Category: Sound
Unsharp positioning requires uncommon display.
Direct translation of captured data by non-regular positioned sensors
to speakers placed at the same point would be an option.
[From my sketchbook for an installation planned to make BlueTooth signals perceivable]
The Manta controller has 48 pads, 4 buttons and 2 sliders.
In OSC mode, it sends for each button/pad values between 0 and 170 depending on the ohmic resistor value between ground and cc via your finger.
Each slider has a resolution of 4000 values.
It is also capable to send standard midi.
There will be a supercollider class for it, too.
And I’ll get one on wednesday!
Featuring 22 Tracks by many Artists; all done in 140characters of supercollider code.
Hear its varieties and creative potential here.
One of the tracks is by myself.
Enjoy
[track home]
Thanx, Dan, for your editing and compilation efforts. Tracks are released under CC BY-NC-SA 3; artwork CC-BY by Lola TC.
Just listen again to the excellent live recordings of the Detali Zvuku festival 2006/2007, and realising that this festival really must be one of the qualitatively best festivals for experimental sound.
While listening, I thought that it must be worth a journey and searched for announcements and found this:
At the beginning of September official city [of LVIV] didn’t solve not one general question from the list of agreements. We couldn’t start advertisement company in Ukraine, couldn’t choose company to deal with tech rider questions; we didn’t receive money for flight tickets for artists, not even talking about guarantees to pay fees in time. In fact all control on every organizational question up to the size of flier and quantity of posters was taken from us.
What a shame. Seriously, I really find this shocking.
I mean, it is already insane to not support such a great festival, but to additionally make them believe that there is support makes it even worse.
But, nevertheless, hear these excellent recordings of combos like “Kapital Band 1″, “Plesk” and many others here and here.
Just read an article on sound installations in gardens. To be honest, this again reminds me again that I wonder every now and then that I do not know why audio installations often look like crap. No offense here, I think the artists just don’t care. But, seriously, I think they should. Especially in audio installations normal, non-audiophile people just don’t get it, it seems to me so essential to create a complete artistic setup, and when approaching an audio installation, you might not really hear what’s going on, but you immediately see the (technical) installation. I don’t mean that you should hide technical aspects. But hey, just take a valuable headphone of some serious quality. Or just get the audio-cables right so they visually fit to the environment. The other thing is that I can’t tell from the below-cited post if I’d like the sound; probably I will. But All I get is this strange picture of bad-looking audio-gadgets thrown into the wood.
That’s why there’s no picture in my post. Cheers.
[Inspired by Sonic Garden]
Artwork for The Nothings of The North. Hope it is ok to use it for promotional purpose.
This one is really awesome!
A japanese artist, mainly in piano-enriched click’s ‘n cuts.
[Home]
[From Ametsub - The Nothings Of The North (CD, Album) at Discogs]
Me likes that.
Great to see how other people use sc. Thanx for sharing, Marije!
Code LiveCode Live – Greyhound
[From nescivi.nl » Downloads]
Hard Data by R. Luke DuBois
Hard Data is a data-mining, sonification, and visualization project that uses statistics from the American military actions in Afghanistan and Iraq as source material for an interactive audiovisual composition based around an open-source “score” of events. Using Xenakis’ understanding of formalized music as a starting point, DuBois draws upon a variety of statistical data ranging from the visceral (civilian deaths, geospatial renderings of military actions) to the mundane (fiscal year budgets for the war) to generate a dataset that can be used for any number of audiovisual compositions. The intention of the project is to recontextualize the formal stochastic music in the context of real-world statistics, and to provide a compositional and metaphoric framework for creating an electroacoustic music relevant and significant to our time.
Hard Data description via turbulence.org
A really good-written article on a visit of Fremer’s Listening Room.
I mention this slight—very slight, but noticeable—hiss to Fremer, and it’s probably a frequency that 50 plus years of rocking have eliminated from his spectrum. He doesn’t even care. This is when I start to understand.
Another damn awesome NetAudio release.
This one by Olivier Nijs. I would call it a surround sound installation telling a story purely with recorded (and edited) sound. You should have a Dolby 5.1 setup to listen to it properly. VLC can handle the downloadable ISO image pretty well.
Wow.
Want to use Linux as a realtime audio engine? Just follow these rules.
Taylor Deupree is a photographer, architect, electronic musician, and (which seems to be new for him) a soundscape recordist. In this particular investigation, his goal for 2009 is to record a sound a day. He publishes them on his weblog. His pictures are also quite interesting, he has a very inspiring view. Especially the winter scenes are quite rare. Thanx for sharing
[From taylor deupree :: photography, via BLDBLOG]
This story is so amazing.
There’s a building somewhere in New York City: every time you go there – maybe it’s a bank or a department store or the office where you work – you hear what sounds like air-conditioning equipment, a distant droning noise in the background that you can’t quite place.
But it’s always there – maybe sometimes higher pitched than other days, but always audible…
[read the whole story on BLDBLOG: Found Sound City]