“We all love driving down a open road with music on the car radio, at times there seems to be an almost magical synchronization between the music playing and the passing landscape, the speed, the hum of the motor, sounds harmonize with the machine…” This was the impetus for Peter Sinclair’s AutoSync. With AutoSync, the music played on the car HiFi is generated entirely by the car itself: vibrations of the car on the road, recognizable movements (accelerations, gear changes, bends etc.) and the passing landscape. Continue reading

I Can’t Go On, I’ll Go On by Haeyoung Kim (a.k.a Bubblyfish) [Needs Flash Player and Speakers On] - I Can’t Go On, I’ll Go On is an interactive art piece inspired by Samuel Beckett’s short novel, “Molloy.” The work is presented in two parts: a blog for you to contribute your thoughts about Beckett’s writing; and the multimedia generated by your entries.

“In 2007 I began to learn to ride a bicycle. This for me was a choice not so much determined by reasons of pleasure but as a way of manifesting my need to literally move on with my life. Around the same time, I began to read Beckett’s famous Three Novels, and was moved in particular by “Molloy.” Bicycles are a very important metaphor in this book.” Haeyoung Kim Continue reading

Generative Cinema - Oleg Marakov Islands + Mario Klingemann Flickeur = Islands of Consciousness.

The result of this fusion - Islands of Consciousness - is not a simple combination of the two concepts but a great advancement. Sound and Images enter a very close relationship in which the randomly arranged musical phrases are taking direct influence on the visual outcome. So when you look at this piece keep in mind that all the visuals are assembled in realtime using photos downloaded from Flickr.com. All the transitions and effects are entirely random and only happening on you screen. Other people will see a movie and hear a soundtrack that is totally different from yours. Continue reading

Tez’s PV868 - creative investigations on stroboscopic light, binaural sound and interference patterns - is an experimental creation and performance aimed to produce an audiovisual feed/stimulus which would allow a peculiar effect of moving visual patterns to emerge directly in the brain of the viewer/listener. This stimulus will be generated in real-time by a combination of flickering video, in the form of abstract lights and color gradients, coupled with synchronized synthetic sounds (binaural beats) distributed in a surround quadrophonic system. These elements will always be recombined in different ways by means of “ad-hoc” created generative software. Finally this can be considered as “re-generative creation” for the brain. EXP-O-LAB…2 :: January 19, 2008; 8:30 pm :: Meneer de Wit, Postjesweg 2 Amsterdam :: Curator / productie: Wim Jongedijk.

Unidentified Sound Object (U.S.O.) is an experimental electroacoustic evolving organism. It builds on cinematic scale to create an abstract theatrical experience in which electronic floes replace the traditional performer.

Born from the fusion of works by two experimental electronic musicians — Matteo Milani and Federico Placidi — U.S.O.’s sound spans highly abstract digital music, to electroacoustic music. U.S.O. develops through the exploration of elementary particles arranged and organized in clouds of discrete and punctiform events, until they compose structures of extensive polymorphic and spatial complexity. Continue reading

Frotzophone by Adam Parrish [at the ITP Winter Show and NIME @ Exit Art on December 13, 2007] - Maps, games, music: what do they have in common? Interactive fiction has its roots in maps: Will Crowther’s original Adventure was a faithful simulation of an actual cave in the Colossal Cave system. Some say that the entire genre consists of “interactive maps,” and mapping as a process often serves as the foundation for both designing and playing interactive fiction.

The Frotzophone hijacks a Z-Machine interpreter (a virtual machine originally designed in the 1980s for running interactive fiction on many platforms, and still used today) and extracts information relating to the map that the game is simulating. Continue reading

Lifeforms, by Stanza, are a series of generated paintings, based on the artists sampled and sequenced DNA profile. “My DNA was sequenced originally in 2003. I have made some slight changes and incorporated more data from my DNA sequences. The audio is playing along sequences of my DNA string.”

Stanza is a UK based artist who specialises in net art, multimedia, and electronic music. His award winning online projects have been invited for exhibition in digital festivals around the world, and Stanza also travels extensively to present his net art, giving performances of his audiovisual interactions, and making exhibitions. Stanza is interested in the engagement of the public/audience as a creative user across a variety of formats, from the web to cd rom and gallery installation.

Designing for the 21st Century Design Challenge 5 - Embodiment of a Live Music Algorithm by Tim Blackwell: Nature-inspired algorithms for autonomous music generation have been developed which have been used in performances. This software has many of the abilities of a live improvising musician, it can create, suggest and respond to those around it. However, it only has presence as software. In this design challenge we are interested in embodiment. How do we imbue the software with a meaningful physical presence?

If we assume that this will have a positive effect on the experience of the listener and off the performer, possibly increasing the space of possible interactions for example, the question comes: Continue reading

Ingrid Bachmann (Canada) is an interdisciplinary artist who explores the complicated relationship between the material and virtual realms. Bachmann uses redundant, as well as new technologies, to create generative and interactive artworks, many of which are site-specific.

Symphony for 54 Shoes is a kinetic artwork that involves 27 pairs of shoes collected from a variety of second hand and thrift stores. Each shoe has a toe and heel tap used in tap dancing attached to it. The shoes move or dance independently of each other. The mechanical motion of tapping is created using solenoids (tubular magnetic sensors) that move up and down when activated by a switch. Each switch, 52 in total, is controlled by a microcontroller and software that activates the sequence of the tapping of the shoes. Continue reading

The Chandelier - developed by Mike Fabio, Steve Pliam, Brian Demers, and Lucas Hernandez-Mena - is a large-scale robotic musical instrument designed for the opera Death and the Powers. Using various electronically controlled actuators, The Chandelier is capable of creating sounds unlike traditional instruments, and even some sounds that defy the size of the instrument itself. In this installation participants are given control over an instrument that is clearly, visibly, much larger than themselves, yet inextricably linked to their movements on a traditional piano keyboard, exploring and breaking the limitations of human performers as well as the instruments that we think of as commonplace. Continue reading