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Art and Sound Installations

I am Ai. We are Ai. and Fields of Indigo : http://iamai.jp/en/soundstreams.html

Gabriel Barcia-Colombo http://www.gabebc.com/

Marie Chouinard http://www.mariechouinard.com/

Pipilotti Rist http://www.pipilottirist.net/begin/open.html

“Lorna” – Lynn Hershman Leeson http://www.virtualart.at/database/general/work/lorna.html

Camille Utterback http://camilleutterback.com/

Nye Parry www.nyeparry.com/space

Birdhouse music box installation (focus on interaction and interactive audio) http://vimeo.com/14265254

Sterntaler installation (focus on generative composition and special electroacoustic transducers) http://vimeo.com/34524458#at=0

Pulsing Around installation (Focus on generative composition and acoustics) http://vimeo.com/44407703#at=0

Satsymph (locative audio project): http://satsymph.co.uk

Jan Paul Herzer (as Jan Hertz) http://janhertz.de/

Walk with Me (locative audio project): http://www.strijbosvanrijswijk.com/cms/index.php?option=com_content&view=article&id=69&Itemid=83 or http://itunes.apple.com/us/app/walk-with-me/id461519712?mt=8

Take my Hand (locative audio project): http://www.benmawson.com/music/TMBTH.htm

Notours locative soundwalks (locative audio project): www.notours.org

Wave, interactive installation by MusicalFieldsForever: http://musicalfieldsforever.com/wave_conc.html

Wave, in a health context in the RHYME project: http://rhyme.no/?page_id=1034

Soundtoys and online sound instruments: http://www.squidoo.com/soundtoys A collection of online sound toys and virtual instruments to play with.

Game audio implementation demos http://www.engineaudio.com/gameaudioimplementation

The Audio Programming Blog: http://audioprograming.wordpress.com

Procedural Audio: http://obiwannabe.co.uk/ Page for audio, code and tutorials on synthesis and sound production

Perceptive Sound website – Nick Peck. Includes a link to a sound design demo reel http://www.underthebigtree.com/perceptivesound/

Topophonie research project: http://www.topophonie.fr/, looking at sound and visual navigation in spaces composed of multiple and disseminated sound and visual elements

Harmonic Fluids project http://www.cs.cornell.edu/projects/harmonicfluids/ Automatic procedural synthesis of synchronized harmonic bubble-based sounds from fluid animations.

Audio Gaming http://www.audiogaming.net/ Company that develops next-generation audio tools for sound designers and video game developers.

Ludiciné: http://www.ludicine.ca

Hands on Sound: http://creative.arte.tv/en/space/hands_on_sound/messages/

Creation Sonore: http://www.creationsonore.ca/

scene.org http://www.scene.org One of the established homes of the present-day demoscene community, with information about current events, competitions, demo parties and histories of the scene.

MusicalFieldsForever is a group for interactive art that explores new forms of expression in interactive media, by creating open, audio-tactile art installations, musical fields. A musical field is open for co-creation on many levels. Since 2006 they have worked with tangible musical interaction for people with disabilities, in a health context. http://www.musicalfieldsforever.com/

RHYME research project: http://www.RHYME.no

Department of Computer Science at The University of Western Ontario: http://www.csd.uwo.ca, including the Digital Recreation, Entertainment, Art and Media DREAM research group: http://www.dream.csd.uwo.ca

The Demoscene and Chip Music (collected and written by Chris Nash)

Flow in Tracker Interaction: http://www.youtube.com/watch?v=SQ5jTaXywuM This video highlights both flow and virtuosity in the interaction with tracker software (see chapter by Nash and Blackwell). The tracker is Renoise ( http://www.renoise.com), and the video was originally uploaded to YouTube as a tutorial on creating a trance track. However, the user (and narrator, Neil Gaeggeler aka “celsius”) alternates between explanations and periods of flow where he becomes absorbed in the composition process, almost to the point of forgetting his audience (examples of concentration and focus, action-awareness merging, and loss of self-consciousness). The rapid edit-audition feedback cycle (direct and immediate feedback) is also clearly evident, producing a barrage of disjointed sound, which does not bother or distract the user, who remains focused on their work. The video includes an inset view of the keyboard and mouse, where practiced, expert motor skills with the keyboard are demonstrated, but also where interruptions and distractions are shown during interaction through the mouse and floating windows (e.g. plug-ins).

Demographics: Behind the Scene: http://www.youtube.com/watch?v=Y_Wlju8zL04 A documentary about the Demoscene and its history, a sub-culture of artists, musicians, and coders that create realtime audio-visual “demos” to showcase not only the capabilities of technologies, but their virtuosity with digital art, music, and code – competing in “compos” (competitions) to determine the status of individuals and crews (groups).

Virtuosity in the Demoscene: http://nashnet.co.uk/OHIA/demoscene.wmv A short montage of clips from demos across different eras of the Demoscene, from the original CrackTro (Crack Introduction) pre-pended to video games cracked by hackers, to the subsequent standalone real-time audio-visual “demos” designed to impress by stretching the perceived limits of the platform, such as DOS without 3D acceleration and more recent advanced graphics platforms such as OpenGL and DirectX. The final two excerpts highlight explicit attempts to further challenge and highlight the virtuosity of coders, by imposing restrictions on the file size of demos executable to 64KB and 4KB respectively. All music, samples, graphics, textures, code, narrative, and text must be contained in this executable. Full-length recordings of each demo are available on YouTube (several of the original executables are also to be found on Pouët):

Uncovering Static (2011, by Fairlight & Alcatraz) http://www.youtube.com/watch?v=69Xjc7eklxE This 59KB demo exhibits over 5 minutes of animation (shown in 1080p) and symphonic techno soundtrack, using various coding tricks and generative algorithms for graphics and audio. Graphics: realtime rendering (no pre-calculation), distance field manipulation, procedural generation (spores, buildings, textures, clouds), ray-casted ambient occlusion (lights, shadows), Boolean algebra, and post-processing (filters). The audio uses MIDI song data with realtime physically-modeled instruments (solo and layered strings, piano, oboes, breath pad, cymbal, orchestral and rock bass drums and snares) and analog synthesis (lead and pad), plus effects (reverb, water-like LPF).

Selected Tracks: Virtuosity in Tracker Music: Molecule’s Revenge (by Volker Tripp, aka Jester / Sanity, 1992) http://www.youtube.com/watch?v=4IRzrR_BQYQ

Just for the Blues (by Juha Kujanpaa, aka Dizzy / Carillon, ~1993): http://nashnet.co.uk/OHIA/just_for_the_blues.mp3 Video of song playing in tracker: http://www.youtube.com/watch?v=AvCLqisYclk

These two tracked songs demonstrate technical virtuosity within the limitations of early tracker technology. Originally, as in these examples from the Commodore Amiga, songs were limited to 4-note polyphony drawing from no more than 31 8-bit, 22kHz samples. Tracker musicians used tricks such as virtual polyphony and samples of intervals and chords to produce tracks that seemed, to the listener, to belie these limitations. Such skills were a central aspect of the tracker scene (part of the broader demoscene sub-culture), recognized by its members, to the extent that even now these older tracker song formats are obsolete, they continue to be used by artists looking for an added challenge, and to explicitly flaunt their virtuosity to their peers. The first example, Molecule’s Revenge (by Jester / Sanity), demonstrates a style of electronic, instrumental music popular in tracker culture. In the second example, Just for the Blues (by Dizzy / Carillon), the artist uses micro-samples (~1s) of guitar phrases to create a more acoustic performance (see video). Unable to play or record live, the composer has scripted every aspect of the performance in notation manually, relying on the rapid edit-audition feedback cycle of trackers to guide him to the desired sound.

The Mod Archive (http://modarchive.org). A repository of over 120,000 tracker songs, collected over the last two decades. The files highlight the “open-source” approach of tracked music, which artists typically distribute in a portable, monolithic “module” file format which comprises all musical data (notes, etc.) as well as the samples used, allowing other users to not only listen, but edit and re-use all aspects of the music. The vast majority of the works are original, offering researchers a unique resource that showcases the digital creativity of both expert tracker composers, as well as users at earlier stages of development.

Pouët (http://www.pouet.net) A repository of roughly 50,000 demoscene productions (e.g. demos) and related tools and files, collected over the last three decades. The original binary files for demos are provided allowing users to view the realtime graphics directly (on compatible hardware), rather than the recorded online videos (e.g. YouTube).

reViSiT (http://revisit.info) The reViSiT tracker featured in the user study of flow and virtuosity in computer music mentioned in Nash and Blackwell (Chapter 23), and was designed to support the development of motor skill with the computer keyboard (Nash and Blackwell, 2011/2012). The program, the Standard Edition of which is offered as freeware, is available as either a standalone program, or a plugin for VST hosts such as sequencers. See also, http://revisit.info/experiment/, for more information about the user study itself.

Mirsoft (http://www.mirsoft.info) A great repository of old video game audio, using original sound files. Emulators must be used to play some of these sound files—see the website for details and downloads.



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