THIS SENSATION IS AUDIO /short version from martinrille.com on Vimeo.

Many senses, like the eyes, ears, tongue or nostrils are scattered over a small area while the sense of touch covers the whole body. Tactile sensation is the first sense a newborn child develops and with which it has the first experiences in this world. As a result, the first memories a human gathers, are imprinted through tactile sensation. Therefore it is the sense that triggers the deepest link to human emotion.

Coded Sensation is realized through applying an ultra-thin sheet of chromium oxide onto the surface of fabrics and storing information through a magnetic modulation. As like in audio-tapes this technique is extremely sustainable.

Stories and poems in audio are stored on the surface of these coded fabrics. A reading head, which consists of an electromagnetic sensible coil, reads the magnetic fluctuation in the chromium oxide. It then is transformed into an acoustic media. This process works reciprocally.

See review neural.it February 14, 2011

Visual and sound artist Carrie Bodle will create a five-channel sound installation and sewing performance sonifying data from an ecosystem model developed by UW oceanographic scientist Dr. Neil Banas. Sound is translated from data, then visualized and made tactile by the artist embroidering the combined waveform into a continuous sound wave.

This computer model simulates the growth and consumption of plankton in the ocean ecosystem along the Washington coast during summer 2005. The five sound channels broadcast five dimensions in this data: wind (1) and tides (2) drive the currents and turbulence that bring nutrients (3) to the surface. Once in the zone where sunlight penetrates, phytoplankton (4) grow, zooplankton (5) eat the phytoplankton, and so on up the food chain. Embroidering these five sonified data sets as one ecosystem through a public art performance, research data from the Washington coast is made audible, visual, and tangible.

In collaboration with Dr. Neil Banas, UW Applied Physics Laboratory, and Keith Grochow, UW Department of Computer Science and Engineering.

This project was created with support from a 4Culture Individual Artist Project Grant

ArtsSparks is made possible by a unique partnership between the Seattle Parks Department, Seattle Office of Arts and Cultural Affairs, and 4Culture’s Site Specific Program.

Thanks to Random Magazine.

http://www.youtube.com/watch?v=JY21RyuwMbY

Subscribers will receive a numbered / limited edition of S.W.A.M.P.’s “Notepad” sheet of paper with an envelope. It looks like an everyday yellow legal paper, but each line is constructed of micro-printed text and contains the personal details of Iraqi civilian casualties. Subscribers are triggered to write a letter or memo or draw a picture on it and send it to the White House, then signing up for a free replacement sheet on the S.W.A.M.P. website, if they want. Once in circulation each sheet then acts as a “Trojan horse” - slipping the unwanted and unacknowledged civilian body count data into official governmental archives. This is a joint action that proves how paper and pixel together can make the difference.

The Cubes à sons / bruits / babils (Sonic Cubes) are pleasant-to-touch wooden objects containing a multitude of sounds and composing together an acoustic vocabulary. By holding them in your hand and turning them in all directions, you discover their contents and, in the course of manipulating them, unexpected and unpredictable associations and entanglements occur that you can model as you wish. Sighing, coughing, sneezing, leaves rustling, thunder, car humming, water gurgling in metal pipes, door banging — brief and fleeting stories thus unfold and fold, each time reinvented, starting from a tactile, visual and sound object. Each cube contains an electronic device having six independent channels — on per side — of digitally amplified sound memory and an accelerometer that reads its position. Wireless and energetically self-sufficient, the cubes are multifaceted and multichannel objects that allow for omnidirectional, unidirectional or pluridirectional spatializations.

Visitors are invited to explore and engage with this environment by manipulating the cubes distributed in the space. The order or disorder in which the visitor experiments with these sound objects create individual / collective, linear / non-linear sound paths that constantly enrich one another.

The Sonic Cubes are an exploration in miniature of the world’s immensity and address notions such as inside / outside, open / close. They speak of a memory that forgets, remembers and imagines, and of being here now.

Catherine Béchard and Sabin Hudon form a duo of multidisciplinary artists who live and work in Montreal. Working in the fields of sculpture, audio art and new media, the duo is particularly interested in phenomena linked to acoustically generated sounds/noises, their propagations, the impressions they give as well as the “things” and “empty spaces between things” that compose our perceptual fields. In piling up fleeting tensions between sight, touch and hearing, they endeavour to make audible trivial elements of our everyday microcosm and turn them into a genuine environmental experiment. They seek to occupy space by creating a form of synesthesia—seeing with one’s ears, listening with one’s hands and projecting oneself in a space-time between silence and noise, motion and stillness.

The duo’s installations put into perspective the impermanence and mobility of things as well as our direct presence in the world. They propose a lasting moment where internal time and external time are brought together.

Their work has been shown nationally and internationally.

Sculpt is work for sensor gloves, interactive electronics and interactive projected image that explores the relationship between synthetic sound and synthetic image through the tactile nuance of human gesture.

Robert Griffin Byron won the A.B.C. Young Composer’s Award in 1995. Since then, Byron’s chamber music and orchestral works have been heard all across Australia, the United States, and Asia. His work has been performed by the most of Australia’s state orchestras. To date, Byron has received four commissions. In 1997 the West Australian Ballet commissioned the score for the ballet Orlando. In 1998 Future Films commissioned a soundtrack for an art film by Glen Eaves called Structures. The score won the A.B.C. Young Composer Film Award in 1999. Also in 1999 the Australian Ballet commissioned the full-length ballet Mirror Mirror. In 2002 the Ensemble Arcangelo commissioned the chamber work Kaleidoscope, with support from ArtsWA.

In addition to these commissions, Byron’s Piano Sonata No. 2 (Cobalt) was premiered by Michael Kieran Harvey in 1999 at the Calloway Auditorium, U.W.A. Byron’s dance work, Enlightenment, premiered in Bloomington, Indiana, at the Black Box Theater in 2004. Byron collaborated with Choreographer Liz Shea and Lighting Designer Robert Shakespeare, exploring interactive lighting, interactive sound, and choreographic movement. Byron gained second place in the Australian National Harp Composition Competition in 2004 for the work The Moon Methinks Looks with a Watery Eye. In 2006 Byron’s acousmatic work Hip or Hype? was performed at Pixerations in Providence, Rhode Island. His most recent work Swarm, for Perriott Ensemble and Interactive electronics, was premiered by the Boston-based group Dinosaur Annex in 2007.

Byron’s electronic works have been performed at numerous conferences, including the Australasian Computer Music Conference in Melbourne (2002), Perth SPECTRUM conference (2003), Western Australia Converging Technologies conference (2003), SEAMUS conference in San Diego (2003), THRESHOLD at Ball State University in Muncie, Indiana (2004), and Midwest IDEAS Festival (2004, 2005, and 2006). Byron won first place in the audio section at the 2004 and 2005 IDEAS Festivals.

Byron earned his B.Mus. from Edith Cowan in 1997. In 2000 Byron received a Peggy Glanville-Hicks Composer’s Fellowship-in-Residence, where he continued his studies. He earned his M.M. in Computer Music Composition from Indiana University while on a Fulbright Fellowship in 2006. At Indiana, Byron won the 2005 Dean’s Prize for Electroacoustic Composition. He is currently pursuing his Ph.D. in multimedia art at Brown University.

Bioluster is a large-scale tactile interface that offers simple, yet not immediately obvious, methods of triggering different series of sound samples. This unique interface, created with RFID & Flash technology, is paired with materials and shapes that leave the audience with a tugging sense of unwarranted nostalgia for a system that has never existed. This project has grown out of Trainor’s long use and exploration of RFID as an artistic medium to examine our changing physical relationship to computing.

Bioluster premiered on December 8, 2007 at Strange Things People Do With Electricity, an art exhibition at 911 Media Arts Center curated by Dorkbot/Seattle.

Accelerator Group is a variable group of artists, programmers, choreographers and others who collaborate to create performances, artistic prototypes, installations, and other works that explore emerging technologies in the context of material interfaces and components. Members reside in Seattle and New York with distance collaboration a key element of their creative process. Current experiments include using Flickr as a communication and documentation tool.

Shawn Decker’s Artist Statement: Initially educated as a composer of both instrumental and computer-generated music, my work has gradually evolved from primarily performance and tape-based music composition to installations intended for galleries or other spaces, as well as to interactive performance works which make use of a variety of electronic media. My current work, which involves a variety of physical and electronic media, is positioned at the intersection of music composition, the visual arts, and performance.

In my most recent work, I have become increasingly interested in the processes found in nature and in other large and complex systems, and the potential of computer programs to model or simulate such systems within time-based artworks. I have also been quite interested in creating media installations which are physical and tactile in nature, which are grounded in objects and in the creation of environments which are integrated within the gallery spaces they are presented in, and which create immersive situations which echo those found in the real world.

Within my most recent interactive installations and performances, patterns of behavior are fixed and defined only by the algorithmic process specified within the computer program embedded within a micro-controller which is typically part of each work. These algorithmic processes are designed to simulate the manner of operation of physical and natural systems. This ongoing investigation of computer-mediated processes - both as a means of producing work, and more recently as the form of the work itself - has been central to my interest in the use of computers for creative purposes.

I have also recently become increasing dissatisfied with the electronic production of sound via conventional speakers (stereophony) and have been investigating the use of mechanical and other “direct” sound production techniques that may be controlled by a computer program,. These techniques include the use of small motors to strike metal objects, piano wires, etc. and are often kinetic in nature. Due to the physical nature of these works the distinctions between sonic, visual, and spatial elements begin to blur. Another related approach I am taking is the investigation of the use of speakers in a more “raw” mode than usually used in stereophony – as single sound sources that may be summed together in sufficient quantities to form spatially immersive environments.

The use of simple mechanical devices such as surplus motors, inexpensive piezoelectric speakers, etc. also certainly has a modestly subversive anti-high-tech element to it that pervades my entire aesthetic. Rather than being interested in creating complex “high tech” systems (for instance, complex robotic systems) I instead focus on the complexity of interactions between many simple, even common, machines. In other words, I am interested in building robotic systems in an environmental /sociological manner.

Shawn Decker is a composer and artist who writes music for live performance, electronic tape, and for film and video soundtracks, and works primarily with interactive computer-based performance and with sound and electronic media installations. His work has appeared in a variety of settings ranging from small galleries to large concert halls, and has been heard on NPR, the European Broadcast System, PBS, and the Learning Channel. Recent commissions include the first permanent public sound installation ever installed in Finland, a piece for the Chicago Saxophone Quartet which has been widely performed in the US and Europe, and an interactive live-electronic score for a major work by the Mordine and Company dance ensemble. Mr. Decker also has performed with and composed for the acclaimed new music ensemble KAPTURE. In addition to writing and producing music, Mr. Decker is an Associate Professor in the Art and Technology and Sound departments at the School of the Art Institute of Chicago. In addition to his creative work, Mr. Decker also writes and lectures, and was recently the chair of the 1997 International Symposium on the Electronic Arts. Mr. Decker received a Bachelor’s degree in music composition from the Oberlin Conservatory of Music, and Master’s and Doctor’s degrees from the Northwestern University School of Music.

The design explores the utility of sound for envisioning new social, cultural and entertainment uses of public places and help us shape our relationships with each other with new social interfaces embedded in urban settings. This medium informs the audience by visualizing the different aspects of the crowd that is otherwise anonymous to each other. The audience listens to a sound collage made of the voices of people telling where they are from and if they can go back or not. As users of the system, we hear words as they are explicitly spoken to the system. The information is used to create a visual representation (based on audio analysis) for designing visuals that display patterns of activity at these location.