Detali Zvuku, Ukraine and the horror of bureaucracy

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.

[festival page]

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.

Sonic Garden

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]

Hard Data

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

Data Transfer through Sound

2009-SoundCommunication.jpgToday, I stumbled across this article that investigates into using sound as a transfer medium for digital information.

Though this is actually a very old and commonly used method for transferring files back in the 90s (we did this via tty telephone modems), it is kind-of pleasing to see this idea popping up again, and triggered some thoughts about it’s usefulness in cooperative livecoding situations.  

Yes, it would be really fun not have to setup wireless LAN that invisibly and–for the audience–almost magically transfer information from one laptop to another, and, instead, having some sort of musical/non-aweful sound that transmit additional information from one laptop to another.

I wonder if anyone ever thought of this in the SuperCollider / LiveCoding community, but I think it’s worth!

Kuler and sclang

This patch extracts color values from the kuler api via a themeID and converts them to Color objects.

It requires 
- the XML quark by Jens Gulden (wow! thanx) for parsing the xml stuff and
- the wslib quark by wouter snoei (wow, too!) for Meta_Color:newHex
- a valid kuler dev-key (see for details)

// Process Kuler rss feed for Color extraction

~getFeed = {
kulerKey, // insert your kuler key
themeID(347630); // ID of a kuler theme

"curl \"\" > /tmp/%"
.format(themeID, kulerKey, fileName).unixCmd;
~xml2color = {|fileName|
~tidy = {|fileName|
"rm /tmp/%".format(fileName).unixCmd;
~show = {|color, bounds(Rect(30,300, 100, 30))|
var window;
var extent = bounds.extent.asArray;
window ="ColorTest", bounds, false);
window.drawHook = {{|i|
Pen.color = Color.gray(i * 0.5);
Rect.fromArray([i*(extent.first/3),0] ++
(extent * [1/3, 1]))
Pen.color = color;
Pen.fillRect(Rect.fromArray(extent*0.1 ++ extent * 0.8));
~fileName = "%.xml".format(Date.getDate.stamp);
~getFeed.value(~fileName, "your Kuler key here");
"less /tmp/%".format(~fileName).unixCmd;
a = ~xml2color.value(~fileName);
){|c| ~show.(c)}

Aspects of my Work

Till Bovermann: Aspects of my Work

With this chart I try to show relations between mostly tangible computing applications I designed and developed together with colleagues during the last 4 years.
Wow. Sometimes making a rough chart of what you’re doing in your daytime job takes a lot of time. I really like this organic kind-of structure. This chart, by the way, is intended to be interactive: first, it is possible to click on the applications, which hides all other apps, and secondly, the used application (OmniOutliner) allows to easily reconfigure the nodes’ and edges’ positions. There is, however, no straight way to convert these features into something web-friendly. If you are curious, please feel free to contact me.