Media Arts Watch Lab - www.arts-numeriques.info - laboratoire de veille Arts Numériques - twitter @arts_numeriques - @processing_org - @DigitalArt_be - by @jacquesurbanska @_Transcultures
We all glow. All living cells of bacteria, plants as well as (human and non-human) animals emit biophotons, extremely weak light emissions which cannot be perceived by the naked eye and are used in cell-to-cell communication in living systems. Instruments like photomultipliers tubes (PMT), however, are such sensitive detectors of light that they can detect individual photons.
Back in 2015, Mike and Susana from Thought Collider teamed up with artist Dave Young and researchers at Leiden University to build a kinetic sound installation around a Photon-Multiplier Tube.
Although the transformation of the functional state of the living organism into sound was an important dimension of the work, the artists and designers were also interested in looking at the processes and authoritative gestures that legitimise the collection of personal information and how informed consent is attained and defined.
Electrical Engineer with a specialization in telecommunications at the Free University of Brussels (ULB, 1987), he received a First Prize and a higher diploma in Electroacoustic Composition at the Royal Conservatories of Music in Brussels (1993) and in Mons (1996).
First researcher in the field of speech processing at ULB, he was from 1992 till 1997 head of the Computer Music Research at the Polytechnic Faculty and the Royal Conservatory of Music in Mons (Belgium) where he developed instruments used by composers like Leo Kupper and Robert Normandeau. He collaborated on several occasions with IRCAM where his programs were used by Joshua Fineberg, Emmanuel Nunes, Luca Francesconi and other composers.
He is co-founder and president of FeBeME-BeFEM (Belgian Federation for Electroacoustic Music) and ARTeM (Art, Research, Technology & Music, in Brussels), founding member of the Forum des Compositeurs and was Belgian representative of the European COST actions “Digital Audio Effects” (DAFX, 1997-2001) and “Gesture Controlled Audio Systems” (CONGAS, 2003-2007).
He was researcher from 2008 to 2013 at the Numediart Institute of the University in Mons and professor from 2008 to 2015 at Arts2, the School for the Arts in Mons.
Since 1993 he develops interactive systems at ARTeM, for studio use, concerts, sound installations and dance performances, using a wide variety of sensors. ....
Panorama et Agora, les manifestations du Fresnoy et de l'Ircam, s'inaugurent simultanément, reflétant une convergence artistique entre deux écoles. Ainsi l'installation Tripwire est née de la rencontre entre la compositrice américaine Ashley Fure, achevant son Cursus de l'Ircam et Jean-Michel Albert, vidéaste étudiant au Fresnoy. Les dix-huit cordes, chacune actionnée par un moteur, se transforment en écran de projection. À ce système mécanique qui représente l'onde sonore correspond un espace sonore inspiré par le bruit des cordes dans l'air et leur potentiel harmonique. Les spectateurs viendront perturber la forme préprogrammée de cette installation. Coproduction Ircam-Centre Pompidou, Le Fresnoy ' Studio national des arts contemporains, avec l'aide à la création d'Arcadi. Avec le soutien de la Sacem (bourses d'étude aux jeunes compositeurs du Cursus 2). Dans le cadre du Festival Agora.
Coproduction Ircam-Centre Pompidou, Le Fresnoy-Studio national des arts contemporains. Avec l'aide à la production d'Arcadi.
This milestone volume maps fifty years of artists’ engagement with sound. Since the beginning of the new millennium, numerous historical and critical works have established Sound Art as an artistic genre in its own right, with an accepted genealogy that begins with Futurism, Dada, and Fluxus, as well as disciplinary classifications that effectively restrict artistic practice to particular tools and venues. This book, companion volume to a massive 2012-2013 exhibition at ZKM | Center for Art and Media, Karlsruhe, goes beyond these established disciplinary divides to chart the evolution and the full potential of sound as a medium of art.
The book begins with an extensive overview by volume editor and ZKM CEO Peter Weibel that considers the history of sound as media art, examining work by visual artists, composers, musicians, and architects alike. Subsequent essays examine sound experiments in antiquity, sonification of art and science, and Internet-based sound art. Experts then survey the global field of sound art research and practice, in essays that describe the past, present, and future of sound art in Germany, Japan, China, the United States, the United Kingdom, Russia, Canada, and Scandinavia. The texts are accompanied by hundreds of color images drawn from the ZKM exhibition.
Essays by Dmitry Bulatov, Seth Cluett, Christoph Cox, Ryo Ikeshiro, Caleb Kelly, Brandon LaBelle, Christof Migone, Tony Myatt, Irene Noy, Adam Parkinson, Bernd Schulz, Carsten Seiffarth, Linnea Semmerling, Başak Şenova, Morten Søndergaard, Alexandra Supper, Atau Tanaka, David Toop, Peter Weibel, Dajuin Yao, Siegfried Zielinski
Guy Ben-Ary, born in Los Angeles, is a Perth based artist and researcher. He currently works at SymbioticA, an artistic laboratory dedicated to the research, learning and hands-on engagement with the life sciences, which is located within the University of Western Australia. Recognised internationally as a major artist and innovator working across science and media arts, Guy specialises in biotechnological artwork, which aims to enrich our understanding of what it means to be alive.
Guy’s work has been shown across the globe at prestigious venues and festivals from the Beijing National Art Museum to San Paulo Biennale to the Moscow Biennale. His work can also be seen in the permanent collection of the Museum of Modern Art in New York. In 2009, his work Silent Barrage was awarded an Honorary Mention in Prix Ars Electronica (Austria) and also won first prize at VIDA, a significant international competition for Art and Artificial Life.
Guy specializes in microscopy, biological & digital imaging, tissue engineering. His Main research areas are cybernetics, robotics and the interface of biological material to robotics. Much of Ben-Ary’s work is inspired by science and nature. His artworks utilize motion and growth to investigate technological aspects of today’s culture and the re-use of biological materials and technologies.
The Last Gun is a mechano-robotic flute built out of a disabled shotgun and salvaged industrial components. The gun barrels have been transformed into a double-flute, which is played by compressed air. The mechanics are programmed and controlled through open-source electronics using an Arduino microprocessor and a Raspberry Pi board.
The installation graphically charts and then musically depicts the rise & fall of annual U.S. arms exports. The flute’s aural response is based upon a value judgment. It is programmed to play a somber melody for every rise in arms exports and an upbeat tune for every year the arms exports drop.
Otolab was founded in 2001 in Milan by an affinity group of musicians, djs, vjs, videoartists, videomakers, web designers, graphic designers and architects joined to go through a common path in the field of the electronic music and audiovisual research.
The projects are developed through lab sessions, seminars and live performance according to the principles of brainstorming and mutual support, free circulation of knowledge and experimentation.
The production includes collective and individual projects managed with languages ranging from experimental electronics to techno, dub and industrial sonorities, always looking for a symbiotic relationship with image and video. Otolab is a cultural association committed to create live media and installations and to carry out audio and audiovisual projects, seminars and workshops.
In these years, Otolab members have been welcomed to festivals, cultural events, museums, national and international galleries and have contributed to the realization of self-managed cultural initiatives
cellF is the world’s first neural synthesizer. It is a real “wet-alogue” Synthesizer. cellF’s “brain” is made of a biological neural network that grows in a Petri dish and controls in real time an array of analogue modular synthesizers that were custom made to work in synergy with the neural network. It is a completely autonomous, wet and analogue instrument.
In 2012, Guy Ben-Ary received a fellowship to develop a biological self-portrait, and decided to portray one of his juvenile dreams: to become a rock star.
Guy Ben-Ary had a biopsy taken from his arm, then he cultivated his skin cells in vitro in the labs of SymbioticA at UWA, and using Induced Pluripotent Stem cell technology, he transformed his skin cells into stem cells. When these stem cells began to differentiate they were pushed down the neuronal lineage until they became neural stem cells, which were then fully differentiated into neural networks over a Multi-Electrode Array (MEA) dish to become - “Ben-Ary’s external brain”.
The MEA dishes that host Ben-Ary’s neural networks consist of a grid of 8×8 electrodes. These electrodes can record the electric signals (action potentials) that the neurons produce and at the same time send stimulations to the neurons – essentially a read-and-write interface to the “brain”.
The Sound of the Earth is a content of Yuri Suzuki`s spherical record project, the grooves representing the outlines of the geographic land mass. Each country on the disc is engraved with a different sound, as the needle passes over it plays field recordings collected by Yuri Suzuki from around the world over the course of four years; traditional folk music, national anthems, popular music and spoken word broadcasts.
As an attempt of a binary representation of complex organic sounds – noise, language and music - the installation is programmed to constantly search the radio spectrum and algorithmically analyze it. The received sounds are recreated with clicks and noises made by 64 electromechanical relays. This process of sonic reduction and rasterisation produces a copy still carrying some of the original information of the sound (rhythms, densities and timbres), but which is vague enough to become properly re-understood.
The piece challenges the loss of meaning in digital transformations, which often leads to bizarre interpretations and misunderstandings in our society.
Camera: Marion Grotti
Developed at and with Avatar Centre of the cooperative Méduse in Quebec (CA), in the framework of a residency by Pépinières européennes.
Adam Basanta is a sound artist, composer and performer based in Montreal. His sculptural sound installations are minimalistic choreographies of speakers and microphones, replicating real or imagined scenarios of listening. These installations operate around an alternative perception of sound, through attuning to sensations that are not necessarily perceived by the human ear — and through recognising that what may appear to be empty space is full of sonic phenomena that is material.
Basanta may translate statistical information — a dossier that documents geospatial, and thus social, patterns in movement between cities — by codifying it into a different medium than we are accustomed to reading. Information is processed not through text or image, but through sound, as in the documentation of domestic and international flights of Going Nowhere Fast. By making audible the ratios, lengths or repetitions of individual travel, raw data attains a curious musicality. ...
One or More Schachtophones, the new schachtophone audio-visual installation for playing schachtophonies; a sound sculpture for 10 performers made out of springs, that is at the same time the basis for the performance E.P.Z. and the reflectophone installation/performance 9,81 m of Accelerationism.
The performance E.P.Z. relies on the cut-up poetry of William S. Burroughs and the African horror story Jeddade Jeddade in creating improvised music lines by using schachtophone instruments and musical scores for three performers. By investigating the word “virus” in its auditive qualities and meaning, the narrative of the performance is based on the Ebola Zero Patient of the West African Ebola epidemic – a boy who is believed to have caught the virus by playing an instrument made out of wood in which infected bats were living in, and thus triggering the epidemic. E.P.Z. is performed by Damir Bartol Indoš, Tanja Vrvilo and Helge Hinteregger....
For robots to navigate the world, they need to be able to make reasonable assumptions about their surroundings and what might happen during a sequence of events.
One way that humans come to learn these things is through sound. For infants, poking and prodding objects is not just fun; some studies suggest that it’s actually how they develop an intuitive theory of physics. Could it be that we can get machines to learn the same way?
Researchers from MIT’s Computer Science and Artificial Intelligence Laboratory (CSAIL) have demonstrated an algorithm that has effectively learned how to predict sound: When shown a silent video clip of an object being hit, the algorithm can produce a sound for the hit that is realistic enough to fool human viewers...
Modular synthesizers present some beautiful possibilities for sound design and composition. For constructing certain kinds of sounds, and certain automated rhythmic and melodic structures, they’re beautiful – and endure for a reason.
Now, that description could fit both software and hardware modulars. And of course, hardware has some inarguable, irreplaceable advantages. But the same things that make it great to work with can also be limiting. You can’t dynamically change patches without some plugging and replugging, you’re limited by what modules you’ve got bolted into a rack, and … oh yeah, apart from size and weight, these things cost money.
So let’s sing the praises of computers for a moment – because it’s great that we can choose either, or both.
Si l’on parle quasiment toujours des lines-up de Peacock Society, on s’attarde plus rarement sur les acteurs des différentes scénographies numériques innovantes qui font de ce festival une expérience multi sensorielle, qualifié à juste titre de «festival des cultures électroniques (…) de la musique aux arts visuels». Ces scénographies révolutionnent notre façon de vivre, de penser et de ressentir la musique en mettant le spectateur au centre du processus créatif.
Depuis sa création, l’agence WE LOVE ART – à l’origine du festival – œuvre pour la culture de demain dans les domaines de la musique, de la scénographie, des arts numériques et de la technologie en proposant des événements novateurs où les nouvelles technologies sont mises au service de la création et du public. Et ce n’est pas un hasard si l’agence a proposé deux années des créations dans le parcours officiel de la nuit blanche – en 2010 en collaboration avec 1024 Architecture ; et cette année sur le Pont des Invalides, pour une performance bluffante...
Une fois tous les deux mois, Beat à l’air vous emmène à la découverte des meilleures scénographies immersives mêlant art sonore et visuel.
Kamal Musharbash is a contributing writer to Trend Hunter, and loves the idea of sound art installations. These pieces give viewers a full sensory experience, complete with both visuals and audio.
One if his favorite sound art installations is The Wave of Matter art piece, a design with a magnet underneath millions of tiny metallic balls, which mimics the singing of the ocean when moved. The design is very simplistic, yet it creates an overwhelming audio sound. One would even think they are at the beach!
Kamal is proud of how he took his accomplishments at Trend Hunter, and used these skills in the world of fashion. By building these transferrable skills, he was able to be successful in this competitive industry that requires much tenacity.
Jean Martin’s documentary Peter Vogel: The Sound of Shadows is a lasting document complementing the artist’s first solo exhibition in Britain. It provides viewers with a rich context to understand the artist and his works, whether or not they were able to visit the exhibition itself. The film offered an appropriately dynamic medium to explore and reflect on Vogel’s time-based, interactive objects, yet nobody anywhere in the world had previously made a full-length documentary about Vogel. Due to the artist’s age and health, it was imperative to take the opportunity to complement the exhibition premiere of his sonic interactive sculptures at the University of Brighton in 2011 with a comprehensive DVD.
Two prime research questions emerged: how best to demonstrate the ways in which time-based, interactive sound objects work; and what made Peter Vogel’s work pioneering and different?
Over the two-year evolution of this project, Martin’s method included filming Vogel in his Freiburg studio and elsewhere (including his solo exhibition in Paris, 2009) as he talked about what motivated him to create his interactive, dynamic works, given that he started out as a painter. Closely allied to this, Martin filmed examples of Vogel’s artworks in action, with the artist explaining his creative and technical approaches. Martin examined the context in which Vogel worked and his role in sound art history through an interview with Professor De La Motte, a leading German academic in the field. He explored aspects of sound theory and philosophy, including the roles played by interaction, chance and causality, and the practice (which can be termed the ‘aestheticisation of technology’) of showing the electronic circuitry in the artworks themselves.
In addition to the DVD, a comprehensive website devoted to Vogel’s work includes exhibition details, published essays and examination of key works.
I am an interaction design researcher. My research revolves around design experiments in interaction design. I engage in experimental design processes, resulting in the production of a variety of interaction designs with a strong focus on affective experiential qualities.
To start this Conversation, as an artist of interactive and immersive art, what role does affect and/or emotion play in the production of your works of art or design?
The processes and the designs both become vehicles for knowledge production as a kind of research through design (Frayling 1993) or research-creation, feeding back into the general field of interaction design, affect theory and the coupling between the two in the exploration and design of what I term affectively engaging interfaces. Within interaction design and Human-Computer Interaction HCI more generally, a number of people have been exploring affective aspects of the interaction, most notably under the heading of Affective Computing...
In the project »Design, Development and Dissemination of New Musical Instruments«, an interdisciplinary team of researchers and artists work on questions regarding the multitude of aspects of historical and contemporary electronic musical instruments. In close collaboration with international artists and in hands-on courses for students of the associated universities, prototypes of new musical instruments are developed. The emerging designs are evaluated regarding their versatility and expressiveness in artistic practice.
With her buttoned-up style, work with the UN, and name like a plucky character in a certain English wizard series, Delia Derbyshire may not seem a likely pioneer of experimental electronic music. But her work in the sixties and seventies indeed made her a forerunner of so much contemporary electronic music that most every current legend in the business—from Aphex Twin and the Chemical Brothers to Paul Hartnoll of Orbital, who calls her work “quite amazing” and “timeless”—credits her in some way or another. If you’ve never heard of Derbyshire, you can learn about her life and work in the 2010 BBC Radio 4 documentary above, “Sculptress of Sound.”
Build a piano out of vegetables or create a keyboard from foil. Connect anything conductive to Ototo using alligator clips and turn your touch into sound!
Ototo is designed by Dentaku from our London studio. Ototo means 'little brother' in Japanese - so we think of it as a perfect pocket-sized companion.
The concept was realised by Yuri Suzuki and Mark McKeague under commission from Near Now. In October 2013 we ran an invention workshop with the first prototype boards at Game City in Nottingham and announced the project to the public. Over the following months we ran public and student workshops testing out Ototo, getting feedback and refining our design.
In February 2014, Dentaku ran a Kickstarter campaign to fund the first production project. The project was successfully funded, raising ￡73,589 from 915 backers.
Now we sell Ototo to makers and creators all over the world who want to make their own musical dreams come true.
Le groupe ICA—ACROE, ACROE pour Association pour la Création et la Recherche sur les Outils d’Expression etICA pour Ingénierie de la Création Artistique, couvrent un même projet global de recherche, de développement et de pédagogie en informatique musicale, image animée et synthèse.
L'ACROE a été crée en 1976 par Claude Cadoz, Annie Luciani et Jean-Loup Florens à l'Institut National Polytechnique de Grenoble (Grenoble INP) avec le soutien du Ministère de la Culture et de la Communication. Le laboratoire ICA en tant qu’unité de recherche de Grenoble INP a été créé en 1999.
Les travaux scientifiques, technologiques et artistiques du groupe s’attachent à une problématique générale introduite dès sa création, se révélant aujourd’hui de pleine actualité : l’ingénierie pour la création artistique dans les arts instrumentaux du temps, arts recourant à des objets matériels produisant des effets sensoriels via l'interaction avec l’être humain...
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