Sound Walks explores some of the possibilities of Stanza’s Soundcities. It uses the Soundcities database through the openly distributed XML-file. Choose the city you want to visit: Amsterdam, Barcelona, Bergen, Bilbao, Bristol, Cork, Dresden, Ljubljana, London, Los Angeles, Napoli, Paris, Rotterdam, Salzburg, San Francisco, Sao Paulo, Shanghai, or Tokyo.

Soundcities is an online open source database of city sounds from around the world, that can be listened to, used in performances on laptops, or played on mobiles via wireless networks. Initially all of the sounds were by Stanza, but you can now contribute your own found sounds. This is was the first online open source found sound database. First version 2003.

Finally found a use for the NY Times from Bill Orcutt on Vimeo. Continue reading

Ryoji Ikeda’s new installations datamatics will be on exhibit March 1 - May 25, 2008 :: Yamaguchi Center for Arts and Media (YCAM) Studio A & B (7-7 Nakazono-cho Yamaguchi City, JAPAN) :: Opening Event: audiovisual concert “datamatics[ver2.0]” :: March 1, 2008, 19:30 (doors open at 19:00) :: Venue: Yamaguchi Center for Arts and Media (YCAM) Studio A :: Tickets.

Japan’s leading electronic composer/artist, Ryoji Ikeda, focuses on the minutiae of ultrasonics, frequencies and the essential characteristics of sound itself. Continue reading

Andrea Polli is a digital media artist living in New York City. Her current works are hybrid (art/science) collaborations with atmospheric scientists to develop systems for understanding storm and climate data through sound - a process called sonification. Recent collaborations include: Atmospherics/Weather Works, a spatialized sonification of highly detailed models of storms that devastated the New York area; Heat and the Heartbeat of the City, a series of sonifications of actual and projected climate in Central Park, the heart of New York City and one of the world’s first locations for climate monitoring (a Turbulence Commission); and N., a real-time multi-channel sonification and visualization of weather in the Arctic. Continue reading

q3apd - by Steven Pickles and Julian Oliver - is an experimental work that takes the events and spatial dynamics of combat and uses this information to make live computer music. Continue reading

Landscape Denatured: Digitizing the Wild by Eric Alan Kabisch [PDF]: ABSTRACT: This paper presents motivation and documentation of four technologically enabled artworks. These artworks explore ways in which digital technologies impact society and culture, focusing particularly on the impacts of information technologies on physical and cultural geography. A framework is provided for analyzing these works of art. This framework addresses the impacts of technology as a three-part cyclical process that includes (1) sensing elements of the environment, (2) analyzing and creating narratives from the captured data, and (3) the propagation of these methods and representations back into the world. Continue reading

Flock, by Jason Freeman :: December 6-8, 2007 :: Carnival Center for the Performing Arts, Miami - during the Art | Basel | Miami Beach festival. Advance tickets are now on sale.

Flock is a full evening performance work for saxophone quartet, conceived to directly engage audiences in the composition of music by physically bringing them out of their seats and enfolding them into the creative process. During the performance, the four musicians and up to one hundred audience members move freely around the performance space. Continue reading

Ebb & Flow was a series of three performances streamed live over the web that explored the relationship of technology, sound, and biological processes. Conceptualized by web-artists Nina Sobell and Jesse Gilbert, Ebb and Flow consisted of weekly webcasts of electronic experiments carried out using musical instruments, electroencephalographic devices (EEG), MIDI, and video.

Drawing on Sobell’s experimentation with EEG feedback, which dates back to her residency at the VA Neuropsychology Lab, Sepulveda, CA in the early 1970s — Brainwave Drawing (1973) — the team used IBVA software to translate the brain wave data into sound, via a MIDI bridge. Continue reading

stationary æmotion by æther9 in the frame of Tremor_ 4: Live.doc :: Online :: November 9, 2007; 7:00 pm Columbia time (UTC/GMT -5) Performance duration: 15:00 min [Check your local time here]

The æther9 group presents stationary æmotion: 4 remote performers from 4 different locations united in a real-time broadcast. Remote performers: N3krozoft Group Brussels (BE), Paula Vélez (CO), N3krozoft HQ Geneva (CH) :: Live audio: Christiaan Cruz (California) :: Original screenplay: Nicola Unger & Audrey Samson Continue reading

Joseph Nechvatal’s Review of Ryoji Ikeda Datamatics [ver 2.0], Centre Pompidou, Paris, October 29, 2007 - Datamatics [ver 2.0] is the latest electronic audio/visual creation of Japanese composer Ryoji Ikeda where he mines data mania for both the material and the theme of his work. The intention is a meditation on the wild relationship between the sound of data and the data of sound today. The effect, however, is a furious formalism that effectively entices, but flattens and thins out the longer it goes on. That said, the macabre grandeur of Datamatics2, with its repetitive super-coded/anti-coded rigor, is stunningly beautiful on début. A furious rhythm of inscrutable data discord is established from the beginning, necessarily entailing a process of attraction/repulsion that intimidated me while spawning some sublime ideas. Continue reading