Second Front, The Gate :: October 4, 2007; 6:00 pm :: iMAL, Brussels - Through the Gate installation, Second Front will perform live from Second Life directly projected in iMAL (related post) new public space; and the Brussels public will become performers in Second Life.

ESPACES CROISES + PYROGENESIS (FR) - October 5, 2007; 8:30 pm :: iMAL invites Pascal Baltazar and Mathieu Chamagne, two artists supported by GMEA, the musical research group of Albi. They will play personal compositions where they explore new types of gestural interfaces for controlling multi-channel computer-based sound processes :: AND MIKROMUSIC by HC Gilje (NO) & Justin Bennett (UK) - Mikro is a series of improvised performances using the immediate surroundings as raw material. A microscope captures everyday objects and surfaces like wallpaper, coins, clothing, furniture, newspapers and transforms it into an explosive universe of textures. Contact microphones and electromagnetic sniffers pick up unhearable sounds to create the live soundtrack. Mikro is a collaboration between HC Gilje (video) and Justin Bennett (sound).

sCrAmBlEd?HaCkZ! by Sven König (DE) :: October 6, 2007; 8:30 pm - “sCrAmBlEd?HaCkZ!” is a Realtime - Mind - Music - Video - Re - De - Construction - Machine. s?H! is a conceptual software which makes it possible to work with samples in a completely new way by making them available in a manner that does justice to their nature as concrete musical memories. s?H! is the result of an effort to develop an artistic strategy that could shed some light on evident but very confusing problems of intellectual property. Intellectual property is a misconception deeply conflicting with the basic principles of any cultural production because it is completely negating its collaborative nature.

Cut up segments of music videos are reordered and reassembled so fast that, no sooner have the words left your mouth, you hear them spoken back to you. sCrAmBlEd ?HaCkZ! analyses the audio portion of a video file to determine the tempo of the incoming audio, and then slices it up into discrete chunks of a quarter note, eighth note, sixteenth note and so on. Using a large number of vectors, those slices are classified into a database according to their sonic characteristics. When the user sends new audio information to the program using e.g. voice and microphone, it follows approximately the same process, becoming classified in the database.

The software outputs the pre-analysed sample that is most similar to the newly cached sample. The result, which can be seen in the video, is the ability to reconfigure a number of music videos on the fly, so that they produce a sound similar to whatever is input. On screen the software plays the frames of video that accompany the selected audio.