Medien Wiki - User contributions [en]

EKK:LoFi Sounds in HiFi Spaces/Wind stream

2013-06-07T18:31:06Z

Brendan:

===Idea===
The idea is to transmit wind from San Diego to Weimar and vice versa. The wind would be analyzed at one side via anemometers (wind sensors) and reproduced at the other side via computer fans. We want to trasnmit not only the speed, but also the direction of the wind (e.g. due "octophonic" positioning of the fans). Sound aspects of the fans/wind should also be considered.

===Possibilities of collaboration===
* transmitting wind data
* developing a collective installation

===Participants===
Team Weimar:
* [[../Cornelio/]]
* [[../Jonas/]]
* [[../Ludwigberger/]]

Team San Diego:
* [[../Andy/]]
* [[../Brendan_Bernhardt_Gaffney/]]

===Questions and Research===
====name====
* wind stream
* wind transfer
* wind tunnel
====central idea====
* concept / philosophy
* which sense
** sound
** visual
** haptic / skin
* transparency of used material
* one way / two way communication : Weimar <-> San Diego
====reference works====
* art dealing with wind / weather
* dealing with fans / ventilators
* sound bridges etc.
* translating sound in different media
* how has wind been sonificated?
====scientific research====
* what is wind, how it works
* what is the sound of wind, what could it be
* how does wind feel
* meteorology
* philosophy of wind
====technical aspects / material====
* ventilators/fans
** type (computer fans etc.)
** sound
** parameters
** control
** costs
** power / wind speed / air pressure
* wind sensors (anemometers)
** several or one directional?
** weather station? (temperature, humidity, rain, etc.)
** parameters
* software & hardware
** Arduino
** Raspberry Pi
** Processing
** PureData / Max
** Wview
* data transmission
**control data (OSC)
**…
* setup
** arrangement of the different parts
** how to deal with space
** the context (other installations etc.)
** additional material for visualisation (dust, cloth etc.)
** permant or singular installation?

==Setting up wview on Raspberry Pi==

[https://www.dropbox.com/sh/dsj2o7l1ryy6mon/Kpt2WafpZK/Raspberry%20Pi%20-%20Wview/compilar-wview.txt Linux Bash Commands]

After configuration, weather data shows up in a number of places:
* http://localhost/wviewmgmt/system_status.php (Cofiguration GUI, new home base after command line configuration)
* ///var/lib/wview/img/Current.htm (GUI Weather Presentation)
* ///var/lib/wview/img/NOAA/NOAA-2013.txt (Plain Test Weather Presentation)

EKK:LoFi Sounds in HiFi Spaces/Working with language

2013-06-03T17:27:48Z

Brendan:

==Working with language==
This is more of a proposal of an explorative working topic than a sketch of a project.

I was getting interested into the impracticabilities that were introduced by the technical aspects of the medium that we used to speak to each other.

Designing a medium of communication in between two spaces by constraints in language, could be one topic of work. In particular, when using speech recognition software, a small and insufficient dictionary could come in place to recognize just some hundred words out of a pre-given story. Those words could then be used to trigger audio and video events, or even mechanical devices.

There is some speech recognition software API, that I managed to run on my computer

* [http://www.speech-recognition.de/matlab-examples2.html Speech recognition for Matlab]
* [http://cmusphinx.sourceforge.net/sphinx4/ Sphinx4 (java based)] (this is also available in C++)

As a starting point, I experimented with a small chat program that I manipulated. It now displays google keywords instead of the text that the user enters.

Please feel free to try it: [http://www.headphonica.com/OTHER/TPJO/suggestive_chat/chat.php Suggestive chat]

===Team===
* [[../Clemens/]]

----
Max' comments:

have you tried early chatbots like [[wikipedia:ELIZA|ELIZA]]? I was extremely impressed by the Installation [http://www.dieamme.de Die Amme] by Peter Dittmer, there might be a documentation on this somewhere.

==Brendan's Really Important Contribution==
[http://learn.adafruit.com/pi-thermal-printer Thermal Printer and Raspberry Pi]

EKK:LoFi Sounds in HiFi Spaces/Wind stream

2013-05-06T16:41:45Z

Brendan:

EKK:LoFi Sounds in HiFi Spaces

2013-04-29T18:14:13Z

Brendan:

[[:Category:Projektmodul|Projektmodul]] 
''Lecturers:'' [[Robin Minard]], [[/miller|Miller Puckette]], Katharina Rosenberger, [[/Shahrokh|Shahrokh Yadegari]], [[Ludger Hennig]], [[Max Neupert]] 
''Credits:'' 18 [[ECTS]], 16 [[SWS]] 
''Date:'' Monday, 18:00 until 21:30 h (due to the time difference to San Diego) 
''Venue:'' [[Coudraystraße 13a]], SeaM Werkstattstudio 
''First meeting:'' 15.04.2013

==Description==
The sensation of space through spatialized sound may be influenced by sources that differ in their quality and quantity. Within this project, we will investigate ways to modify, expand or augment how space can be experienced through sound. The outcome may be, for instance, an electroacoustic composition, a simulation of spatial perception, sonic architecture or a set-design as a virtual or performative environment.

This project is the beginning of a long-term cooperation between the Bauhaus-Universität Weimar and the University of California in San Diego. Partners in Weimar are Prof. Robin Minard and Ludger Hennig from the Studio for Electroacoustic Music (SeaM) and Max Neupert (Medial Environments). Partners in San Diego are Prof. Miller Puckette (Computer Music), Prof. Katharina Rosenberger (Music) and Prof. Shahrokh Yadegari (Theatre and Dance). Telematic classes will allow students from both faculties to work together. Classes will take place in Weimar in the evening, mid-morning in San Diego. The cooperation is funded by the German Academic Exchange Service (DAAD).

===German description===
Die Wahrnehmung von Raum durch verräumlichten Klang, kann durch Klangquellen beeinflusst werden, welche sich in ihrer Qualität und Quantität unterscheiden. In diesem Projekt werden wir untersuchen, auf welche Art wir die Erfahrung von Raum durch den Klang verändern, erweitern oder verbessern können. Das Ergebnis kann beispielsweise eine elektroakustische Komposition, eine Simulation einer räumlichen Wahrnehmung, klangliche Architektur oder ein Bühnenbild als virtuelle oder performative Umgebung sein.

Dieses Projekt ist der Beginn einer langfristigen Zusammenarbeit zwischen der Bauhaus-Universität und der Universität von Kalifornien in San Diego. Partner aus Weimar sind Prof. Robin Minard und Ludger Hennig vom Studio für Elektoakustische Musik (SeaM) und Max Neupert (Gestaltung medialer Umgebungen). Partner aus San Diego sind Prof. Miller Puckette (Computermusik), Prof. Katharina Rosenberger (Musik) und Prof. Shahrokh Yadegari (Theater und Tanz). Gemeinsamer Unterricht mit einer Videoverbindung wird es den Studierenden beider Universitäten ermöglichen, zusammen zu arbeiten. Der Unterricht wird in Weimar am Abend und vormittags in San Diego stattfinden. Die Zusammenarbeit wird vom Deutschen Akademischen Austauschdienst (DAAD) gefördert.

==Werk/Fachmodule==
We recommend the Werk/Fachmodul [[GMU:Dataflow II]] and/or Ludger Hennigs soundscapes class along with this Project module.

==Assignments==
# [[/Making connection/]] due 04-22
# [[/Mingling sounds/]] due 04-29
# [[/Textualize ideas/]] due 05-06
# [[/Proposing concepts/]] due 05-13

==Evaluation==
Active participation, presentation, artistic examination, documentation, edits in the wiki.

==Participants==
===Weimar===
* [[/Rico/]]
* [[/Alex/]]
* [[/Alice/]]
* [[/Jonas/]]
* [[/Andre/]]
* [[/Paul/]]
* [[/Ben/]]
* [[/Ludwigberger/]]
* [[/TimH/]]
* [[/Dorian/]]
* [[/Clemens/]]
* [[/Ives/]]
* [[/Cornelio/]]
* [[/Johannes/]]

* [[/Max/]] (you may use this as a template for your self-introduction)

===San Diego===
* [[/Brendan Bernhardt Gaffney/]]
* [[/Kevin/]]
* [[/Melanie/]]
* [[/Jeffrey/]]
* [[/Bo/]]
* [[/Andy/]]
* [[/Jamilah/]]
* [[/Marcelo/]]
* [[/Ryan Welsh/]]
* [[/ElisabetCurbelo/]]
* [[/Joe Cantrell/]]
* [[/czyskows/]]
* [[/NickDrashner/]]

* [[/miller/]]
* [[/Shahrokh/]]
* [[/CarolineMiller/]]

==Collaborative Projects==

==Syllabus==
ISO Standard: MONTH/DAY
# 04/01 Only in San Diego (Easter Monday is holiday in Germany; Robin, Ludger and Max join via Skype/Google+ Hangout) faculty presentations about technical means and/or artistic issues. Introduction to the wiki.
# 04/08 Only in San Diego – faculty presentations continued. Miller - Rasberry Pi as an audio and video platform. Shahrokh - Mugic protocol; video walls
# 04/15 First joint class
# 04/22 Robin, Ludger and Max are in San Diego
# 04/29
# 05/06
# 05/13
# 05/20
# 05/27 Only in Weimar (Memorial day in the U.S.)
# 06/03
# 06/10
# 06/17
# 06/24
# 07/01

==Literature==
* Föllmer, Golo: Netzmusik, Wolke Verlag ISBN 3936000336
* LaBelle, Brandon: Background Noise ISBN 9780826418456
* LaBelle, Brandon: Site of Sound: Or Architecture and the Ear ISBN 978-0982743904
* Minard, Robin: Silent Music ISBN 978-3933257130
* Minard, Robin: Sound Installation Art
* Leitner, Bernard: Sound:Space ISBN 978-3893224449

Pd books:
{{Template:PdBooks}}

==Links==
* [https://groups.google.com/forum/#!forum/buw-ucsd-class Google Group BUW-UCSD-class]
* [https://puredata.info/docs/raspberry-pi Pure Data on the Raspberry Pi]

===Sending data over the network===
* [[OSC]]
* netsend/netreceive, netserver/netclient. In Pd look at <tt>mrpeach</tt> and <tt>iemnet libraries</tt>
* [http://ivl.calit2.net/wiki/index.php/StreamingGraphics Mugic]

===Sending Audio and Video over the Internet===
* [[wikipedia:Audio Video Bridging]] AVB is a set of standards for audio and video transmission by the IEEE

====Intended for Communcation====
* [http://www.skype.com Skype] [[File:Icon newtux 16x16.png]] [[File:Icon android 16x16.png]] [[File:Icon apple 16x16.png]] [[File:Icon windows8 16x16.png]]
* [https://tools.google.com/dlpage/hangoutplugin Google+ Hangout] [[File:Icon newtux 16x16.png]] [[File:Icon android 16x16.png]] [[File:Icon apple 16x16.png]] [[File:Icon windows8 16x16.png]] (Seems to work best in Chome/Chromium)
* [http://www.oovoo.com ooVoo] [[File:Icon android 16x16.png]] [[File:Icon apple 16x16.png]] [[File:Icon windows8 16x16.png]]
* [http://www.voxox.com voxox] [[File:Icon apple 16x16.png]] [[File:Icon windows8 16x16.png]]
* [http://line.naver.jp/en LINE] [[File:Icon android 16x16.png]] [[File:Icon apple 16x16.png]] [[File:Icon windows8 16x16.png]]
* [http://www.teamviewer.com TeamViewer] [[File:Icon newtux 16x16.png]] [[File:Icon android 16x16.png]] [[File:Icon apple 16x16.png]] [[File:Icon windows8 16x16.png]]
* [http://www.teamspeak.com TeamSpeak] [[File:Icon newtux 16x16.png]] [[File:Icon android 16x16.png]] [[File:Icon apple 16x16.png]] [[File:Icon windows8 16x16.png]]

Teleconferencing
* [http://www.polycom.com Polycom] [[File:Icon windows8 16x16.png]] System available in Weimar
* [http://www.radvision.com/Products/Video-Conference-Systems Radvision Scopia] [[File:Icon windows8 16x16.png]]
* [http://www.lifesize.com Livesize] [[File:Icon apple 16x16.png]] [[File:Icon windows8 16x16.png]] System available in San Diego

Unidirectional only (aka streaming)
* [http://giss.tv Global Independent Streaming Support], [http://giss.tv/wiki/index.php/Main_Page G.I.S.S wiki]
* [http://www.ustream.tv Ustream]
* [http://www.justin.tv justin.tv]
* [http://www.shoutcast.com/ shoutcast] also as vst plugin availlable

====Intended for Performance/Creative Use====
* [http://code.sat.qc.ca/redmine/projects/scenic/wiki/Scenic_fr Scenic] Audio and video in high quality, as well as MIDI [[File:Icon newtux 16x16.png]]
* [http://code.google.com/p/jacktrip JackTrip] [[File:Icon newtux 16x16.png]] [[File:Icon apple 16x16.png]] a network extension for [http://jackaudio.org/ Jack Audio Connection Kit] [[File:Icon newtux 16x16.png]] [[File:Icon apple 16x16.png]] [[File:Icon windows8 16x16.png]]
* [http://gstreamer.freedesktop.org GStreamer] and bindings for Pd: [http://umlaeute.mur.at/Members/zmoelnig/projects/pdgst PdGst] [[File:Icon newtux 16x16.png]]
* netsend~ for Max/MSP and Pd: [http://www.nullmedium.de/dev/netsend~ Olaf Matthes' Original Version] [[File:Icon newtux 16x16.png]] [[File:Icon apple 16x16.png]] [[File:Icon windows8 16x16.png]], [http://www.olivierguillerminet.com/portfolio/netsend Olivier Guillerminet's/Remu's Fork] [[File:Icon apple 16x16.png]] [[File:Icon windows8 16x16.png]]
* [http://code.google.com/p/streaming-audio Streaming Audio Manager (SAM)] by [https://ccrma.stanford.edu/~danielsm/research.html Michelle Daniels] [[File:Icon newtux 16x16.png]] [[File:Icon apple 16x16.png]] [[File:Icon windows8 16x16.png]]

===Performing Remotely===
* [http://www.netpd.org NetPd]
* [http://at.or.at/serendipd SerendiPd] collaborative patching

EKK:LoFi Sounds in HiFi Spaces/Mingling sounds/Rico Brendan

2013-04-29T16:53:42Z

Brendan:

==The Medium is the Message==

===[[../Brendan Bernhardt Gaffney|Brendan]]===

While I prefer google's autocorrection of "the medium is the massage," this phrase points out the inseparable relationship between a piece's form and effect and its medium of presentation. Not simply does the medium describe the vehicle for a piece's execution, but it imprints itself into the piece's message itself. In our field of new media, the medium needs a special attention, as it can be overly impressed on the meaning or interpretation of the piece (fancy technology that doesn't relay a message) or not considered whatsoever (presenting a sound only piece without consideration of the acoustic space).

As with all art, context of a piece's presentation drastically impacts the end effect on a listener/observer/audience member. The classic combination of visual/audio presentation often results in a bleed between the senses, and trade attention between each other, each medium augmenting the other. When the visual and audible elements no longer relate, this serves to heighten the contrast between the two, should such a contrast be noticeable. In the case of geographic displacement of sound and images, each serves to heighten attention to the characteristic impression of the source location.

Again, similarly to our geographically disembodied sound, sound whose timbre or quality differs from that of its source, in the case of bad audio in a hifi setting, or high sound quality from antiquated electronics, there seem many possible impressions, ranging from novelty, confusion, excitement. These are largely influenced by the intent of presenting contrasting visual and audible elements, and serves again to heighten the contrast between the two.

===[[../Rico|Rico]]===

Ich halte den Satz "das medium ist die message" fuer irreführend, falsch und in einem sehr unangenehmen Sinne für "autoritär". MacLuhen vertrat soweit ich weiß, nachdem er wohl einige Jahre unter akutem Kontrollzwang litt, eine ähnliche Ansicht. Er revidierte den Begriff und schrieb das Buch: "the medium is the massage"
So wie wir die Videos und die sOundfiles vermischen, vermengte Mcluhan in diesem Buch in Zusammenarbeit mit Quentin Fiore (einem Grafikdesigner), Fotos, Comics und Abbildungen aus Zeitschriften mit seinen Texten. Die Texte illustrierten dabei die Bilder und umgekehrt. Die Ergebnisse beim Lesen dieses Buches sowie auch die unseres Experimentes zeigen gut, dass das "Verstehen" eine rein subjektive erlebte Erfahrung ist, die nie konkret steuer- und erfahrbar gemacht werden kann. (scientologen, würden mir jetzz sicher widersprechen)
Hätte dieses Zitat im Bezug auf unsere Kollaboration eine dringliche Relevanz, so wäre ich sicherlich dauerhaft enttäuscht, das meine "Botschaft" nicht ankommt und das Medium für andere doch nicht das ist, für was ich es halte.
Ich kann nicht bestimmen ob das Medium, "die Botschaft" und die Botschaft, "das Medium" ist und das beide als solche auch wirklich erfahrbar sind.
Denn selbst der Begriff der "Realität" scheint heute nicht mehr haltbar, zum einen weil wir wissen, dass sich die Qualität unserer Wahrnehmungsapparate signifikant voneinander unterscheidet und zum anderen ahnen wir, das kontrollieren = Illusionieren ist. Der Kontrolleur ist Sender und gleichermaßen Empfänger, Kreateur seiner eigenen Realität. Und diese Behauptung bestätigt sich wohl auch anschließend in dem Unverständnis das vielleicht aufkommt über meine Botschaft (schon weil sie auf deutsch ist) und dem vermingelten (wmv;) Medium (the pigeon girls)
..

ps. leider konnte ich kein telefonat mit brendan führen aber massiert haben wir uns trotzdem ;)

==Mingled Videos==

<videoflash type="vimeo">64996086</videoflash>

Weimar Eyes, San Diegan Ears- Just to note, I made no attempt to sync the noise. It worked out that way!

<videoflash type="vimeo">65000908</videoflash>

Just a little fadein and fadeout!

EKK:LoFi Sounds in HiFi Spaces/Mingling sounds/Rico Brendan

2013-04-29T16:53:30Z

Brendan:

EKK:LoFi Sounds in HiFi Spaces/Mingling sounds/Rico Brendan

2013-04-29T16:49:51Z

Brendan:

==The Medium is the Message==

===[[../Brendan Bernhardt Gaffney|Brendan]]===

While I prefer google's autocorrection of "the medium is the massage," this phrase points out the inseparable relationship between a piece's form and effect and its medium of presentation. Not simply does the medium describe the vehicle for a piece's execution, but it imprints itself into the piece's message itself. In our field of new media, the medium needs a special attention, as it can be overly impressed on the meaning or interpretation of the piece (fancy technology that doesn't relay a message) or not considered whatsoever (presenting a sound only piece without consideration of the acoustic space).

As with all art, context of a piece's presentation drastically impacts the end effect on a listener/observer/audience member. The classic combination of visual/audio presentation often results in a bleed between the senses, and trade attention between each other, each medium augmenting the other. When the visual and audible elements no longer relate, this serves to heighten the contrast between the two, should such a contrast be noticeable. In the case of geographic displacement of sound and images, each serves to heighten attention to the characteristic impression of the source location.

Again, similarly to our geographically disembodied sound, sound whose timbre or quality differs from that of its source, in the case of bad audio in a hifi setting, or high sound quality from antiquated electronics, there seem many possible impressions, ranging from novelty, confusion, excitement. These are largely influenced by the intent of presenting contrasting visual and audible elements, and serves again to heighten the contrast between the two.

===[[../Rico|Rico]]===

Ich halte den Satz "das medium ist die message" fuer irreführend, falsch und in einem sehr unangenehmen Sinne für "autoritär". MacLuhen vertrat soweit ich weiß, nachdem er wohl einige Jahre unter akutem Kontrollzwang litt, eine ähnliche Ansicht. Er revidierte den Begriff und schrieb das Buch: "the medium is the massage"
So wie wir die Videos und die sOundfiles vermischen, vermengte Mcluhan in diesem Buch in Zusammenarbeit mit Quentin Fiore (einem Grafikdesigner), Fotos, Comics und Abbildungen aus Zeitschriften mit seinen Texten. Die Texte illustrierten dabei die Bilder und umgekehrt. Die Ergebnisse beim Lesen dieses Buches sowie auch die unseres Experimentes zeigen gut, dass das "Verstehen" eine rein subjektive erlebte Erfahrung ist, die nie konkret steuer- und erfahrbar gemacht werden kann. (scientologen, würden mir jetzz sicher widersprechen)
Hätte dieses Zitat im Bezug auf unsere Kollaboration eine dringliche Relevanz, so wäre ich sicherlich dauerhaft enttäuscht, das meine "Botschaft" nicht ankommt und das Medium für andere doch nicht das ist, für was ich es halte.
Ich kann nicht bestimmen ob das Medium, "die Botschaft" und die Botschaft, "das Medium" ist und das beide als solche auch wirklich erfahrbar sind.
Denn selbst der Begriff der "Realität" scheint heute nicht mehr haltbar, zum einen weil wir wissen, dass sich die Qualität unserer Wahrnehmungsapparate signifikant voneinander unterscheidet und zum anderen ahnen wir, das kontrollieren = Illusionieren ist. Der Kontrolleur ist Sender und gleichermaßen Empfänger, Kreateur seiner eigenen Realität. Und diese Behauptung bestätigt sich wohl auch anschließend in dem Unverständnis das vielleicht aufkommt über meine Botschaft (schon weil sie auf deutsch ist) und dem vermingelten (wmv;) Medium (the pigeon girls)
..

ps. leider konnte ich kein telefonat mit brendan führen aber massiert haben wir uns trotzdem ;)

==Mingled Videos==

<videoflash type="vimeo">64996086</videoflash> Weimar Eyes, San Diegan Ears]- Just to note, I made no attempt to sync the noise. It worked out that way!

<videoflash type="vimeo">65000908</videoflash> Just a little fadein and fadeout!

EKK:LoFi Sounds in HiFi Spaces/Mingling sounds/Rico Brendan

2013-04-29T04:34:21Z

Brendan:

==The Medium is the Message==

===[http://www.uni-weimar.de/medien/wiki/EKK:LoFi_Sounds_in_HiFi_Spaces/Brendan_Bernhardt_Gaffney Brendan]===

While I prefer google's autocorrection of "the medium is the massage," this phrase points out the inseparable relationship between a piece's form and effect and its medium of presentation. Not simply does the medium describe the vehicle for a piece's execution, but it imprints itself into the piece's message itself. In our field of new media, the medium needs a special attention, as it can be overly impressed on the meaning or interpretation of the piece (fancy technology that doesn't relay a message) or not considered whatsoever (presenting a sound only piece without consideration of the acoustic space).

As with all art, context of a piece's presentation drastically impacts the end effect on a listener/observer/audience member. The classic combination of visual/audio presentation often results in a bleed between the senses, and trade attention between each other, each medium augmenting the other. When the visual and audible elements no longer relate, this serves to heighten the contrast between the two, should such a contrast be noticeable. In the case of geographic displacement of sound and images, each serves to heighten attention to the characteristic impression of the source location.

Again, similarly to our geographically disembodied sound, sound whose timbre or quality differs from that of its source, in the case of bad audio in a hifi setting, or high sound quality from antiquated electronics, there seem many possible impressions, ranging from novelty, confusion, excitement. These are largely influenced by the intent of presenting contrasting visual and audible elements, and serves again to heighten the contrast between the two.

===[http://www.uni-weimar.de/medien/wiki/EKK:LoFi_Sounds_in_HiFi_Spaces/Rico Rico]===

ich halte den satz "das medium ist die message" fuer sinnfrei, falsch und in einem sehr unangenehmen Sinne für "autoritär". macLuhen vertrat soweit ich weiß, nachdem er wohl einige Jahre unter akutem Kontrollzwang litt, eine ähnliche ansicht. er revidierte den begriff und schrieb das Buch: "the medium is the Massage"
So wie wir die Videos und die sOundfiles vermischen, vermengt Mcluhan in diesem Buch in Zusammenarbeit mit Quentin Fiore (einem Grafikdesigner), Fotos, Comics und Abbildungen aus Zeitschriften mit seinen Texten. Die Texte illustrieren dabei die Bilder und umgekehrt. Die Ergebnisse dieses Buches sowie auch die unseres Experimentes zeigen gut, dass das "Verstehen" immer ganz persönlich und nicht konkret steuer- und erfahrbar ist. (scientologen, würden mir jetzz sicher widersprechen)
Hätte dieses Zitat im Bezug auf unsere Kollaboration eine dringliche Relevanz, so wäre ich sicherlich dauerhaft enttäuscht, das meine "nachricht" nicht ankommt und das Medium, doch nicht "das Medium" ist.
Ich kann nicht bestimmen ob das medium, "das medium" und die nachricht, "die nachricht" ist und das beide als solche auch erfahrbar sind.
Denn selbst der Begriff der "realität" scheint heute nicht mehr haltbar, zum Einen weil wir wissen dass sich die Qualität unserer Wahrnehmungsapparate signifikant von der anderer unterscheiden.
Und zum anderen ahnen wir, das kontrollieren = Illusionieren ist. Der Kontrolleur ist Sender und gleichermaßen Empfänger, Kreateur seiner eigenen Realität. Und diese Behauptung bestätigt sich wohl auch anschließend in dem Unverständnis das vielleicht aufkommt über meine nachricht (schon weil sie auf deutsch ist) und dem vermingelten (wmv;) Medium (the pigeon girls)
..

ps. leider konnte ich kein telefonat mit brendan führen aber massiert haben wir uns trotzdem ;)

==Mingled Videos==

[https://vimeo.com/64996086 Weimar Eyes, San Diegan Ears]- Just to note, I made no attempt to sync the noise. It worked out that way!

[https://vimeo.com/65000908 pigeon girls] Just a little fadein and fadeout!

EKK:LoFi Sounds in HiFi Spaces/Mingling sounds/Rico Brendan

2013-04-28T16:55:47Z

Brendan:

EKK:LoFi Sounds in HiFi Spaces/Mingling sounds/Rico Brendan

2013-04-28T16:42:16Z

Brendan: Created page with " [https://vimeo.com/64996086 Weimar Eyes, San Diegan Ears]- Just to note, I made no attempt to sync the noise. It worked out that way!"

[https://vimeo.com/64996086 Weimar Eyes, San Diegan Ears]- Just to note, I made no attempt to sync the noise. It worked out that way!

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

2013-04-21T01:01:51Z

Brendan:

==Analysis of TeamViewer==
Ludwig and Cornelius from Weimar and Brendan from UCSD worked to analyze the TeamViewer teleconferencing software.

Our approach was simply to first attempt a more traditional, conference like discussion over the software, discussing its merits, features and usability. This allowed us to evaluate the functionality of the application as intended. Connection to the application was made through both Mac OSX and iOS.

After investigating the base functionality of the software, we attempted to "break" or "misuse" the software to create musically interesting sounds with no outside processing beyond mic positioning and volume. This allowed us to evaluate the potential of the software for our interests, as an aleatoric source of sound and telematic platform for music performance.

==The Software==

[[File:teamViewer.png|thumb|The TeamViewer logo.]]

TeamViewer is a teleconferencing software, geared towards setting up "meetings" between remote users, with an emphasis on presentation and screen sharing. The software's most significant features relate to the interactivity between a displayed screen and users, with several levels of participation (audio only, video only, etc.) selectable for different members of a meeting. It also supports large numbers of present users, and generates unique meetings with invitations and private ids.

===Sound Control===

[[File:teamViewerAudio.png|thumb|The audio settings within TeamViewer.]]

The control available in TeamViewer for audio is limited, but has a few important features. First, it has a variable volume, separate from that of the internal mic level control built into the OSX operating system. More interestingly, the application includes a variable noise gate, with an associated volume meter, allowing a user to easily select a threshold for a noise gate. Outside this relatively noise threshold (which appears to act as a simple gate with slightly ramped amplitude crossfade when cutting in and out) there is only a selection of input and output destinations.

===Quality of Transmission===

The immediate impression of the quality of video and audio transmission was poor. The video never quite worked (stayed frozen through most of the session) and the audio cut in and out quite a bit, with significant bit-rate reduction effects. One feature that did work quite well was the screen-sharing capabilities, which allowed us to compare our methods for recording and testing the audio latency.

Sound trip latency varied, but the clearest measured data (as our audio was generally quite poor) resulted in 590 ms roundtrip latency. This software is therefore incapable of supporting any interactive performance beyond cue-less improvisation.

==Musical Uses==

While the quality of transmission is quite bad, the ability to eliminate or heighten the noise threshold of the transmitted audio, coupled with the bit-rate reduction and lossy connection made for interesting musical experimentation.

As stated above, the latency prevents this software from use in actual interactive situations, but allows for meaningful (if limited) control of transmitted feedback loops. These controls, along with the simple parameters of mic placement, type and volume and speaker placement, type and volume allowed for an interesting sound space. While decidedly bright and noisy, larger musical forms and aims could be followed with some experience.

===Example===

Here is an example of the sound quality during the feedback experiments, as directly recorded without any processing or filtering in San Diego:

[[File:exampleSD.mp3|thumb|Transmission recorded in San Diego.]]

===Composed Piece===

The piece below contains two sections, using the recorded sounds that occurred over the course of the session. They have been stitched together. Each side of the transmission (here in San Diego and Weimar) recordings of the transmitted audio were rearranged and replaced into 45 second mono clips. These clips were sent off the to other locale, where it was heard and reacted to with other sounds from the session. Each locale is panned to one or the other side, resulting in a two part, binaural piece lasting 1'30".

===Musical Conclusions===

While useless as a telematic performance tool, the software did yield very interesting results due to its lossy and inconsistent transmission. These could be learned and controlled with some experience and understanding of the software's functionality. After this investigation, there seems potential for some piece of loudspeaker music, especially concerned with the uses and themes provided by the topic of telematic performance and its inherent issues (which are highlighted by this software).

File:ExampleSD.mp3

2013-04-21T01:00:22Z

Brendan:

== Summary ==

== Copyright status: ==

== Source: ==

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

2013-04-21T01:00:00Z

Brendan:

==Analysis of TeamViewer==
Ludwig and Clemens from Weimar and Brendan from UCSD worked to analyze the TeamViewer teleconferencing software.

Our approach was simply to first attempt a more traditional, conference like discussion over the software, discussing its merits, features and usability. This allowed us to evaluate the functionality of the application as intended. Connection to the application was made through both Mac OSX and iOS.

After investigating the base functionality of the software, we attempted to "break" or "misuse" the software to create musically interesting sounds with no outside processing beyond mic positioning and volume. This allowed us to evaluate the potential of the software for our interests, as an aleatoric source of sound and telematic platform for music performance.

==The Software==

[[File:teamViewer.png|thumb|The TeamViewer logo.]]

TeamViewer is a teleconferencing software, geared towards setting up "meetings" between remote users, with an emphasis on presentation and screen sharing. The software's most significant features relate to the interactivity between a displayed screen and users, with several levels of participation (audio only, video only, etc.) selectable for different members of a meeting. It also supports large numbers of present users, and generates unique meetings with invitations and private ids.

===Sound Control===

[[File:teamViewerAudio.png|thumb|The audio settings within TeamViewer.]]

The control available in TeamViewer for audio is limited, but has a few important features. First, it has a variable volume, separate from that of the internal mic level control built into the OSX operating system. More interestingly, the application includes a variable noise gate, with an associated volume meter, allowing a user to easily select a threshold for a noise gate. Outside this relatively noise threshold (which appears to act as a simple gate with slightly ramped amplitude crossfade when cutting in and out) there is only a selection of input and output destinations.

===Quality of Transmission===

The immediate impression of the quality of video and audio transmission was poor. The video never quite worked (stayed frozen through most of the session) and the audio cut in and out quite a bit, with significant bit-rate reduction effects. One feature that did work quite well was the screen-sharing capabilities, which allowed us to compare our methods for recording and testing the audio latency.

Sound trip latency varied, but the clearest measured data (as our audio was generally quite poor) resulted in 590 ms roundtrip latency. This software is therefore incapable of supporting any interactive performance beyond cue-less improvisation.

==Musical Uses==

While the quality of transmission is quite bad, the ability to eliminate or heighten the noise threshold of the transmitted audio, coupled with the bit-rate reduction and lossy connection made for interesting musical experimentation.

As stated above, the latency prevents this software from use in actual interactive situations, but allows for meaningful (if limited) control of transmitted feedback loops. These controls, along with the simple parameters of mic placement, type and volume and speaker placement, type and volume allowed for an interesting sound space. While decidedly bright and noisy, larger musical forms and aims could be followed with some experience.

===Example===

Here is an example of the sound quality during the feedback experiments, as directly recorded without any processing or filtering in San Diego:

[[File:exampleSD.mp3|thumb|Transmission recorded in San Diego.]]

===Composed Piece===

The piece below contains two sections, using the recorded sounds that occurred over the course of the session. They have been stitched together. Each side of the transmission (here in San Diego and Weimar) recordings of the transmitted audio were rearranged and replaced into 45 second mono clips. These clips were sent off the to other locale, where it was heard and reacted to with other sounds from the session. Each locale is panned to one or the other side, resulting in a two part, binaural piece lasting 1'30".

===Musical Conclusions===

While useless as a telematic performance tool, the software did yield very interesting results due to its lossy and inconsistent transmission. These could be learned and controlled with some experience and understanding of the software's functionality. After this investigation, there seems potential for some piece of loudspeaker music, especially concerned with the uses and themes provided by the topic of telematic performance and its inherent issues (which are highlighted by this software).

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

2013-04-21T00:55:52Z

Brendan:

==Analysis of TeamViewer==
Ludwig and Clemens from Weimar and Brendan from UCSD worked to analyze the TeamViewer teleconferencing software.

Our approach was simply to first attempt a more traditional, conference like discussion over the software, discussing its merits, features and usability. This allowed us to evaluate the functionality of the application as intended. Connection to the application was made through both Mac OSX and iOS.

After investigating the base functionality of the software, we attempted to "break" or "misuse" the software to create musically interesting sounds with no outside processing beyond mic positioning and volume. This allowed us to evaluate the potential of the software for our interests, as an aleatoric source of sound and telematic platform for music performance.

==The Software==

[[File:teamViewer.png|thumb|The TeamViewer logo.]]

TeamViewer is a teleconferencing software, geared towards setting up "meetings" between remote users, with an emphasis on presentation and screen sharing. The software's most significant features relate to the interactivity between a displayed screen and users, with several levels of participation (audio only, video only, etc.) selectable for different members of a meeting. It also supports large numbers of present users, and generates unique meetings with invitations and private ids.

===Sound Control===

[[File:teamViewerAudio.png|thumb|The audio settings within TeamViewer.]]

The control available in TeamViewer for audio is limited, but has a few important features. First, it has a variable volume, separate from that of the internal mic level control built into the OSX operating system. More interestingly, the application includes a variable noise gate, with an associated volume meter, allowing a user to easily select a threshold for a noise gate. Outside this relatively noise threshold (which appears to act as a simple gate with slightly ramped amplitude crossfade when cutting in and out) there is only a selection of input and output destinations.

==Quality of Transmission==

The immediate impression of the quality of video and audio transmission was poor. The video never quite worked (stayed frozen through most of the session) and the audio cut in and out quite a bit, with significant bit-rate reduction effects. One feature that did work quite well was the screen-sharing capabilities, which allowed us to compare our methods for recording and testing the audio latency.

Sound trip latency varied, but the clearest measured data (as our audio was generally quite poor) resulted in 590 ms roundtrip latency. This software is therefore incapable of supporting any interactive performance beyond cue-less improvisation.

==Musical Uses==

While the quality of transmission is quite bad, the ability to eliminate or heighten the noise threshold of the transmitted audio, coupled with the bit-rate reduction and lossy connection made for interesting musical experimentation.

As stated above, the latency prevents this software from use in actual interactive situations, but allows for meaningful (if limited) control of transmitted feedback loops. These controls, along with the simple parameters of mic placement, type and volume and speaker placement, type and volume allowed for an interesting sound space. While decidedly bright and noisy, larger musical forms and aims could be followed with some experience.

==Example==

Here is an example of the sound quality during the feedback experiments, as directly recorded without any processing or filtering in San Diego:

[[File:exampleSD.mp3|thumb|Transmission recorded in San Diego.]]

==Composed Piece==

The piece below contains two sections, using the recorded sounds that occurred over the course of the session. They have been stitched together. Each side of the transmission (here in San Diego and Weimar) recordings of the transmitted audio were rearranged and replaced into 45 second mono clips. These clips were sent off the to other locale, where it was heard and reacted to with other sounds from the session. Each locale is panned to one or the other side, resulting in a two part, binaural piece lasting 1'30".

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

2013-04-21T00:55:34Z

Brendan:

==Analysis of TeamViewer==
Ludwig and Clemens from Weimar and Brendan from UCSD worked to analyze the TeamViewer teleconferencing software.

Our approach was simply to first attempt a more traditional, conference like discussion over the software, discussing its merits, features and usability. This allowed us to evaluate the functionality of the application as intended. Connection to the application was made through both Mac OSX and iOS.

After investigating the base functionality of the software, we attempted to "break" or "misuse" the software to create musically interesting sounds with no outside processing beyond mic positioning and volume. This allowed us to evaluate the potential of the software for our interests, as an aleatoric source of sound and telematic platform for music performance.

==The Software==

[[File:teamViewer.png|thumb|The TeamViewer logo.]]

TeamViewer is a teleconferencing software, geared towards setting up "meetings" between remote users, with an emphasis on presentation and screen sharing. The software's most significant features relate to the interactivity between a displayed screen and users, with several levels of participation (audio only, video only, etc.) selectable for different members of a meeting. It also supports large numbers of present users, and generates unique meetings with invitations and private ids.

=Sound Control=

[[File:teamViewerAudio.png|thumb|The audio settings within TeamViewer.]]

The control available in TeamViewer for audio is limited, but has a few important features. First, it has a variable volume, separate from that of the internal mic level control built into the OSX operating system. More interestingly, the application includes a variable noise gate, with an associated volume meter, allowing a user to easily select a threshold for a noise gate. Outside this relatively noise threshold (which appears to act as a simple gate with slightly ramped amplitude crossfade when cutting in and out) there is only a selection of input and output destinations.

==Quality of Transmission==

The immediate impression of the quality of video and audio transmission was poor. The video never quite worked (stayed frozen through most of the session) and the audio cut in and out quite a bit, with significant bit-rate reduction effects. One feature that did work quite well was the screen-sharing capabilities, which allowed us to compare our methods for recording and testing the audio latency.

Sound trip latency varied, but the clearest measured data (as our audio was generally quite poor) resulted in 590 ms roundtrip latency. This software is therefore incapable of supporting any interactive performance beyond cue-less improvisation.

==Musical Uses==

While the quality of transmission is quite bad, the ability to eliminate or heighten the noise threshold of the transmitted audio, coupled with the bit-rate reduction and lossy connection made for interesting musical experimentation.

As stated above, the latency prevents this software from use in actual interactive situations, but allows for meaningful (if limited) control of transmitted feedback loops. These controls, along with the simple parameters of mic placement, type and volume and speaker placement, type and volume allowed for an interesting sound space. While decidedly bright and noisy, larger musical forms and aims could be followed with some experience.

==Example==

Here is an example of the sound quality during the feedback experiments, as directly recorded without any processing or filtering in San Diego:

[[File:exampleSD.mp3|thumb|Transmission recorded in San Diego.]]

==Composed Piece==

The piece below contains two sections, using the recorded sounds that occurred over the course of the session. They have been stitched together. Each side of the transmission (here in San Diego and Weimar) recordings of the transmitted audio were rearranged and replaced into 45 second mono clips. These clips were sent off the to other locale, where it was heard and reacted to with other sounds from the session. Each locale is panned to one or the other side, resulting in a two part, binaural piece lasting 1'30".

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

2013-04-21T00:55:04Z

Brendan:

==Analysis of TeamViewer==
Ludwig and Clemens from Weimar and Brendan from UCSD worked to analyze the TeamViewer teleconferencing software.

Our approach was simply to first attempt a more traditional, conference like discussion over the software, discussing its merits, features and usability. This allowed us to evaluate the functionality of the application as intended. Connection to the application was made through both Mac OSX and iOS.

After investigating the base functionality of the software, we attempted to "break" or "misuse" the software to create musically interesting sounds with no outside processing beyond mic positioning and volume. This allowed us to evaluate the potential of the software for our interests, as an aleatoric source of sound and telematic platform for music performance.

==The Software==

[[File:teamViewer.png|thumb|The TeamViewer logo.]]

TeamViewer is a teleconferencing software, geared towards setting up "meetings" between remote users, with an emphasis on presentation and screen sharing. The software's most significant features relate to the interactivity between a displayed screen and users, with several levels of participation (audio only, video only, etc.) selectable for different members of a meeting. It also supports large numbers of present users, and generates unique meetings with invitations and private ids.

==Sound Control==

[[File:teamViewerAudio.png|thumb|The audio settings within TeamViewer.]]

The control available in TeamViewer for audio is limited, but has a few important features. First, it has a variable volume, separate from that of the internal mic level control built into the OSX operating system. More interestingly, the application includes a variable noise gate, with an associated volume meter, allowing a user to easily select a threshold for a noise gate. Outside this relatively noise threshold (which appears to act as a simple gate with slightly ramped amplitude crossfade when cutting in and out) there is only a selection of input and output destinations.

==Quality of Transmission==

The immediate impression of the quality of video and audio transmission was poor. The video never quite worked (stayed frozen through most of the session) and the audio cut in and out quite a bit, with significant bit-rate reduction effects. One feature that did work quite well was the screen-sharing capabilities, which allowed us to compare our methods for recording and testing the audio latency.

Sound trip latency varied, but the clearest measured data (as our audio was generally quite poor) resulted in 590 ms roundtrip latency. This software is therefore incapable of supporting any interactive performance beyond cue-less improvisation.

==Musical Uses==

While the quality of transmission is quite bad, the ability to eliminate or heighten the noise threshold of the transmitted audio, coupled with the bit-rate reduction and lossy connection made for interesting musical experimentation.

As stated above, the latency prevents this software from use in actual interactive situations, but allows for meaningful (if limited) control of transmitted feedback loops. These controls, along with the simple parameters of mic placement, type and volume and speaker placement, type and volume allowed for an interesting sound space. While decidedly bright and noisy, larger musical forms and aims could be followed with some experience.

==Example==

Here is an example of the sound quality during the feedback experiments, as directly recorded without any processing or filtering in San Diego:

[[File:exampleSD.mp3|thumb|Transmission recorded in San Diego.]]

==Composed Piece==

The piece below contains two sections, using the recorded sounds that occurred over the course of the session. They have been stitched together. Each side of the transmission (here in San Diego and Weimar) recordings of the transmitted audio were rearranged and replaced into 45 second mono clips. These clips were sent off the to other locale, where it was heard and reacted to with other sounds from the session. Each locale is panned to one or the other side, resulting in a two part, binaural piece lasting 1'30".

File:TeamViewerAudio.png

2013-04-21T00:27:37Z

Brendan:

== Summary ==

== Copyright status: ==

== Source: ==

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

2013-04-21T00:27:24Z

Brendan:

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

2013-04-21T00:26:20Z

Brendan:

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

2013-04-21T00:05:57Z

Brendan: Created page with "==Analysis of TeamViewer== Ludwig and Clemens from Weimar and Brendan from UCSD worked to analyze the TeamViewer teleconferencing software. Our approach was simply to first atte..."

EKK:LoFi Sounds in HiFi Spaces/Brendan Bernhardt Gaffney

2013-04-15T18:55:03Z

Brendan:

[[File:brendanPhoto.png|thumb|A photo of myself]]

[http://www.burnheartsynth.com burnHeartSynth (my website, certainly the best way to get an understanding of what I'm working on)]

Skype handle: brendanbernhardtgaffney

(I apologize for the very formal sounding bio below, I copied it from my website!)

Brendan has been working for a decade now learning to use, develop and build digital, electronic and physical tools for musicians, programmers and artists.

He grew up in the northeast, where he learned carpentry and a passion for creativity from his parents. At Skidmore College, where Brendan created and pioneered his own major, Sound, he worked as an engineer and builder with Peter Edwards (aka Casper Electronics), as lead recording engineer and supervisor at Skidmore College’s new $50 million Arthur Zankel Music Center, as a student and protégé of Flip Phillips in the Neuroscience department of Skidmore College, technical director of Skidmore College’s radio station, WSPN, and an extra pair of hands in his father’s woodshop.

Brendan is now pursuing a graduate degree in Computer Music, working under Miller Puckette, Tom Erbe, Tamara Smyth, David Borgo, Anthony Davis and others in the music department at UCSD. He is playing saxophone in the Improvisation Enemble, a Teaching and Research Assistant in the Interdisciplinary Computing and the Arts Major, and working on projects with other creative minds in the graduate program. Academically, he is focused on learning the ins and outs of DSP programming, embedded technologies, free improvisation and electronic music performance.

Outside his academic and creative practices, Brendan is also working with Fab Lab San Diego to teach younger students the art of creating and understanding acoustic and electronic instruments. His work has built upon techniques used by his coworkers at the Fab Lab and other great minds in youth education in new technologies to develop curricula that invite younger musicians and inventors to begin their lifelong journey in designing, making and playing their own homemade instruments.

Today he continues his lifelong pursuit of novel methods of producing, controlling, warping and spewing sound, playing saxophone, guitar and computer, all the while designing, building and programming his own software and hardware. He is invested in the journey he and those he works with are making in developing new tools and mediums for creative expression.

==Interests==
I'm currently working with several projects involving parameter mapping strategies, embedded DSP, instrument augmentation and the general process of adapting practices from other disciplines to appropriate implementations in computer sound synthesis and performance.

Currently, I am working with using dynamical systems and catastrophe theory in parameter mapping. The models provided by catastrophe theory result in simple, accesible extensions of low parameter control systems. I'm also working on embedding the Raspberry Pi as a form of instrument augmentation, programming Pd externals (generally for mac and pi), free improvisation and noise.

===My collaboration interest===
I'm interested in working in physical mediums (wood/metal/CAD fabrication/electronics) to develop new interfaces and instruments, or installation type work. I have been working with the Raspberry Pi at length recently, and would love to work with designers and performers on imagining and realizing these new objects.

I also have the selfish desire to work with others on the dynamical systems work I'm pursuing, for reference I will put the paper I'm submitting to SMC up here, if anyone has ideas for its implementation or application I'd love to hear them and work on them.

==Project Idea==
Well, I pitched the weather station idea, I'll elaborate more on this as I draw up some plans and ideas, I'll link to them and throw them up on my website.

I'm also always interested in ideas for hardware and instrument building work, embedded raspberry pi, parameter mapping strategies and data analysis and sonification.

==Platforms==
I'll be working on Mac OSX and Raspberry Pi, but I work in digital and analog electronics and all sorts of fabrication!

[[Category:Interface-Design]]
[[Category:C]]
[[Category:Pure Data]]
[[Category:Student]]
[[Category:Augmented reality]]
[[Category:Audio]]
[[Category:Apple]]
[[Category:Electronics]]
[[Category:HTML]]
[[Category:Hacking]]
[[Category:Linux]]
[[Category:Max/MSP]]
[[Category:OS X]]
[[Category:Mobile Processing]]
[[Category:Software]]
[[Category:Wordpress]]

EKK:LoFi Sounds in HiFi Spaces

2013-04-02T02:16:39Z

Brendan:

[[:Category:Projektmodul|Projektmodul]] 
''Lecturers:'' [[Robin Minard]], Miller Puckette, Katharina Rosenberger, Shahrokh Yadegari, [[Ludger Hennig]], [[Max Neupert]] 
''Credits:'' 18 [[ECTS]], 16 [[SWS]] 
''Date:'' Monday, 18:00 until 21:30 h (due to the time difference to San Diego) 
''Venue:'' [[Coudraystraße 13a]], SeaM Werkstattstudio 
''First meeting:'' 15.04.2013

==Description==
The sensation of space through spatialized sound may be influenced by sources that differ in their quality and quantity. Within this project, we will investigate ways to modify, expand or augment how space can be experienced through sound. The outcome may be, for instance, an electroacoustic composition, a simulation of spatial perception, sonic architecture or a set-design as a virtual or performative environment.

This project is the beginning of a long-term cooperation between the Bauhaus-Universität Weimar and the University of California in San Diego. Partners in Weimar are Prof. Robin Minard and Ludger Hennig from the Studio for Electroacoustic Music (SeaM) and Max Neupert (Medial Environments). Partners in San Diego are Prof. Miller Puckette (Computer Music), Prof. Katharina Rosenberger (Music) and Prof. Shahrokh Yadegari (Theatre and Dance). Telematic classes will allow students from both faculties to work together. Classes will take place in Weimar in the evening, mid-morning in San Diego. The cooperation is funded by the German Academic Exchange Service (DAAD).

===German description===
Die Wahrnehmung von Raum durch verräumlichten Klang, kann durch Klangquellen beeinflusst werden, welche sich in ihrer Qualität und Quantität unterscheiden. In diesem Projekt werden wir untersuchen, auf welche Art wir die Erfahrung von Raum durch den Klang verändern, erweitern oder verbessern können. Das Ergebnis kann beispielsweise eine elektroakustische Komposition, eine Simulation einer räumlichen Wahrnehmung, klangliche Architektur oder ein Bühnenbild als virtuelle oder performative Umgebung sein.

Dieses Projekt ist der Beginn einer langfristigen Zusammenarbeit zwischen der Bauhaus-Universität und der Universität von Kalifornien in San Diego. Partner aus Weimar sind Prof. Robin Minard und Ludger Hennig vom Studio für Elektoakustische Musik (SeaM) und Max Neupert (Gestaltung medialer Umgebungen). Partner aus San Diego sind Prof. Miller Puckette (Computermusik), Prof. Katharina Rosenberger (Musik) und Prof. Shahrokh Yadegari (Theater und Tanz). Gemeinsamer Unterricht mit einer Videoverbindung wird es den Studierenden beider Universitäten ermöglichen, zusammen zu arbeiten. Der Unterricht wird in Weimar am Abend und vormittags in San Diego stattfinden. Die Zusammenarbeit wird vom Deutschen Akademischen Austauschdienst (DAAD) gefördert.

==Topics==
* [[/Topic1/]]
* [[/Topic2/]]

==Admission requirements==
k.A.

==Registration procedure==
Please send your application by email with the Subject ''{{PAGENAME}}'' to: max.neupert (at) uni-weimar.de
* Name, Surname
* program and semester (Studienprogramm und Fachsemester)
* matriculation number (Matrikelnummer)
* Angabe der geltenden Prüfungsordnung
* Valid email address @uni-weimar.de (no other mailing addresses will be accepted) [[SCC-Services#E-Mail|Why?]]

Registration is not admission! We will conduct interviews. Details will be announced soon here.

==Evaluation==
Active participation, presentation, artistic examination, documentation, edits in the wiki.

==Eligible participants==
Undergraduates and graduates enrolled in the Faculties of Media, Gestaltung and in the MediaArchitecture program

==Participants==
===Weimar===
* [[/Max/]]
* [[/YourName/]] (Take a look at above example and add yourself here)
===San Diego===
* [[/Brendan_Bernhardt_Gaffney/]]
* [[/Kevin/]]
* [[/Melanie/]]
* [[/Jeffery/]]
* [[/Bo/]]
* [[/Andy/]]
* [[/Jamilah/]]
* [[/Marcelo/]]
* [[/Ryan_Welsh/]]
* [[/ElisabetCurbelo/]]
* [[/CarolineMiller/]]
* [[/Joe_Cantrell/]]
* [[/czyskows/]]

==Syllabus==
ISO Standard: MONTH/DAY
# 04/01 Only in San Diego (Easter Monday is holiday in Germany; Robin, Ludger and Max join via Skype/Google+ Hangout) faculty presentations about technical means and/or artistic issues. Introduction to the wiki.
# 04/08 Only in San Diego – faculty resentations continued. Miller - Rasberry Pi as an audio and video platform. Shahrokh - Mugic protocol; video walls
# 04/15 First joint class
# 04/22 Robin, Ludger and Max are in San Diego
# 04/29
# 05/06
# 05/13
# 05/20
# 05/27 Only in Weimar (Memorial day in the U.S.)
# 06/03
# 06/10
# 06/17
# 06/24
# 07/01

==Literature==
* Föllmer, Golo: Netzmusik, Wolke Verlag ISBN 3936000336
* LaBelle, Brandon: Background Noise ISBN 9780826418456
* LaBelle, Brandon: Site of Sound: Or Architecture and the Ear ISBN 978-0982743904
* Minard, Robin: Silent Music ISBN 978-3933257130
* Minard, Robin: Sound Installation Art
* Leitner, Bernard: Sound:Space ISBN 978-3893224449

Pd books:
{{Template:PdBooks}}

==Links==
* [https://groups.google.com/forum/?&fromgroups#!forum/buw-ucsd Google Group BUW-UCSD]
* [https://puredata.info/docs/raspberry-pi Pure Data on the Raspberry Pi]

===Sending data over the network===
* [[OSC]]
* netsend, netreceive. In Pd look at mrpeach and iemnet libraries
* [http://ivl.calit2.net/wiki/index.php/StreamingGraphics Mugic]

===Sending Audio and Video over the Internet===
* [[wikipedia:Audio Video Bridging]] AVB is a set of standards for audio and video transmission by the IEEE

====Intended for Communcation====
* [http://www.skype.com Skype] [[File:Icon newtux 16x16.png]] [[File:Icon android 16x16.png]] [[File:Icon apple 16x16.png]] [[File:Icon windows8 16x16.png]]
* [https://tools.google.com/dlpage/hangoutplugin Google+ Hangout] [[File:Icon newtux 16x16.png]] [[File:Icon android 16x16.png]] [[File:Icon apple 16x16.png]] [[File:Icon windows8 16x16.png]] (Seems to work best in Chome/Chromium)
* [http://www.oovoo.com ooVoo] [[File:Icon android 16x16.png]] [[File:Icon apple 16x16.png]] [[File:Icon windows8 16x16.png]]
* [http://www.voxox.com voxox] [[File:Icon apple 16x16.png]] [[File:Icon windows8 16x16.png]]
* [http://www.teamviewer.com teamviewer] [[File:Icon newtux 16x16.png]] [[File:Icon android 16x16.png]] [[File:Icon apple 16x16.png]] [[File:Icon windows8 16x16.png]]

Teleconferencing
* [http://www.polycom.com Polycom] [[File:Icon windows8 16x16.png]] System available in Weimar
* [http://www.radvision.com/Products/Video-Conference-Systems Radvision Scopia] [[File:Icon windows8 16x16.png]]
* [http://www.lifesize.com Livesize] [[File:Icon apple 16x16.png]] [[File:Icon windows8 16x16.png]] System available in San Diego

Unidirectional only (aka streaming)
* [http://giss.tv Global Independent Streaming Support], [http://giss.tv/wiki/index.php/Main_Page G.I.S.S wiki]
* [http://www.ustream.tv Ustream]
* [http://www.justin.tv justin.tv]

====Intended for Performance/Creative Use====
* [http://code.sat.qc.ca/redmine/projects/scenic/wiki/Scenic_fr Scenic] Audio and video in high quality, as well as MIDI [[File:Icon newtux 16x16.png]]
* [http://code.google.com/p/jacktrip JackTrip] [[File:Icon newtux 16x16.png]] [[File:Icon apple 16x16.png]]
* [http://gstreamer.freedesktop.org GStreamer] and bindings for Pd: [http://umlaeute.mur.at/Members/zmoelnig/projects/pdgst PdGst] [[File:Icon newtux 16x16.png]]
* netsend~ for Max/MSP and Pd: [http://www.nullmedium.de/dev/netsend~ Olaf Matthes' Original Version] [[File:Icon newtux 16x16.png]] [[File:Icon apple 16x16.png]] [[File:Icon windows8 16x16.png]], [http://www.olivierguillerminet.com/2008/12/netsend Olivier Guillerminet's/Remu's Fork] [[File:Icon apple 16x16.png]] [[File:Icon windows8 16x16.png]]
* [https://ccrma.stanford.edu/~danielsm/research.html Michelle Daniels] is working on something...

===Performing Remotely===
* [http://www.netpd.org NetPd]
* [http://at.or.at/serendipd SerendiPd] collaborative patching

EKK:LoFi Sounds in HiFi Spaces/Brendan Bernhard Gaffney

2013-04-02T02:16:04Z

Brendan: Created page with "upright=0.5 [http://www.burnheartsynth.com/ burnHeartSynth (my website)] Brendan has been working for a decade now learning to us..."

[[File:brendanPhoto.png|me|A photo of myself|upright=0.5]]

[http://www.burnheartsynth.com/ burnHeartSynth (my website)]

Brendan has been working for a decade now learning to use, develop and build digital, electronic and physical tools for musicians, programmers and artists.

He grew up in the northeast, where he learned carpentry and a passion for creativity from his parents. At Skidmore College, where Brendan created and pioneered his own major, Sound, he worked as an engineer and builder with Peter Edwards (aka Casper Electronics), as lead recording engineer and supervisor at Skidmore College’s new $50 million Arthur Zankel Music Center, as a student and protégé of Flip Phillips in the Neuroscience department of Skidmore College, technical director of Skidmore College’s radio station, WSPN, and an extra pair of hands in his father’s woodshop.

Brendan is now pursuing a graduate degree in Computer Music, working under Miller Puckette, Tom Erbe, Tamara Smyth, David Borgo, Anthony Davis and others in the music department at UCSD. He is playing saxophone in the Improvisation Enemble, a Teaching and Research Assistant in the Interdisciplinary Computing and the Arts Major, and working on projects with other creative minds in the graduate program. Academically, he is focused on learning the ins and outs of DSP programming, embedded technologies, free improvisation and electronic music performance.

Outside his academic and creative practices, Brendan is also working with Fab Lab San Diego to teach younger students the art of creating and understanding acoustic and electronic instruments. His work has built upon techniques used by his coworkers at the Fab Lab and other great minds in youth education in new technologies to develop curricula that invite younger musicians and inventors to begin their lifelong journey in designing, making and playing their own homemade instruments.

Today he continues his lifelong pursuit of novel methods of producing, controlling, warping and spewing sound, playing saxophone, guitar and computer, all the while designing, building and programming his own software and hardware. He is invested in the journey he and those he works with are making in developing new tools and mediums for creative expression.

==Interests==
I'm currently working with several projects involving parameter mapping strategies, embedded DSP, instrument augmentation and the general process of adapting practices from other disciplines to appropriate implementations in computer sound synthesis and performance.

Currently, I am working with using dynamical systems and catastrophe theory in parameter mapping, embedding the Raspberry Pi as a form of instrument augmentation, programming Pd externals (generally for mac and pi), free improvisation and noise.

===My collaboration interest===
I'm interested in working in physical mediums (wood/metal/CAD fabrication/electronics) to develop new interfaces and instruments, or installation type work. I have been working with the Raspberry Pi at length recently, and would love to work with designers and performers on imagining and realizing these new objects.

I also have the selfish desire to work with others on the dynamical systems work I'm pursuing, for reference I will put the paper I'm submitting to SMC up here, if anyone has ideas for its implementation or application I'd love to hear them and work on them.

==Project Idea==
If you already have a project idea go ahead and pitch it here.

==Platforms==
I'll be working on Mac OSX and Raspberry Pi, but I work in digital and analog electronics and all sorts of fabrication!

EKK:LoFi Sounds in HiFi Spaces/Brendan Bernhardt Gaffney

2013-04-02T02:12:09Z

Brendan:

[[File:brendanPhoto.png|me|A photo of myself|upright=0.5]]

[http://www.burnheartsynth.com/ burnHeartSynth (my website)]

Brendan has been working for a decade now learning to use, develop and build digital, electronic and physical tools for musicians, programmers and artists.

He grew up in the northeast, where he learned carpentry and a passion for creativity from his parents. At Skidmore College, where Brendan created and pioneered his own major, Sound, he worked as an engineer and builder with Peter Edwards (aka Casper Electronics), as lead recording engineer and supervisor at Skidmore College’s new $50 million Arthur Zankel Music Center, as a student and protégé of Flip Phillips in the Neuroscience department of Skidmore College, technical director of Skidmore College’s radio station, WSPN, and an extra pair of hands in his father’s woodshop.

Brendan is now pursuing a graduate degree in Computer Music, working under Miller Puckette, Tom Erbe, Tamara Smyth, David Borgo, Anthony Davis and others in the music department at UCSD. He is playing saxophone in the Improvisation Enemble, a Teaching and Research Assistant in the Interdisciplinary Computing and the Arts Major, and working on projects with other creative minds in the graduate program. Academically, he is focused on learning the ins and outs of DSP programming, embedded technologies, free improvisation and electronic music performance.

Outside his academic and creative practices, Brendan is also working with Fab Lab San Diego to teach younger students the art of creating and understanding acoustic and electronic instruments. His work has built upon techniques used by his coworkers at the Fab Lab and other great minds in youth education in new technologies to develop curricula that invite younger musicians and inventors to begin their lifelong journey in designing, making and playing their own homemade instruments.

Today he continues his lifelong pursuit of novel methods of producing, controlling, warping and spewing sound, playing saxophone, guitar and computer, all the while designing, building and programming his own software and hardware. He is invested in the journey he and those he works with are making in developing new tools and mediums for creative expression.

==Interests==
I'm currently working with several projects involving parameter mapping strategies, embedded DSP, instrument augmentation and the general process of adapting practices from other disciplines to appropriate implementations in computer sound synthesis and performance.

Currently, I am working with using dynamical systems and catastrophe theory in parameter mapping. The models provided by catastrophe theory result in simple, accesible extensions of low parameter control systems. I'm also working on embedding the Raspberry Pi as a form of instrument augmentation, programming Pd externals (generally for mac and pi), free improvisation and noise.

===My collaboration interest===
I'm interested in working in physical mediums (wood/metal/CAD fabrication/electronics) to develop new interfaces and instruments, or installation type work. I have been working with the Raspberry Pi at length recently, and would love to work with designers and performers on imagining and realizing these new objects.

I also have the selfish desire to work with others on the dynamical systems work I'm pursuing, for reference I will put the paper I'm submitting to SMC up here, if anyone has ideas for its implementation or application I'd love to hear them and work on them.

==Project Idea==
If you already have a project idea go ahead and pitch it here.

==Platforms==
I'll be working on Mac OSX and Raspberry Pi, but I work in digital and analog electronics and all sorts of fabrication!

EKK:LoFi Sounds in HiFi Spaces/Brendan Bernhardt Gaffney

2013-04-02T02:10:48Z

Brendan:

EKK:LoFi Sounds in HiFi Spaces/Brendan Bernhardt Gaffney

2013-04-02T02:04:04Z

Brendan:

[[File:brendanPhoto.png|me|A photo of myself|upright=0.5]]

[http://www.burnheartsynth.com/ burnHeartSynth (my website)]

Brendan has been working for a decade now learning to use, develop and build digital, electronic and physical tools for musicians, programmers and artists.

He grew up in the northeast, where he learned carpentry and a passion for creativity from his parents. At Skidmore College, where Brendan created and pioneered his own major, Sound, he worked as an engineer and builder with Peter Edwards (aka Casper Electronics), as lead recording engineer and supervisor at Skidmore College’s new $50 million Arthur Zankel Music Center, as a student and protégé of Flip Phillips in the Neuroscience department of Skidmore College, technical director of Skidmore College’s radio station, WSPN, and an extra pair of hands in his father’s woodshop.

Brendan is now pursuing a graduate degree in Computer Music, working under Miller Puckette, Tom Erbe, Tamara Smyth, David Borgo, Anthony Davis and others in the music department at UCSD. He is playing saxophone in the Improvisation Enemble, a Teaching and Research Assistant in the Interdisciplinary Computing and the Arts Major, and working on projects with other creative minds in the graduate program. Academically, he is focused on learning the ins and outs of DSP programming, embedded technologies, free improvisation and electronic music performance.

Outside his academic and creative practices, Brendan is also working with Fab Lab San Diego to teach younger students the art of creating and understanding acoustic and electronic instruments. His work has built upon techniques used by his coworkers at the Fab Lab and other great minds in youth education in new technologies to develop curricula that invite younger musicians and inventors to begin their lifelong journey in designing, making and playing their own homemade instruments.

Today he continues his lifelong pursuit of novel methods of producing, controlling, warping and spewing sound, playing saxophone, guitar and computer, all the while designing, building and programming his own software and hardware. He is invested in the journey he and those he works with are making in developing new tools and mediums for creative expression.

==Interests==
I'm currently working with several projects involving parameter mapping strategies, embedded DSP, instrument augmentation and the general process of adapting practices from other disciplines to appropriate implementations in computer sound synthesis and performance.

Currently, I am working with using dynamical systems

===My collaboration interest===
You should describe a bit where you think your strengths are and on which field you would have a collaborative partner to work with from the other institution. What are your goals in this class, where do you think are you going?

==Project Idea==
If you already have a project idea go ahead and pitch it here.

==Platforms==
My main platform is currently OS X, but I just got my Raspberry Pi and I am an Android user as well.

EKK:LoFi Sounds in HiFi Spaces/Brendan Bernhardt Gaffney

2013-04-01T23:18:44Z

Brendan:

[[File:brendanPhoto.png|me|A photo of myself]]

[http://www.burnheartsynth.com/ burnHeartSynth (my website)]

Brendan has been working for a decade now learning to use, develop and build digital, electronic and physical tools for musicians, programmers and artists.

He grew up in the northeast, where he learned carpentry and a passion for creativity from his parents. At Skidmore College, where Brendan created and pioneered his own major, Sound, he worked as an engineer and builder with Peter Edwards (aka Casper Electronics), as lead recording engineer and supervisor at Skidmore College’s new $50 million Arthur Zankel Music Center, as a student and protégé of Flip Phillips in the Neuroscience department of Skidmore College, technical director of Skidmore College’s radio station, WSPN, and an extra pair of hands in his father’s woodshop.

Brendan is now pursuing a graduate degree in Computer Music, working under Miller Puckette, Tom Erbe, Tamara Smyth, David Borgo, Anthony Davis and others in the music department at UCSD. He is playing saxophone in the Improvisation Enemble, a Teaching and Research Assistant in the Interdisciplinary Computing and the Arts Major, and working on projects with other creative minds in the graduate program. Academically, he is focused on learning the ins and outs of DSP programming, embedded technologies, free improvisation and electronic music performance.

Outside his academic and creative practices, Brendan is also working with Fab Lab San Diego to teach younger students the art of creating and understanding acoustic and electronic instruments. His work has built upon techniques used by his coworkers at the Fab Lab and other great minds in youth education in new technologies to develop curricula that invite younger musicians and inventors to begin their lifelong journey in designing, making and playing their own homemade instruments.

Today he continues his lifelong pursuit of novel methods of producing, controlling, warping and spewing sound, playing saxophone, guitar and computer, all the while designing, building and programming his own software and hardware. He is invested in the journey he and those he works with are making in developing new tools and mediums for creative expression.

==Interests==
I'm currently working with several projects involving parameter mapping strategies, embedded DSP, instrument augmentation and the general process of adapting practices from other disciplines to appropriate implementations in computer sound synthesis and performance.

Currently, I am working with using dynamical systems

===My collaboration interest===
You should describe a bit where you think your strengths are and on which field you would have a collaborative partner to work with from the other institution. What are your goals in this class, where do you think are you going?

==Project Idea==
If you already have a project idea go ahead and pitch it here.

==Platforms==
My main platform is currently OS X, but I just got my Raspberry Pi and I am an Android user as well.

EKK:LoFi Sounds in HiFi Spaces/Brendan Bernhardt Gaffney

2013-04-01T18:49:36Z

Brendan:

[[File:brendanPhoto.png|me|A photo of myself]]

[http://www.burnheartsynth.com/ burnHeartSynth (my website)]

Brendan has been working for a decade now learning to use, develop and build digital, electronic and physical tools for musicians, programmers and artists.

He grew up in the northeast, where he learned carpentry and a passion for creativity from his parents. At Skidmore College, where Brendan created and pioneered his own major, Sound, he worked as an engineer and builder with Peter Edwards (aka Casper Electronics), as lead recording engineer and supervisor at Skidmore College’s new $50 million Arthur Zankel Music Center, as a student and protégé of Flip Phillips in the Neuroscience department of Skidmore College, technical director of Skidmore College’s radio station, WSPN, and an extra pair of hands in his father’s woodshop.

Brendan is now pursuing a graduate degree in Computer Music, working under Miller Puckette, Tom Erbe, Tamara Smyth, David Borgo, Anthony Davis and others in the music department at UCSD. He is playing saxophone in the Improvisation Enemble, a Teaching and Research Assistant in the Interdisciplinary Computing and the Arts Major, and working on projects with other creative minds in the graduate program. Academically, he is focused on learning the ins and outs of DSP programming, embedded technologies, free improvisation and electronic music performance.

Outside his academic and creative practices, Brendan is also working with Fab Lab San Diego to teach younger students the art of creating and understanding acoustic and electronic instruments. His work has built upon techniques used by his coworkers at the Fab Lab and other great minds in youth education in new technologies to develop curricula that invite younger musicians and inventors to begin their lifelong journey in designing, making and playing their own homemade instruments.

Today he continues his lifelong pursuit of novel methods of producing, controlling, warping and spewing sound, playing saxophone, guitar and computer, all the while designing, building and programming his own software and hardware. He is invested in the journey he and those he works with are making in developing new tools and mediums for creative expression.

==Interests==
I'm currently working with several projects involving parameter mapping strategies, embedded DSP, instrument augmentation and the general process of adapting practices from other disciplines to appropriate implementations in computer sound synthesis and performance.

Currently, I am working with Dynamical system

===My collaboration interest===
You should describe a bit where you think your strengths are and on which field you would have a collaborative partner to work with from the other institution. What are your goals in this class, where do you think are you going?

==Project Idea==
If you already have a project idea go ahead and pitch it here.

==Platforms==
My main platform is currently OS X, but I just got my Raspberry Pi and I am an Android user as well.

File:BrendanPhoto.png

2013-04-01T18:45:16Z

Brendan:

== Summary ==

== Copyright status: ==

== Source: ==

EKK:LoFi Sounds in HiFi Spaces/Brendan Bernhardt Gaffney

2013-04-01T18:44:15Z

Brendan:

[[File:brendanPhoto.png|me|A photo of myself]]
Brendan has been working for a decade now learning to use, develop and build digital, electronic and physical tools for musicians, programmers and artists.

He grew up in the northeast, where he learned carpentry and a passion for creativity from his parents. At Skidmore College, where Brendan created and pioneered his own major, Sound, he worked as an engineer and builder with Peter Edwards (aka Casper Electronics), as lead recording engineer and supervisor at Skidmore College’s new $50 million Arthur Zankel Music Center, as a student and protégé of Flip Phillips in the Neuroscience department of Skidmore College, technical director of Skidmore College’s radio station, WSPN, and an extra pair of hands in his father’s woodshop.

Brendan is now pursuing a graduate degree in Computer Music, working under Miller Puckette, Tom Erbe, Tamara Smyth, David Borgo, Anthony Davis and others in the music department at UCSD. He is playing saxophone in the Improvisation Enemble, a Teaching and Research Assistant in the Interdisciplinary Computing and the Arts Major, and working on projects with other creative minds in the graduate program. Academically, he is focused on learning the ins and outs of DSP programming, embedded technologies, free improvisation and electronic music performance.

Outside his academic and creative practices, Brendan is also working with Fab Lab San Diego to teach younger students the art of creating and understanding acoustic and electronic instruments. His work has built upon techniques used by his coworkers at the Fab Lab and other great minds in youth education in new technologies to develop curricula that invite younger musicians and inventors to begin their lifelong journey in designing, making and playing their own homemade instruments.

Today he continues his lifelong pursuit of novel methods of producing, controlling, warping and spewing sound, playing saxophone, guitar and computer, all the while designing, building and programming his own software and hardware. He is invested in the journey he and those he works with are making in developing new tools and mediums for creative expression.

==Interests==
My Interests/research fields are satellite astrology, real-time audiovisual instruments, video in the context of music production, immersive media and digital glitches.

Let me show you a video which is about half a year old already, showing some experiments I do. Currently I work on bringing this to the next level.

<videoflash type="youtube">JUqfWbNeEGs|500|280</videoflash>

If you want to use video, audio or Flash, read about how to embed those in [[Help:Extensions]].

===My collaboration interest===
You should describe a bit where you think your strengths are and on which field you would have a collaborative partner to work with from the other institution. What are your goals in this class, where do you think are you going?

==Project Idea==
If you already have a project idea go ahead and pitch it here.

==Platforms==
My main platform is currently OS X, but I just got my Raspberry Pi and I am an Android user as well.

EKK:LoFi Sounds in HiFi Spaces/Brendan Bernhardt Gaffney

2013-04-01T18:42:08Z

Brendan:

[[File:brendanPhoto.png|me|A photo of myself]]
burnHeartSynth is Brendan Bernhardt Gaffney. Brendan has been working for a decade now learning to use, develop and build digital, electronic and physical tools for musicians, programmers and artists.

He grew up in the northeast, where he learned carpentry and a passion for creativity from his parents. At Skidmore College, where Brendan created and pioneered his own major, Sound, he worked as an engineer and builder with Peter Edwards (aka Casper Electronics), as lead recording engineer and supervisor at Skidmore College’s new $50 million Arthur Zankel Music Center, as a student and protégé of Flip Phillips in the Neuroscience department of Skidmore College, technical director of Skidmore College’s radio station, WSPN, and an extra pair of hands in his father’s woodshop.

Brendan is now pursuing a graduate degree in Computer Music, working under Miller Puckette, Tom Erbe, Tamara Smyth, David Borgo, Anthony Davis and others in the music department at UCSD. He is playing saxophone in the Improvisation Enemble, a Teaching and Research Assistant in the Interdisciplinary Computing and the Arts Major, and working on projects with other creative minds in the graduate program. Academically, he is focused on learning the ins and outs of DSP programming, embedded technologies, free improvisation and electronic music performance.

Outside his academic and creative practices, Brendan is also working with Fab Lab San Diego to teach younger students the art of creating and understanding acoustic and electronic instruments. His work has built upon techniques used by his coworkers at the Fab Lab and other great minds in youth education in new technologies to develop curricula that invite younger musicians and inventors to begin their lifelong journey in designing, making and playing their own homemade instruments.

Today he continues his lifelong pursuit of novel methods of producing, controlling, warping and spewing sound, playing saxophone, guitar and computer, all the while designing, building and programming his own software and hardware. He is invested in the journey he and those he works with are making in developing new tools and mediums for creative expression.

==Interests==
My Interests/research fields are satellite astrology, real-time audiovisual instruments, video in the context of music production, immersive media and digital glitches.

Let me show you a video which is about half a year old already, showing some experiments I do. Currently I work on bringing this to the next level.

<videoflash type="youtube">JUqfWbNeEGs|500|280</videoflash>

If you want to use video, audio or Flash, read about how to embed those in [[Help:Extensions]].

===My collaboration interest===
You should describe a bit where you think your strengths are and on which field you would have a collaborative partner to work with from the other institution. What are your goals in this class, where do you think are you going?

==Project Idea==
If you already have a project idea go ahead and pitch it here.

==Platforms==
My main platform is currently OS X, but I just got my Raspberry Pi and I am an Android user as well.

EKK:LoFi Sounds in HiFi Spaces/Brendan Bernhardt Gaffney

2013-04-01T18:39:20Z

Brendan: Created page with "That's a thumbnail with caption Thi..."

[[File:http://www.burnheartsynth.com/wp-content/uploads/2012/02/389454_2813289008690_1152720009_3069787_444746826_n-e1330490471477.jpg|thumb|That's a thumbnail with caption]]
This self introduction may serve as a template for your own, please adapt it to your needs. I'm faculty and PhD candidate at the Bauhaus-Universität Weimar and I've initiated this class to bring together extraordinary researchers, practitioners and teachers. I studied Media Arts in Halle/Saale and Montreal. In 2011 I've been organizing the [[PDCON:Start|4th Pure Data convention]] in Weimar. My personal Website may be found at [http://www.maxneupert.de maxneupert.de] Now you know a litte about me and how to use Images, Internal links in the wiki and external links. Look into the [[Help:Editing]] page for more on formatting and the MediaWiki syntax, and [[Help:Images]] for a more detailed help just on images.

==Interests==
My Interests/research fields are satellite astrology, real-time audiovisual instruments, video in the context of music production, immersive media and digital glitches.

Let me show you a video which is about half a year old already, showing some experiments I do. Currently I work on bringing this to the next level.

<videoflash type="youtube">JUqfWbNeEGs|500|280</videoflash>

If you want to use video, audio or Flash, read about how to embed those in [[Help:Extensions]].

===My collaboration interest===
You should describe a bit where you think your strengths are and on which field you would have a collaborative partner to work with from the other institution. What are your goals in this class, where do you think are you going?

==Project Idea==
If you already have a project idea go ahead and pitch it here.

==Platforms==
My main platform is currently OS X, but I just got my Raspberry Pi and I am an Android user as well.

EKK:LoFi Sounds in HiFi Spaces

2013-04-01T18:32:34Z

Brendan:

[[:Category:Projektmodul|Projektmodul]] 
''Lecturers:'' [[Robin Minard]], Miller Puckette, Katharina Rosenberger, Shahrokh Yadegari, [[Ludger Hennig]], [[Max Neupert]] 
''Credits:'' 18 [[ECTS]], 16 [[SWS]] 
''Date:'' Monday, 18:00 until 21:30 h (due to the time difference to San Diego) 
''Venue:'' [[Coudraystraße 13a]], SeaM Werkstattstudio 
''First meeting:'' 15.04.2013

==Description==
The sensation of space through spatialized sound may be influenced by sources that differ in their quality and quantity. Within this project, we will investigate ways to modify, expand or augment how space can be experienced through sound. The outcome may be, for instance, an electroacoustic composition, a simulation of spatial perception, sonic architecture or a set-design as a virtual or performative environment.

This project is the beginning of a long-term cooperation between the Bauhaus-Universität Weimar and the University of California in San Diego. Partners in Weimar are Prof. Robin Minard and Ludger Hennig from the Studio for Electroacoustic Music (SeaM) and Max Neupert (Medial Environments). Partners in San Diego are Prof. Miller Puckette (Computer Music), Prof. Katharina Rosenberger (Music) and Prof. Shahrokh Yadegari (Theatre and Dance). Telematic classes will allow students from both faculties to work together. Classes will take place in Weimar in the evening, mid-morning in San Diego. The cooperation is funded by the German Academic Exchange Service (DAAD).

===German description===
Die Wahrnehmung von Raum durch verräumlichten Klang, kann durch Klangquellen beeinflusst werden, welche sich in ihrer Qualität und Quantität unterscheiden. In diesem Projekt werden wir untersuchen, auf welche Art wir die Erfahrung von Raum durch den Klang verändern, erweitern oder verbessern können. Das Ergebnis kann beispielsweise eine elektroakustische Komposition, eine Simulation einer räumlichen Wahrnehmung, klangliche Architektur oder ein Bühnenbild als virtuelle oder performative Umgebung sein.

Dieses Projekt ist der Beginn einer langfristigen Zusammenarbeit zwischen der Bauhaus-Universität und der Universität von Kalifornien in San Diego. Partner aus Weimar sind Prof. Robin Minard und Ludger Hennig vom Studio für Elektoakustische Musik (SeaM) und Max Neupert (Gestaltung medialer Umgebungen). Partner aus San Diego sind Prof. Miller Puckette (Computermusik), Prof. Katharina Rosenberger (Musik) und Prof. Shahrokh Yadegari (Theater und Tanz). Gemeinsamer Unterricht mit einer Videoverbindung wird es den Studierenden beider Universitäten ermöglichen, zusammen zu arbeiten. Der Unterricht wird in Weimar am Abend und vormittags in San Diego stattfinden. Die Zusammenarbeit wird vom Deutschen Akademischen Austauschdienst (DAAD) gefördert.

==Topics==
* [[/Topic1/]]
* [[/Topic2/]]

==Admission requirements==
k.A.

==Registration procedure==
Please send your application by email with the Subject ''{{PAGENAME}}'' to: max.neupert (at) uni-weimar.de
* Name, Surname
* program and semester (Studienprogramm und Fachsemester)
* matriculation number (Matrikelnummer)
* Angabe der geltenden Prüfungsordnung
* Valid email address @uni-weimar.de (no other mailing addresses will be accepted) [[SCC-Services#E-Mail|Why?]]

Registration is not admission! We will conduct interviews. Details will be announced soon here.

==Evaluation==
Active participation, presentation, artistic examination, documentation, edits in the wiki.

==Eligible participants==
Undergraduates and graduates enrolled in the Faculties of Media, Gestaltung and in the MediaArchitecture program

==Participants==
===Weimar===
* [[/Max/]]
* [[/YourName/]] (Take a look at above example and add yourself here)
===San Diego===
* [[/Brendan Bernhardt Gaffney/]]
* [[/MyName/]] (Take a look at above example and add yourself here)

==Syllabus==
ISO Standard: MONTH/DAY
# 04/01 Only in San Diego (Easter Monday is holiday in Germany; Robin, Ludger and Max join via Skype/Google+ Hangout) faculty presentations about technical means and/or artistic issues. Introduction to the wiki.
# 04/08 Only in San Diego – faculty resentations continued. Miller - Rasberry Pi as an audio and video platform. Shahrokh - Mugic protocol; video walls
# 04/15 First joint class
# 04/22 Robin, Ludger and Max are in San Diego
# 04/29
# 05/06
# 05/13
# 05/20
# 05/27 Only in Weimar (Memorial day in the U.S.)
# 06/03
# 06/10
# 06/17
# 06/24
# 07/01

==Literature==
* Föllmer, Golo: Netzmusik, Wolke Verlag ISBN 3936000336
* LaBelle, Brandon: Background Noise ISBN 9780826418456
* LaBelle, Brandon: Site of Sound: Or Architecture and the Ear ISBN 978-0982743904
* Minard, Robin: Silent Music ISBN 978-3933257130
* Minard, Robin: Sound Installation Art
* Leitner, Bernard: Sound:Space ISBN 978-3893224449

Pd books:
{{Template:PdBooks}}

==Links==
* [https://groups.google.com/forum/?&fromgroups#!forum/buw-ucsd Google Group BUW-UCSD]
* [https://puredata.info/docs/raspberry-pi Pure Data on the Raspberry Pi]

===Sending data over the network===
* [[OSC]]
* netsend, netreceive. In Pd look at mrpeach and iemnet libraries
* [http://ivl.calit2.net/wiki/index.php/StreamingGraphics Mugic]

===Sending Audio and Video over the Internet===
* [[wikipedia:Audio Video Bridging]] AVB is a set of standards for audio and video transmission by the IEEE

====Intended for Communcation====
* [http://www.skype.com Skype] [[File:Icon newtux 16x16.png]] [[File:Icon android 16x16.png]] [[File:Icon apple 16x16.png]] [[File:Icon windows8 16x16.png]]
* [https://tools.google.com/dlpage/hangoutplugin Google+ Hangout] [[File:Icon newtux 16x16.png]] [[File:Icon android 16x16.png]] [[File:Icon apple 16x16.png]] [[File:Icon windows8 16x16.png]] (Seems to work best in Chome/Chromium)
* [http://www.oovoo.com ooVoo] [[File:Icon android 16x16.png]] [[File:Icon apple 16x16.png]] [[File:Icon windows8 16x16.png]]
* [http://www.voxox.com voxox] [[File:Icon apple 16x16.png]] [[File:Icon windows8 16x16.png]]
* [http://www.teamviewer.com teamviewer] [[File:Icon newtux 16x16.png]] [[File:Icon android 16x16.png]] [[File:Icon apple 16x16.png]] [[File:Icon windows8 16x16.png]]

Teleconferencing
* [http://www.polycom.com Polycom] [[File:Icon windows8 16x16.png]] System available in Weimar
* [http://www.radvision.com/Products/Video-Conference-Systems Radvision Scopia] [[File:Icon windows8 16x16.png]]
* [http://www.lifesize.com Livesize] [[File:Icon apple 16x16.png]] [[File:Icon windows8 16x16.png]] System available in San Diego

Unidirectional only (aka streaming)
* [http://giss.tv Global Independent Streaming Support], [http://giss.tv/wiki/index.php/Main_Page G.I.S.S wiki]
* [http://www.ustream.tv Ustream]
* [http://www.justin.tv justin.tv]

====Intended for Performance/Creative Use====
* [http://code.sat.qc.ca/redmine/projects/scenic/wiki/Scenic_fr Scenic] Audio and video in high quality, as well as MIDI [[File:Icon newtux 16x16.png]]
* [http://code.google.com/p/jacktrip JackTrip] [[File:Icon newtux 16x16.png]] [[File:Icon apple 16x16.png]]
* [http://gstreamer.freedesktop.org GStreamer] and bindings for Pd: [http://umlaeute.mur.at/Members/zmoelnig/projects/pdgst PdGst] [[File:Icon newtux 16x16.png]]
* netsend~ for Max/MSP and Pd: [http://www.nullmedium.de/dev/netsend~ Olaf Matthes' Original Version] [[File:Icon newtux 16x16.png]] [[File:Icon apple 16x16.png]] [[File:Icon windows8 16x16.png]], [http://www.olivierguillerminet.com/2008/12/netsend Olivier Guillerminet's/Remu's Fork] [[File:Icon apple 16x16.png]] [[File:Icon windows8 16x16.png]]
* [https://ccrma.stanford.edu/~danielsm/research.html Michelle Daniels] is working on something...

===Performing Remotely===
* [http://www.netpd.org NetPd]
* [http://at.or.at/serendipd SerendiPd] collaborative patching