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HopStory

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Interactive, Location-based Narrative Distributed in Space and Time

“As computing and communications technologies evolve, there is the potential for new forms of digitally orchestrated interactive narratives to emerge. In this process, balanced attention has to be paid to audience experience, creative constraints, and presence and role of the enabling technology. This paper describes the implementation of HopStory, an interactive, location-based narrative distributed in space and time, which was designed with this balance in mind. In HopStory, cinematic media is housed within wireless sculptures distributed throughout a building. The audience, through physical contact with a sculpture, collects scenes for later viewing. Inspired by the history of the installation space the narrative relates a day in the life of four characters. By binding the story to local time and space and inviting the audience to wander, we amplify the meaning and impact of the HopStory content and introduce an innovative approach to a day-in-the-life story structure.” Abstract for Hopstory: an Interactive, Location-based Narrative Distributed in Space and Time by Valentina Nisi, Alison Wood, Glorianna Davenport and Ian Oakley [PDF]


Jan 12, 2005
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Three by Thomas Charveriat

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Animatronic Installations

The Machine Manifesto is an interactive musical performance that reflects upon the relationship between human beings and machines. It is composed of a series of mechanical musical instruments or automatons, and directed by an orchestral conductor. The instruments–programmed to perform independent tasks–follow the commands sent by the conductor via image recognition software. Machine Manifesto reflects the existing asymmetry between humans and machines (conductor and instruments), and provides an ironic look on the privileged position of machines in our society.
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Jan 9, 2005
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Dry Translator

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Walls as Touch Messaging Devices

Dry Translator, a sculptural installation piece by Sabrina Raaf, is built in response to new trends in ‘smart architecture.’ Smart technology is being created for enhanced human interaction and control of one’s urban building and home environments. Interestingly what excites many is not the necessarily the enhancement of control, but really more the idea of intelligent responsiveness and heightened personal connection with the rooms they inhabit.

Dry Translator is taking this idea of responsiveness to an exaggerated degree. The idea is to create an environment so sensitive to human presence that a touch to its walls sends resonant vibrations throughout the bodies of its occupants. Whereas normally people acknowledge the presence of walls in a building as merely types of boundaries or surfaces, this piece allows them to engage with walls in newly intimate ways such as touching, beating, and even ‘playing’ the walls as instruments. And, it also allows them to use the walls as sorts of touch messaging devices.
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Jan 4, 2005
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Saturday

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Sounds Mixed in the Bones of the Listener

“With the overuse of radio frequency bands for wireless communications, there comes the increased occurrence of crossed lines where a private conversation becomes accidentally shared. To create this interactive sound piece, Saturday, [Sabrina Raaf] used walkie talkies, CB radios, and various other forms of consumer spy (or ‘security’) technology in order to actively harvest such communication leaks. Saturday forms a uniquely intimate portrait of the community of Humboldt Park, Chicago through a composite presentation of conversations stolen on Saturdays in the park. Saturday is a sound based artwork that participants experience through a custom designed glove interface. [via near near future]
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Jan 4, 2005
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Record_

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Virtual-Sound-City

Record_ by Alberto Guedea: _pre-recorded audio from computer hardware manipulations [using hardware as musical instruments] processed and de-constructed live, digitally_”For this venue I will be studying the idea of a virtual-sound-city by recording audio pieces, utilizing computer hardware as the only physical ‘musical instruments’ to produce the recorded sound. These recordings of hardware manipulations will be processed afterwards through various popular music software engines in a series of long length private and public performances which will be webcast in real time, through the Reverie server during January 2005.

The webcast performances will be abstract net-installations of audio and they will be focused primarily on the concept idea rather than on schematic or structured musical compositions. These sound installations and audio investigations will address virtual reality in present times.”


Jan 3, 2005
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MuSE

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Multiple Streaming Engine

MuSE provides the free software community with a user friendly but powerful tool for network audio streaming, making life easier for indypendent free speech online radios.

MuSE is an application for the mixing, encoding, and network streaming of sound: it can mix up to 6 encoded audio bitstreams (from files or network, mp3 or ogg) plus a souncard input signal, the resulting stream can be played locally on the sound card and/or encoded at different bitrates, recorded to harddisk and/or streamed to the net. When sent to a server, the resulting audio can be listened thru the net by a vast number of players available on different operating systems.

To be operated MuSE offers graphical interfaces and a documented commandline interface in the good old unix style. MuSE is free software and it is released open source under the terms of the GNU General Public License.


Jan 3, 2005
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Interviews

Current interview:
Robin Meier, Ali Momeni and the sound of insects

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What is this?

Networked_Music_Review (NMR) is a research blog that focuses on emerging networked musical explorations.

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NMR commissioned the following artists to create new sound art works. More...
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