MR-808 - mechanic drum robot from Sonic Robots on Vimeo.
L'installazione robot MR-808 è una replica della famosa drum machine TR-808 del 1980 - con i robot a suonare i suoni della batteria! E' la prima drum muchine che riproduce i suoni della batteria anni 80; Moritz Simon Geist ha creato l'MR-808 , una versione fisica della classica drum machine capace di riprodurre e mettere in sequenza i campioni originali della TR-808 utilizzando strumenti a percussione reali.
http://sonicrobots.com/mr808-eng/
Reactable è uno strumento musicale elettronico con un interfaccia a forma di tavolo rotondo; L'hardware del reactable si basa su una superfice traslucida circolare sensibile al tocco. Può essere utilizzato da diversi esecutori contemporaneamente muovendo, e ruotando degli oggetti sulla sua rotonda superficie luminosa.
Muovendo e relazionando tra loro questi oggetti, che rappresentano i componenti di un classico sintetizzatore modulare, gli esecutori possono creare delle topologie di suono complesse utilizzando oscillatori, filtri, modulatori, come in una sorta di sintetizzatore modulare controllato da un flusso di dati di un linguaggio di programmazione;
http://www.suonoelettronico.com/reactable.htm
In this video we show how it is possible to perform gesture recognition just with contact microphones and transform every surface into an interactive board.
Through gesture recognition techniques we detect different kind of fingers-touch and associate them with different sounds.
In the video we used two different audio synthesis techniques:
1- physic modelling, which consists in generating the sound by simulating physical laws;
2- concatenative synthesis (audio mosaicing), in which the sound of the contact microphone is associated with its closest frame present in a sound database.
The system can recognise both fingers-touches and objects that emit a sound, such as the coin shown in the video.
More details: www.brunozamborlin.com/mogees
There are a lot of locks out there. There are locks open with a key, with a combination of digits, with various bodily parts, or with a correct geolocation. I decided to make a lock that I have not seen yet. Since I am learning to play piano an idea for this project came quite naturally. I decided to make a box that would open only if a correct tune is played.
http://www.instructables.com/id/A-Box-with-a-Music-Lock/
VERSUS . David Letellier from David Letellier on Vimeo.
Versus is a kinetic sound installation by David Letellier. Its functioning is characterized by an interactive dialogic mechanism. There are two kinetic sculptures that are interdependent and they have to be face to face to make sense.Each sculpture is made out of 12 triangular panels, joining at the center in a flower-like shape with actuators to allow slow movement. In the center of this singular "corolla" there's a microphone and a speaker. At fixed timing each sculpture "dialogues" with the other one producing a sound which is recorded and whose frequencies are analyzed by the opposite sculpture. The sculptures then move accordingly, with a pulsating conceptual attitude, before playing back a modified sound. In fact, the original sound emitted by the first kinetic flower is modified by sounds and presence of the visitors and by the reverberations of the room. By their presence these external agents become active actors in the installation, making the continuous loop always unpredictable. An alien communication is established, but one grounded in the obscure grammar coded by the artist. The spectators are the "noise" in this communication, but are also the agents of variation and evolution of the dialogue. It's a classic ecosystem for the transmission of sense, and the kinetic movements are not only functional (changing the shape changes the emission of sounds as well), but they are also shown to be alive and reactive, which in a communication environment is simply essential.
Chiara Ciociola
http://www.neural.it/art/2012/01/versus_sounding_dialogues.phtml
http://www.davidletellier.net/works.html#versus
Click on image to play video
When R. Murray Shafer conducted the International Sound Preference Survey a few decades ago, traffic noise was categorized as one of the least appreciated sounds in the world, together with dentist drills and chalk squeaking on blackboard. Sound artist Florian Tuercke has been spending the last few years attempting to transform the ever-hated noise of traffic into harmonious music, taking up a challenge that could be compared to the alchemist’s goal of turning lead into gold
http://www.youtube.com/user/urbanaudioorg
Click on image to play video
The mashup master Mark Gunderson, aka The Evolution Control Committee, has been in the music plagiarism field for the last couple of decades. One of his latest tactical products (after so many others) is called VidiMasher 3000. It's a 122-centimeter rear-projected faux touchscreen, which shows the overloaded Ableton Live software setup of loops Gunderson uses during his live, plagiaristic shows.
The VidiMasher 3000. Based off of Johnny Chung Lee's whiteboard, we assembled a four-foot rear-projected faux touchscreen. It's perfect for our Wheel Of Mashup shows, which depend on an overloaded setup of Ableton Live. Because it's overloaded, it's very difficult to mouse quickly and accurately enough to mash things up on the fly. The touchscreen solves that.
http://evolution-control.com/index.php/experiments/videos/151-video-mashup-screen-demo/
L.S.D Sonic Graffiti (Testing @Penn Station New York) from recyclism on Vimeo.
Concept/development: Benjamin Gaulon
Technical Support: Patrick Cashin, Lourens Rozema
Research and recent innovations have led to an amazing increase of types and uses of visual displays and screens; indeed, in our predominantly visual culture, they are everywhere. A typical person carries at least one device with a screen, is presented with them in public places, uses them at work and in many leisure activities. They are so ingrained in our everyday acts and habits that we don’t even notice them anymore.
L.S.D invites its users to engage in a new perception of their daily environment.
L.S.D feeds on light via two LDR (light depending resistor) mounted on a suction cup, allowing the sensors to be mounted on any screen surface. An analogue synthesizer converts the light input to sound waves. This device can be used in many different configurations and feeds from any light sources. Even if L.S.D can be controlled by any light source, its design is aimed at screen reading/listening.
http://www.recyclism.com/lsd_sonicgraffiti.php
Click on image to play video
Expressive and reactive, designer Crispin Jones’s Tengu is a desktop companion that reacts to sounds from your computer. The face, with eyes, a nose and a mouth, begins to sing, contort and respond to noise. The simple yet effective interface of Tengu is a platform for the user’s imagination. The Tengu jumped to immediate popularity when launched in 2009. Users responded by treating it as an interactive “Mr. Potato Head”, attaching elaborate costumes to the interface.
http://wp.moma.org/talk_to_me/2010/03/tengu/
SoLu was designed to demonstrate André Rangel's theory of correspondence between sound and light at the 'EVA Conference - Electronic Visualisation and the Arts' which took place at the BCS - British Computer Society, London 2010. The proposed theory of correspondence can be accessed here. SoLu is a smaller and simplified version of the previous Colmus produced early in 2009. SoLu gives its users the control over a audiovisual algorithmic composition generated in real-time. This hyperinstrument was designed and produced at 3kta studios. Visual documentation was produced at 'Sala do Coro' from Portuguese Catholic University - UCP.
http://3kta.net/solu/
RiP: A Remix Manifesto from Laurent LaSalle on Vimeo.
Immerse yourself in the energetic, innovative and potentially illegal world of mash-up media with RiP: A Remix Manifesto. Let web activist Brett Gaylor and musician Greg Gillis, better known as Girl Talk, serve as your digital tour guides on a probing investigation into how culture builds upon culture in the information age.
Biomedical engineer turned live-performance sensation Girl Talk, has received immense commercial and critical success for his mind-blowing sample-based music. Utilizing technical expertise and a ferocious creative streak, Girl Talk repositions popular music to create a wild and edgy dialogue between artists from all genres and eras. But are his practices legal? Do his methods of frenetic appropriation embrace collaboration in its purest sense? Or are they infractions of creative integrity and violations of copyright?
This documentary is released under Creative Commons Attribution — Noncommercial 3.0 Unported license.
