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Distributed Immersive Performance

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Real-time, Multi-Site Performance

The Integrated Media System Center (University of Southern California) is working on the architecture, technology and experimental applications of a real-time, multi-site, distributed, interactive and collaborative environment called Distributed Immersive Performance (DIP). The objective of DIP is to develop the technology for live, interactive musical performances in which the participants – subsets of musicians, the conductor and the audience – are in different physical locations and are interconnected by very high fidelity multichannel audio and video links. DIP is a specific realization of broader immersive technology – the creation of the complete aural and visual ambience that places a person or a group of people in a virtual space where they can experience events occurring at a remote site or communicate naturally regardless of their location.


May 17, 2005
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Fireflies

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Networked Nightlights

John Schimmel’s Fireflies are networked nightlights for a local environment, the jars can be placed in different bedrooms or other spots around a home so people can communicate with one another through simply tapping on the jars. For example, if you tap the jar in your bedroom you will pulse the colored fireflies associated with that jar. The neighboring jars in your home will receive and pulse your taps, record them and then play them back. The neighboring jars can respond with their own tapping and broadcast themselves to the nightlights in the home. While a person is tapping the jar, they are in a broadcast mode where they get approximately 4 seconds of tap time and the other jars are in listening mode, again, for approximately 4 seconds *. After the 4 seconds is up there all the jars play back the recorded taps they have received. It’s a firefly jam session.


May 16, 2005
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Audio d-touch

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Building Blocks for Collaboration

Audio d-touch, by Enrico Costanza is a set of 3 tangible interface applications for music composition and performance: the Augmented Stave, the Tangible Drum Machine and the Physical Sequencer. It uses a consumer-grade web camera and customizable block objects to provide an interactive tangible interface for a variety of time based musical tasks such as sequencing, drum editing and collaborative composition. Three instruments are presented here. Future applications of the interface are also considered. It was developed with Simon Shelley at the University of York. Informal observations revealed that the mapping strategy employed make the interfaces very intuitive and simple to use. Read more [PDF]


May 12, 2005
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Cut & Splice 2005: Dots and Lines

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The Gap Between Ideas and Experience

: Sonic Arts Network and BBC Radio 3 are proud to announce the programme for the most ambitious Cut and Splice to date. This year’s Cut and Splice presents DOTS AND LINES, a cluster of events that explore the idea of notation and the relationship between score, image, text and sound in electronic music and sound art.

Focusing on the gap between ideas and experience, between abstract concepts and their relation to the tangible, DOTS AND LINES considers the analytical, performative and documentary nature of music as written document and code. It throws into relief our very concept of what constitutes the musical experience and considers the complex dialogue between time based and static art forms. Continue reading


May 11, 2005
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Pandemonium

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A Percussive Site Work

Tip tap tip tap. Is that the sound of dripping or is it someone in a cell tapping a code on the wall? Now there are many more tapping sounds. Far and near. Loud and soft. Now someone is banging on a pipe, now a cupboard. Now the hall is filled with a cacophony of beats, working their way back and forth, a PANDEMONIUM of percussion.

Using the existing elements in the prison cells Janet Cardiff and George Bures Miller have made the entire Cellblock Seven into a giant musical instrument, producing a percussive site work. This instrument, controlled by a computer and midi system, is made up of one hundred and twenty separate beaters hitting disparate objects such as toilet bowls, light fixtures and bedside tables found within the prison cells. The composition begins subtly as if two prisoners are trying to communicate and then moves through an abstract soundscape and lively dance beats until it reaches a riot-like crescendo.
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May 9, 2005
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De-Grammatical: Rhythm and Language Transformation

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Art of Noises

Next at HTTP// [House of Technologically Termed Praxis]: De-Grammatical: Rhythm and Language Transformation by Elisabeth Penker: For the opening–Tuesday 10 May 2005 7-9pm–Penker will perform live to the composition “Die Bildhauerin.”

At the turn of the last century the Futurists introduced sounds of motors and vocals as instruments for orchestras, which consequently influenced Dada and Fluxus movements that pioneered the early days of electronic music. The Dadaists phonetically experimented with grammatical structures. Penker combines these different approaches to rhythm and language transformations. Die Bildhauerin breaks up the grammatical structure of the word “DIE-BILD-HAU-ER-IN” into minimal units which are called morphemes. The composition is arranged with the sound of two stone masons, chiselling this broken grammatical structure into a wall.
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May 9, 2005
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Sonicforms

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First Open Source Interactive Table

More from Cybersonica. Chris O’Shea presented another table to add to the list of musical tables. This one has a peculiarity though: it’s the first to be open source. Sonicforms is an open source research platform developed to improve the research on tangible interfaces for audio visual environments by creating a community knowledge base and open tools for production.

Sonicforms is a repository for others to learn how to make their own interfaces and share their experiences; a set of tools for extending open source software to create these projects and of course it’s also a physical installation. Video. SonicForms will be presented at OFFF in Barcelona, on May 13, 5.30pm. Open Room. The first showing of the installation will be at Submerge, 29th June – 1st July, Bristol UK. [blogged by Regine on near near future]


May 7, 2005
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Phonurgia Nova awards 2005

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Sound is Art))): Call For Entries

“The Loud-speaker is probably the greatest common denominator in all our lives to-day. Video, multimedia, car radios, mobile phones are all crafting a new life for sound. In all domains sound is an objet of research, of reflexion. It is essential to open up creative, imaginative spaces for sound. And to encourage people to listen.”-Christian Lebl

#01 Background: Among the prizes awarded for acoustic creation, the Phonurgia Nova competition has, since 1986, occupied a special place by virtue of its recognition of artists whose work exploits sound as a medium for expressing the real and the imaginary. The contest is open to all radio station formats and to all authors, independant radio producers, musicians, composers, sound artists. An international jury panel made up of representatives from the radio industry, the press and the sound art world judge the entries. In 2003, 150 productions from 19 different countries were entered in the prize.
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May 5, 2005
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Interviews

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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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