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 2005-10-21T11:14:34Z

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 2005-10-21T11:14:34Z

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 2005-10-21T11:14:34Z

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 2005-10-21T11:14:34Z

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 2005-10-21T11:14:34Z

The concept to give a nice hypnotic sensation of random sounds and flashing colors. It was originally created for interaction course in Ravensbourne College]]>

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 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 2005-10-21T11:14:34Z

If your screen goes 'all gray' on a windows machine, and you don`t see a thing at all. There is problely a little conflict with your graphic-card and shockwave-director

Try changing the rendering mode; by pressing your right mousebutton,

Try on of these: Always use Software Renderer (slow!) or 3D Renderer - Always Use hardware - OpenGL or 3D Renderer - Always Use hardware - DirectX 5 or 3D Renderer - Always Use hardware - DirectX 7

They all seem to give different visual output on your screen. (a little bonus?!)]]>

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]]>

2006-02-17T07:04:28Z 2006-04-21T10:16:26Z

2006-02-20T13:32:53Z 2007-04-20T12:07:47Z

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 2006-01-08T18:30:41Z

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 2006-02-21T13:47:32Z

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 2005-10-21T11:14:34Z

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.]]>

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

Three parts between 250 and 400k file size made in flash. More concept than design. Three verey simple movies using text and visual narrative]]>

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 2005-10-21T11:14:34Z

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

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

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

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

We unconsciously demand the application of certain elementary principles in the arrangements which surround us in daily life. These principles are so simple that when they are complied with, one is not even aware of the source of one's satisfaction. On the other hand the violation of these simple principles will give rise to a feeling of disappointment which is none the less actual for being, sometimes, quite indefinable. The success of each project in my site, photomontage.com depends in a measure on correct balance in every sense this medium - digital art/web site - has to offer. What I build is a collage or an assemblage of interrelated short art pieces that although seemingly detached from each other, in whole, express a complete thought or statement. My site remains in a "work in progress".

Technical requirements for viewing (plug-ins, browser version):

Web site: to be viewed in a computer station or a projection unit connected to a keyboard and a mouse.

-Microsoft Windows 2000 or 98 ,

-Video Card capable of Million of colors ,

-256MB Ram, Internet Connection,

-Internet Microsoft explorer web browser 5 or higher

- 800 / 600 or larger Screen size

plug-ins:-Flash-Quicktime-Shockwave-Java]]>

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

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 2005-10-21T11:14:34Z

"My work explores the methods of describing sounds with colour and graphical motion in random and user controlled environment.

A key factor in this field is the phenomena of syneasthesia, where an individual experiences a mixture of the senses, leaving visual patterns layered over their field of vision when they hear sound. To my knowledge the type of visualisation of sound is related more closely to timbre(the texture of a sound) than pitch. Yet all syneasthites differ in there experiences with certain sound textures."

"The unity of colour and tone is a very special gift of computer technology."]]>

1998-08-27T00:00:00Z 2005-10-21T11:14:34Z

This work was made in 98 and it is about info on demand +/ - the perversity of pleasure the commodification of lesuire and that is why its free.

I have been working with director to created performative audio visual works from 96

I use these works to perform at parties and experimental sound events under the alias "Spanky".I have about eight banks of different "prepared keyboard" material which I switch between depending on the gig.

Recently i have started to develop works in Max + nato and am excited to see some new developments in this feild espeacially for the web.]]>

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 2005-10-21T11:14:34Z

The first system is called "two ways". One pink, one blue, are together. Then they split "two ways", back together or giving up, what difference does it make? It goes back to the beginning. The music loop volume is modified accordingly to the distance between the two halves.

Technical details: Shockwave 77kb and 144kb made with Macromedia director
CPU hungry >800mhz needed to play smoothly.
]]>

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

The second system is called "Egowar", some pink, some blue, start with the same strength, they form couples, some grow together, some don?t, some are good to each other, some are not and one get stronger while the other weakened. Some stick together and some split. Each of the actions is associated to a sound, creating a generated piece of music that follows the animation.

Technical details: Shockwave 77kb and 144kb made with Macromedia director
CPU hungry >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 2005-10-21T11:14:34Z

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

2004-09-03T00:00:00Z 2005-10-21T11:14:34Z

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.]]>

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

selon le contr?le de la souris par l'utilisateur. je voulait recreer un "orgue de barbarie", mais c'etait trop lin?aire

131 sons sont utiliss
8 Pistes-audio
need 128 ram & +200 mghz
]]>

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

Playing cubop is non competitive and is designed to immerse the user in a transitory process which by nature has a certain degree of uncertainty. As such It offers a complementary paradigm to manuscript or sequencer based learning.

Cubop has a specific rule based vocabulary. There is no random behaviour.
To play click and drag rectangles and explore?.

This version is a prototype of an instrument in development.

each one is abpout 500k]]>

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 2005-10-21T11:14:34Z

This project came about from an artists residency for a 'Disinformation' show. Disinformation aka. Joe Banks works with atmospheric recordings and delves into the depths of relationships between these and mans experience of noise, origins of image and sound and beyond.
We responded with an 'acoustic diagram' which by using external links to acoustic and vibration sites, took you on a discovery journey of magnetic interference in our daily lives. As well as providing information, through a playful means, on these areas, it exists as an art work.

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 2005-10-21T11:14:34Z

1998-08-28T00:00:00Z 2005-10-21T11:14:34Z

Here is a short description of it:
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 2005-10-21T11:14:34Z

This is a picture illustrated song in shockwave.
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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 2005-10-21T11:14:34Z