Networked_Music_Review

Net_Music_Weekly: Submersed Songs

submersed1.jpgSubmersed Songs (2008), by Vivian Caccuri, an artist from São Paulo, Brazil, is a sound installation that generates MP3 player remixes through the movements of four live fish. The animals’ movements and the proximity among them work as a parameter for mixing and spatializing the sound output of MP3 players (iPod’s and others) of the visitors in real time. This system constantly mashes-up two different songs recorded by different users. The two tracks are submitted to different modification processes, building a real time continuity between the swimming of the carp fish and the levels of distortion — which can vary from an intense reverberation to a simulation of hearing underwater.

With this, new sound landscapes are created, not only from the interaction among the fish, but also from unveiling the intimate music archives, which are “submersed” underneath the MP3 player devices.

The visitor can connect his audio device to the interface, and chose a song of his preference. It is also possible for the user to record the track in the system in order to let the song be modified during the next visitor’s interactions. The visitor can listen to the previous visitors’ songs as well, as the system juxtaposes the previous visitors’ tracks with the current visitor’s song. Accordingly, the piece is always meshing up two different songs.


Submersed Songs | Canções Submersas from ∆LEX on Vimeo.

Submersed Songs is the winner of the Rumos Arte Cibernetica Prize (Itau Cultural Institute – São Paulo).

Vivian Caccuri is an artist born in 1986 in São Paulo, Brazil; currently working with performance, sound-art and beyond. Her work establishes reactive systems between sound and the physical realm, within themes that comprehend everyday-life issues, gender and social group behaviors. From 2006 to 2007, Vivian was granted a scholarship at FAPESP (Foundation for the Research of São Paulo State), to develop software tools for sound-art installations and performances, under the advisory of Prof. Dr. Milton Terumitsu Sogabe. In 2007 she developed the first project of FILE Labo (the medialab managed by FILE International Festival of Electronic Language); the sound-performance “Memorabilia”. In the same year, Vivian Caccuri won the Rumos Arte Cibernetica prize (Instituto Itau Cultural) for the sound-installation “Submersed Songs”, with which has collaborated with artists and musicians like Scanner (UK), Vitor Joaquim (PT), Kassin (BR), Hal Rammel (USA), and others. She also works as a content coordinator and technical consultant of FILE (International Festival of Electronic Language), having already taken part in eight editions of the event.


Oct 14, 2008
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One Response

  1. Craig Gingrich-Philbrook:

    OK, I’m in love with this musically, but am, as a longtime aquariast, worried about the fish. From a posthuman perspective, the interactive technology, as a network of bodies and movements is appealing, but it’s also a harnessing of another life form in an inhospitable environment pretty unreflexively: the light is coming from an unnatural and disorienting angle, there’s no cover, and fish are profoundly sensitive to vibrations (watch for the panic during a rock song). If we’re willing to expand concepts of music, responsivity, and systems to network bodies and archives, don’t we need a similar expansion of ethics? How different is the impulse to dismiss this concern from the impulse to dismiss this music?


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

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