Music randomly generated by dipping ducks (AKA happy birds, drinking birds, dippy birds, happy ducks... etc)
Using the basic parts of a keyboard, each duck is hooked up to a note of the octave. As their beak touches the water in the glass the circuit is completed and the sound is produced.
7 quicktime players playing 1 windows startup sound & 1 found image indicating 7 areas of the body affected by excessive mouse usage
The spring show of ITP, New York University’s Interactive Telecommunications Program, which was open to the public last Sunday and Monday, was a like science fair, with students eager to show the results of their projects, and also like a job fair, with middle-aged men in suits prowling for fresh-faced innovators. There’s an atmosphere of authentic creative exploration surrounding the projects displayed, but more often than not the starting point is a vaguely corporate-sounding buzzword: Sustainability! Wearable technologies! Arduino! Connecting to nature was a particularly hot topic, with variations on it ranging from urban botany—like the iPhone app Twigster that helps users identify species of plant life they encounter in parks—to the New-Age crunch of Root Boots, bark-covered footwear that encourages the wearer to stand still and contemplate nature by providing pleasant, low-frequency vibrations when at rest and making scary uprooting sounds when lifted. Voice from the Past also followed the trend of adapting technology to slow the pace of life down; the program lets callers leave a voice message and designate a time in the near or distant future when the recipient will be notified of it. The inverse of that was the whimsical Traveling Sound Museum, with sounds of events like the 1293 sacking of Jaisalmer by the emperor Ala-ud-din Khilji and the 1835 arrival of European explorers in Galapagos in mason jars displayed on an antique wooden cart. (The creator cagily batted away questions about what the burlap in the jars was hiding, and where they “really” came from.) Other projects let computers and audience share the credit for art-making. The “cobots” ShadowBot and SoundBot moved in response to environmental light or noise, respectively, to create messy, Spirogram-like doodles. With the heavy crowds at the ...
Our sister institution, the New Museum, will jump start a new residency for performance, RE:NEW RE:PLAY, tonight. The month long residencies allow invited artists to workshop works-in-progress at the New Museum's theater every Thursday at 7pm. Singer and composer Nick Hallett is the program's inaugural resident, and over the course of the next four weeks he will stage performances that connect the human voice to multimedia ritual in a series entitled "VOICE + LIGHT SYSTEMS". In collaboration with Brock Monroe, each performance will be set in an environment illuminated using interdisciplinary techniques taken from psychedelic lightshows and structuralist film. This evening Hallett will sing selections from Meredith Monk’s "Our Lady of Late", a cycle for solo voice and wineglass, written in 1972 and rendered as a concert piece by the composer a year later. (See the above video for a preview.) Hallett will be joined by Peter Sciscioli and Emily Eagen of The M6, who will sing duets from Monk's "Facing North Suite", as well as Miguel Frasconi, who will play glass percussion solos. Upcoming scheduled performances in Hallett's residency include Karlheinz Stockhausen’s Stimmung (May 14), a premiere of a new work from an opera-in-progress Whispering Exercises (May 21), and an "audiovisual travelogue, a tribute band" Auroville (May 28). Not to be missed!
12_series - work in progress pt. 2 from Telcosystems on Vimeo.
12_Series is a new generative multichannel computer installation by Telcosystems. The installation is an audiovisual horizon comprised of twelve identical image and sound generating machines. Built around the notion of decentralized autonomous decision making and evolution, 12_Series implements forms of audiovisual imitation, mutation and recombination, aiming for the emergence of captivating complexity from a vocabulary of rudimentary shapes, sounds and logic.
The system is built around the notion of decentralized autonomous decision making, with each machine displaying its own generative behavior, while reacting to behavior of neighboring machines and adapting to centrally organized environmental variables. The installation focuses on the tension between the individual and the group, between the machine-specific development and the group dynamics that determine the ever-evolving horizon.
-- EXCERPT FROM ARTIST'S STATEMENT
(Currently on view at Wood Street Galleries in Pittsburgh, PA, originally via mediateletipos.)
Afif has chosen the Palais de Tokyo as the last stage of a project that he has been working on for months. "Lyrics," his "sung retrospective" at the Palais de Tokyo, is an extension of the shows "Melancholic Beat", presented at the Folkwang Museum in Essen, "Down at the Rock and Roll Club" for the Moscow Biennial, and his exhibition at Albi's Centre d'Art Cimaises et Portiques of Albi. It is certainly a far cry from a classic retrospective. For each of these shows, the artist has invited a composer to "translate" into music his earlier installations, pushing to the extreme the potential of translation and re-creation of his work "in song."
Afif produces these songs as works of art by integrating them visually into the exhibition space. The lyrics cover the walls and visitors can listen to the songs on headphones. An installation made up of various materials scavenged by the artist from the holdings of the Palais de Tokyo will also serve as a stage for a concert scheduled to be performed the evening of the show's opening. Having drawn up a list of precise instructions, Afif commissioned various authors to write texts, then got the word out to musicians. Afif interpreting, interpreted, and reinterpreting his own work, which gives rise to a constant back-and-forth that certainly shakes up our perception of art.
-- FROM PRESS RELEASE FOR THE "LYRICS" EXHIBITION AT PALAIS DE TOKYO
This piece consists of a concrete bench cast hollow, with its internal cavity serving as a sealed sub-woofer speaker enclosure. A recording of nearly sub-audible sound is played through this bench and is not experienced until someone is seated and feels the vibrations of the sound. The bench is designed to be typical of a public concrete bench, the only difference being its shape of a cube meant for one rather than rectangular for the possibility of multiple simultaneous users. This creates a situation where the user necessarily has a private experience with the piece, placing a shift in the function of the public bench and allowing for a private experience to take place within a public setting (without removing the person from their public position and function.)
The Beach Boys song "Good Vibrations" lowered in pitch to below the human audible range.
«Poème électronique» is the first, electronic-spatial environment to combine architecture, film, light and music to a total experience made to functions in time and space. Under the direction of Le Corbusier, Iannis Xenaki's concept and geometry designed the World's Fair exhibition space adhering to mathematical functions. Edgard Varèse composed the both concrete and vocal music which enhanced dynamic, light and image projections conceived by Le Corbusier. Varèse's work had always sought the abstract and, in part, visually inspired concepts of form and spatial movements. Among other elements for «Poème électronique» he used machine noises, transported piano chords, filtered choir and solo voices, and synthetic tone colorings. With the help of the advanced technical means made available through the Philips Pavilion, the sounds of this composition for tape recorder could wander throughout the space on highly complex routes.
Edwin VanGorder