Installations
Sound
Mapping
Iain
Mott - www.reverberant.com
Sound
Mapping is a participatory work of sound art made for outdoor
environments. The work is installed in the environment by means of a
Global Positioning System (GPS), which tracks movement of
individuals through the space. Participants wheel four
movement-sensitive, sound producing suitcases to realise a
composition that spans space as well as time. The suitcases play
music in response to nearby architectural features and the movements
of individuals. Sound Mapping aims to assert a sense of place,
physicality and engagement to reaffirm the relationship between art
and the everyday.
ASX
Voices
Fabio C.
Ciardi
ASX Voices is an audio-visual performance by Fabio Cifariello
Ciardi based on the sonification of real trading data for the
largest cap stocks of the Australian Stock Exchange. ASX Voices
aims to establish a multimodal real time landscape of Australian
economy that can be entered and explored by the audience.
There are no metaphors or illusions here: its an "audio
reality-show" about billions of dollars changing hand every
second. ASX Voices provocatively invites you to listen and judge
the Australian "voices" of the global economy.
The performance is driven by Cifariello Ciardi “sMAX”, a
toolkit for stock market data sonification to be presented at the
conference.
PlantA
Garth
Paine
University of Western Sydney
PlantA is an interactive sound installation by Dr Garth Paine,
which continues his exploration of the relationship between computer
based real-time music composition and the behaviour patterns of
natural phenomena. The PlantA installation contains a weather
station, gathering wind speed, wind direction, temperature, and
solar radiation data. The meteorological conditions, vital to a
plants? life processes, are transmitted ten times a second back to a
computer where they are analysed, the data being transformed into
eight channels of musical sounds. These sounds give a voice to the
secret activity of the inner life processes of the plant. PlantA
offers a unique soundscape that reflects the subtle changes of the
weather. In essence, the environmental conditions encountered in the
moment. As conditions change, so too will the sounds. The nuances of
nature are mirrored in the nuances of the score. As an artist my
interest lies in exploring ways of contextualising digital art
processes within the natural organic environment. I have little
interest in the purely synthetic, that is the synthesis of sound or
images from purely academic or theoretical viewpoint; but prefer, as
is illustrated in the PlantA project, to take a fundamentally
organic source as the basis for the synthesis process. In so doing,
I hope that some quality of that organic material will permeate the
work, thereby bringing the synthetic output at least a small way
towards the organic world, and therefore within the human context.
Located in one of Sydney's most beautiful settings, PlantA promises
to provide a truly unique aural and visual experience. More details
are available from Garth Paine, ga.paine@uws.edu.au
Dr Garth Paine is Head of Program for Electronic Arts at the University of Western
Sydney
Hypersense Complex
Alistair Riddell, Somaya
Langley, Simon Burton
The goal of the hypersense
project is to explore different ways of interacting with the
computer to produce sound.
At the moment we are using
flex sensors that give a variable resistance the more you bend them. Each
performer has an MCU, and each of those has 8 analog inputs so we
have ended up with 8 fingers each being wired up. The MCUs sample
each sensor 100 times per second. This raw data is then encoded in a
midi-like protocol to be sent over the USB. The receiving python
script is where most of the "smarts" are. It does work
interpreting gestures, building compositional structures and
translating these into individual sound events. The audio engine
used is the freely available SuperCollider (version 3, OSX only),
which the python script communicates to via the network. Being
network based has the handy benifit of allowing the use of two
laptops, one for the python processing, and the other for sound
generation. The protocol connecting python and SuperCollider is the
(UDP based) open sound control (OSC), which is kind of like
"midi meets the internet" and is widely used in sound
applications. These OSC commands contain instructions to start/stop
sampled sounds, change sound effects such as reverb and echo, and
other control changes such as moving a sound to a different channel
or changing the playback rate of a sound.
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