DarkAngelØne è un artista che lavora con le GIF animate. Anche se lui stesso, con una certa umiltà, afferma
Some people call me an artist, I say I’m just a guy who likes to play with photos
ottiene dei risultati sorprendenti. Cliccate l’immagine qui sotto per vedere l’animazione (datele il tempo di caricarsi: una GIF animata è composta da molte immagini e questa, in totale, è 2.5 Mb) e guardate.
Osmo è un ambiente costituito da una grande sfera (9 metri) gonfiabile in materiale sintetico leggero. Al suo interno è illuminata da raggi laser che simulano le stelle allo scopo di creare un ambiente isolato dall’esterno, apparentemente enorme perché il materiale è una pellicola in parte riflettente.
Ideato da Loop.pH, un laboratorio sperimentale londinese che lavora nell’area del design, dell’architettura e delle scienze che peraltro ha fatto varie installazioni interessanti, come si può vedere qui.
 |
 |
 |
 |
Edgar Froese è morto a Vienna il 20 Gennaio, ma l’annuncio è stato dato solo il 23.
Unico membro stabile dei Tangerine Dream e a tratti anche unico membro tout court, nel senso che numerose pubblicazioni uscite a nome Tangerine Dream sono in realtà lavori solisti di Froese stesso, è stato l’ispiratore delle sonorità più sperimentali del gruppo, quelle dei primi album legati alla cosiddetta Kosmische Musik degli anni ’70, ispirata da un lato alla psichedelia e dall’altro alla musica minimale e alle composizioni strumentali del Ligeti degli anni ’60 da cui i primi Tangerine Dream pescavano a piene mani.
 |
 |
Un altra performance in cui la grafica computerizzata crea un ambiente virtuale con cui i danzatori interagiscono. Come spesso accade in questi casi, imho la musica lascia un po’ a desiderare, ma la parte grafica e l’interazione sono ben studiate, con alcune belle idee.
“Pixel”
Dance show – created in 2014
Pixel is a dance show for 11 dancers in a virtual and living visual environement. A work on illusion combining energy and poetry, fiction and technical achievement, hip hop and circus. A show at the crossroads of arts and at the crossroads of Adrien M / Claire B’s and Mourad Merzouki’s universes.
Artistic Direction and Choreography: Mourad Merzouki
Composed by Mourad Merzouki & Adrien M / Claire B
Digital Design: Adrien Mondot & Claire Bardainne
Music: Armand Amar
Produced by CCN de Créteil et du Val-de-Marne / Compagnie Käfig
This video is a cut of extracts from the actual show shot during the last day of creation on November the 14th 2014. Shooting and editing : Adrien M / Claire B.
Premiered at Maison des Arts de Créteil on November the 15th 2014. Duration of the show : 1h10.
The Adrien M / Claire B Company has been acting in the fields of the digital arts and performing arts since 2004. They create many forms of art, from stage performances to exhibitions combining real and virtual worlds with IT tools that were developed and customised specifically for them. They place the human body at the heart of technological and artistic challenges and adapt today’s technological tools to create a timeless poetry through a visual language based on playing and enjoyment, which breeds imagination. The projects are carried out by Adrien Mondot and Claire Bardainne. The company operates as a research and creativity workshop based out of Presqu’île in Lyon.
Yamaguchi Center for Arts and Media (YCAM) has played an active role in cultivating creative and research environments to support the art & technology of the next generation. Since 2011, we have carried out “Reactor for Awareness in Motion (RAM)”, a research project for developing tool for dance creation and education, with Yoko Ando, a dancer from The Forsythe Company, a leading contemporary dance company and programmers from Japan and the US. Professionals in dance and technology shared an innovative concept in dance and developed it in the form of a physical tool and workshop. It is a revolutionary project in the sense that the technology is not only for theatrical effect, but also to embody one of the very natures of dance and communicate it with the world. What we witness is a technological inquiry into the nature of dance. Customized based on the perspectives of the dancer, the digital tool writes a new chapter in the history of experience in dance and technology.
 |
RAM Dance Toolkit is a C++ creative coding toolkit to create environments for dancers. This toolkit contains a GUI and functions to access, recognize, and process motion data to support creation of various environmental conditions (called “scene”) and gives real time feedbacks to dancers using code in an easy way. |
 |
MOTIONER is the inertial motion capture system developed for RAM. The computer captures the dancer’s movements via 18 sensors attached to the dancer’s body. In general, motion capture systems are very expensive and very accurate, or very cheap and very inaccurate. To address this problem we designed one which is relatively low in cost and fairly accurate. |
RAM and MOTIONER are licensed under Creative Common and can be downloaded from this page.
ARCHITECTURE AS AN INSTRUMENT
VIDEO DOCUMENTARIES ABOUT ARCHITECTURAL SPACES SET INTO VIBRATION
Since 2006, the Art of Failure collective has been sending bass frequencies into remarkable architectural structures. These experiences establish a dialog between architecture, the structures’ spatial components, and their geographic context – revealing building’s specific acoustic and vibrating qualities.
A projet by: Art of Failure
Art direction: Nicolas Maigret
Conception: Nicolas Maigret, Jeremy Gravayat, Nicolas Montgermont
Video / editing: Jérémy Gravayat
Sound recordings / Mixing: Yann Leguay
Sound installations: Nicolas Maigret, Nicolas Montgermont
Supports: Arcadi, Cnc Dicream, Cnap, Futur En Seine, Ville De Clichy – Production: Ososphere, Seconde Nature, Sonic Protest, Ars Longa, Gaite Lyrique
More on resonantarchitecture.com
Un altro brano corale di Murray Schafer con una bella partitura grafica.
Epitaph for Moonlight (1968), for youth choir with optional bells.
Roanoke College Choir, Jeffrey Sandborg director.
It is a free composition in which the singers must improvise from given indications of pitch, intensity and duration. To accompany the voices there is a selection of instruments as desired: glockenspiels, metallophones, vibraphones, triangles, bells, cymbals. The vibrations from these instruments, when used carefully, produced luminous effects that are evocative of moonlight reflecting on water. The score is written graphically and so does not require a knowledge of conventional musical notation.
R. Murray Schafer – Snowforms (1982) – for treble choir
The text consists of inuit words for various kinds of snow : apingaut , first snowfall; mauyk, soft snow; akelrorak , drifting snow ; pokaktok , snow like salt.
Notes from the composer:
In 1971 I flew the polar route from Europe to Vancouver over Greenland. Clear weather provided an excellent opportunity to study the forms of that spectacular and terrifying geography. Immediately, I had an idea for a symphonic work in which sustained bulks of sound would be fractured by occasional splinters of colour. That experience remains clear in memory. It suggested the orchestral textures of “North/White” and it returns now to shape “Snowforms”, yet very differently, for my memory of the vast foldings of Arctic snow has been modified by the experience of passing winters in Ontario. Often on a winter day I have broken off from other work to study the snow from my farmhouse window, and it is the memory of these forms which has suggested most of the continuous horizon of “Snowforms “.
Sometimes I have given children ‘sight-singing’ exercises in which they are asked to ‘sing’ drawings or the shapes of the distant horizon. Snowforms began as a series of sketches of snowdrifts, seen out the window of my Monteagle Valley farmhouse. I took these sketches and traced a pentagram over them. The notes of the pieced emerged wherever the lines of the sketch and the stave crossed. Of course I modified the drawings as necessary since the work is primarily a piece of music and only secondarily a set of sketches. I printed the work so that the shapes of the snow were in white over a pale blue background.
The entire piece is soft, and I wanted the voices to slide from note to note just like falling or drifting snow. Snowforms is related to Epitaph for Moonlight, Miniwanka and Sun ; they are all descriptions of nature. Later I was to add Fire, A Garden of Bells and Once on a Windy Night as further celebrations of natural phenomena. As the urban populations of the world grow, the forces and charms of nature are more distanced from increasing numbers of people. But I do not write such works out of nostalgia; they are a very real part of my life. Snowforms was actually preceded by a much more complex work of the same name which was performed once by the Vancouver Chamber Choir, but I am glad I withdrew it, substituting this simpler and purer expression of one of nature’s most beautiful elements.
Notes from co-conductors :
This 20 th century monument of treble choral literature was written in 1982 by the imaginative, highly respected, internationally praised composer, R. Murray Schafer. Watching from his farmhouse window in Ontario , Schafer was intrigued by the various shapes, forms, and ever-changing, soft foldings of snow. From these observations came the inspiration to write Snowforms. Using graphic notation, he asks singers to sing ‘shapes’ or ‘drawings’ which are representations of snow forms on the distant horizon. Schafer’s graphic notation is augmented by suggested pitches and the voices are asked to ‘glide’ from one pitch to another in a continuous portamento. A time log is written in the score to suggest durations but Schafer is quite specific that conductors should not feel ‘enslaved’ by the timed suggestions. Although it was written for two part treble chorus, there are a few times within the score when each of the two parts split into four independent lines. Except for the occasional interjection of words which mean various types of ‘snow’ in the Inuit language the entire piece is hummed thereby giving a sense of smoothness and peaceful quietness or hush. Challenges for the conductor are to find gestures that suggest and mirror the contours that are found within the score. Challenges for the singers are to believe the piece will ‘work’ and to trust the instincts and imagination of not only the composer and conductor but also of themselves. Snowforms is a remarkable work that fascinates listeners but more importantly encourages collaboration and exchange of ideas between conductors and singers. It encourages performers to create music beyond the bounds of a traditional score with very satisfying results. – DL
Stereopublic è un progetto lanciato dal sound artist australiano Jason Sweeney. Il fine è quello di individuare e segnalare i punti più tranquilli di una città e condividerli. Sweeney, inoltre, compone un breve brano di ambient music per ogni luogo segnalato.
Si tratta di un progetto a libera partecipazione, nel senso che, dopo essersi registrato, chiunque può segnalare un luogo in qualsiasi città. Sulla mappa si vedono già parecchie città. Nell’immagine, alcuni luoghi di Londra.
È stata anche sviluppata una applicazione per cellulare, purtroppo solo per iPhone/iPad, il che limita notevolmente le potenzialità di un progetto di questo tipo, che invece conta molto sulla partecipazione pubblica.
stereopublic: crowdsourcing the quiet is a participatory art project that asks you to navigate your city for quiet spaces, share them with your social networks, take audio and visual snapshots, experience audio tours and request original compositions made using your recordings.
John Wynne – Untitled (2009)
300 speakers, Pianola, vacuum cleaner, audio amplifiers, hard disc recorder, speaker wire, suction hose, piano roll
Notes from author’s site
John Wynne’s untitled installation for 300 speakers, player piano and vacuum cleaner is at once monumental, minimal and immersive. It uses sound and sculptural assemblage to explore and define architectural space and to investigate the borders between sound and music.
The piece has three interwoven sonic elements: the ambient sound of the space in which it is installed, the notes played by the piano, and a computer-controlled soundtrack consisting of synthetic sounds and gently manipulated notes from the piano itself. Because none of these elements are synchronised with each other, the composition will never repeat.
The music punched into the paper roll is Franz Léhar’s 1909 operetta Gypsy Love, but the mechanism has been altered to play at a very slow tempo and the Pianola modified to play only the notes which most excite the resonant frequencies of the gallery space in which it is installed.
Sound moves through the space on trajectories programmed using a 32-channel sound controller, creating a kind of epic, abstract 3-D opera in slow motion. Originally developed at Beaconsfield Gallery, a former Victorian ‘ragged school’ in South London, this piece draws on notions of obsolescence and nostalgia, combining early 20th -century technology and culture with a vast collection of recently discarded hi-fi speakers.
These disparate components are brought together through contemporary digital technology which not only distributes the sound but also controls the (found) vacuum cleaner which in turn drives the Pianola. The piece is site-specific, but it also carries traces of its own history: some of the synthetic sounds were created in response to the light industrial ambience of the work’s original location, some in response to its new site in the Saatchi Gallery. The mountainous formation of speakers, inspired by the recycling plant from which they were rescued, functions both visually and as a platform for the projection of sound, creating, in the words of writer Brandon LaBelle, ‘a soft balance between order and chaos, organization and its rupture’.