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Category: physical

Live Stage: Tristan Perich [us NYC]

1bit.jpgTristan Perich’s Active Field :: January 17, 2009; 7:30 pm :: Chelsea Art Museum, 556 West 22nd St (at 11th Ave), New York, NY.

Active Field, Tristan Perich’s first major work for ensemble with 1-bit music accompaniment, arranges ten violinists and ten audio speakers on stage in a work that investigates the fundamental relation between physical and electronic sound. Working with primitive electronic machines he creates, Perich explores the foundations of sound. Last heard live at the Whitney Museum, Active Field is a jubilant intersection of the opposite but equal domains of data and sound, treating the violin and computer, each pinnacles of their respective disciplines, as primitive machines for the creation of sound. Listen: Continue reading


Jan 9, 2009
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Reblogged “Physical Sequencer” by Enrico Costanza

physseq1.jpgEnrico Costanza, PhD student at the Media and Design Laboratory of Lausanne’s Ecole Polytechnique Fédérale, has focused his research on designing objects that can bring digital and physical worlds closer. His Audio d-touch project, developed with Simon Shelley, is a clear example of this approach. It consists of three tangible interfaces that are used for musical composition and performance. They have been suggestively named, Augmented Stave, Tangible Drum Machine and Physical Sequencer.

The latter has been used in two live performances by the Sicilian cellist and composer Giovanni Sollima. Using the sequencer Sollima is able to record audio or voice samples and organize them in variable length loops. Continue reading


Oct 31, 2008
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Live Bits: Ars Electronica Commissions

erde_animation_crop.gifCall for Proposals: Live Bits – Art Exploring Real-Time Connectedness :: Deadline: October 31, 2008.

Ars Electronica invites artists and scientists to submit proposals for new and novel ways to connect, in real time, people to people, and people to environments in different physical locations. The goal is to expand and explore meaningful exchanges between remote groups of people.

The one essential requirement for all proposals is live bits: real-time digital information via any network, of any viable quantity, and in any modality. In addition to symmetrical two-way communication, asymmetrical two-way communication and even one-way communication will be considered as long as a live component is present. “Fresh” and “canned” bits, as well as physically transported objects, may also be incorporated. Continue reading


Oct 15, 2008
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Reblogged Physical Heart in a Virtual Body

amit31.png[Amit changing the physical heart of his guitar] My friend Amit Zoran, from the Ambient Intelligence group at MIT Media Lab, continued his work on structural innovation, re-designing acoustic musical instrument according to the abilities and characteristics of rapid prototype materials. Together with Pattie Maes and Marco Coppiardi, they created a new generation of physical instruments by tailoring wooden hearts. The wooden pieces are inserted in the body of the guitar to give the instrument the desired sound identity. Continue reading


Aug 7, 2008
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Reblogged Un-Dead-Link, physical death of a computer game

a_080602_01.jpgJapanese media art unit Exonemo’s latest work focuses on the differences between two worlds – the real, physical and our increasingly information-based, virtual. Citations of doubt in the real world itself among the two artists (Sembo Kensuke and Yae Akaiwa) led to an identification and consideration of a gap between the two worlds, namely one of “death.” For the duo, “death” in the real world has no relation to a death in the proposed imaginary world of information. Un-Dead-Link (exhibited at Plug-In, Basel till August 24) works to connect the different realities and blur such a boundary by relying on a pre-programmed software with electronic goods Exonemo bought in Basel. “We modified the game Half-Life2 by using Garry’s mod. The game is connected to the piano while all electrical goods are connected by midi/dmx (protocol) with custom devices.” With that, the audience can see, feel and hear the effects of a symbolic death in a computer game in an actual physical environment, bridging the gap. The gallery has two contrasting spaces- the ground floor is bright and open while the basement floor is dark and closed; reflecting the two worlds in the space. — Vicente Gutierrez, Neural.


Jul 18, 2008
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Reblogged Fold Loud, origami and harmonic sound

foldloud.jpgOrigami is the ancient Japanese art of paper folding. Its goal is to represent an object using only one piece of square paper, which is then folded and creased in intricate ways. American artist Joo Youn Paek has recently combined this traditional art form with contemporary digital sound mixing processes, via an interactive installation called Fold Loud. The installation consists of three square pieces of paper with opened circuits made out of conductive fabrics, which are stitched in place. The sheets are creased according to three origami bases: the balloon, the kite and the dog.

When the papers are folded along the crease lines, a circuit is closed and a sound is emitted. Each fold is assigned to a different human vocal sound so that combinations of folds create harmonies. Users have to bend multiple Fold Loud sheets together to produce a chorus of voices. But in order to generate a harmonic sound, users need to carefully fold and repeat their gestures, focusing on a slow and patient process. Continue reading


Jul 18, 2008
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Reblogged “Untitled Sound Objects” by Pe Lang and Zimoun

untitled-sound.jpgUntitled Sound Objects by Pe Lang and Zimoun is a series of works displayed as installation, performance and autonomous objects. Physical materials are made to generate sound by vibrating them using computer controlled motors, machines and robots.

One example of this (shown in the top two images above) is as follows:

Vibrating motors cause glass plates, on which various materials are placed, to oscillate. The vibrations move the materials and the frictions caused by this generate sounds, which are amplified via contact microphones and edited through DSP (Digital Signal Processing). Through a multiple channel speaker system amplified sounds are projected and reassembled into new sound architectures. Continue reading


Apr 18, 2008
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Yuri’s Night: Call for Works

yuri.jpgCALL FOR WORKS: Futuristic Music Design Challenge – A live competition at Yuri’s Night Bay Area presented by createdigitalmusic.com :: Deadline: April 7, 11:59 PM EST (No exceptions!)

Online submission: Web entries accepted from around the world for the Web showcase. Limited entries will be chosen to compete live — To compete for the prizes, those entries must be present at Yuri’s Night Bay Area, Saturday, April 12. Submit DIY music performance projects – using custom software and/or hardware – for a live performance battle at the Yuri’s Night Bay Area party on April 12, sponsored by Yuri’s Night and createdigitalmusic.com. Compete for awards including a Yamaha Tenori-On grand prize. Continue reading


Mar 28, 2008
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Live Stage: Performativity, Ideologies of Liveness… [us Providence]

9780253346629_med.jpgColloquium: Mediated Musical Communities :: April 15, 2008; 4:00 pm :: Rm. 315 – Orwig Music Bldg. (corner of Hope Street and Young Orchard Avenue), Brown University.

Performativity, Ideologies of Liveness, and Listener-Consciousness in Electronic-Music Performance featuring Mark Butler: In DJ sets and laptop performances, an unprecedented level of technological mediation comes into conflict with the expected “liveness” of performance. As a result, musicians frequently express various techno-performative anxieties in explanations of their performance approaches. In particular, they are concerned that the audience experiences a performance, one that is imbued with a sense of live presence, rather than simply the playback of a recording or the clicking of a mouse. Continue reading


Mar 26, 2008
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Reblogged Jamie Allen’s Heavy Circuits

jamie_allen.jpgAt the gallery and performance space Galapagos in Brooklyn last summer, I was fortunate to catch a show of electronically mediated music, art, installations, and short films. Among the participants was a musician and tinkerer named Jamie Allen whose set-up was a revelation in its simplicity.

His instrument was a wooden wine crate filled with custom-made circuitry and six joystick-like levers. Allen called his tool circuitMusic, and it emitted a throbbing, old-school sound — the sort of sound that’s often called “feedback laden” when in fact it was more like he was exploring the feedback, simultaneously navigating and lending shape to the noise. (There is additional coverage of the event, including photos, in an August 2007 disquiet.com entry.) Continue reading


Feb 1, 2008
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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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