Z

A soundtoy created with discarded photographs, video and sound from my mobile phone. The work takes a playful look at the lost value of the moment-stories created as we document our lives through our domestic technology.

Interactive Flash Installation [sound/visual] - requires flash player, soundcard and speakers.

Jess Loseby March 05]]>

2004-10-03T00:00:00Z 2009-06-23T14:30:13Z

Most of the time the program makes absolutely no sense even though it sounds like it should. From a distance it sounds like someone speaking but you just can't make out what they are saying. Sometimes, however, it does make sense. This is the most exciting part of the work. The program has the potential to say the most profound statement you are ever likely to hear.
]]>

2004-01-01T00:00:00Z 2009-06-24T15:53:21Z

Stand By Your Guns is a 2004 commission of New Radio and Performing Arts, Inc., for its Turbulence web site. This project was made possible by a grant from the Jerome Foundation. It has been featured at BananaRAM 2004 in Ancona Italy; New Forms Festival in Vancouver, BC; Festival Internacional de Arte Electronico 404 in Rosario, Argentina; The Sundance Online Film Festival in Park City, Utah; Seoul Net festival 2005; and was awarded the prize for game art in the web art category at http://www.thirdplacegallery.org]]>

2005-07-14T07:57:45Z 2005-10-21T11:14:34Z

17 languages and growing!

launch: sept. 2002

Bzzzpeek.com is presenting a collection of 'onomatopoeia' from around the world using sound recordings from native speakers imitating the sounds of mainly animals and vehicles. This project focuses on the pronunciation and comparison of these sounds by presenting them side by side as each language expresses them differently. Bzzzpeek.com is an interactive experience inviting everybody to contribute.


Prix Ars Electronica 2003 Honorary Mention category: Net Vision | Net Excellence aec.at,
ADC New York | Distinctive Merit Award 2003 category: Interactive Media,
Gold category: online | functional construction new media award 2004 in association with the 7th design indaba expo,
besides others


see press area @ www.flat33.com for articles and features on bzzzpeek

***
]]>

2005-10-08T18:13:00Z 2009-06-02T16:56:35Z

This interface acts as an audio visual link to the many texts on the soundtoys site. Made by Philip o Dwyer]]>

2006-01-07T14:24:32Z 2009-06-02T16:57:16Z

Commissioned by Stanza for soundtoys.net. Thanks to the Arts Council Of England, The Watershed Media Center.]]>

2006-04-17T18:09:48Z 2006-04-21T17:35:15Z

2006-04-17T18:13:02Z 2006-04-19T10:16:47Z

2006-04-20T07:19:27Z 2009-06-02T16:57:56Z

2007-06-21T14:31:17Z 2007-07-01T21:18:39Z

MobiLEzzz>>__ ProTo/CeluLares __ ProTo/CeluLar // > Mo>bIl/ in>F-EkTioNz ex>iZ/ten-ce Flo.WZ,It Run>Z _in_ Th.E Bi/Po}lar Move>Men/T Bee.tw>een Ti/mE and ZpaZe > the in/teR/Kon>eK:Tions |to| Th/e Pri>mary> Win>Din>g ((and)) Thei/r Di.VeRZ_ifi_Ka:ti=on Gi>ve Matt>er to Th>e ireal>ity Fo>M,NothING >W>As CRE>At"Ed/ EVEry>Th+iN"G . An}D No_thING WaZ> KrE.A,TE'D By EVEry>Th+iN"G QuA.NTIK> HOLo"ToPIK HiPErdIM>Zio}NAl Mul>tiVErses Zer>O to One EqUL Three ..... MaTTEr>iZ/not_kREA-Ted>(0) or Dez>Tro>Yed,(1)iTZ,TRAnZ>FOR/mEd (3) Evey,Li/vinG EntiTy Bor>N.(0) Die>Ed (1)./ A& is Re_Pro/du>ce"D (3) VAp/oU/R (1) LIqUI>D-(0) IC/E (3) E=M/T 1+-0=3 IN.FeKZioNEz>MobILEzzz>>__ ProTo/CeluLaresssssssss Be/KAre.fullll. with ,, thizzz si.lly be.lly en.titie>ZZZZ en(+)K.RA.do ...... CHE_n_CHA ...... GAz_NA/piDA .... .Ku_Chi-Fa_Shi.....parTY>ci/PiOo.. &&&& . sal>Mon.::: SounDINDuzEd>MAr>Y LA.LO.ME/LEn/DEz>//// Ar:e Rea_dy to ha-Bi/tate and prop>a)) gate >>>>> -------------------------------------------------------- Commissioned by stanza for the soundtoys.net site. Money suplied by artscouncil via Cybersonica for 2007. ]]>

2007-10-31T17:04:32Z 2009-06-26T15:07:42Z

2009-05-23T02:48:03Z 2009-07-13T00:47:08Z

2005-07-25T08:04:21Z

2005-08-30T12:37:18Z

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