Medien Wiki - User contributions [en]

EKK:LoFi Sounds in HiFi Spaces/Convergence

2013-05-13T05:24:15Z

Botindell:

===Idea===

Separate sound streams from San Diego and Weimar: a collection of sounds or motifs that are being manipulated or improvised on (natural, mechanized... sounds) >> mixtures and or dialogue.

Movement within this (scenic?) installation is being tracked and controls the convergence / divergence of sounds creating new sonic structures (> convolution). Simutaenously controlling light, which guides through space, giving directions or hints on upcoming sonic events (rules and changes).

Light and sound play with expectations: creating tension in ambiguous virtual spaces between seeing and hearing, rather than visualizing / sonifying each other. Rules of dramatization / interaction change in time, shaped by the visitors actions.

Possible other elements: temperature (> light colors), corporeal hearing, scent (e.g. eucalyptus).

===Experiential Description===

Upon entering the room, a quiet din can be heard. These sounds are almost undefinable, owing to the nature of their material, their quiet volume and density. Four squares of light can be seen on the ground, in four colors. A participant who passes through one of the shafts of light triggers the play back of a sound, (either natural or mechanical, originating from Weimar or San Diego). The participant's trajectory is then followed, affecting the queued sample. The direction and speed of their motion toward another square of light determines the amount of convolusion, and which sample is selected as the multiplier. The original square of light begins to change color in reflection of the convolusion applied to "its" attributed sample. As the participant moves around the room, the samples, represented by the squares of light and color, are convolved with the previously triggered sound. The squares of light reflect the sonic mixing of characteristics through the alteration of their color and perhaps their lighting level. If a participant stops moving altogether or leaves, the sonic environment slowly returns to the neutral din of sound.

It is unclear at this moment how multiple participants can be accommodated, both experientially and to prevent an explosion of material and processing.

It is also unclear is speed should be the controller for the amount of convolusion, or if it should be a strict locational measure. If the project is pursued as an installation, I think a more specific, location-based convolusion would better instigate participation. However, if performative, speed would be a more interesting paramater to use, as it would be more subtle and naturally controlled through dance and movement.

Perhaps the din at the outset could be a quadraphonic layer of the two kinds of sounds, with mechanical sound layer coming from below and a natural sound layer hovering above. The triggered sounds could seem to float between the two, or perhaps the triggered sound could emerge from the respective layer, subtracting the indicated sound from the texture. Once all four zones have been triggered, the din would be completely absorbed by the "triggered" sounds. As stasis returns, the sounds float back to their respective layer, or perhaps the sounds would return to the wrong layer, ending the piece with Weimar sounds together and San Diego sounds together.

Additionally, we could play with different kinds of opposing sounds. One thought would be one of language - convolving english and german speech or perhaps speaking and singing - Or even pop songs or live feeds of spaces producing unique ambient sounds.

===Technical Requirements===

* Kinect controller x2 to produce a 3D understanding of motion and speed
* LED lighting units with color variance
* surround sound set-up (quadrophonic?)

===Participants===

anybody feel welcome!

* [[../Alice/]]
* [[../Ryan Welsh/]]
* [[../Bo/]]

===Links===

* Maryanne Amacher: [https://www.youtube.com/watch?v=_MahrtRVhkA Headrhythm & Plaything] > otoacoustic emissions.
* Jaroslaw Kapuscinski: [http://www.jaroslawkapuscinski.com/work.html works: seeing-hearing]
* Georg Klein: [https://vimeo.com/26581215# TRASA warszawa-berlin]
* Kaffe Matthews: [https://vimeo.com/26954210 Music for Bodies]
* Randy H. Yau, Scott Arford: [https://www.youtube.com/watch?v=EdfrRMXBRWM Infrasonics live in Paris]

===Literature===

* Caclin, Anne et al.: [http://link.springer.com/article/10.3758/BF03194730#page-1 Tactile "capture" of audition]
* Hope, Cat: [http://mass.nomad.net.au/wp-content/uploads/cade/CADEproceedings/CADE/CADE%20Papers.pdf/HOPE.pdf Silence As Stillness? Sonic Experiences in Art using Infrasonics]
* Ouzounian, Gascia: [http://www.tandfonline.com/doi/pdf/10.1080/07494460600647360 Embodied Sound: Aural Architectures and the Body]
* Schroeder, Franziska: [http://www.tandfonline.com/doi/pdf/10.1080/07494460600647360 Bodily Instruments and Instrumental Bodies: Critical Views on the Relation of Body and Instrument in Technologically Informed Performance Environments]

EKK:LoFi Sounds in HiFi Spaces/Convergence

2013-05-13T05:23:21Z

Botindell:

===Idea===

Separate sound streams from San Diego and Weimar: a collection of sounds or motifs that are being manipulated or improvised on (natural, mechanized... sounds) >> mixtures and or dialogue.

Movement within this (scenic?) installation is being tracked and controls the convergence / divergence of sounds creating new sonic structures (> convolution). Simutaenously controlling light, which guides through space, giving directions or hints on upcoming sonic events (rules and changes).

Light and sound play with expectations: creating tension in ambiguous virtual spaces between seeing and hearing, rather than visualizing / sonifying each other. Rules of dramatization / interaction change in time, shaped by the visitors actions.

Possible other elements: temperature (> light colors), corporeal hearing, scent (e.g. eucalyptus).

===Experiential Description===

Upon entering the room, a quiet din can be heard. These sounds are almost undefinable, owing to the nature of their material, their quiet volume and density. Four squares of light can be seen on the ground, in four colors. A participant who passes through one of the shafts of light triggers the play back of a sound, (either natural or mechanical, originating from Weimar or San Diego). The participant's trajectory is then followed, affecting the queued sample. The direction and speed of their motion toward another square of light determines the amount of convolusion, and which sample is selected as the multiplier. The original square of light begins to change color in reflection of the convolusion applied to "its" attributed sample. As the participant moves around the room, the samples, represented by the squares of light and color, are convolved with the previously triggered sound. The squares of light reflect the sonic mixing of characteristics through the alteration of their color and perhaps their lighting level. If a participant stops moving altogether or leaves, the sonic environment slowly returns to the neutral din of sound.

It is unclear at this moment how multiple participants can be accommodated, both experientially and to prevent an explosion of material and processing.

It is also unclear is speed should be the controller for the amount of convolusion, or if it should be a strict locational measure. If the project is pursued as an installation, I think a more specific, location-based convolusion would better instigate participation. However, if performative, speed would be a more interesting paramater to use, as it would be more subtle and naturally controlled through dance and movement.

Perhaps the din at the outset could be a quadraphonic layer of the two kinds of sounds, with mechanical sound layer coming from below and a natural sound layer hovering above. The triggered sounds could seem to float between the two, or perhaps the triggered sound could emerge from the respective layer, subtracting the indicated sound from the texture. Once all four zones have been triggered, the din would be completely absorbed by the "triggered" sounds. As stasis returns, the sounds float back to their respective layer, or perhaps the sounds would return to the wrong layer, ending the piece with Weimar sounds together and San Diego sounds together.

Additionally, we could play with different kinds of opposing sounds. One thought would be one of language - convolving english and german speech or perhaps speaking and singing - Or even pop songs or live feeds of spaces producing unique ambient sounds.

===Technical Requirements===

* Kinect controller x2 to produce a 3D understanding of motion and speed
* LED lighting units with color variance
* surround sound set-up (quadrophonic?)

===Participants===

anybody feel welcome!

* [[../Alice/]]
* [[../Ryan Welsh/]]
* [[../Bo Tindell/]]

===Links===

* Maryanne Amacher: [https://www.youtube.com/watch?v=_MahrtRVhkA Headrhythm & Plaything] > otoacoustic emissions.
* Jaroslaw Kapuscinski: [http://www.jaroslawkapuscinski.com/work.html works: seeing-hearing]
* Georg Klein: [https://vimeo.com/26581215# TRASA warszawa-berlin]
* Kaffe Matthews: [https://vimeo.com/26954210 Music for Bodies]
* Randy H. Yau, Scott Arford: [https://www.youtube.com/watch?v=EdfrRMXBRWM Infrasonics live in Paris]

===Literature===

* Caclin, Anne et al.: [http://link.springer.com/article/10.3758/BF03194730#page-1 Tactile "capture" of audition]
* Hope, Cat: [http://mass.nomad.net.au/wp-content/uploads/cade/CADEproceedings/CADE/CADE%20Papers.pdf/HOPE.pdf Silence As Stillness? Sonic Experiences in Art using Infrasonics]
* Ouzounian, Gascia: [http://www.tandfonline.com/doi/pdf/10.1080/07494460600647360 Embodied Sound: Aural Architectures and the Body]
* Schroeder, Franziska: [http://www.tandfonline.com/doi/pdf/10.1080/07494460600647360 Bodily Instruments and Instrumental Bodies: Critical Views on the Relation of Body and Instrument in Technologically Informed Performance Environments]

EKK:LoFi Sounds in HiFi Spaces/Mingling sounds/Clemens Bo

2013-04-29T06:49:00Z

Botindell:

==The Medium is the Message==

In my musical work I tend to amplify the perception of my medium. When I use samples, I would often cut them at points, where it appears to be not logical in the lapse of the musical sound. By that very easy trick, the samples can be re-established as musical raw material – a pre-semantic state, the state of just listening to the medium might be evoked.
I'm not sure about what the 'message' of the medium computer music or sample music in the sense of McLuhan might be. Computer music produces a distance to the music played by physical instruments. By listening to recorded music, it isn't necessary to listen at the same time and space of the physical sounding instrument anymore. Furthermore, with all the alterations of samples, a great deal of thought references (the concert hall, the players, the instruments, ...) can be lost. This can also be optimistically expressed: the sound is set free of those references and can show it's immanent qualities.
The totally reference-free sound may be the most materialistic and might show immanent qualities of a cultural belief that we call music, but I think that a a lot of musical pleasures come from references within the music, as-well. Computer music has potentials in producing both – the referenced (relative) and the unreferenced (absolute) sound. Within sample music, that unreferenced, absolute sound can even be established by breaking with the samples references (alterations, cuts, filters, ...). And to me, this seemed some interesting way of handling the problem of the medium.

Medium is the message makes me think of my work in lighting design. I have expanded into the world of installations and site specific theatre and I have learned that the location and the environment in which lighting is perceived has a strong effect on an audience or viewer. A source of light that is hidden and keeps the audience unaware of the cause of the source makes the material much more in focus, where as if the viewer/audience can see the light source then they are much more aware of what is in front of them and they can make several different judgements as to what they are watching. As far as what this can have for collaboration it kinda deals with the eye of the beholder, because we are limited to the position of the camera, the viewer is very limited as to what they can see and experience and that has a great impact of the perception of the performance.

==Bill Fontana==

According to Bill Fontana, the transfer of a sound to a different place alters the listing mode from the event to the continuous, because the sound is not linked to the original events anymore and can be experienced as a continuous flow with musical qualities.
At the same time the sound gains sculptural qualities: The sound-event's causal connections and layerings of independent sounds are analogous to the objects of a collage-like sculpture, where certain objects relate to each other and others might not.
The spaces themselves might seem artificial. Now stripped from their original sonic environment, the perception of those spaces can be more intense, in the sense that it is the space itself – without it's sound – that can be experienced.

I feel that the sound of the room as everything to do with the understanding and perception of the room. Our sense of sound is one of the most acute to memory and once that changes then our understanding of the space turns into a whole space, probably one that is unnatural. This unnatural feeling stems from the sense of a new, probably uncomfortable space/sound relationship.

==Instruments with unexpected sounds==

The same applies here: by the mismatch with our expectation, the sound and the instrument itself seem artificial, demanding attention and inviting to dive into the perception of the object and the sound – simultaneously and successive.

If an object that is well known or used often creates a different sound then the result can be shocking. If my alarm clock were to come up with a live rock concert sound then it would create an uneasy, very unnatural feeling. A person's imagination would have a lot to do with the person's response to this sound.

==Sound Clips==
[[File:goethe_audio2.mp3]]

<videoflash type=vimeo>65031628|437|236</videoflash>

EKK:LoFi Sounds in HiFi Spaces/Mingling sounds/Clemens Bo

2013-04-29T06:02:38Z

Botindell:

EKK:LoFi Sounds in HiFi Spaces/Mingling sounds/Clemens Bo

2013-04-29T06:01:57Z

Botindell:

==The Medium is the Message==

In my musical work I tend to amplify the perception of my medium. When I use samples, I would often cut them at points, where it appears to be not logical in the lapse of the musical sound. By that very easy trick, the samples can be re-established as musical raw material – a pre-semantic state, the state of just listening to the medium might be evoked.
I'm not sure about what the 'message' of the medium computer music or sample music in the sense of McLuhan might be. Computer music produces a distance to the music played by physical instruments. By listening to recorded music, it isn't necessary to listen at the same time and space of the physical sounding instrument anymore. Furthermore, with all the alterations of samples, a great deal of thought references (the concert hall, the players, the instruments, ...) can be lost. This can also be optimistically expressed: the sound is set free of those references and can show it's immanent qualities.
The totally reference-free sound may be the most materialistic and might show immanent qualities of a cultural belief that we call music, but I think that a a lot of musical pleasures come from references within the music, as-well. Computer music has potentials in producing both – the referenced (relative) and the unreferenced (absolute) sound. Within sample music, that unreferenced, absolute sound can even be established by breaking with the samples references (alterations, cuts, filters, ...). And to me, this seemed some interesting way of handling the problem of the medium.

Medium is the message makes me think of my work in lighting design. I have expanded into the world of installations and site specific theatre and I have learned that the location and the environment in which lighting is perceived has a strong effect on an audience or viewer. A source of light that is hidden and keeps the audience unaware of the cause of the source makes the material much more in focus, where as if the viewer/audience can see the light source then they are much more aware of what is in front of them and they can make several different judgements as to what they are watching. As far as what this can have for collaboration it kinda deals with the eye of the beholder, because we are limited to the position of the camera, the viewer is very limited as to what they can see and experience and that has a great impact of the perception of the performance.

==Bill Fontana==

According to Bill Fontana, the transfer of a sound to a different place alters the listing mode from the event to the continuous, because the sound is not linked to the original events anymore and can be experienced as a continuous flow with musical qualities.
At the same time the sound gains sculptural qualities: The sound-event's causal connections and layerings of independent sounds are analogous to the objects of a collage-like sculpture, where certain objects relate to each other and others might not.
The spaces themselves might seem artificial. Now stripped from their original sonic environment, the perception of those spaces can be more intense, in the sense that it is the space itself – without it's sound – that can be experienced.

I feel that the sound of the room as everything to do with the understanding and perception of the room. Our sense of sound is one of the most acute to memory and once that changes then our understanding of the space turns into a whole space, probably one that is unnatural. This unnatural feeling stems from the sense of a new, probably uncomfortable space/sound relationship.

==Instruments with unexpected sounds==

The same applies here: by the mismatch with our expectation, the sound and the instrument itself seem artificial, demanding attention and inviting to dive into the perception of the object and the sound – simultaneously and successive.

If an object that is well known or used often creates a different sound then the result can be shocking. If my alarm clock were to come up with a live rock concert sound then it would create an uneasy, very unnatural feeling. A person's imagination would have a lot to do with the person's response to this sound.

==Sound Clips==
<flashmp3 id="goethe_audio2.mp3">goethe_audio2.mp3|parameter=value|...</flashmp3>

EKK:LoFi Sounds in HiFi Spaces/Mingling sounds/Clemens Bo

2013-04-29T05:58:44Z

Botindell:

==The Medium is the Message==

In my musical work I tend to amplify the perception of my medium. When I use samples, I would often cut them at points, where it appears to be not logical in the lapse of the musical sound. By that very easy trick, the samples can be re-established as musical raw material – a pre-semantic state, the state of just listening to the medium might be evoked.
I'm not sure about what the 'message' of the medium computer music or sample music in the sense of McLuhan might be. Computer music produces a distance to the music played by physical instruments. By listening to recorded music, it isn't necessary to listen at the same time and space of the physical sounding instrument anymore. Furthermore, with all the alterations of samples, a great deal of thought references (the concert hall, the players, the instruments, ...) can be lost. This can also be optimistically expressed: the sound is set free of those references and can show it's immanent qualities.
The totally reference-free sound may be the most materialistic and might show immanent qualities of a cultural belief that we call music, but I think that a a lot of musical pleasures come from references within the music, as-well. Computer music has potentials in producing both – the referenced (relative) and the unreferenced (absolute) sound. Within sample music, that unreferenced, absolute sound can even be established by breaking with the samples references (alterations, cuts, filters, ...). And to me, this seemed some interesting way of handling the problem of the medium.

Medium is the message makes me think of my work in lighting design. I have expanded into the world of installations and site specific theatre and I have learned that the location and the environment in which lighting is perceived has a strong effect on an audience or viewer. A source of light that is hidden and keeps the audience unaware of the cause of the source makes the material much more in focus, where as if the viewer/audience can see the light source then they are much more aware of what is in front of them and they can make several different judgements as to what they are watching. As far as what this can have for collaboration it kinda deals with the eye of the beholder, because we are limited to the position of the camera, the viewer is very limited as to what they can see and experience and that has a great impact of the perception of the performance.

==Bill Fontana==

According to Bill Fontana, the transfer of a sound to a different place alters the listing mode from the event to the continuous, because the sound is not linked to the original events anymore and can be experienced as a continuous flow with musical qualities.
At the same time the sound gains sculptural qualities: The sound-event's causal connections and layerings of independent sounds are analogous to the objects of a collage-like sculpture, where certain objects relate to each other and others might not.
The spaces themselves might seem artificial. Now stripped from their original sonic environment, the perception of those spaces can be more intense, in the sense that it is the space itself – without it's sound – that can be experienced.

I feel that the sound of the room as everything to do with the understanding and perception of the room. Our sense of sound is one of the most acute to memory and once that changes then our understanding of the space turns into a whole space, probably one that is unnatural. This unnatural feeling stems from the sense of a new, probably uncomfortable space/sound relationship.

==Instruments with unexpected sounds==

The same applies here: by the mismatch with our expectation, the sound and the instrument itself seem artificial, demanding attention and inviting to dive into the perception of the object and the sound – simultaneously and successive.

If an object that is well known or used often creates a different sound then the result can be shocking. If my alarm clock were to come up with a live rock concert sound then it would create an uneasy, very unnatural feeling. A person's imagination would have a lot to do with the person's response to this sound.

==Sound Clips==
<flashmp3 id="goethe_audio2">goethe_audio2.mp3|parameter=value|...</flashmp3>

EKK:LoFi Sounds in HiFi Spaces/Mingling sounds/Clemens Bo

2013-04-29T05:57:33Z

Botindell:

==The Medium is the Message==

In my musical work I tend to amplify the perception of my medium. When I use samples, I would often cut them at points, where it appears to be not logical in the lapse of the musical sound. By that very easy trick, the samples can be re-established as musical raw material – a pre-semantic state, the state of just listening to the medium might be evoked.
I'm not sure about what the 'message' of the medium computer music or sample music in the sense of McLuhan might be. Computer music produces a distance to the music played by physical instruments. By listening to recorded music, it isn't necessary to listen at the same time and space of the physical sounding instrument anymore. Furthermore, with all the alterations of samples, a great deal of thought references (the concert hall, the players, the instruments, ...) can be lost. This can also be optimistically expressed: the sound is set free of those references and can show it's immanent qualities.
The totally reference-free sound may be the most materialistic and might show immanent qualities of a cultural belief that we call music, but I think that a a lot of musical pleasures come from references within the music, as-well. Computer music has potentials in producing both – the referenced (relative) and the unreferenced (absolute) sound. Within sample music, that unreferenced, absolute sound can even be established by breaking with the samples references (alterations, cuts, filters, ...). And to me, this seemed some interesting way of handling the problem of the medium.

Medium is the message makes me think of my work in lighting design. I have expanded into the world of installations and site specific theatre and I have learned that the location and the environment in which lighting is perceived has a strong effect on an audience or viewer. A source of light that is hidden and keeps the audience unaware of the cause of the source makes the material much more in focus, where as if the viewer/audience can see the light source then they are much more aware of what is in front of them and they can make several different judgements as to what they are watching. As far as what this can have for collaboration it kinda deals with the eye of the beholder, because we are limited to the position of the camera, the viewer is very limited as to what they can see and experience and that has a great impact of the perception of the performance.

==Bill Fontana==

According to Bill Fontana, the transfer of a sound to a different place alters the listing mode from the event to the continuous, because the sound is not linked to the original events anymore and can be experienced as a continuous flow with musical qualities.
At the same time the sound gains sculptural qualities: The sound-event's causal connections and layerings of independent sounds are analogous to the objects of a collage-like sculpture, where certain objects relate to each other and others might not.
The spaces themselves might seem artificial. Now stripped from their original sonic environment, the perception of those spaces can be more intense, in the sense that it is the space itself – without it's sound – that can be experienced.

I feel that the sound of the room as everything to do with the understanding and perception of the room. Our sense of sound is one of the most acute to memory and once that changes then our understanding of the space turns into a whole space, probably one that is unnatural. This unnatural feeling stems from the sense of a new, probably uncomfortable space/sound relationship.

==Instruments with unexpected sounds==

The same applies here: by the mismatch with our expectation, the sound and the instrument itself seem artificial, demanding attention and inviting to dive into the perception of the object and the sound – simultaneously and successive.

If an object that is well known or used often creates a different sound then the result can be shocking. If my alarm clock were to come up with a live rock concert sound then it would create an uneasy, very unnatural feeling. A person's imagination would have a lot to do with the person's response to this sound.

==Sound Clips==
<flashmp3 id="filename">goethe_audio2.mp3|parameter=value|...</flashmp3>

File:Goethe audio2.mp3

2013-04-29T05:56:13Z

Botindell:

== Summary ==

== Copyright status: ==

== Source: ==

EKK:LoFi Sounds in HiFi Spaces/Mingling sounds/Clemens Bo

2013-04-29T05:55:55Z

Botindell:

EKK:LoFi Sounds in HiFi Spaces/Mingling sounds/Clemens Bo

2013-04-29T05:47:41Z

Botindell:

EKK:LoFi Sounds in HiFi Spaces/Mingling sounds/Clemens Bo

2013-04-29T05:44:17Z

Botindell:

==The Medium is the Message==

In my musical work I tend to amplify the perception of my medium. When I use samples, I would often cut them at points, where it appears to be not logical in the lapse of the musical sound. By that very easy trick, the samples can be re-established as musical raw material – a pre-semantic state, the state of just listening to the medium might be evoked.
I'm not sure about what the 'message' of the medium computer music or sample music in the sense of McLuhan might be. Computer music produces a distance to the music played by physical instruments. By listening to recorded music, it isn't necessary to listen at the same time and space of the physical sounding instrument anymore. Furthermore, with all the alterations of samples, a great deal of thought references (the concert hall, the players, the instruments, ...) can be lost. This can also be optimistically expressed: the sound is set free of those references and can show it's immanent qualities.
The totally reference-free sound may be the most materialistic and might show immanent qualities of a cultural belief that we call music, but I think that a a lot of musical pleasures come from references within the music, as-well. Computer music has potentials in producing both – the referenced (relative) and the unreferenced (absolute) sound. Within sample music, that unreferenced, absolute sound can even be established by breaking with the samples references (alterations, cuts, filters, ...). And to me, this seemed some interesting way of handling the problem of the medium.

Medium is the message makes me think of my work in lighting design. I have expanded into the world of installations and site specific theatre and I have learned that the location and the environment in which lighting is perceived has a strong effect on an audience or viewer. A source of light that is hidden and keeps the audience unaware of the cause of the source makes the material much more in focus, where as if the viewer/audience can see the light source then they are much more aware of what is in front of them and they can make several different judgements as to what they are watching. As far as what this can have for collaboration it kinda deals with the eye of the beholder, because we are limited to the position of the camera, the viewer is very limited as to what they can see and experience and that has a great impact of the perception of the performance.

==Bill Fontana==

According to Bill Fontana, the transfer of a sound to a different place alters the listing mode from the event to the continuous, because the sound is not linked to the original events anymore and can be experienced as a continuous flow with musical qualities.
At the same time the sound gains sculptural qualities: The sound-event's causal connections and layerings of independent sounds are analogous to the objects of a collage-like sculpture, where certain objects relate to each other and others might not.
The spaces themselves might seem artificial. Now stripped from their original sonic environment, the perception of those spaces can be more intense, in the sense that it is the space itself – without it's sound – that can be experienced.

I feel that the sound of the room as everything to do with the understanding and perception of the room. Our sense of sound is one of the most acute to memory and once that changes then our understanding of the space turns into a whole space, probably one that is unnatural. This unnatural feeling stems from the sense of a new, probably uncomfortable space/sound relationship.

==Instruments with unexpected sounds==

The same applies here: by the mismatch with our expectation, the sound and the instrument itself seem artificial, demanding attention and inviting to dive into the perception of the object and the sound – simultaneously and successive.

If an object that is well known or used often creates a different sound then the result can be shocking. If my alarm clock were to come up with a live rock concert sound then it would create an uneasy, very unnatural feeling. A person's imagination would have a lot to do with the person's response to this sound.

==Sound Clips==
<flashmp4 id="goethe_audio1">goethe_audio1.mp4|parameter=value|...</flashmp3>

EKK:LoFi Sounds in HiFi Spaces/Mingling sounds/Clemens Bo

2013-04-29T05:43:47Z

Botindell:

==The Medium is the Message==

In my musical work I tend to amplify the perception of my medium. When I use samples, I would often cut them at points, where it appears to be not logical in the lapse of the musical sound. By that very easy trick, the samples can be re-established as musical raw material – a pre-semantic state, the state of just listening to the medium might be evoked.
I'm not sure about what the 'message' of the medium computer music or sample music in the sense of McLuhan might be. Computer music produces a distance to the music played by physical instruments. By listening to recorded music, it isn't necessary to listen at the same time and space of the physical sounding instrument anymore. Furthermore, with all the alterations of samples, a great deal of thought references (the concert hall, the players, the instruments, ...) can be lost. This can also be optimistically expressed: the sound is set free of those references and can show it's immanent qualities.
The totally reference-free sound may be the most materialistic and might show immanent qualities of a cultural belief that we call music, but I think that a a lot of musical pleasures come from references within the music, as-well. Computer music has potentials in producing both – the referenced (relative) and the unreferenced (absolute) sound. Within sample music, that unreferenced, absolute sound can even be established by breaking with the samples references (alterations, cuts, filters, ...). And to me, this seemed some interesting way of handling the problem of the medium.

Medium is the message makes me think of my work in lighting design. I have expanded into the world of installations and site specific theatre and I have learned that the location and the environment in which lighting is perceived has a strong effect on an audience or viewer. A source of light that is hidden and keeps the audience unaware of the cause of the source makes the material much more in focus, where as if the viewer/audience can see the light source then they are much more aware of what is in front of them and they can make several different judgements as to what they are watching. As far as what this can have for collaboration it kinda deals with the eye of the beholder, because we are limited to the position of the camera, the viewer is very limited as to what they can see and experience and that has a great impact of the perception of the performance.

==Bill Fontana==

According to Bill Fontana, the transfer of a sound to a different place alters the listing mode from the event to the continuous, because the sound is not linked to the original events anymore and can be experienced as a continuous flow with musical qualities.
At the same time the sound gains sculptural qualities: The sound-event's causal connections and layerings of independent sounds are analogous to the objects of a collage-like sculpture, where certain objects relate to each other and others might not.
The spaces themselves might seem artificial. Now stripped from their original sonic environment, the perception of those spaces can be more intense, in the sense that it is the space itself – without it's sound – that can be experienced.

I feel that the sound of the room as everything to do with the understanding and perception of the room. Our sense of sound is one of the most acute to memory and once that changes then our understanding of the space turns into a whole space, probably one that is unnatural. This unnatural feeling stems from the sense of a new, probably uncomfortable space/sound relationship.

==Instruments with unexpected sounds==

The same applies here: by the mismatch with our expectation, the sound and the instrument itself seem artificial, demanding attention and inviting to dive into the perception of the object and the sound – simultaneously and successive.

If an object that is well known or used often creates a different sound then the result can be shocking. If my alarm clock were to come up with a live rock concert sound then it would create an uneasy, very unnatural feeling. A person's imagination would have a lot to do with the person's response to this sound.

==Sound Clips==
<flashmp3 id="goethe_audio1">goethe_audio1.mp4|parameter=value|...</flashmp3>

EKK:LoFi Sounds in HiFi Spaces/Mingling sounds/Clemens Bo

2013-04-29T05:43:19Z

Botindell:

==The Medium is the Message==

In my musical work I tend to amplify the perception of my medium. When I use samples, I would often cut them at points, where it appears to be not logical in the lapse of the musical sound. By that very easy trick, the samples can be re-established as musical raw material – a pre-semantic state, the state of just listening to the medium might be evoked.
I'm not sure about what the 'message' of the medium computer music or sample music in the sense of McLuhan might be. Computer music produces a distance to the music played by physical instruments. By listening to recorded music, it isn't necessary to listen at the same time and space of the physical sounding instrument anymore. Furthermore, with all the alterations of samples, a great deal of thought references (the concert hall, the players, the instruments, ...) can be lost. This can also be optimistically expressed: the sound is set free of those references and can show it's immanent qualities.
The totally reference-free sound may be the most materialistic and might show immanent qualities of a cultural belief that we call music, but I think that a a lot of musical pleasures come from references within the music, as-well. Computer music has potentials in producing both – the referenced (relative) and the unreferenced (absolute) sound. Within sample music, that unreferenced, absolute sound can even be established by breaking with the samples references (alterations, cuts, filters, ...). And to me, this seemed some interesting way of handling the problem of the medium.

Medium is the message makes me think of my work in lighting design. I have expanded into the world of installations and site specific theatre and I have learned that the location and the environment in which lighting is perceived has a strong effect on an audience or viewer. A source of light that is hidden and keeps the audience unaware of the cause of the source makes the material much more in focus, where as if the viewer/audience can see the light source then they are much more aware of what is in front of them and they can make several different judgements as to what they are watching. As far as what this can have for collaboration it kinda deals with the eye of the beholder, because we are limited to the position of the camera, the viewer is very limited as to what they can see and experience and that has a great impact of the perception of the performance.

==Bill Fontana==

According to Bill Fontana, the transfer of a sound to a different place alters the listing mode from the event to the continuous, because the sound is not linked to the original events anymore and can be experienced as a continuous flow with musical qualities.
At the same time the sound gains sculptural qualities: The sound-event's causal connections and layerings of independent sounds are analogous to the objects of a collage-like sculpture, where certain objects relate to each other and others might not.
The spaces themselves might seem artificial. Now stripped from their original sonic environment, the perception of those spaces can be more intense, in the sense that it is the space itself – without it's sound – that can be experienced.

I feel that the sound of the room as everything to do with the understanding and perception of the room. Our sense of sound is one of the most acute to memory and once that changes then our understanding of the space turns into a whole space, probably one that is unnatural. This unnatural feeling stems from the sense of a new, probably uncomfortable space/sound relationship.

==Instruments with unexpected sounds==

The same applies here: by the mismatch with our expectation, the sound and the instrument itself seem artificial, demanding attention and inviting to dive into the perception of the object and the sound – simultaneously and successive.

If an object that is well known or used often creates a different sound then the result can be shocking. If my alarm clock were to come up with a live rock concert sound then it would create an uneasy, very unnatural feeling. A person's imagination would have a lot to do with the person's response to this sound.

==Sound Clips==
<flashmp3 id="goethe_audio1">goethe_audio1.mp3|parameter=value|...</flashmp3>

EKK:LoFi Sounds in HiFi Spaces/Mingling sounds/Clemens Bo

2013-04-29T05:31:47Z

Botindell:

EKK:LoFi Sounds in HiFi Spaces/Mingling sounds/Clemens Bo

2013-04-29T05:30:04Z

Botindell: Created page with "==The Medium is the Message== In my musical work I tend to amplify the perception of my medium. When I use samples, I would often cut them at points, where it appears to be not ..."

==The Medium is the Message==

In my musical work I tend to amplify the perception of my medium. When I use samples, I would often cut them at points, where it appears to be not logical in the lapse of the musical sound. By that very easy trick, the samples can be re-established as musical raw material – a pre-semantic state, the state of just listening to the medium might be evoked.
I'm not sure about what the 'message' of the medium computer music or sample music in the sense of McLuhan might be. Computer music produces a distance to the music played by physical instruments. By listening to recorded music, it isn't necessary to listen at the same time and space of the physical sounding instrument anymore. Furthermore, with all the alterations of samples, a great deal of thought references (the concert hall, the players, the instruments, ...) can be lost. This can also be optimistically expressed: the sound is set free of those references and can show it's immanent qualities.
The totally reference-free sound may be the most materialistic and might show immanent qualities of a cultural belief that we call music, but I think that a a lot of musical pleasures come from references within the music, as-well. Computer music has potentials in producing both – the referenced (relative) and the unreferenced (absolute) sound. Within sample music, that unreferenced, absolute sound can even be established by breaking with the samples references (alterations, cuts, filters, ...). And to me, this seemed some interesting way of handling the problem of the medium.

Medium is the message makes me think of my work in lighting design. I have expanded into the world of installations and site specific theatre and I have learned that the location and the environment in which lighting is perceived has a strong effect on an audience or viewer. A source of light that is hidden and keeps the audience unaware of the cause of the source makes the material much more in focus, where as if the viewer/audience can see the light source then they are much more aware of what is in front of them and they can make several different judgements as to what they are watching. As far as what this can have for collaboration it kinda deals with the eye of the beholder, because we are limited to the position of the camera, the viewer is very limited as to what they can see and experience and that has a great impact of the perception of the performance.

Bill Fontana

According to Bill Fontana, the transfer of a sound to a different place alters the listing mode from the event to the continuous, because the sound is not linked to the original events anymore and can be experienced as a continuous flow with musical qualities.
At the same time the sound gains sculptural qualities: The sound-event's causal connections and layerings of independent sounds are analogous to the objects of a collage-like sculpture, where certain objects relate to each other and others might not.
The spaces themselves might seem artificial. Now stripped from their original sonic environment, the perception of those spaces can be more intense, in the sense that it is the space itself – without it's sound – that can be experienced.

I feel that the sound of the room as everything to do with the understanding and perception of the room. Our sense of sound is one of the most acute to memory and once that changes then our understanding of the space turns into a whole space, probably one that is unnatural. This unnatural feeling stems from the sense of a new, probably uncomfortable space/sound relationship.

Instruments with unexpected sounds

The same applies here: by the mismatch with our expectation, the sound and the instrument itself seem artificial, demanding attention and inviting to dive into the perception of the object and the sound – simultaneously and successive.

If an object that is well known or used often creates a different sound then the result can be shocking. If my alarm clock were to come up with a live rock concert sound then it would create an uneasy, very unnatural feeling. A person's imagination would have a lot to do with the person's response to this sound.

EKK:LoFi Sounds in HiFi Spaces/Making connection/LINE

2013-04-22T06:32:40Z

Botindell:

==LINE==
Line is a free voice calling application for smart phones. Besides the trickiness of setting up an account the quality of the application is very impressive. It has not found much popularity in the United States or much of Europe but is very popular in countries like Japan, Taiwan, Thailand, Spain, and Switzerland among some others. The emojis and game attachments seem to be the draw among its users. The user has very little control over the settings of the application because it was meant for smart phone calling. The addition of PC/Mac devices is simply convenience because the accessibility does not improve much.

==USERNAME==
Ives and I first had trouble just getting in contract with each other because of the fact that Ives does not have a smart phone and you can not sign up from your computer only. He had to download an emulator and download the app and set up an account from his computer. A mobile phone number is needed to create an account which then requires authorization. Even after that, the profile that you have now created can not be seen by others until you make a username that people can search for which we did not figure out for quite some time.

[[File:LINEsettings.png|thumb|The voice settings for PC.]]

[[File:LINE.png|thumb|The individual call settings for PC.]]

==Sound Control==
The control that the user is given through line is actually non-existent. We believe that is because the application is based on its smart phone use where the control of levels during a voice call is just volume control. The user can not even select input or output settings or control the volume of the incoming call. All of this had be done through the computer settings. The configurations of input and output that we needed to do our testing proved to be a bit of a challenge because of these restrictions.

==Sound Quality==
Both of us were very impressed with the quality and latency of the call. Neither of us had a hard time hearing each other or experienced drop off through volume changes or latency. We found that the latency of the application was varying between 50-80 ms which we thought was pretty accurate considering the quality we were hearing. Our first attempt at measuring the latency was accomplished by looping the tone Ives was sending to me back to him through a hard patch from the line in to headphone jacks on my laptop. Considering my (Bo's) basic skills of sound design, once I downloaded SoundFlower we were able to patch the sound in a much cleaner, more efficient way. Since in our set up the sound was being sent from Germany to San Diego and then back to Germany where Ives used his own pd patch to read the latency, we had to split the time in half because of the round trip it was making.

==Exploration==
We were unsuccessful in our ways to use this software creatively because of our limited time working together and our feeling the quality of the call was good enough that any attempt at playing sound together would sync successfully instead of finding distinct sounds created through its short comings. The lack of user manipulation really left us with a clean and steady video call that would actually be useful in sharing clean sounds from one person to another in another country.

EKK:LoFi Sounds in HiFi Spaces/Making connection/LINE

2013-04-22T06:27:17Z

Botindell: /* USERNAME */

==LINE==
Line is a free voice calling application for smart phones. Besides the trickiness of setting up an account the quality of the application is very impressive. It has not found much popularity in the United States or much of Europe but is very popular in countries like Japan, Taiwan, Thailand, Spain, and Switzerland among some others. The emojis and game attachments seem to be the draw among its users. The user has very little control over the settings of the application because it was meant for smart phone calling. The addition of PC/Mac devices is simply convenience because the accessibility does not improve much.

==USERNAME==
Ives and I first had trouble just getting in contract with each other because of the fact that Ives does not have a smart phone and you can not sign up from your computer only. He had to download an emulator and download the app and set up an account from his computer. A mobile phone number is needed to create an account which then requires authorization. Even after that, the profile that you have now created can not be seen by others until you make a username that people can search for which we did not figure out for quite some time.

[[File:LINEsettings.png|thumb|The voice settings for PC.]]

[[File:LINE.png|thumb|The individual call settings for PC.]]

==Sound Control==
The control that the user is given through line is actually non-existent. We believe that is because the application is based on its smart phone use where the control of levels during a voice call is just volume control. The user can not even choose which microphone to use or control the volume of the incoming call. All of this must be done through the computer settings.

==Sound Quality==
Both of us were very impressed with the quality and latency of the call. Neither of us had a hard time hearing each other or experienced drop off through volume changes or latency. We found that the latency of the application was varying between 50-80 ms which we thought was pretty accurate considering the quality we were hearing. Our first attempt at measuring the latency was accomplished by looping the tone Ives was sending to me back to him through a hard computer on my laptop. Considering my basic skills of sound design, once I download SoundFlower we were able to patch the sound in a much cleaner way. Since in our set up the sound was being sent from Ives to me and then back to his computer where he used his own to read the latency, we had to split the time in half because of the round trip it was making.

==Exploration==
We were unsuccessful in our ways to use this software creatively because of our limited time working together and our feeling the quality of the call was good enough that any attempt at playing sound together would sync successfully instead of finding distinct sounds created through its short comings. The lack of user manipulation really left us with a clean and steady video call that would actually be useful in sharing clean sounds from one person to another in another country.

EKK:LoFi Sounds in HiFi Spaces/Making connection/LINE

2013-04-22T06:24:18Z

Botindell:

==LINE==
Line is a free voice calling application for smart phones. Besides the trickiness of setting up an account the quality of the application is very impressive. It has not found much popularity in the United States or much of Europe but is very popular in countries like Japan, Taiwan, Thailand, Spain, and Switzerland among some others. The emojis and game attachments seem to be the draw among its users. The user has very little control over the settings of the application because it was meant for smart phone calling. The addition of PC/Mac devices is simply convenience because the accessibility does not improve much.

==USERNAME==
Ives and I first had trouble just getting in contract with each other because of the fact that Ives does not have a smart phone and you can not sign up from your computer only. A mobile phone number, that needs to be authorized, is needed to make an account. Even after that, the profile that you have now created can not be seen by others until you make a username that people can search for which we did not figure out for quite some time.

[[File:LINEsettings.png|thumb|The voice settings for PC.]]

[[File:LINE.png|thumb|The individual call settings for PC.]]

==Sound Control==
The control that the user is given through line is actually non-existent. We believe that is because the application is based on its smart phone use where the control of levels during a voice call is just volume control. The user can not even choose which microphone to use or control the volume of the incoming call. All of this must be done through the computer settings.

==Sound Quality==
Both of us were very impressed with the quality and latency of the call. Neither of us had a hard time hearing each other or experienced drop off through volume changes or latency. We found that the latency of the application was varying between 50-80 ms which we thought was pretty accurate considering the quality we were hearing. Our first attempt at measuring the latency was accomplished by looping the tone Ives was sending to me back to him through a hard computer on my laptop. Considering my basic skills of sound design, once I download SoundFlower we were able to patch the sound in a much cleaner way. Since in our set up the sound was being sent from Ives to me and then back to his computer where he used his own to read the latency, we had to split the time in half because of the round trip it was making.

==Exploration==
We were unsuccessful in our ways to use this software creatively because of our limited time working together and our feeling the quality of the call was good enough that any attempt at playing sound together would sync successfully instead of finding distinct sounds created through its short comings. The lack of user manipulation really left us with a clean and steady video call that would actually be useful in sharing clean sounds from one person to another in another country.

File:LINE.png

2013-04-21T23:11:56Z

Botindell:

== Summary ==

== Copyright status: ==

== Source: ==

File:LINEsettings.png

2013-04-21T23:11:21Z

Botindell:

== Summary ==

== Copyright status: ==

== Source: ==

EKK:LoFi Sounds in HiFi Spaces/Making connection/LINE

2013-04-21T23:10:55Z

Botindell:

EKK:LoFi Sounds in HiFi Spaces/Making connection/LINE

2013-04-21T23:08:59Z

Botindell: Created page with "==LINE== Line is a free voice calling application for smart phones. Besides the trickiness of setting up an account the quality of the application is very impressive. It has no..."

EKK:LoFi Sounds in HiFi Spaces/Bo

2013-04-15T18:01:26Z

Botindell:

Hi everyone, I am Bo Tindell, a first year lighting design graduate student in the Theatre and Dance Department at UCSD. I started working in lighting during high school in Fresno, CA in the wonderful Central Valley. I attended Fresno City College and transferred to Cal State Fullerton as a Theatre Major with an emphasis in Lighting Design. I have worked as a freelance lighting designer through college and worked most recently for Celebrity Cruises as a lighting operator for 6 months. I considered myself as much a lighting programmer as much as I do a designer. I also have found an interest in expanding my design into video/projection design. I am in charge of the lighting for the space so feel free to email if you have any questions. Email: botindell@yahoo.com Skype: bowoahski

[http://www.wbtindell.com My Portfolio (website)]

==Interests==
My Interests/research fields are expanding my knowledge of how lighting can effect art and also how lighting can be altered through different technologies. The lighting industry has revolved around lighting control systems developed by large lighting companies for the masses and I would like to see what sound systems have developed that can also be used in lighting.

==Platforms==
I use Mac OSX and haven't used Max or PD but am interested in learning. For lighting I am currently running the lighting for our PC lab at UCSD with the Luminair App on an iPad 2. I also program lighting through ETC and Wholehog lighting systems. For projection design I use Isadora and Qlab.

EKK:LoFi Sounds in HiFi Spaces/Bo

2013-04-15T05:37:45Z

Botindell:

Hi everyone, I am Bo Tindell, a first year lighting design graduate student in the Theatre and Dance Department at UCSD. I started working in lighting during high school in Fresno, CA in the wonderful Central Valley. I attended Fresno City College and transferred to Cal State Fullerton as a Theatre Major with an emphasis in Lighting Design. I have worked as a freelance lighting designer through college and worked most recently for Celebrity Cruises as a lighting operator for 6 months. I considered myself as much a lighting programmer as much as I do a designer. I also have found an interest in expanding my design into video/projection design. I am in charge of the lighting for the space so feel free to email if you have any questions. Email: botindell@yahoo.com

[http://www.wbtindell.com My Portfolio (website)]

==Interests==
My Interests/research fields are expanding my knowledge of how lighting can effect art and also how lighting can be altered through different technologies. The lighting industry has revolved around lighting control systems developed by large lighting companies for the masses and I would like to see what sound systems have developed that can also be used in lighting.

==Platforms==
I am currently running the lighting for the PC lab at UCSD with the Luminair App on an iPad 2. I also program lighting through ETC and Wholehog lighting systems. For projection design I use Isadora and Qlab.

EKK:LoFi Sounds in HiFi Spaces/Bo

2013-04-15T05:35:44Z

Botindell:

Hi everyone, I am Bo Tindell, a first year lighting design graduate student in the Theatre and Dance Department at UCSD. I started working in lighting during high school in Fresno, CA in the wonderful Central Valley. I attended Fresno City College and transferred to Cal State Fullerton as a Theatre Major with an emphasis in Lighting Design. I have worked as a freelance lighting designer through college and worked most recently for Celebrity Cruises as a lighting operator for 6 months. I considered myself as much a lighting programmer as much as I do a designer. I also have found an interest in expanding my design into video/projection design.

[http://www.wbtindell.com My Portfolio (website)]

==Interests==
My Interests/research fields are expanding my knowledge of how lighting can effect art and also how lighting can be altered through different technologies. The lighting industry has revolved around lighting control systems developed by large lighting companies for the masses and I would like to see what sound systems have developed that can also be used in lighting.

==Platforms==
I currently running the lighting for the PC lab at UCSD with the Luminair App on an iPad 2. I also program lighting through ETC and Wholehog lighting systems. For projection design I use Isadora and Qlab.

EKK:LoFi Sounds in HiFi Spaces/Bo

2013-04-15T05:34:56Z

Botindell:

Hi everyone, I am Bo Tindell, a first year lighting design graduate student in the Theatre and Dance Department at UCSD. I started working in lighting during high school in Fresno, CA in the wonderful Central Valley. I attended Fresno City College and transferred to Cal State Fullerton as a Theatre Major with an emphasis in Lighting Design. I have worked as a freelance lighting designer through college and worked most recently for Celebrity Cruises as a lighting operator for 6 months. I considered myself as much a lighting programmer as much as I do a designer. I also have found an interest in expanding my design into video/projection design.

[http://www.wbtindell.com WBTINDELL (my website)]

==Interests==
My Interests/research fields are expanding my knowledge of how lighting can effect art and also how lighting can be altered through different technologies. The lighting industry has revolved around lighting control systems developed by large lighting companies for the masses and I would like to see what sound systems have developed that can also be used in lighting.

==Platforms==
I currently running the lighting for the PC lab at UCSD with the Luminair App on an iPad 2. I also program lighting through ETC and Wholehog lighting systems. For projection design I use Isadora and Qlab.

EKK:LoFi Sounds in HiFi Spaces/Bo

2013-04-15T05:33:52Z

Botindell:

Hi everyone, I am Bo Tindell, a first year lighting design graduate student in the Theatre and Dance Department at UCSD. I started working in lighting during high school in Fresno, CA in the wonderful Central Valley. I attended Fresno City College and transferred to Cal State Fullerton as a Theatre Major with an emphasis in Lighting Design. I have worked as a freelance lighting designer through college and worked most recently for Celebrity Cruises as a lighting operator for 6 months. I considered myself as much a lighting programmer as much as I do a designer. I also have found an interest in expanding my design into video/projection design.

==Interests==
My Interests/research fields are expanding my knowledge of how lighting can effect art and also how lighting can be altered through different technologies. The lighting industry has revolved around lighting control systems developed by large lighting companies for the masses and I would like to see what sound systems have developed that can also be used in lighting.

==Platforms==
I currently running the lighting for the PC lab at UCSD with the Luminair App on an iPad 2. I also program lighting through ETC and Wholehog lighting systems. For projection design I use Isadora and Qlab.

EKK:LoFi Sounds in HiFi Spaces/Bo

2013-04-15T05:29:46Z

Botindell: Created page with "Hi everyone, I am Bo Tindell, a first year lighting design graduate student in the Theatre and Dance Department at UCSD. I started working in lighting during high school in Fres..."