https://www.uni-weimar.de/kunst-und-gestaltung/wiki/api.php?action=feedcontributions&feedformat=atom&user=EcurbeloMedien Wiki - User contributions [en]2026-05-23T05:35:42ZUser contributionsMediaWiki 1.39.6https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces&diff=58372EKK:LoFi Sounds in HiFi Spaces2013-06-07T05:46:11Z<p>Ecurbelo: /* (Collaborative) Projects */</p>
<hr />
<div>[[:Category:Projektmodul|Projektmodul]]<br /><br />
''Lecturers:'' [[Robin Minard]], [[/miller|Miller Puckette]], Katharina Rosenberger, [[/Shahrokh|Shahrokh Yadegari]], [[Ludger Hennig]], [[Max Neupert]]<br /><br />
''Credits:'' 18 [[ECTS]], 16 [[SWS]]<br /><br />
''Date:'' Monday, 18:00 until 21:30 h (due to the time difference to San Diego)<br /><br />
''Venue:'' [[Coudraystraße 13a]], SeaM Werkstattstudio<br /><br />
''First meeting:'' 15.04.2013<br />
<br />
==Description==<br />
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.<br />
<br />
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).<br />
<br />
===German description===<br />
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.<br />
<br />
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.<br />
<br />
===Werk/Fachmodule===<br />
We recommend the Werk/Fachmodul [[GMU:Dataflow II]] and/or Ludger Hennigs soundscapes class along with this Project module.<br />
<br />
==Assignments==<br />
# [[/Making connection/]] due 04-22<br />
# [[/Mingling sounds/]] due 04-29<br />
# [[/Textualize ideas/]] due 05-06<br />
# [[/Proposing concepts/]] due 05-13<br />
<br />
==Evaluation==<br />
Active participation, presentation, artistic examination, documentation, edits in the wiki.<br />
<br />
==Participants==<br />
{| align="left" {{Template:Prettytable}}<br />
|<br />
:'''Weimar'''<br />
* [[/Rico/]]<br />
* [[/Alex/]]<br />
* [[/Alice/]]<br />
* [[/Jonas/]]<br />
* [[/Andre/]]<br />
* [[/Paul/]]<br />
* [[/Ben/]]<br />
* [[/Ludwigberger/]]<br />
* [[/TimH/]]<br />
* [[/Dorian/]]<br />
* [[/Clemens/]]<br />
* [[/Ives/]]<br />
* [[/Cornelio/]]<br />
* [[/Johannes/]]<br />
<br />
* [[/Max/]] (you may use this as a template)<br />
|<br />
:'''San Diego'''<br />
* [[/Brendan Bernhardt Gaffney/]]<br />
* [[/Kevin/]]<br />
* [[/Melanie/]]<br />
* [[/Jeffrey/]]<br />
* [[/Bo/]]<br />
* [[/Andy/]]<br />
* [[/Jamilah/]]<br />
* [[/Marcelo/]]<br />
* [[/Ryan Welsh/]]<br />
* [[/ElisabetCurbelo/]]<br />
* [[/Joe Cantrell/]]<br />
* [[/czyskows/]]<br />
* [[/NickDrashner/]]<br />
<br />
* [[/miller/]]<br />
* [[/Shahrokh/]]<br />
* [[/CarolineMiller/]]<br />
|}<br />
<br />
<br />
<br />
===(Collaborative) Projects===<br />
Please put setup and presentation time behind the project name, for instance: (5/10)<br />
* [[/Convergence/]] <br />
* [[/Wind stream/]]<br />
* [[/Body Instrument/]] (5/10)<br />
* [[/The Working System/]]<br />
* [[/Expedition/]]<br />
* [[/Immersive Collage/]]<br />
* [[/Voice Matter/]]<br />
* [[/Working with language/]]<br />
* [[/Bugs scored/]]<br />
* [[/Fugue of Spaces/]]<br />
* [[/Mind VS Mind/]]<br />
<br />
==Syllabus==<br />
ISO Standard: MONTH/DAY<br />
# 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.<br />
# 04/08 Only in San Diego – faculty presentations continued. Miller - Rasberry Pi as an audio and video platform. Shahrokh - Mugic protocol; video walls<br />
# 04/15 First joint class<br />
# 04/22 Robin, Ludger and Max are in San Diego<br />
# 04/29<br />
# 05/06<br />
# 05/13<br />
# 05/20 Only in San Diego (Pentecost Monday in Germany)<br />
# 05/27 Only in Weimar (Memorial day in the U.S.)<br />
# 06/03<br />
# '''06/07 (Friday!) Presentations'''<br />
# 06/10 Final class together<br />
# 06/17<br />
# 06/24<br />
# 07/01<br />
<br />
==SAM connection==<br />
We have two dedicated machines to facilitate the connection between the two places. In Weimar it is remote@141.54.193.23 (Linux Mint), in San Diego it is ideas@ideas-mac.ucsd.edu (OS X)<br />
<br />
We run the SAM Server as well as SAMINPUT in the directory /home/remote/msp/sam/bin<br />
<br />
./saminput -n "WeimarSending" -i "137.110.116.4" -p 7770 -c "1-2" -t 0<br />
./sam -n 2 -r 44100 -p 256 -d alsa -o 7770 -j 4464 -f 0 -m 2<br />
<br />
==Literature==<br />
* Föllmer, Golo: Netzmusik, Wolke Verlag ISBN 3936000336<br />
* LaBelle, Brandon: Background Noise ISBN 9780826418456<br />
* LaBelle, Brandon: Site of Sound: Or Architecture and the Ear ISBN 978-0982743904<br />
* Minard, Robin: Silent Music ISBN 978-3933257130<br />
* Minard, Robin: Sound Installation Art<br />
* Leitner, Bernard: Sound:Space ISBN 978-3893224449<br />
<br />
Pd books:<br />
{{Template:PdBooks}}<br />
<br />
==Links==<br />
* [https://groups.google.com/forum/#!forum/buw-ucsd-class Google Group BUW-UCSD-class]<br />
* [https://puredata.info/docs/raspberry-pi Pure Data on the Raspberry Pi]<br />
<br />
===Sending data over the network===<br />
* [[OSC]]<br />
* netsend/netreceive, netserver/netclient. In Pd look at <tt>mrpeach</tt> and <tt>iemnet libraries</tt><br />
* [http://ivl.calit2.net/wiki/index.php/StreamingGraphics Mugic]<br />
<br />
===Sending Audio and Video over the Internet===<br />
* [[wikipedia:Audio Video Bridging]] AVB is a set of standards for audio and video transmission by the IEEE<br />
<br />
====Intended for Communcation====<br />
* [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]]<br />
* [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)<br />
* [http://www.oovoo.com ooVoo] [[File:Icon android 16x16.png]] [[File:Icon apple 16x16.png]] [[File:Icon windows8 16x16.png]]<br />
* [http://www.voxox.com voxox] [[File:Icon apple 16x16.png]] [[File:Icon windows8 16x16.png]]<br />
* [http://line.naver.jp/en LINE] [[File:Icon android 16x16.png]] [[File:Icon apple 16x16.png]] [[File:Icon windows8 16x16.png]]<br />
* [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]]<br />
* [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]]<br />
<br />
Teleconferencing<br />
* [http://www.polycom.com Polycom] [[File:Icon windows8 16x16.png]] System available in Weimar<br />
* [http://www.radvision.com/Products/Video-Conference-Systems Radvision Scopia] [[File:Icon windows8 16x16.png]]<br />
* [http://www.lifesize.com Livesize] [[File:Icon apple 16x16.png]] [[File:Icon windows8 16x16.png]] System available in San Diego<br />
<br />
Unidirectional only (aka streaming)<br />
* [http://giss.tv Global Independent Streaming Support], [http://giss.tv/wiki/index.php/Main_Page G.I.S.S wiki]<br />
* [http://www.ustream.tv Ustream]<br />
* [http://www.justin.tv justin.tv]<br />
* [http://www.shoutcast.com/ shoutcast] also as vst plugin availlable<br />
<br />
====Intended for Performance/Creative Use====<br />
* [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]]<br />
* [http://netjack.sourceforge.net NetJack] a Realtime Audio Transport over a generic IP Network (last update 2010).<br />
* [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]]<br />
* [http://code.google.com/p/streaming-audio Streaming Audio Manager (SAM)] by [https://ccrma.stanford.edu/~danielsm/research.html Michelle Daniels] the most current Jack based streaming solution [[File:Icon newtux 16x16.png]] [[File:Icon apple 16x16.png]] [[File:Icon windows8 16x16.png]]<br />
* [http://gstreamer.freedesktop.org GStreamer] and bindings for Pd: [http://umlaeute.mur.at/Members/zmoelnig/projects/pdgst PdGst] [[File:Icon newtux 16x16.png]]<br />
* 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]]<br />
<br />
===Performing Remotely===<br />
* [http://www.netpd.org NetPd] <br />
* [http://at.or.at/serendipd SerendiPd] collaborative patching<br />
<br />
[[Category:SS13]]<br />
[[Category:Projektmodul]]<br />
[[Category:Robin Minard]]<br />
[[Category:Miller Puckette]]<br />
[[Category:Katharina Rosenberger]]<br />
[[Category:Shahrokh Yadegari]]<br />
[[Category:Ludger Hennig]]<br />
[[Category:Max Neupert]]<br />
[[Category:Pure Data]]<br />
[[Category:Performance]]<br />
[[Category:Community]]<br />
[[Category:Max/MSP]]<br />
[[Category:Telematic]]<br />
[[Category:Coorperation]]</div>Ecurbelohttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces&diff=57703EKK:LoFi Sounds in HiFi Spaces2013-05-13T16:49:41Z<p>Ecurbelo: /* Collaborative Projects */</p>
<hr />
<div>[[:Category:Projektmodul|Projektmodul]]<br /><br />
''Lecturers:'' [[Robin Minard]], [[/miller|Miller Puckette]], Katharina Rosenberger, [[/Shahrokh|Shahrokh Yadegari]], [[Ludger Hennig]], [[Max Neupert]]<br /><br />
''Credits:'' 18 [[ECTS]], 16 [[SWS]]<br /><br />
''Date:'' Monday, 18:00 until 21:30 h (due to the time difference to San Diego)<br /><br />
''Venue:'' [[Coudraystraße 13a]], SeaM Werkstattstudio<br /><br />
''First meeting:'' 15.04.2013<br />
<br />
==Description==<br />
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.<br />
<br />
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).<br />
<br />
===German description===<br />
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.<br />
<br />
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.<br />
<br />
===Werk/Fachmodule===<br />
We recommend the Werk/Fachmodul [[GMU:Dataflow II]] and/or Ludger Hennigs soundscapes class along with this Project module.<br />
<br />
==Assignments==<br />
# [[/Making connection/]] due 04-22<br />
# [[/Mingling sounds/]] due 04-29<br />
# [[/Textualize ideas/]] due 05-06<br />
# [[/Proposing concepts/]] due 05-13<br />
<br />
==Evaluation==<br />
Active participation, presentation, artistic examination, documentation, edits in the wiki.<br />
<br />
==Participants==<br />
{| align="left" {{Template:Prettytable}}<br />
|<br />
:'''Weimar'''<br />
* [[/Rico/]]<br />
* [[/Alex/]]<br />
* [[/Alice/]]<br />
* [[/Jonas/]]<br />
* [[/Andre/]]<br />
* [[/Paul/]]<br />
* [[/Ben/]]<br />
* [[/Ludwigberger/]]<br />
* [[/TimH/]]<br />
* [[/Dorian/]]<br />
* [[/Clemens/]]<br />
* [[/Ives/]]<br />
* [[/Cornelio/]]<br />
* [[/Johannes/]]<br />
<br />
* [[/Max/]] (you may use this as a template)<br />
|<br />
:'''San Diego'''<br />
* [[/Brendan Bernhardt Gaffney/]]<br />
* [[/Kevin/]]<br />
* [[/Melanie/]]<br />
* [[/Jeffrey/]]<br />
* [[/Bo/]]<br />
* [[/Andy/]]<br />
* [[/Jamilah/]]<br />
* [[/Marcelo/]]<br />
* [[/Ryan Welsh/]]<br />
* [[/ElisabetCurbelo/]]<br />
* [[/Joe Cantrell/]]<br />
* [[/czyskows/]]<br />
* [[/NickDrashner/]]<br />
<br />
* [[/miller/]]<br />
* [[/Shahrokh/]]<br />
* [[/CarolineMiller/]]<br />
|}<br />
<br />
<br />
<br />
===Collaborative Projects===<br />
* [[/Convergence/]]<br />
* [[/Wind stream/]]<br />
* [[/Body Instrument/]]<br />
* [[/The Working System/]]<br />
* [[/Expedition/]]<br />
* [[/Immersive Collage/]]<br />
* [[/Voice Matter/]]<br />
* [[/Working with language/]]<br />
* [[/Bugs scored/]]<br />
* [[/Fugue of Spaces/]]<br />
* [[/Mind VS Mind/]]<br />
<br />
==Syllabus==<br />
ISO Standard: MONTH/DAY<br />
# 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.<br />
# 04/08 Only in San Diego – faculty presentations continued. Miller - Rasberry Pi as an audio and video platform. Shahrokh - Mugic protocol; video walls<br />
# 04/15 First joint class<br />
# 04/22 Robin, Ludger and Max are in San Diego<br />
# 04/29<br />
# 05/06<br />
# 05/13<br />
# 05/20 Only in San Diego (Pentecost Monday in Germany)<br />
# 05/27 Only in Weimar (Memorial day in the U.S.)<br />
# 06/03<br />
# 06/10<br />
# 06/17<br />
# 06/24<br />
# 07/01<br />
<br />
==SAM connection==<br />
We have two dedicated machines to facilitate the connection between the two places. In Weimar it is remote@141.54.193.23 (Linux Mint), in San Diego it is ideas@ideas-mac.ucsd.edu (OS X)<br />
<br />
We run the SAM Server as well as SAMINPUT in the directory /home/remote/msp/sam/bin<br />
<br />
./saminput -n "WeimarSending" -i "137.110.116.4" -p 7770 -c "1-2" -t 0<br />
./sam -n 2 -r 44100 -p 256 -d alsa -o 7770 -j 4464 -f 0 -m 2<br />
<br />
==Literature==<br />
* Föllmer, Golo: Netzmusik, Wolke Verlag ISBN 3936000336<br />
* LaBelle, Brandon: Background Noise ISBN 9780826418456<br />
* LaBelle, Brandon: Site of Sound: Or Architecture and the Ear ISBN 978-0982743904<br />
* Minard, Robin: Silent Music ISBN 978-3933257130<br />
* Minard, Robin: Sound Installation Art<br />
* Leitner, Bernard: Sound:Space ISBN 978-3893224449<br />
<br />
Pd books:<br />
{{Template:PdBooks}}<br />
<br />
==Links==<br />
* [https://groups.google.com/forum/#!forum/buw-ucsd-class Google Group BUW-UCSD-class]<br />
* [https://puredata.info/docs/raspberry-pi Pure Data on the Raspberry Pi]<br />
<br />
===Sending data over the network===<br />
* [[OSC]]<br />
* netsend/netreceive, netserver/netclient. In Pd look at <tt>mrpeach</tt> and <tt>iemnet libraries</tt><br />
* [http://ivl.calit2.net/wiki/index.php/StreamingGraphics Mugic]<br />
<br />
===Sending Audio and Video over the Internet===<br />
* [[wikipedia:Audio Video Bridging]] AVB is a set of standards for audio and video transmission by the IEEE<br />
<br />
====Intended for Communcation====<br />
* [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]]<br />
* [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)<br />
* [http://www.oovoo.com ooVoo] [[File:Icon android 16x16.png]] [[File:Icon apple 16x16.png]] [[File:Icon windows8 16x16.png]]<br />
* [http://www.voxox.com voxox] [[File:Icon apple 16x16.png]] [[File:Icon windows8 16x16.png]]<br />
* [http://line.naver.jp/en LINE] [[File:Icon android 16x16.png]] [[File:Icon apple 16x16.png]] [[File:Icon windows8 16x16.png]]<br />
* [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]]<br />
* [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]]<br />
<br />
Teleconferencing<br />
* [http://www.polycom.com Polycom] [[File:Icon windows8 16x16.png]] System available in Weimar<br />
* [http://www.radvision.com/Products/Video-Conference-Systems Radvision Scopia] [[File:Icon windows8 16x16.png]]<br />
* [http://www.lifesize.com Livesize] [[File:Icon apple 16x16.png]] [[File:Icon windows8 16x16.png]] System available in San Diego<br />
<br />
Unidirectional only (aka streaming)<br />
* [http://giss.tv Global Independent Streaming Support], [http://giss.tv/wiki/index.php/Main_Page G.I.S.S wiki]<br />
* [http://www.ustream.tv Ustream]<br />
* [http://www.justin.tv justin.tv]<br />
* [http://www.shoutcast.com/ shoutcast] also as vst plugin availlable<br />
<br />
====Intended for Performance/Creative Use====<br />
* [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]]<br />
* [http://netjack.sourceforge.net NetJack] a Realtime Audio Transport over a generic IP Network (last update 2010).<br />
* [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]]<br />
* [http://code.google.com/p/streaming-audio Streaming Audio Manager (SAM)] by [https://ccrma.stanford.edu/~danielsm/research.html Michelle Daniels] the most current Jack based streaming solution [[File:Icon newtux 16x16.png]] [[File:Icon apple 16x16.png]] [[File:Icon windows8 16x16.png]]<br />
* [http://gstreamer.freedesktop.org GStreamer] and bindings for Pd: [http://umlaeute.mur.at/Members/zmoelnig/projects/pdgst PdGst] [[File:Icon newtux 16x16.png]]<br />
* 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]]<br />
<br />
===Performing Remotely===<br />
* [http://www.netpd.org NetPd] <br />
* [http://at.or.at/serendipd SerendiPd] collaborative patching<br />
<br />
[[Category:SS13]]<br />
[[Category:Projektmodul]]<br />
[[Category:Robin Minard]]<br />
[[Category:Miller Puckette]]<br />
[[Category:Katharina Rosenberger]]<br />
[[Category:Shahrokh Yadegari]]<br />
[[Category:Ludger Hennig]]<br />
[[Category:Max Neupert]]<br />
[[Category:Pure Data]]<br />
[[Category:Performance]]<br />
[[Category:Community]]<br />
[[Category:Max/MSP]]<br />
[[Category:Telematic]]<br />
[[Category:Coorperation]]</div>Ecurbelohttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces/Reality_and_Psyche&diff=57683EKK:LoFi Sounds in HiFi Spaces/Reality and Psyche2013-05-13T06:43:36Z<p>Ecurbelo: /* Literature/Links */</p>
<hr />
<div>===Involves===<br />
Body Movement<br />
Singer<br />
Electronic music<br />
Real-time Control of 3D Graphics via Audio<br />
Various Wireless Sensors Attached to the Dancer's Clothing, Hands, and shoes<br />
Wireless Microcontroller<br />
Custom Software Developed for Manipulating Objects in OpenGL <br />
<br />
===People===<br />
* [[../ElisabetCurbelo/]]<br />
* [[../czyskows/]]<br />
* …anyone else who cares to be involved<br />
<br />
==Product==<br />
A singer will be on stage in front of a screen. The singer will have force sensors and piezo electric sensors on her shoes, proximity sensors on her hands, and light sensors on her torso. All of these sensors will be connected to a microcontroller with a wireless interface. There will be a hub that receives the wireless data from the singer's sensors. The data will then be used to create or alter sounds - for example, a step could trigger an electronic sound, while the proximity of the hands alters the amount of delay that is added to the voice of the singer. Simultaneously, the sound that is created will trigger events in the 3D graphics software to be presented on the screen behind the singer. The volume of a particular sound could be linked to various coordinates of one or multiple 3d objects, for example. Or perhaps the position of the singer on stage could relate directly to the position of the OpenGL camera in 3D space. <br />
<br />
The purpose of this project is to link, as closely as possible and in real time, movement, sound, and light.<br />
<br />
Previous music by the composer:<br />
* [http://www.elisabetcurbelo.com/elisabetcurbelo/kara_toprak_en.html Kara Toprak]<br />
* [http://www.elisabetcurbelo.com/elisabetcurbelo/Mikrop_en.html Mikrop]<br />
<br />
==Literature/Links==<br />
<br />
Meredith Monk: Four Decades by Design and by Invention<br />
Nancy Putnam Smithner<br />
TDR (1988-) , Vol. 49, No. 2 (Summer, 2005), pp. 93-118<br />
Published by: The MIT Press<br />
Article Stable URL: http://www.jstor.org/stable/4488644<br />
<br />
[http://www.meredithmonk.org Meredith Monk]<br />
<br />
[https://vimeo.com/21061149 Meredith Monk DANCING VOICE/SINGING BODY]<br />
<br />
[http://www.fatima-miranda.com/finalok/idiom.html Fatima Miranda]</div>Ecurbelohttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces/Reality_and_Psyche&diff=57682EKK:LoFi Sounds in HiFi Spaces/Reality and Psyche2013-05-13T06:31:10Z<p>Ecurbelo: /* Literature/Links */</p>
<hr />
<div>===Involves===<br />
Body Movement<br />
Singer<br />
Electronic music<br />
Real-time Control of 3D Graphics via Audio<br />
Various Wireless Sensors Attached to the Dancer's Clothing, Hands, and shoes<br />
Wireless Microcontroller<br />
Custom Software Developed for Manipulating Objects in OpenGL <br />
<br />
===People===<br />
* [[../ElisabetCurbelo/]]<br />
* [[../czyskows/]]<br />
* …anyone else who cares to be involved<br />
<br />
==Product==<br />
A singer will be on stage in front of a screen. The singer will have force sensors and piezo electric sensors on her shoes, proximity sensors on her hands, and light sensors on her torso. All of these sensors will be connected to a microcontroller with a wireless interface. There will be a hub that receives the wireless data from the singer's sensors. The data will then be used to create or alter sounds - for example, a step could trigger an electronic sound, while the proximity of the hands alters the amount of delay that is added to the voice of the singer. Simultaneously, the sound that is created will trigger events in the 3D graphics software to be presented on the screen behind the singer. The volume of a particular sound could be linked to various coordinates of one or multiple 3d objects, for example. Or perhaps the position of the singer on stage could relate directly to the position of the OpenGL camera in 3D space. <br />
<br />
The purpose of this project is to link, as closely as possible and in real time, movement, sound, and light.<br />
<br />
Previous music by the composer:<br />
* [http://www.elisabetcurbelo.com/elisabetcurbelo/kara_toprak_en.html Kara Toprak]<br />
* [http://www.elisabetcurbelo.com/elisabetcurbelo/Mikrop_en.html Mikrop]<br />
<br />
==Literature/Links==<br />
<br />
Meredith Monk: Four Decades by Design and by Invention<br />
Nancy Putnam Smithner<br />
TDR (1988-) , Vol. 49, No. 2 (Summer, 2005), pp. 93-118<br />
Published by: The MIT Press<br />
Article Stable URL: http://www.jstor.org/stable/4488644<br />
<br />
[http://www.meredithmonk.org Meredith Monk]<br />
<br />
[http://www.fatima-miranda.com/finalok/idiom.html Fatima Miranda]</div>Ecurbelohttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces/Reality_and_Psyche&diff=57681EKK:LoFi Sounds in HiFi Spaces/Reality and Psyche2013-05-13T06:30:22Z<p>Ecurbelo: </p>
<hr />
<div>===Involves===<br />
Body Movement<br />
Singer<br />
Electronic music<br />
Real-time Control of 3D Graphics via Audio<br />
Various Wireless Sensors Attached to the Dancer's Clothing, Hands, and shoes<br />
Wireless Microcontroller<br />
Custom Software Developed for Manipulating Objects in OpenGL <br />
<br />
===People===<br />
* [[../ElisabetCurbelo/]]<br />
* [[../czyskows/]]<br />
* …anyone else who cares to be involved<br />
<br />
==Product==<br />
A singer will be on stage in front of a screen. The singer will have force sensors and piezo electric sensors on her shoes, proximity sensors on her hands, and light sensors on her torso. All of these sensors will be connected to a microcontroller with a wireless interface. There will be a hub that receives the wireless data from the singer's sensors. The data will then be used to create or alter sounds - for example, a step could trigger an electronic sound, while the proximity of the hands alters the amount of delay that is added to the voice of the singer. Simultaneously, the sound that is created will trigger events in the 3D graphics software to be presented on the screen behind the singer. The volume of a particular sound could be linked to various coordinates of one or multiple 3d objects, for example. Or perhaps the position of the singer on stage could relate directly to the position of the OpenGL camera in 3D space. <br />
<br />
The purpose of this project is to link, as closely as possible and in real time, movement, sound, and light.<br />
<br />
Previous music by the composer:<br />
* [http://www.elisabetcurbelo.com/elisabetcurbelo/kara_toprak_en.html Kara Toprak]<br />
* [http://www.elisabetcurbelo.com/elisabetcurbelo/Mikrop_en.html Mikrop]<br />
<br />
==Literature/Links==<br />
<br />
Meredith Monk: Four Decades by Design and by Invention<br />
Nancy Putnam Smithner<br />
TDR (1988-) , Vol. 49, No. 2 (Summer, 2005), pp. 93-118<br />
Published by: The MIT Press<br />
Article Stable URL: http://www.jstor.org/stable/4488644<br />
<br />
[http://www.fatima-miranda.com/finalok/idiom.html Fatima Miranda]</div>Ecurbelohttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces/Reality_and_Psyche&diff=57680EKK:LoFi Sounds in HiFi Spaces/Reality and Psyche2013-05-13T06:24:53Z<p>Ecurbelo: /* Literature */</p>
<hr />
<div>===Involves===<br />
Body Movement<br />
Singer<br />
Electronic music<br />
Real-time Control of 3D Graphics via Audio<br />
Various Wireless Sensors Attached to the Dancer's Clothing, Hands, and shoes<br />
Wireless Microcontroller<br />
Custom Software Developed for Manipulating Objects in OpenGL <br />
<br />
===People===<br />
* [[../ElisabetCurbelo/]]<br />
* [[../czyskows/]]<br />
* …anyone else who cares to be involved<br />
<br />
==Product==<br />
A singer will be on stage in front of a screen. The singer will have force sensors and piezo electric sensors on her shoes, proximity sensors on her hands, and light sensors on her torso. All of these sensors will be connected to a microcontroller with a wireless interface. There will be a hub that receives the wireless data from the singer's sensors. The data will then be used to create or alter sounds - for example, a step could trigger an electronic sound, while the proximity of the hands alters the amount of delay that is added to the voice of the singer. Simultaneously, the sound that is created will trigger events in the 3D graphics software to be presented on the screen behind the singer. The volume of a particular sound could be linked to various coordinates of one or multiple 3d objects, for example. Or perhaps the position of the singer on stage could relate directly to the position of the OpenGL camera in 3D space. <br />
<br />
The purpose of this project is to link, as closely as possible and in real time, movement, sound, and light.<br />
<br />
Previous music by the composer:<br />
* [http://www.elisabetcurbelo.com/elisabetcurbelo/kara_toprak_en.html Kara Toprak]<br />
* [http://www.elisabetcurbelo.com/elisabetcurbelo/Mikrop_en.html Mikrop]<br />
<br />
==Literature==<br />
<br />
Meredith Monk: Four Decades by Design and by Invention<br />
Nancy Putnam Smithner<br />
TDR (1988-) , Vol. 49, No. 2 (Summer, 2005), pp. 93-118<br />
Published by: The MIT Press<br />
Article Stable URL: http://www.jstor.org/stable/4488644</div>Ecurbelohttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces/Reality_and_Psyche&diff=57679EKK:LoFi Sounds in HiFi Spaces/Reality and Psyche2013-05-13T06:23:46Z<p>Ecurbelo: /* Literature */</p>
<hr />
<div>===Involves===<br />
Body Movement<br />
Singer<br />
Electronic music<br />
Real-time Control of 3D Graphics via Audio<br />
Various Wireless Sensors Attached to the Dancer's Clothing, Hands, and shoes<br />
Wireless Microcontroller<br />
Custom Software Developed for Manipulating Objects in OpenGL <br />
<br />
===People===<br />
* [[../ElisabetCurbelo/]]<br />
* [[../czyskows/]]<br />
* …anyone else who cares to be involved<br />
<br />
==Product==<br />
A singer will be on stage in front of a screen. The singer will have force sensors and piezo electric sensors on her shoes, proximity sensors on her hands, and light sensors on her torso. All of these sensors will be connected to a microcontroller with a wireless interface. There will be a hub that receives the wireless data from the singer's sensors. The data will then be used to create or alter sounds - for example, a step could trigger an electronic sound, while the proximity of the hands alters the amount of delay that is added to the voice of the singer. Simultaneously, the sound that is created will trigger events in the 3D graphics software to be presented on the screen behind the singer. The volume of a particular sound could be linked to various coordinates of one or multiple 3d objects, for example. Or perhaps the position of the singer on stage could relate directly to the position of the OpenGL camera in 3D space. <br />
<br />
The purpose of this project is to link, as closely as possible and in real time, movement, sound, and light.<br />
<br />
Previous music by the composer:<br />
* [http://www.elisabetcurbelo.com/elisabetcurbelo/kara_toprak_en.html Kara Toprak]<br />
* [http://www.elisabetcurbelo.com/elisabetcurbelo/Mikrop_en.html Mikrop]<br />
<br />
==Literature==<br />
<br />
* Meredith Monk: Four Decades by Design and by Invention<br />
Nancy Putnam Smithner<br />
TDR (1988-) , Vol. 49, No. 2 (Summer, 2005), pp. 93-118<br />
Published by: The MIT Press<br />
Article Stable URL: http://www.jstor.org/stable/4488644</div>Ecurbelohttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces/Reality_and_Psyche&diff=57678EKK:LoFi Sounds in HiFi Spaces/Reality and Psyche2013-05-13T06:20:58Z<p>Ecurbelo: /* Literature */</p>
<hr />
<div>===Involves===<br />
Body Movement<br />
Singer<br />
Electronic music<br />
Real-time Control of 3D Graphics via Audio<br />
Various Wireless Sensors Attached to the Dancer's Clothing, Hands, and shoes<br />
Wireless Microcontroller<br />
Custom Software Developed for Manipulating Objects in OpenGL <br />
<br />
===People===<br />
* [[../ElisabetCurbelo/]]<br />
* [[../czyskows/]]<br />
* …anyone else who cares to be involved<br />
<br />
==Product==<br />
A singer will be on stage in front of a screen. The singer will have force sensors and piezo electric sensors on her shoes, proximity sensors on her hands, and light sensors on her torso. All of these sensors will be connected to a microcontroller with a wireless interface. There will be a hub that receives the wireless data from the singer's sensors. The data will then be used to create or alter sounds - for example, a step could trigger an electronic sound, while the proximity of the hands alters the amount of delay that is added to the voice of the singer. Simultaneously, the sound that is created will trigger events in the 3D graphics software to be presented on the screen behind the singer. The volume of a particular sound could be linked to various coordinates of one or multiple 3d objects, for example. Or perhaps the position of the singer on stage could relate directly to the position of the OpenGL camera in 3D space. <br />
<br />
The purpose of this project is to link, as closely as possible and in real time, movement, sound, and light.<br />
<br />
Previous music by the composer:<br />
* [http://www.elisabetcurbelo.com/elisabetcurbelo/kara_toprak_en.html Kara Toprak]<br />
* [http://www.elisabetcurbelo.com/elisabetcurbelo/Mikrop_en.html Mikrop]<br />
<br />
==Literature==<br />
<br />
Meredith Monk: Four Decades by Design and by Invention<br />
Nancy Putnam Smithner<br />
TDR (1988-) , Vol. 49, No. 2 (Summer, 2005), pp. 93-118<br />
Published by: The MIT Press<br />
Article Stable URL: http://www.jstor.org/stable/4488644</div>Ecurbelohttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces/Reality_and_Psyche&diff=57677EKK:LoFi Sounds in HiFi Spaces/Reality and Psyche2013-05-13T06:20:18Z<p>Ecurbelo: /* Literature */</p>
<hr />
<div>===Involves===<br />
Body Movement<br />
Singer<br />
Electronic music<br />
Real-time Control of 3D Graphics via Audio<br />
Various Wireless Sensors Attached to the Dancer's Clothing, Hands, and shoes<br />
Wireless Microcontroller<br />
Custom Software Developed for Manipulating Objects in OpenGL <br />
<br />
===People===<br />
* [[../ElisabetCurbelo/]]<br />
* [[../czyskows/]]<br />
* …anyone else who cares to be involved<br />
<br />
==Product==<br />
A singer will be on stage in front of a screen. The singer will have force sensors and piezo electric sensors on her shoes, proximity sensors on her hands, and light sensors on her torso. All of these sensors will be connected to a microcontroller with a wireless interface. There will be a hub that receives the wireless data from the singer's sensors. The data will then be used to create or alter sounds - for example, a step could trigger an electronic sound, while the proximity of the hands alters the amount of delay that is added to the voice of the singer. Simultaneously, the sound that is created will trigger events in the 3D graphics software to be presented on the screen behind the singer. The volume of a particular sound could be linked to various coordinates of one or multiple 3d objects, for example. Or perhaps the position of the singer on stage could relate directly to the position of the OpenGL camera in 3D space. <br />
<br />
The purpose of this project is to link, as closely as possible and in real time, movement, sound, and light.<br />
<br />
Previous music by the composer:<br />
* [http://www.elisabetcurbelo.com/elisabetcurbelo/kara_toprak_en.html Kara Toprak]<br />
* [http://www.elisabetcurbelo.com/elisabetcurbelo/Mikrop_en.html Mikrop]<br />
<br />
==Literature==<br />
<br />
Meredith Monk: Four Decades by Design and by Invention<br />
<br />
Nancy Putnam Smithner<br />
<br />
TDR (1988-) , Vol. 49, No. 2 (Summer, 2005), pp. 93-118<br />
<br />
Published by: The MIT Press<br />
<br />
Article Stable URL: http://www.jstor.org/stable/4488644</div>Ecurbelohttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces/Reality_and_Psyche&diff=57676EKK:LoFi Sounds in HiFi Spaces/Reality and Psyche2013-05-13T06:19:51Z<p>Ecurbelo: /* Literature */</p>
<hr />
<div>===Involves===<br />
Body Movement<br />
Singer<br />
Electronic music<br />
Real-time Control of 3D Graphics via Audio<br />
Various Wireless Sensors Attached to the Dancer's Clothing, Hands, and shoes<br />
Wireless Microcontroller<br />
Custom Software Developed for Manipulating Objects in OpenGL <br />
<br />
===People===<br />
* [[../ElisabetCurbelo/]]<br />
* [[../czyskows/]]<br />
* …anyone else who cares to be involved<br />
<br />
==Product==<br />
A singer will be on stage in front of a screen. The singer will have force sensors and piezo electric sensors on her shoes, proximity sensors on her hands, and light sensors on her torso. All of these sensors will be connected to a microcontroller with a wireless interface. There will be a hub that receives the wireless data from the singer's sensors. The data will then be used to create or alter sounds - for example, a step could trigger an electronic sound, while the proximity of the hands alters the amount of delay that is added to the voice of the singer. Simultaneously, the sound that is created will trigger events in the 3D graphics software to be presented on the screen behind the singer. The volume of a particular sound could be linked to various coordinates of one or multiple 3d objects, for example. Or perhaps the position of the singer on stage could relate directly to the position of the OpenGL camera in 3D space. <br />
<br />
The purpose of this project is to link, as closely as possible and in real time, movement, sound, and light.<br />
<br />
Previous music by the composer:<br />
* [http://www.elisabetcurbelo.com/elisabetcurbelo/kara_toprak_en.html Kara Toprak]<br />
* [http://www.elisabetcurbelo.com/elisabetcurbelo/Mikrop_en.html Mikrop]<br />
<br />
==Literature==<br />
<br />
Meredith Monk: Four Decades by Design and by Invention<br />
Nancy Putnam Smithner<br />
TDR (1988-) , Vol. 49, No. 2 (Summer, 2005), pp. 93-118<br />
Published by: The MIT Press<br />
Article Stable URL: http://www.jstor.org/stable/4488644</div>Ecurbelohttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces/Reality_and_Psyche&diff=57674EKK:LoFi Sounds in HiFi Spaces/Reality and Psyche2013-05-13T06:18:39Z<p>Ecurbelo: </p>
<hr />
<div>===Involves===<br />
Body Movement<br />
Singer<br />
Electronic music<br />
Real-time Control of 3D Graphics via Audio<br />
Various Wireless Sensors Attached to the Dancer's Clothing, Hands, and shoes<br />
Wireless Microcontroller<br />
Custom Software Developed for Manipulating Objects in OpenGL <br />
<br />
===People===<br />
* [[../ElisabetCurbelo/]]<br />
* [[../czyskows/]]<br />
* …anyone else who cares to be involved<br />
<br />
==Product==<br />
A singer will be on stage in front of a screen. The singer will have force sensors and piezo electric sensors on her shoes, proximity sensors on her hands, and light sensors on her torso. All of these sensors will be connected to a microcontroller with a wireless interface. There will be a hub that receives the wireless data from the singer's sensors. The data will then be used to create or alter sounds - for example, a step could trigger an electronic sound, while the proximity of the hands alters the amount of delay that is added to the voice of the singer. Simultaneously, the sound that is created will trigger events in the 3D graphics software to be presented on the screen behind the singer. The volume of a particular sound could be linked to various coordinates of one or multiple 3d objects, for example. Or perhaps the position of the singer on stage could relate directly to the position of the OpenGL camera in 3D space. <br />
<br />
The purpose of this project is to link, as closely as possible and in real time, movement, sound, and light.<br />
<br />
Previous music by the composer:<br />
* [http://www.elisabetcurbelo.com/elisabetcurbelo/kara_toprak_en.html Kara Toprak]<br />
* [http://www.elisabetcurbelo.com/elisabetcurbelo/Mikrop_en.html Mikrop]<br />
<br />
==Literature==<br />
<br />
[http://www.jstor.org/stable/4488644?&Search=yes&searchText=body&searchText=monk&searchText=meredith&list=hide&searchUri=%2Faction%2FdoBasicSearch%3FQuery%3Dmeredith%2Bmonk%2Bbody%26Search%3DSearch%26gw%3Djtx%26prq%3Dmeredith%2Bmonk%2Bvoice%2Bbody%26hp%3D25%26acc%3Don%26aori%3Da%26wc%3Don%26fc%3Doff&prevSearch=&item=1&ttl=1080&returnArticleService=showFullText Meredith Monk]</div>Ecurbelohttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces/Reality_and_Psyche&diff=57673EKK:LoFi Sounds in HiFi Spaces/Reality and Psyche2013-05-13T06:17:32Z<p>Ecurbelo: </p>
<hr />
<div>===Involves===<br />
Body Movement<br />
Singer<br />
Electronic music<br />
Real-time Control of 3D Graphics via Audio<br />
Various Wireless Sensors Attached to the Dancer's Clothing, Hands, and shoes<br />
Wireless Microcontroller<br />
Custom Software Developed for Manipulating Objects in OpenGL <br />
<br />
===People===<br />
* [[../ElisabetCurbelo/]]<br />
* [[../czyskows/]]<br />
* …anyone else who cares to be involved<br />
<br />
==Product==<br />
A singer will be on stage in front of a screen. The singer will have force sensors and piezo electric sensors on her shoes, proximity sensors on her hands, and light sensors on her torso. All of these sensors will be connected to a microcontroller with a wireless interface. There will be a hub that receives the wireless data from the singer's sensors. The data will then be used to create or alter sounds - for example, a step could trigger an electronic sound, while the proximity of the hands alters the amount of delay that is added to the voice of the singer. Simultaneously, the sound that is created will trigger events in the 3D graphics software to be presented on the screen behind the singer. The volume of a particular sound could be linked to various coordinates of one or multiple 3d objects, for example. Or perhaps the position of the singer on stage could relate directly to the position of the OpenGL camera in 3D space. <br />
<br />
The purpose of this project is to link, as closely as possible and in real time, movement, sound, and light.<br />
<br />
Previous music by the composer:<br />
* [http://www.elisabetcurbelo.com/elisabetcurbelo/kara_toprak_en.html Kara Toprak]<br />
* [http://www.elisabetcurbelo.com/elisabetcurbelo/Mikrop_en.html Mikrop]<br />
<br />
<br />
[http://www.jstor.org/stable/4488644?&Search=yes&searchText=body&searchText=monk&searchText=meredith&list=hide&searchUri=%2Faction%2FdoBasicSearch%3FQuery%3Dmeredith%2Bmonk%2Bbody%26Search%3DSearch%26gw%3Djtx%26prq%3Dmeredith%2Bmonk%2Bvoice%2Bbody%26hp%3D25%26acc%3Don%26aori%3Da%26wc%3Don%26fc%3Doff&prevSearch=&item=1&ttl=1080&returnArticleService=showFullText Meredith Monk]</div>Ecurbelohttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces/Reality_and_Psyche&diff=57463EKK:LoFi Sounds in HiFi Spaces/Reality and Psyche2013-05-05T02:44:14Z<p>Ecurbelo: /* Product */</p>
<hr />
<div>===Involves===<br />
Body Movement<br />
Singer<br />
Electronic music<br />
Real-time Control of 3D Graphics via Audio<br />
Various Wireless Sensors Attached to the Dancer's Clothing, Hands, and shoes<br />
Wireless Microcontroller<br />
Custom Software Developed for Manipulating Objects in OpenGL <br />
<br />
===People===<br />
* [[../ElisabetCurbelo/]]<br />
* [[../czyskows/]]<br />
*… Anyone else who cares to be involved<br />
<br />
===Product===<br />
A singer will be on stage in front of a screen. The singer will have force sensors and piezo electric sensors on her shoes, proximity sensors on her hands, and light sensors on her torso. All of these sensors will be connected to a microcontroller with a wireless interface. There will be a hub that receives the wireless data from the singer's sensors. The data will then be used to create or alter sounds - for example, a step could trigger an electronic sound, while the proximity of the hands alters the amount of delay that is added to the voice of the singer. Simultaneously, the sound that is created will trigger events in the 3D graphics software to be presented on the screen behind the singer. The volume of a particular sound could be linked to various coordinates of one or multiple 3d objects, for example. Or perhaps the position of the singer on stage could relate directly to the position of the OpenGL camera in 3D space. <br />
<br />
The purpose of this project is to link, as closely as possible and in real time, movement, sound, and light.<br />
<br />
Previous music by the composer:<br />
<br />
http://www.elisabetcurbelo.com/elisabetcurbelo/kara_toprak_en.html<br />
<br />
http://www.elisabetcurbelo.com/elisabetcurbelo/Mikrop_en.html</div>Ecurbelohttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces/Reality_and_Psyche&diff=57462EKK:LoFi Sounds in HiFi Spaces/Reality and Psyche2013-05-05T02:43:54Z<p>Ecurbelo: /* Product */</p>
<hr />
<div>===Involves===<br />
Body Movement<br />
Singer<br />
Electronic music<br />
Real-time Control of 3D Graphics via Audio<br />
Various Wireless Sensors Attached to the Dancer's Clothing, Hands, and shoes<br />
Wireless Microcontroller<br />
Custom Software Developed for Manipulating Objects in OpenGL <br />
<br />
===People===<br />
* [[../ElisabetCurbelo/]]<br />
* [[../czyskows/]]<br />
*… Anyone else who cares to be involved<br />
<br />
===Product===<br />
A singer will be on stage in front of a screen. The singer will have force sensors and piezo electric sensors on her shoes, proximity sensors on her hands, and light sensors on her torso. All of these sensors will be connected to a microcontroller with a wireless interface. There will be a hub that receives the wireless data from the singer's sensors. The data will then be used to create or alter sounds - for example, a step could trigger an electronic sound, while the proximity of the hands alters the amount of delay that is added to the voice of the singer. Simultaneously, the sound that is created will trigger events in the 3D graphics software to be presented on the screen behind the singer. The volume of a particular sound could be linked to various coordinates of one or multiple 3d objects, for example. Or perhaps the position of the singer on stage could relate directly to the position of the OpenGL camera in 3D space. <br />
<br />
The purpose of this project is to link, as closely as possible and in real time, movement, sound, and light.<br />
<br />
Previous music by the composer:<br />
<br />
http://www.elisabetcurbelo.com/elisabetcurbelo/kara_toprak_en.html<br />
http://www.elisabetcurbelo.com/elisabetcurbelo/Mikrop_en.html</div>Ecurbelohttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces/Reality_and_Psyche&diff=57461EKK:LoFi Sounds in HiFi Spaces/Reality and Psyche2013-05-05T02:43:06Z<p>Ecurbelo: </p>
<hr />
<div>===Involves===<br />
Body Movement<br />
Singer<br />
Electronic music<br />
Real-time Control of 3D Graphics via Audio<br />
Various Wireless Sensors Attached to the Dancer's Clothing, Hands, and shoes<br />
Wireless Microcontroller<br />
Custom Software Developed for Manipulating Objects in OpenGL <br />
<br />
===People===<br />
* [[../ElisabetCurbelo/]]<br />
* [[../czyskows/]]<br />
*… Anyone else who cares to be involved<br />
<br />
===Product===<br />
A singer will be on stage in front of a screen. The singer will have force sensors and piezo electric sensors on her shoes, proximity sensors on her hands, and light sensors on her torso. All of these sensors will be connected to a microcontroller with a wireless interface. There will be a hub that receives the wireless data from the singer's sensors. The data will then be used to create or alter sounds - for example, a step could trigger an electronic sound, while the proximity of the hands alters the amount of delay that is added to the voice of the singer. Simultaneously, the sound that is created will trigger events in the 3D graphics software to be presented on the screen behind the singer. The volume of a particular sound could be linked to various coordinates of one or multiple 3d objects, for example. Or perhaps the position of the singer on stage could relate directly to the position of the OpenGL camera in 3D space. <br />
<br />
The purpose of this project is to link, as closely as possible and in real time, movement, sound, and light.<br />
<br />
Previous music by the composer:<br />
http://www.elisabetcurbelo.com/elisabetcurbelo/kara_toprak_en.html<br />
http://www.elisabetcurbelo.com/elisabetcurbelo/Mikrop_en.html</div>Ecurbelohttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces/Reality_and_Psyche&diff=57460EKK:LoFi Sounds in HiFi Spaces/Reality and Psyche2013-05-05T02:41:49Z<p>Ecurbelo: </p>
<hr />
<div><br />
===Involves===<br />
Body Movement<br />
Singer<br />
Electronic music<br />
Real-time Control of 3D Graphics via Audio<br />
Various Wireless Sensors Attached to the Dancer's Clothing, Hands, and shoes<br />
Wireless Microcontroller<br />
Custom Software Developed for Manipulating Objects in OpenGL <br />
<br />
===People===<br />
* [[../Elisabetcurbelo/]]<br />
Colin Zyskowski<br />
… Anyone else who cares to be involved<br />
<br />
===Product===<br />
A singer will be on stage in front of a screen. The singer will have force sensors and piezo electric sensors on her shoes, proximity sensors on her hands, and light sensors on her torso. All of these sensors will be connected to a microcontroller with a wireless interface. There will be a hub that receives the wireless data from the singer's sensors. The data will then be used to create or alter sounds - for example, a step could trigger an electronic sound, while the proximity of the hands alters the amount of delay that is added to the voice of the singer. Simultaneously, the sound that is created will trigger events in the 3D graphics software to be presented on the screen behind the singer. The volume of a particular sound could be linked to various coordinates of one or multiple 3d objects, for example. Or perhaps the position of the singer on stage could relate directly to the position of the OpenGL camera in 3D space. <br />
<br />
The purpose of this project is to link, as closely as possible and in real time, movement, sound, and light.<br />
<br />
Previous music by the composer:<br />
http://www.elisabetcurbelo.com/elisabetcurbelo/kara_toprak_en.html<br />
http://www.elisabetcurbelo.com/elisabetcurbelo/Mikrop_en.html</div>Ecurbelohttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces/Reality_and_Psyche&diff=57459EKK:LoFi Sounds in HiFi Spaces/Reality and Psyche2013-05-05T02:38:32Z<p>Ecurbelo: </p>
<hr />
<div>Collaboration Idea:<br />
<br />
Involves:<br />
Body Movement<br />
Singer<br />
Electronic music<br />
Real-time Control of 3D Graphics via Audio<br />
Various Wireless Sensors Attached to the Dancer's Clothing, Hands, and shoes<br />
Wireless Microcontroller<br />
Custom Software Developed for Manipulating Objects in OpenGL <br />
<br />
People:<br />
Elisabet Curbelo<br />
Colin Zyskowski<br />
… Anyone else who cares to be involved<br />
<br />
Product:<br />
A singer will be on stage in front of a screen. The singer will have force sensors and piezo electric sensors on her shoes, proximity sensors on her hands, and light sensors on her torso. All of these sensors will be connected to a microcontroller with a wireless interface. There will be a hub that receives the wireless data from the singer's sensors. The data will then be used to create or alter sounds - for example, a step could trigger an electronic sound, while the proximity of the hands alters the amount of delay that is added to the voice of the singer. Simultaneously, the sound that is created will trigger events in the 3D graphics software to be presented on the screen behind the singer. The volume of a particular sound could be linked to various coordinates of one or multiple 3d objects, for example. Or perhaps the position of the singer on stage could relate directly to the position of the OpenGL camera in 3D space. <br />
<br />
The purpose of this project is to link, as closely as possible and in real time, movement, sound, and light.<br />
<br />
Previous music by the composer:<br />
http://www.elisabetcurbelo.com/elisabetcurbelo/kara_toprak_en.html<br />
http://www.elisabetcurbelo.com/elisabetcurbelo/Mikrop_en.html</div>Ecurbelohttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces/Reality_and_Psyche&diff=57458EKK:LoFi Sounds in HiFi Spaces/Reality and Psyche2013-05-04T23:29:50Z<p>Ecurbelo: Created page with "Collaboration Idea: Involves: Body Movement Singer Electronic music Real-time Control of 3D Graphics via Audio Various Wireless Sensors Attached to the Dancer's Clothing, Hands,..."</p>
<hr />
<div>Collaboration Idea:<br />
<br />
Involves:<br />
Body Movement<br />
Singer<br />
Electronic music<br />
Real-time Control of 3D Graphics via Audio<br />
Various Wireless Sensors Attached to the Dancer's Clothing, Hands, and shoes<br />
Wireless Microcontroller<br />
Custom Software Developed for Manipulating Objects in OpenGL <br />
<br />
People:<br />
Elisabet Curbelo<br />
Colin Zyskowski<br />
… Anyone else who cares to be involved<br />
<br />
Product:<br />
A singer will be on stage in front of a screen. The singer will have force sensors and piezo electric sensors on her shoes, proximity sensors on her hands, and light sensors on her torso. All of these sensors will be connected to a microcontroller with a wireless interface. There will be a hub that receives the wireless data from the singer's sensors. The data will then be used to create or alter sounds - for example, a step could trigger an electronic sound, while the proximity of the hands alters the amount of delay that is added to the voice of the singer. Simultaneously, the sound that is created will trigger events in the 3D graphics software to be presented on the screen behind the singer. The volume of a particular sound could be linked to various coordinates of one or multiple 3d objects, for example. Or perhaps the position of the singer on stage could relate directly to the position of the OpenGL camera in 3D space. <br />
<br />
The purpose of this project is to link, as closely as possible and in real time, movement, sound, and light.</div>Ecurbelohttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces&diff=57457EKK:LoFi Sounds in HiFi Spaces2013-05-04T23:22:02Z<p>Ecurbelo: /* Collaborative Projects */</p>
<hr />
<div>[[:Category:Projektmodul|Projektmodul]]<br /><br />
''Lecturers:'' [[Robin Minard]], [[/miller|Miller Puckette]], Katharina Rosenberger, [[/Shahrokh|Shahrokh Yadegari]], [[Ludger Hennig]], [[Max Neupert]]<br /><br />
''Credits:'' 18 [[ECTS]], 16 [[SWS]]<br /><br />
''Date:'' Monday, 18:00 until 21:30 h (due to the time difference to San Diego)<br /><br />
''Venue:'' [[Coudraystraße 13a]], SeaM Werkstattstudio<br /><br />
''First meeting:'' 15.04.2013<br />
<br />
==Description==<br />
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.<br />
<br />
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).<br />
<br />
===German description===<br />
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.<br />
<br />
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.<br />
<br />
==Werk/Fachmodule==<br />
We recommend the Werk/Fachmodul [[GMU:Dataflow II]] and/or Ludger Hennigs soundscapes class along with this Project module.<br />
<br />
==Assignments==<br />
# [[/Making connection/]] due 04-22<br />
# [[/Mingling sounds/]] due 04-29<br />
# [[/Textualize ideas/]] due 05-06<br />
# [[/Proposing concepts/]] due 05-13<br />
<br />
==Evaluation==<br />
Active participation, presentation, artistic examination, documentation, edits in the wiki.<br />
<br />
==Participants==<br />
===Weimar===<br />
* [[/Rico/]]<br />
* [[/Alex/]]<br />
* [[/Alice/]]<br />
* [[/Jonas/]]<br />
* [[/Andre/]]<br />
* [[/Paul/]]<br />
* [[/Ben/]]<br />
* [[/Ludwigberger/]]<br />
* [[/TimH/]]<br />
* [[/Dorian/]]<br />
* [[/Clemens/]]<br />
* [[/Ives/]]<br />
* [[/Cornelio/]]<br />
* [[/Johannes/]]<br />
<br />
* [[/Max/]] (you may use this as a template for your self-introduction)<br />
<br />
===San Diego===<br />
* [[/Brendan Bernhardt Gaffney/]]<br />
* [[/Kevin/]]<br />
* [[/Melanie/]]<br />
* [[/Jeffrey/]]<br />
* [[/Bo/]]<br />
* [[/Andy/]]<br />
* [[/Jamilah/]]<br />
* [[/Marcelo/]]<br />
* [[/Ryan Welsh/]]<br />
* [[/ElisabetCurbelo/]]<br />
* [[/Joe Cantrell/]]<br />
* [[/czyskows/]]<br />
* [[/NickDrashner/]]<br />
<br />
* [[/miller/]]<br />
* [[/Shahrokh/]]<br />
* [[/CarolineMiller/]]<br />
<br />
<br />
==Collaborative Projects==<br />
* [[/Convergence/]]<br />
* [[/Wind transfer/]]<br />
* [[/Body Instrument/]]<br />
<br />
==Syllabus==<br />
ISO Standard: MONTH/DAY<br />
# 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.<br />
# 04/08 Only in San Diego – faculty presentations continued. Miller - Rasberry Pi as an audio and video platform. Shahrokh - Mugic protocol; video walls<br />
# 04/15 First joint class<br />
# 04/22 Robin, Ludger and Max are in San Diego<br />
# 04/29<br />
# 05/06<br />
# 05/13<br />
# 05/20<br />
# 05/27 Only in Weimar (Memorial day in the U.S.)<br />
# 06/03<br />
# 06/10<br />
# 06/17<br />
# 06/24<br />
# 07/01<br />
<br />
==Literature==<br />
* Föllmer, Golo: Netzmusik, Wolke Verlag ISBN 3936000336<br />
* LaBelle, Brandon: Background Noise ISBN 9780826418456<br />
* LaBelle, Brandon: Site of Sound: Or Architecture and the Ear ISBN 978-0982743904<br />
* Minard, Robin: Silent Music ISBN 978-3933257130<br />
* Minard, Robin: Sound Installation Art<br />
* Leitner, Bernard: Sound:Space ISBN 978-3893224449<br />
<br />
Pd books:<br />
{{Template:PdBooks}}<br />
<br />
==Links==<br />
* [https://groups.google.com/forum/#!forum/buw-ucsd-class Google Group BUW-UCSD-class]<br />
* [https://puredata.info/docs/raspberry-pi Pure Data on the Raspberry Pi]<br />
<br />
===Sending data over the network===<br />
* [[OSC]]<br />
* netsend/netreceive, netserver/netclient. In Pd look at <tt>mrpeach</tt> and <tt>iemnet libraries</tt><br />
* [http://ivl.calit2.net/wiki/index.php/StreamingGraphics Mugic]<br />
<br />
===Sending Audio and Video over the Internet===<br />
* [[wikipedia:Audio Video Bridging]] AVB is a set of standards for audio and video transmission by the IEEE<br />
<br />
====Intended for Communcation====<br />
* [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]]<br />
* [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)<br />
* [http://www.oovoo.com ooVoo] [[File:Icon android 16x16.png]] [[File:Icon apple 16x16.png]] [[File:Icon windows8 16x16.png]]<br />
* [http://www.voxox.com voxox] [[File:Icon apple 16x16.png]] [[File:Icon windows8 16x16.png]]<br />
* [http://line.naver.jp/en LINE] [[File:Icon android 16x16.png]] [[File:Icon apple 16x16.png]] [[File:Icon windows8 16x16.png]]<br />
* [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]]<br />
* [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]]<br />
<br />
Teleconferencing<br />
* [http://www.polycom.com Polycom] [[File:Icon windows8 16x16.png]] System available in Weimar<br />
* [http://www.radvision.com/Products/Video-Conference-Systems Radvision Scopia] [[File:Icon windows8 16x16.png]]<br />
* [http://www.lifesize.com Livesize] [[File:Icon apple 16x16.png]] [[File:Icon windows8 16x16.png]] System available in San Diego<br />
<br />
Unidirectional only (aka streaming)<br />
* [http://giss.tv Global Independent Streaming Support], [http://giss.tv/wiki/index.php/Main_Page G.I.S.S wiki]<br />
* [http://www.ustream.tv Ustream]<br />
* [http://www.justin.tv justin.tv]<br />
* [http://www.shoutcast.com/ shoutcast] also as vst plugin availlable<br />
<br />
====Intended for Performance/Creative Use====<br />
* [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]]<br />
* [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]]<br />
* [http://gstreamer.freedesktop.org GStreamer] and bindings for Pd: [http://umlaeute.mur.at/Members/zmoelnig/projects/pdgst PdGst] [[File:Icon newtux 16x16.png]]<br />
* 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]]<br />
* [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]]<br />
<br />
===Performing Remotely===<br />
* [http://www.netpd.org NetPd] <br />
* [http://at.or.at/serendipd SerendiPd] collaborative patching</div>Ecurbelohttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces/Mingling_sounds/Ben_Elisabet&diff=57400EKK:LoFi Sounds in HiFi Spaces/Mingling sounds/Ben Elisabet2013-04-29T21:36:05Z<p>Ecurbelo: </p>
<hr />
<div>Hi Elisabet my mail address is: benjamin.vossler@hotmail.de<br />
<br />
Hi Ben my email address is: elisabetcurbelo@gmail.com<br />
<br />
=="Medium is the message"==<br />
a quote of Marshall McLuhan<br />
<br />
===[[User:Ben|Ben]]s' thoughts:===<br />
* the medium influences the way we interact and communicate<br />
* there's a difference between writing by using a typewriter, a laptop or a pencil<br />
* „Unser Schreibzeug arbeitet mit an unseren Gedanken / Our writing tools are also working on our thoughts“ ''Friedrich Nietzsche''<br />
* the structure of a medium influences the understanding on the receivers' site<br />
<br />
====in our transcontinental context====<br />
* our communication media and devices influence the quality of our communication<br />
* misunderstanding leads to new interpretation of the submitted content <br />
* the quality of the connection affects the esthetic of the experience -> a "glitchy memory" <br />
* the latency forces to slow down (if a Hi-Fi perception of San Diego is wanted -> need the upload on a video hoster)<br />
<br />
-> creates new "space" -> virtual Space <br/><br />
<br />
If I will remember San Diego, while a realtime connection via internet, I only have a destructive image in memory.<br />
<br />
====Ideas to work with====<br />
# using the latency time as a metronome <br/> -> waves from Weimar to San Diego<br />
# using the artifacts of the sound-transmission for the esthetic of an impulse response<br />-> Live-Electronic improvisation<br />
# collect sound spaces <br/>-> sending claps to open spaces in San Diego and use them to convole with sounds of Weimar and vice versa<br />
<br />
===[[User:ElisabetCurbelo|Elisabet]]s' thoughts:===<br />
<br />
As a composer I think that there are two different ways of creating: <br />
The message is the primary element and we should find the best medium to create it.<br />
The medium is limited and we have to be creative using it in a way that the message could be interesting.<br />
<br />
I think that the sentence "Medium is the message" refers to the second way of creating I wrote above. It makes sense to use the characteristics of the tools as inspiration to create a message in our transcontinental context because we are using a limited medium. I think It does not make sense for us to try to improve some that seems impossible in 3 month but we can create a message using the defects of the medium as part of the message . <br />
<br />
===Updated [[User:ElisabetCurbelo|Elisabet]]s' and [[User:Ben|Ben]]s' thoughts after the Skype discussion:===<br />
<br />
# How does the sentence “The medium is the message” by Marshall McLuhan applies to your practice? Comment on this quote in the context of your own work and in regards to this transcontinental collaboration, etc.<br />-> The medium influences and changes the content that is submitted. It also offers a new way of watching/hearing. For example if there is an error in the medium the message will be distorted. Another example is when we read a book or a music score we are reading and interpreting the medium which might give us a different message than the author wanted to.<br />
# American sound artist Bill Fontana made several pieces in which he transfers sound from one location to another. How does this locational switch change our understanding of a the space(s) in question? What new aspects of a sonic environment might emerge? What happens to our perception of a location once it is stripped from its original sounds and these are replaced by sounds from another location?<br />Normally we associate images with sounds, we know that we cannot hear the sound of a city in a forest. Although if you don't know the place you can accept certain sounds in that space. For example we can have an image of a big city and the sound of another big city and we accept it but of we know the city and we know in this city people speak Spanish and we are hearing Italian then we realize that the sound does not correspond with the image. <br />
# How does an instrument through which sound is transmitted shape our expectation and the perception of it (loudspeaker, telephone, alarm-clock), in other words, what if the expectation is not met, what impact can this have on our perception?<br /><br />
An example of this is when I used one salsa song that I liked so much as a ring tone then I got use it hear that music as a ring tone and when one day in a Club I heard the song I felt I didn´t like the song anymore to dance it. The same experience could be applied to an alarm-clock. Once we are familiar with the function of a sound it is hard to accept it in another context.<br />
Here there is an interesting song that uses the sound of an alarm-clock. Fred Frith-Morning Song <br />
<viedoflash type="youtube">Kx5RPHoR0A4</videoflash><br />
<br />
Also we can consider the cognitive prototypes (helmut rösing) -> As a child you learn to assemble an image with a sound and vice versa, to interact in your environment without distraction.<br />
<br />
-> We can make the difference between nature sounds and reproduced sounds (e.g. in a concert piece). <br />
<br />
<br />
==Video Documentation==<br />
San Weigo Diemar<br />
<videoflash type="vimeo">65038191|450|250</videoflash> <br />
<br />
Weimar Soundscape<br />
<videoflash type="vimeo">64954955|450|250</videoflash> <br />
<br />
San Diego Soundscape<br />
<videoflash type="vimeo">65006956|450|250</videoflash></div>Ecurbelohttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces/Mingling_sounds/Ben_Elisabet&diff=57382EKK:LoFi Sounds in HiFi Spaces/Mingling sounds/Ben Elisabet2013-04-29T17:22:19Z<p>Ecurbelo: </p>
<hr />
<div>Hi Elisabet my mail address is: benjamin.vossler@hotmail.de<br />
<br />
Hi Ben my email address is: elisabetcurbelo@gmail.com<br />
<br />
=="Medium is the message"==<br />
a quote of Marshall McLuhan<br />
<br />
===[[User:Ben|Ben]]s' thoughts:===<br />
* the medium influences the way we interact and communicate<br />
* there's a difference between writing by using a typewriter, a laptop or a pencil<br />
* „Unser Schreibzeug arbeitet mit an unseren Gedanken / Our writing tools are also working on our thoughts“ ''Friedrich Nietzsche''<br />
* the structure of a medium influences the understanding on the receivers' site<br />
<br />
====in our transcontinental context====<br />
* our communication media and devices influence the quality of our communication<br />
* misunderstanding leads to new interpretation of the submitted content <br />
* the quality of the connection affects the esthetic of the experience -> a "glitchy memory" <br />
* the latency forces to slow down (if a Hi-Fi perception of San Diego is wanted -> need the upload on a video hoster)<br />
<br />
-> creates new "space" -> virtual Space <br/><br />
<br />
If I will remember San Diego, while a realtime connection via internet, I only have a destructive image in memory.<br />
<br />
====Ideas to work with====<br />
# using the latency time as a metronome <br/> -> waves from Weimar to San Diego<br />
# using the artifacts of the sound-transmission for the esthetic of an impulse response<br />-> Live-Electronic improvisation<br />
# collect sound spaces <br/>-> sending claps to open spaces in San Diego and use them to convole with sounds of Weimar and vice versa<br />
<br />
===[[User:ElisabetCurbelo|Elisabet]]s' thoughts:===<br />
<br />
As a composer I think that there are two different ways of creating: <br />
The message is the primary element and we should find the best medium to create it.<br />
The medium is limited and we have to be creative using it in a way that the message could be interesting.<br />
<br />
I think that the sentence "Medium is the message" refers to the second way of creating I wrote above. It makes sense to use the characteristics of the tools as inspiration to create a message in our transcontinental context because we are using a limited medium. I think It does not make sense for us to try to improve some that seems impossible in 3 month but we can create a message using the defects of the medium as part of the message . <br />
<br />
===Updated [[User:ElisabetCurbelo|Elisabet]]s' and [[User:Ben|Ben]]s' thoughts after the Skype discussion:===<br />
<br />
# How does the sentence “The medium is the message” by Marshall McLuhan applies to your practice? Comment on this quote in the context of your own work and in regards to this transcontinental collaboration, etc.<br />-> The medium influences and changes the content that is submitted. It also offers a new way of watching/hearing. For example if there is an error in the medium the message will be distorted. Another example is when we read a book or a music score we are reading and interpreting the medium which might give us a different message than the author wanted to.<br />
# American sound artist Bill Fontana made several pieces in which he transfers sound from one location to another. How does this locational switch change our understanding of a the space(s) in question? What new aspects of a sonic environment might emerge? What happens to our perception of a location once it is stripped from its original sounds and these are replaced by sounds from another location?<br />Normally we associate images with sounds, we know that we cannot hear the sound of a city in a forest. Although if you don't know the place you can accept certain sounds in that space. For example we can have an image of a big city and the sound of another big city and we accept it but of we know the city and we know in this city people speak Spanish and we are hearing Italian then we realize that the sound does not correspond with the image. <br />
# How does an instrument through which sound is transmitted shape our expectation and the perception of it (loudspeaker, telephone, alarm-clock), in other words, what if the expectation is not met, what impact can this have on our perception?<br /><br />
An example of this is when I used one salsa song that I liked so much as a ring tone then I got use it hear that music as a ring tone and when one day in a Club I heard the song I felt I didn´t like the song anymore to dance it. The same experience could be applied to an alarm-clock. Once we are familiar with the function of a sound it is hard to accept it in another context.<br />
Here there is an interesting song that uses the sound of an alarm-clock. Fred Frith-Morning Song <br />
<viedoflash type="youtube">Kx5RPHoR0A4</videoflash><br />
<br />
Also we can consider the cognitive prototypes (helmut rösing) -> As a child you learn to assemble an image with a sound and vice versa, to interact in your environment without distraction.<br />
<br />
-> We can make the difference between nature sounds and reproduced sounds (e.g. in a concert piece). <br />
<br />
<br />
==Video Documentation==<br />
<br />
<videoflash type="vimeo">65038191</videoflash> San Weigo Diemar<br />
<br />
<videoflash type="vimeo">64954955</videoflash> Weimar Soundscape<br />
<br />
<videoflash type="vimeo">65006956</videoflash> San Diego Soundscape<br />
<br />
<videoflash type="vimeo">65063662</videoflash> WeimarSound-SDVideo</div>Ecurbelohttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces/Mingling_sounds/Ben_Elisabet&diff=57381EKK:LoFi Sounds in HiFi Spaces/Mingling sounds/Ben Elisabet2013-04-29T17:21:48Z<p>Ecurbelo: </p>
<hr />
<div>Hi Elisabet my mail address is: benjamin.vossler@hotmail.de<br />
<br />
Hi Ben my email address is: elisabetcurbelo@gmail.com<br />
<br />
=="Medium is the message"==<br />
a quote of Marshall McLuhan<br />
<br />
===[[User:Ben|Ben]]s' thoughts:===<br />
* the medium influences the way we interact and communicate<br />
* there's a difference between writing by using a typewriter, a laptop or a pencil<br />
* „Unser Schreibzeug arbeitet mit an unseren Gedanken / Our writing tools are also working on our thoughts“ ''Friedrich Nietzsche''<br />
* the structure of a medium influences the understanding on the receivers' site<br />
<br />
====in our transcontinental context====<br />
* our communication media and devices influence the quality of our communication<br />
* misunderstanding leads to new interpretation of the submitted content <br />
* the quality of the connection affects the esthetic of the experience -> a "glitchy memory" <br />
* the latency forces to slow down (if a Hi-Fi perception of San Diego is wanted -> need the upload on a video hoster)<br />
<br />
-> creates new "space" -> virtual Space <br/><br />
<br />
If I will remember San Diego, while a realtime connection via internet, I only have a destructive image in memory.<br />
<br />
====Ideas to work with====<br />
# using the latency time as a metronome <br/> -> waves from Weimar to San Diego<br />
# using the artifacts of the sound-transmission for the esthetic of an impulse response<br />-> Live-Electronic improvisation<br />
# collect sound spaces <br/>-> sending claps to open spaces in San Diego and use them to convole with sounds of Weimar and vice versa<br />
<br />
===[[User:ElisabetCurbelo|Elisabet]]s' thoughts:===<br />
<br />
As a composer I think that there are two different ways of creating: <br />
The message is the primary element and we should find the best medium to create it.<br />
The medium is limited and we have to be creative using it in a way that the message could be interesting.<br />
<br />
I think that the sentence "Medium is the message" refers to the second way of creating I wrote above. It makes sense to use the characteristics of the tools as inspiration to create a message in our transcontinental context because we are using a limited medium. I think It does not make sense for us to try to improve some that seems impossible in 3 month but we can create a message using the defects of the medium as part of the message . <br />
<br />
===Updated [[User:ElisabetCurbelo|Elisabet]]s' and [[User:Ben|Ben]]s' thoughts after the Skype discussion:===<br />
<br />
# How does the sentence “The medium is the message” by Marshall McLuhan applies to your practice? Comment on this quote in the context of your own work and in regards to this transcontinental collaboration, etc.<br />-> The medium influences and changes the content that is submitted. It also offers a new way of watching/hearing. For example if there is an error in the medium the message will be distorted. Another example is when we read a book or a music score we are reading and interpreting the medium which might give us a different message than the author wanted to.<br />
# American sound artist Bill Fontana made several pieces in which he transfers sound from one location to another. How does this locational switch change our understanding of a the space(s) in question? What new aspects of a sonic environment might emerge? What happens to our perception of a location once it is stripped from its original sounds and these are replaced by sounds from another location?<br />Normally we associate images with sounds, we know that we cannot hear the sound of a city in a forest. Although if you don't know the place you can accept certain sounds in that space. For example we can have an image of a big city and the sound of another big city and we accept it but of we know the city and we know in this city people speak Spanish and we are hearing Italian then we realize that the sound does not correspond with the image. <br />
# How does an instrument through which sound is transmitted shape our expectation and the perception of it (loudspeaker, telephone, alarm-clock), in other words, what if the expectation is not met, what impact can this have on our perception?<br /><br />
An example of this is when I used one salsa song that I liked so much as a ring tone then I got use it hear that music as a ring tone and when one day in a Club I heard the song I felt I didn´t like the song anymore to dance it. The same experience could be applied to an alarm-clock. Once we are familiar with the function of a sound it is hard to accept it in another context.<br />
Here there is an interesting song that uses the sound of an alarm-clock. Fred Frith-Morning Song <br />
<viedoflash type="youtube">Kx5RPHoR0A4</videoflash><br />
<br />
Also we can consider the cognitive prototypes (helmut rösing) -> As a child you learn to assemble an image with a sound and vice versa, to interact in your environment without distraction.<br />
<br />
-> We can make the difference between nature sounds and reproduced sounds (e.g. in a concert piece). <br />
<br />
<br />
==Video Documentation==<br />
<br />
<videoflash type="vimeo">65038191</videoflash> San Weigo Diemar<br />
<br />
<videoflash type="vimeo">64954955</videoflash> Weimar Soundscape<br />
<br />
<videoflash type="vimeo">65006956</videoflash> San Diego Soundscape<br />
<br />
<videoflash type="vimeo">65063662</videoflash> WeimarSound-SDVideo<br />
<br />
<videoflash type="vimeo">65069832</videoflash> SD Sound- Weimar Video</div>Ecurbelohttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces/Mingling_sounds/Ben_Elisabet&diff=57380EKK:LoFi Sounds in HiFi Spaces/Mingling sounds/Ben Elisabet2013-04-29T17:18:06Z<p>Ecurbelo: </p>
<hr />
<div>Hi Elisabet my mail address is: benjamin.vossler@hotmail.de<br />
<br />
Hi Ben my email address is: elisabetcurbelo@gmail.com<br />
<br />
=="Medium is the message"==<br />
a quote of Marshall McLuhan<br />
<br />
===[[User:Ben|Ben]]s' thoughts:===<br />
* the medium influences the way we interact and communicate<br />
* there's a difference between writing by using a typewriter, a laptop or a pencil<br />
* „Unser Schreibzeug arbeitet mit an unseren Gedanken / Our writing tools are also working on our thoughts“ ''Friedrich Nietzsche''<br />
* the structure of a medium influences the understanding on the receivers' site<br />
<br />
====in our transcontinental context====<br />
* our communication media and devices influence the quality of our communication<br />
* misunderstanding leads to new interpretation of the submitted content <br />
* the quality of the connection affects the esthetic of the experience -> a "glitchy memory" <br />
* the latency forces to slow down (if a Hi-Fi perception of San Diego is wanted -> need the upload on a video hoster)<br />
<br />
-> creates new "space" -> virtual Space <br/><br />
<br />
If I will remember San Diego, while a realtime connection via internet, I only have a destructive image in memory.<br />
<br />
====Ideas to work with====<br />
# using the latency time as a metronome <br/> -> waves from Weimar to San Diego<br />
# using the artifacts of the sound-transmission for the esthetic of an impulse response<br />-> Live-Electronic improvisation<br />
# collect sound spaces <br/>-> sending claps to open spaces in San Diego and use them to convole with sounds of Weimar and vice versa<br />
<br />
===[[User:ElisabetCurbelo|Elisabet]]s' thoughts:===<br />
<br />
As a composer I think that there are two different ways of creating: <br />
The message is the primary element and we should find the best medium to create it.<br />
The medium is limited and we have to be creative using it in a way that the message could be interesting.<br />
<br />
I think that the sentence "Medium is the message" refers to the second way of creating I wrote above. It makes sense to use the characteristics of the tools as inspiration to create a message in our transcontinental context because we are using a limited medium. I think It does not make sense for us to try to improve some that seems impossible in 3 month but we can create a message using the defects of the medium as part of the message . <br />
<br />
===Updated [[User:ElisabetCurbelo|Elisabet]]s' and [[User:Ben|Ben]]s' thoughts after the Skype discussion:===<br />
<br />
# How does the sentence “The medium is the message” by Marshall McLuhan applies to your practice? Comment on this quote in the context of your own work and in regards to this transcontinental collaboration, etc.<br />-> The medium influences and changes the content that is submitted. It also offers a new way of watching/hearing. For example if there is an error in the medium the message will be distorted. Another example is when we read a book or a music score we are reading and interpreting the medium which might give us a different message than the author wanted to.<br />
# American sound artist Bill Fontana made several pieces in which he transfers sound from one location to another. How does this locational switch change our understanding of a the space(s) in question? What new aspects of a sonic environment might emerge? What happens to our perception of a location once it is stripped from its original sounds and these are replaced by sounds from another location?<br />Normally we associate images with sounds, we know that we cannot hear the sound of a city in a forest. Although if you don't know the place you can accept certain sounds in that space. For example we can have an image of a big city and the sound of another big city and we accept it but of we know the city and we know in this city people speak Spanish and we are hearing Italian then we realize that the sound does not correspond with the image. <br />
# How does an instrument through which sound is transmitted shape our expectation and the perception of it (loudspeaker, telephone, alarm-clock), in other words, what if the expectation is not met, what impact can this have on our perception?<br /><br />
An example of this is when I used one salsa song that I liked so much as a ring tone then I got use it hear that music as a ring tone and when one day in a Club I heard the song I felt I didn´t like the song anymore to dance it. The same experience could be applied to an alarm-clock. Once we are familiar with the function of a sound it is hard to accept it in another context.<br />
Here there is an interesting song that uses the sound of an alarm-clock. Fred Frith-Morning Song <br />
<viedoflash type="youtube">Kx5RPHoR0A4</videoflash><br />
<br />
Also we can consider the cognitive prototypes (helmut rösing) -> As a child you learn to assemble an image with a sound and vice versa, to interact in your environment without distraction.<br />
<br />
-> We can make the difference between nature sounds and reproduced sounds (e.g. in a concert piece). <br />
<br />
<br />
==Video Documentation==<br />
<br />
<videoflash type="vimeo">65038191</videoflash> San Weigo Diemar<br />
<br />
<videoflash type="vimeo">64954955</videoflash> Weimar Soundscape<br />
<br />
<videoflash type="vimeo">65006956</videoflash> San Diego Soundscape<br />
<br />
<videoflash type="vimeo">65063662</videoflash> WeimarSound-SDVideo<br />
<br />
<videoflash type="vimeo">65069832</videoflash> SD Sound- Weimar Video<br />
<br />
http://www.youtube.com/watch?v=xFjV0JXRFvI&feature=youtu.be<br />
<br />
http://www.4shared.com/video/gqcHsCwp/SoundSD-VideoWeimar.html</div>Ecurbelohttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces/Mingling_sounds/Ben_Elisabet&diff=57378EKK:LoFi Sounds in HiFi Spaces/Mingling sounds/Ben Elisabet2013-04-29T17:11:27Z<p>Ecurbelo: </p>
<hr />
<div>Hi Elisabet my mail address is: benjamin.vossler@hotmail.de<br />
<br />
Hi Ben my email address is: elisabetcurbelo@gmail.com<br />
<br />
=="Medium is the message"==<br />
a quote of Marshall McLuhan<br />
<br />
===[[User:Ben|Ben]]s' thoughts:===<br />
* the medium influences the way we interact and communicate<br />
* there's a difference between writing by using a typewriter, a laptop or a pencil<br />
* „Unser Schreibzeug arbeitet mit an unseren Gedanken / Our writing tools are also working on our thoughts“ ''Friedrich Nietzsche''<br />
* the structure of a medium influences the understanding on the receivers' site<br />
<br />
====in our transcontinental context====<br />
* our communication media and devices influence the quality of our communication<br />
* misunderstanding leads to new interpretation of the submitted content <br />
* the quality of the connection affects the esthetic of the experience -> a "glitchy memory" <br />
* the latency forces to slow down (if a Hi-Fi perception of San Diego is wanted -> need the upload on a video hoster)<br />
<br />
-> creates new "space" -> virtual Space <br/><br />
<br />
If I will remember San Diego, while a realtime connection via internet, I only have a destructive image in memory.<br />
<br />
====Ideas to work with====<br />
# using the latency time as a metronome <br/> -> waves from Weimar to San Diego<br />
# using the artifacts of the sound-transmission for the esthetic of an impulse response<br />-> Live-Electronic improvisation<br />
# collect sound spaces <br/>-> sending claps to open spaces in San Diego and use them to convole with sounds of Weimar and vice versa<br />
<br />
===[[User:ElisabetCurbelo|Elisabet]]s' thoughts:===<br />
<br />
As a composer I think that there are two different ways of creating: <br />
The message is the primary element and we should find the best medium to create it.<br />
The medium is limited and we have to be creative using it in a way that the message could be interesting.<br />
<br />
I think that the sentence "Medium is the message" refers to the second way of creating I wrote above. It makes sense to use the characteristics of the tools as inspiration to create a message in our transcontinental context because we are using a limited medium. I think It does not make sense for us to try to improve some that seems impossible in 3 month but we can create a message using the defects of the medium as part of the message . <br />
<br />
===Updated [[User:ElisabetCurbelo|Elisabet]]s' and [[User:Ben|Ben]]s' thoughts after the Skype discussion:===<br />
<br />
# How does the sentence “The medium is the message” by Marshall McLuhan applies to your practice? Comment on this quote in the context of your own work and in regards to this transcontinental collaboration, etc.<br />-> The medium influences and changes the content that is submitted. It also offers a new way of watching/hearing. For example if there is an error in the medium the message will be distorted. Another example is when we read a book or a music score we are reading and interpreting the medium which might give us a different message than the author wanted to.<br />
# American sound artist Bill Fontana made several pieces in which he transfers sound from one location to another. How does this locational switch change our understanding of a the space(s) in question? What new aspects of a sonic environment might emerge? What happens to our perception of a location once it is stripped from its original sounds and these are replaced by sounds from another location?<br />Normally we associate images with sounds, we know that we cannot hear the sound of a city in a forest. Although if you don't know the place you can accept certain sounds in that space. For example we can have an image of a big city and the sound of another big city and we accept it but of we know the city and we know in this city people speak Spanish and we are hearing Italian then we realize that the sound does not correspond with the image. <br />
# How does an instrument through which sound is transmitted shape our expectation and the perception of it (loudspeaker, telephone, alarm-clock), in other words, what if the expectation is not met, what impact can this have on our perception?<br /><br />
An example of this is when I used one salsa song that I liked so much as a ring tone then I got use it hear that music as a ring tone and when one day in a Club I heard the song I felt I didn´t like the song anymore to dance it. The same experience could be applied to an alarm-clock. Once we are familiar with the function of a sound it is hard to accept it in another context.<br />
Here there is an interesting song that uses the sound of an alarm-clock. Fred Frith-Morning Song <br />
<viedoflash type="youtube">Kx5RPHoR0A4</videoflash><br />
<br />
Also we can consider the cognitive prototypes (helmut rösing) -> As a child you learn to assemble an image with a sound and vice versa, to interact in your environment without distraction.<br />
<br />
-> We can make the difference between nature sounds and reproduced sounds (e.g. in a concert piece). <br />
<br />
<br />
==Video Documentation==<br />
<br />
<videoflash type="vimeo">65038191</videoflash> San Weigo Diemar<br />
<br />
<videoflash type="vimeo">64954955</videoflash> Weimar Soundscape<br />
<br />
<videoflash type="vimeo">65006956</videoflash> San Diego Soundscape<br />
<br />
<videoflash type="vimeo">65063662</videoflash> WeimarSound-SDVideo<br />
<br />
<videoflash type="vimeo">65069832</videoflash> SD Sound- Weimar Video<br />
<br />
http://www.4shared.com/video/n_ZEN4Lu/SoundWeimar-VideoSD.html<br />
<br />
http://www.4shared.com/video/gqcHsCwp/SoundSD-VideoWeimar.html</div>Ecurbelohttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces/Mingling_sounds/Ben_Elisabet&diff=57377EKK:LoFi Sounds in HiFi Spaces/Mingling sounds/Ben Elisabet2013-04-29T17:10:51Z<p>Ecurbelo: </p>
<hr />
<div>Hi Elisabet my mail address is: benjamin.vossler@hotmail.de<br />
<br />
Hi Ben my email address is: elisabetcurbelo@gmail.com<br />
<br />
=="Medium is the message"==<br />
a quote of Marshall McLuhan<br />
<br />
===[[User:Ben|Ben]]s' thoughts:===<br />
* the medium influences the way we interact and communicate<br />
* there's a difference between writing by using a typewriter, a laptop or a pencil<br />
* „Unser Schreibzeug arbeitet mit an unseren Gedanken / Our writing tools are also working on our thoughts“ ''Friedrich Nietzsche''<br />
* the structure of a medium influences the understanding on the receivers' site<br />
<br />
====in our transcontinental context====<br />
* our communication media and devices influence the quality of our communication<br />
* misunderstanding leads to new interpretation of the submitted content <br />
* the quality of the connection affects the esthetic of the experience -> a "glitchy memory" <br />
* the latency forces to slow down (if a Hi-Fi perception of San Diego is wanted -> need the upload on a video hoster)<br />
<br />
-> creates new "space" -> virtual Space <br/><br />
<br />
If I will remember San Diego, while a realtime connection via internet, I only have a destructive image in memory.<br />
<br />
====Ideas to work with====<br />
# using the latency time as a metronome <br/> -> waves from Weimar to San Diego<br />
# using the artifacts of the sound-transmission for the esthetic of an impulse response<br />-> Live-Electronic improvisation<br />
# collect sound spaces <br/>-> sending claps to open spaces in San Diego and use them to convole with sounds of Weimar and vice versa<br />
<br />
===[[User:ElisabetCurbelo|Elisabet]]s' thoughts:===<br />
<br />
As a composer I think that there are two different ways of creating: <br />
The message is the primary element and we should find the best medium to create it.<br />
The medium is limited and we have to be creative using it in a way that the message could be interesting.<br />
<br />
I think that the sentence "Medium is the message" refers to the second way of creating I wrote above. It makes sense to use the characteristics of the tools as inspiration to create a message in our transcontinental context because we are using a limited medium. I think It does not make sense for us to try to improve some that seems impossible in 3 month but we can create a message using the defects of the medium as part of the message . <br />
<br />
===Updated [[User:ElisabetCurbelo|Elisabet]]s' and [[User:Ben|Ben]]s' thoughts after the Skype discussion:===<br />
<br />
# How does the sentence “The medium is the message” by Marshall McLuhan applies to your practice? Comment on this quote in the context of your own work and in regards to this transcontinental collaboration, etc.<br />-> The medium influences and changes the content that is submitted. It also offers a new way of watching/hearing. For example if there is an error in the medium the message will be distorted. Another example is when we read a book or a music score we are reading and interpreting the medium which might give us a different message than the author wanted to.<br />
# American sound artist Bill Fontana made several pieces in which he transfers sound from one location to another. How does this locational switch change our understanding of a the space(s) in question? What new aspects of a sonic environment might emerge? What happens to our perception of a location once it is stripped from its original sounds and these are replaced by sounds from another location?<br />Normally we associate images with sounds, we know that we cannot hear the sound of a city in a forest. Although if you don't know the place you can accept certain sounds in that space. For example we can have an image of a big city and the sound of another big city and we accept it but of we know the city and we know in this city people speak Spanish and we are hearing Italian then we realize that the sound does not correspond with the image. <br />
# How does an instrument through which sound is transmitted shape our expectation and the perception of it (loudspeaker, telephone, alarm-clock), in other words, what if the expectation is not met, what impact can this have on our perception?<br /><br />
An example of this is when I used one salsa song that I liked so much as a ring tone then I got use it hear that music as a ring tone and when one day in a Club I heard the song I felt I didn´t like the song anymore to dance it. The same experience could be applied to an alarm-clock. Once we are familiar with the function of a sound it is hard to accept it in another context.<br />
Here there is an interesting song that uses the sound of an alarm-clock. Fred Frith-Morning Song <br />
<viedoflash type="youtube">Kx5RPHoR0A4</videoflash><br />
<br />
Also we can consider the cognitive prototypes (helmut rösing) -> As a child you learn to assemble an image with a sound and vice versa, to interact in your environment without distraction.<br />
<br />
-> We can make the difference between nature sounds and reproduced sounds (e.g. in a concert piece). <br />
<br />
<br />
==Video Documentation==<br />
<br />
<videoflash type="vimeo">65038191</videoflash> San Weigo Diemar<br />
<br />
<videoflash type="vimeo">64954955</videoflash> Weimar Soundscape<br />
<br />
<videoflash type="vimeo">65006956</videoflash> San Diego Soundscape<br />
<br />
<videoflash type="vimeo">65063662</videoflash> WeimarSound-SDVideo<br />
<br />
<videoflash type="vimeo">65069832</videoflash> SD Sound- Weimar Video<br />
<br />
http://www.4shared.com/video/n_ZEN4Lu/SoundWeimar-VideoSD.html</div>Ecurbelohttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces/Mingling_sounds/Ben_Elisabet&diff=57375EKK:LoFi Sounds in HiFi Spaces/Mingling sounds/Ben Elisabet2013-04-29T17:08:29Z<p>Ecurbelo: </p>
<hr />
<div>Hi Elisabet my mail address is: benjamin.vossler@hotmail.de<br />
<br />
Hi Ben my email address is: elisabetcurbelo@gmail.com<br />
<br />
=="Medium is the message"==<br />
a quote of Marshall McLuhan<br />
<br />
===[[User:Ben|Ben]]s' thoughts:===<br />
* the medium influences the way we interact and communicate<br />
* there's a difference between writing by using a typewriter, a laptop or a pencil<br />
* „Unser Schreibzeug arbeitet mit an unseren Gedanken / Our writing tools are also working on our thoughts“ ''Friedrich Nietzsche''<br />
* the structure of a medium influences the understanding on the receivers' site<br />
<br />
====in our transcontinental context====<br />
* our communication media and devices influence the quality of our communication<br />
* misunderstanding leads to new interpretation of the submitted content <br />
* the quality of the connection affects the esthetic of the experience -> a "glitchy memory" <br />
* the latency forces to slow down (if a Hi-Fi perception of San Diego is wanted -> need the upload on a video hoster)<br />
<br />
-> creates new "space" -> virtual Space <br/><br />
<br />
If I will remember San Diego, while a realtime connection via internet, I only have a destructive image in memory.<br />
<br />
====Ideas to work with====<br />
# using the latency time as a metronome <br/> -> waves from Weimar to San Diego<br />
# using the artifacts of the sound-transmission for the esthetic of an impulse response<br />-> Live-Electronic improvisation<br />
# collect sound spaces <br/>-> sending claps to open spaces in San Diego and use them to convole with sounds of Weimar and vice versa<br />
<br />
===[[User:ElisabetCurbelo|Elisabet]]s' thoughts:===<br />
<br />
As a composer I think that there are two different ways of creating: <br />
The message is the primary element and we should find the best medium to create it.<br />
The medium is limited and we have to be creative using it in a way that the message could be interesting.<br />
<br />
I think that the sentence "Medium is the message" refers to the second way of creating I wrote above. It makes sense to use the characteristics of the tools as inspiration to create a message in our transcontinental context because we are using a limited medium. I think It does not make sense for us to try to improve some that seems impossible in 3 month but we can create a message using the defects of the medium as part of the message . <br />
<br />
===Updated [[User:ElisabetCurbelo|Elisabet]]s' and [[User:Ben|Ben]]s' thoughts after the Skype discussion:===<br />
<br />
# How does the sentence “The medium is the message” by Marshall McLuhan applies to your practice? Comment on this quote in the context of your own work and in regards to this transcontinental collaboration, etc.<br />-> The medium influences and changes the content that is submitted. It also offers a new way of watching/hearing. For example if there is an error in the medium the message will be distorted. Another example is when we read a book or a music score we are reading and interpreting the medium which might give us a different message than the author wanted to.<br />
# American sound artist Bill Fontana made several pieces in which he transfers sound from one location to another. How does this locational switch change our understanding of a the space(s) in question? What new aspects of a sonic environment might emerge? What happens to our perception of a location once it is stripped from its original sounds and these are replaced by sounds from another location?<br />Normally we associate images with sounds, we know that we cannot hear the sound of a city in a forest. Although if you don't know the place you can accept certain sounds in that space. For example we can have an image of a big city and the sound of another big city and we accept it but of we know the city and we know in this city people speak Spanish and we are hearing Italian then we realize that the sound does not correspond with the image. <br />
# How does an instrument through which sound is transmitted shape our expectation and the perception of it (loudspeaker, telephone, alarm-clock), in other words, what if the expectation is not met, what impact can this have on our perception?<br /><br />
An example of this is when I used one salsa song that I liked so much as a ring tone then I got use it hear that music as a ring tone and when one day in a Club I heard the song I felt I didn´t like the song anymore to dance it. The same experience could be applied to an alarm-clock. Once we are familiar with the function of a sound it is hard to accept it in another context.<br />
Here there is an interesting song that uses the sound of an alarm-clock. Fred Frith-Morning Song <br />
<viedoflash type="youtube">Kx5RPHoR0A4</videoflash><br />
<br />
Also we can consider the cognitive prototypes (helmut rösing) -> As a child you learn to assemble an image with a sound and vice versa, to interact in your environment without distraction.<br />
<br />
-> We can make the difference between nature sounds and reproduced sounds (e.g. in a concert piece). <br />
<br />
<br />
==Video Documentation==<br />
<br />
<videoflash type="vimeo">65038191</videoflash> San Weigo Diemar<br />
<br />
<videoflash type="vimeo">64954955</videoflash> Weimar Soundscape<br />
<br />
<videoflash type="vimeo">65006956</videoflash> San Diego Soundscape<br />
<br />
<videoflash type="vimeo">65063662</videoflash> WeimarSound-SDVideo<br />
<br />
<videoflash type="vimeo">65069832</videoflash> SD Sound- Weimar Video<br />
<br />
<videoflash type="4shared">gqcHsCwp</videoflash> SoundSD-VideoWeimar</div>Ecurbelohttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces/Mingling_sounds/Ben_Elisabet&diff=57374EKK:LoFi Sounds in HiFi Spaces/Mingling sounds/Ben Elisabet2013-04-29T17:05:10Z<p>Ecurbelo: </p>
<hr />
<div>Hi Elisabet my mail address is: benjamin.vossler@hotmail.de<br />
<br />
Hi Ben my email address is: elisabetcurbelo@gmail.com<br />
<br />
=="Medium is the message"==<br />
a quote of Marshall McLuhan<br />
<br />
===[[User:Ben|Ben]]s' thoughts:===<br />
* the medium influences the way we interact and communicate<br />
* there's a difference between writing by using a typewriter, a laptop or a pencil<br />
* „Unser Schreibzeug arbeitet mit an unseren Gedanken / Our writing tools are also working on our thoughts“ ''Friedrich Nietzsche''<br />
* the structure of a medium influences the understanding on the receivers' site<br />
<br />
====in our transcontinental context====<br />
* our communication media and devices influence the quality of our communication<br />
* misunderstanding leads to new interpretation of the submitted content <br />
* the quality of the connection affects the esthetic of the experience -> a "glitchy memory" <br />
* the latency forces to slow down (if a Hi-Fi perception of San Diego is wanted -> need the upload on a video hoster)<br />
<br />
-> creates new "space" -> virtual Space <br/><br />
<br />
If I will remember San Diego, while a realtime connection via internet, I only have a destructive image in memory.<br />
<br />
====Ideas to work with====<br />
# using the latency time as a metronome <br/> -> waves from Weimar to San Diego<br />
# using the artifacts of the sound-transmission for the esthetic of an impulse response<br />-> Live-Electronic improvisation<br />
# collect sound spaces <br/>-> sending claps to open spaces in San Diego and use them to convole with sounds of Weimar and vice versa<br />
<br />
===[[User:ElisabetCurbelo|Elisabet]]s' thoughts:===<br />
<br />
As a composer I think that there are two different ways of creating: <br />
The message is the primary element and we should find the best medium to create it.<br />
The medium is limited and we have to be creative using it in a way that the message could be interesting.<br />
<br />
I think that the sentence "Medium is the message" refers to the second way of creating I wrote above. It makes sense to use the characteristics of the tools as inspiration to create a message in our transcontinental context because we are using a limited medium. I think It does not make sense for us to try to improve some that seems impossible in 3 month but we can create a message using the defects of the medium as part of the message . <br />
<br />
===Updated [[User:ElisabetCurbelo|Elisabet]]s' and [[User:Ben|Ben]]s' thoughts after the Skype discussion:===<br />
<br />
# How does the sentence “The medium is the message” by Marshall McLuhan applies to your practice? Comment on this quote in the context of your own work and in regards to this transcontinental collaboration, etc.<br />-> The medium influences and changes the content that is submitted. It also offers a new way of watching/hearing. For example if there is an error in the medium the message will be distorted. Another example is when we read a book or a music score we are reading and interpreting the medium which might give us a different message than the author wanted to.<br />
# American sound artist Bill Fontana made several pieces in which he transfers sound from one location to another. How does this locational switch change our understanding of a the space(s) in question? What new aspects of a sonic environment might emerge? What happens to our perception of a location once it is stripped from its original sounds and these are replaced by sounds from another location?<br />Normally we associate images with sounds, we know that we cannot hear the sound of a city in a forest. Although if you don't know the place you can accept certain sounds in that space. For example we can have an image of a big city and the sound of another big city and we accept it but of we know the city and we know in this city people speak Spanish and we are hearing Italian then we realize that the sound does not correspond with the image. <br />
# How does an instrument through which sound is transmitted shape our expectation and the perception of it (loudspeaker, telephone, alarm-clock), in other words, what if the expectation is not met, what impact can this have on our perception?<br /><br />
An example of this is when I used one salsa song that I liked so much as a ring tone then I got use it hear that music as a ring tone and when one day in a Club I heard the song I felt I didn´t like the song anymore to dance it. The same experience could be applied to an alarm-clock. Once we are familiar with the function of a sound it is hard to accept it in another context.<br />
Here there is an interesting song that uses the sound of an alarm-clock. Fred Frith-Morning Song <br />
<viedoflash type="youtube">Kx5RPHoR0A4</videoflash><br />
<br />
Also we can consider the cognitive prototypes (helmut rösing) -> As a child you learn to assemble an image with a sound and vice versa, to interact in your environment without distraction.<br />
<br />
-> We can make the difference between nature sounds and reproduced sounds (e.g. in a concert piece). <br />
<br />
<br />
==Video Documentation==<br />
<br />
<videoflash type="vimeo">65038191</videoflash> San Weigo Diemar<br />
<br />
<videoflash type="vimeo">64954955</videoflash> Weimar Soundscape<br />
<br />
<videoflash type="vimeo">65006956</videoflash> San Diego Soundscape<br />
<br />
<videoflash type="vimeo">65063662</videoflash> WeimarSound-SDVideo<br />
<br />
<videoflash type="vimeo">65069832</videoflash> SD Sound- Weimar Video</div>Ecurbelohttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces/Mingling_sounds/Ben_Elisabet&diff=57373EKK:LoFi Sounds in HiFi Spaces/Mingling sounds/Ben Elisabet2013-04-29T17:04:49Z<p>Ecurbelo: </p>
<hr />
<div>Hi Elisabet my mail address is: benjamin.vossler@hotmail.de<br />
<br />
Hi Ben my email address is: elisabetcurbelo@gmail.com<br />
<br />
=="Medium is the message"==<br />
a quote of Marshall McLuhan<br />
<br />
===[[User:Ben|Ben]]s' thoughts:===<br />
* the medium influences the way we interact and communicate<br />
* there's a difference between writing by using a typewriter, a laptop or a pencil<br />
* „Unser Schreibzeug arbeitet mit an unseren Gedanken / Our writing tools are also working on our thoughts“ ''Friedrich Nietzsche''<br />
* the structure of a medium influences the understanding on the receivers' site<br />
<br />
====in our transcontinental context====<br />
* our communication media and devices influence the quality of our communication<br />
* misunderstanding leads to new interpretation of the submitted content <br />
* the quality of the connection affects the esthetic of the experience -> a "glitchy memory" <br />
* the latency forces to slow down (if a Hi-Fi perception of San Diego is wanted -> need the upload on a video hoster)<br />
<br />
-> creates new "space" -> virtual Space <br/><br />
<br />
If I will remember San Diego, while a realtime connection via internet, I only have a destructive image in memory.<br />
<br />
====Ideas to work with====<br />
# using the latency time as a metronome <br/> -> waves from Weimar to San Diego<br />
# using the artifacts of the sound-transmission for the esthetic of an impulse response<br />-> Live-Electronic improvisation<br />
# collect sound spaces <br/>-> sending claps to open spaces in San Diego and use them to convole with sounds of Weimar and vice versa<br />
<br />
===[[User:ElisabetCurbelo|Elisabet]]s' thoughts:===<br />
<br />
As a composer I think that there are two different ways of creating: <br />
The message is the primary element and we should find the best medium to create it.<br />
The medium is limited and we have to be creative using it in a way that the message could be interesting.<br />
<br />
I think that the sentence "Medium is the message" refers to the second way of creating I wrote above. It makes sense to use the characteristics of the tools as inspiration to create a message in our transcontinental context because we are using a limited medium. I think It does not make sense for us to try to improve some that seems impossible in 3 month but we can create a message using the defects of the medium as part of the message . <br />
<br />
===Updated [[User:ElisabetCurbelo|Elisabet]]s' and [[User:Ben|Ben]]s' thoughts after the Skype discussion:===<br />
<br />
# How does the sentence “The medium is the message” by Marshall McLuhan applies to your practice? Comment on this quote in the context of your own work and in regards to this transcontinental collaboration, etc.<br />-> The medium influences and changes the content that is submitted. It also offers a new way of watching/hearing. For example if there is an error in the medium the message will be distorted. Another example is when we read a book or a music score we are reading and interpreting the medium which might give us a different message than the author wanted to.<br />
# American sound artist Bill Fontana made several pieces in which he transfers sound from one location to another. How does this locational switch change our understanding of a the space(s) in question? What new aspects of a sonic environment might emerge? What happens to our perception of a location once it is stripped from its original sounds and these are replaced by sounds from another location?<br />Normally we associate images with sounds, we know that we cannot hear the sound of a city in a forest. Although if you don't know the place you can accept certain sounds in that space. For example we can have an image of a big city and the sound of another big city and we accept it but of we know the city and we know in this city people speak Spanish and we are hearing Italian then we realize that the sound does not correspond with the image. <br />
# How does an instrument through which sound is transmitted shape our expectation and the perception of it (loudspeaker, telephone, alarm-clock), in other words, what if the expectation is not met, what impact can this have on our perception?<br /><br />
An example of this is when I used one salsa song that I liked so much as a ring tone then I got use it hear that music as a ring tone and when one day in a Club I heard the song I felt I didn´t like the song anymore to dance it. The same experience could be applied to an alarm-clock. Once we are familiar with the function of a sound it is hard to accept it in another context.<br />
Here there is an interesting song that uses the sound of an alarm-clock. Fred Frith-Morning Song <br />
<viedoflash type="youtube">Kx5RPHoR0A4</videoflash><br />
<br />
Also we can consider the cognitive prototypes (helmut rösing) -> As a child you learn to assemble an image with a sound and vice versa, to interact in your environment without distraction.<br />
<br />
-> We can make the difference between nature sounds and reproduced sounds (e.g. in a concert piece). <br />
<br />
<br />
==Video Documentation==<br />
<br />
<videoflash type="vimeo">65038191</videoflash> San Weigo Diemar<br />
<br />
<videoflash type="vimeo">64954955</videoflash> Weimar Soundscape<br />
<br />
<videoflash type="vimeo">65006956</videoflash> San Diego Soundscape<br />
<br />
<videoflash type="vimeo">65063662</videoflash> WeimarSound-SDVideo<br />
<br />
<videoflash type="vimeo">65069832</videoflash> SD Sound- Weimar Video<br />
<br />
[URL=http://www.4shared.com/video/gqcHsCwp/SoundSD-VideoWeimar.html][IMG]http://dc582.4shared.com/img/gqcHsCwp/0.11799172894241117/SoundSD-VideoWeimar.mov[/IMG][/URL]</div>Ecurbelohttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces/Mingling_sounds/Ben_Elisabet&diff=57372EKK:LoFi Sounds in HiFi Spaces/Mingling sounds/Ben Elisabet2013-04-29T17:04:07Z<p>Ecurbelo: </p>
<hr />
<div>Hi Elisabet my mail address is: benjamin.vossler@hotmail.de<br />
<br />
Hi Ben my email address is: elisabetcurbelo@gmail.com<br />
<br />
=="Medium is the message"==<br />
a quote of Marshall McLuhan<br />
<br />
===[[User:Ben|Ben]]s' thoughts:===<br />
* the medium influences the way we interact and communicate<br />
* there's a difference between writing by using a typewriter, a laptop or a pencil<br />
* „Unser Schreibzeug arbeitet mit an unseren Gedanken / Our writing tools are also working on our thoughts“ ''Friedrich Nietzsche''<br />
* the structure of a medium influences the understanding on the receivers' site<br />
<br />
====in our transcontinental context====<br />
* our communication media and devices influence the quality of our communication<br />
* misunderstanding leads to new interpretation of the submitted content <br />
* the quality of the connection affects the esthetic of the experience -> a "glitchy memory" <br />
* the latency forces to slow down (if a Hi-Fi perception of San Diego is wanted -> need the upload on a video hoster)<br />
<br />
-> creates new "space" -> virtual Space <br/><br />
<br />
If I will remember San Diego, while a realtime connection via internet, I only have a destructive image in memory.<br />
<br />
====Ideas to work with====<br />
# using the latency time as a metronome <br/> -> waves from Weimar to San Diego<br />
# using the artifacts of the sound-transmission for the esthetic of an impulse response<br />-> Live-Electronic improvisation<br />
# collect sound spaces <br/>-> sending claps to open spaces in San Diego and use them to convole with sounds of Weimar and vice versa<br />
<br />
===[[User:ElisabetCurbelo|Elisabet]]s' thoughts:===<br />
<br />
As a composer I think that there are two different ways of creating: <br />
The message is the primary element and we should find the best medium to create it.<br />
The medium is limited and we have to be creative using it in a way that the message could be interesting.<br />
<br />
I think that the sentence "Medium is the message" refers to the second way of creating I wrote above. It makes sense to use the characteristics of the tools as inspiration to create a message in our transcontinental context because we are using a limited medium. I think It does not make sense for us to try to improve some that seems impossible in 3 month but we can create a message using the defects of the medium as part of the message . <br />
<br />
===Updated [[User:ElisabetCurbelo|Elisabet]]s' and [[User:Ben|Ben]]s' thoughts after the Skype discussion:===<br />
<br />
# How does the sentence “The medium is the message” by Marshall McLuhan applies to your practice? Comment on this quote in the context of your own work and in regards to this transcontinental collaboration, etc.<br />-> The medium influences and changes the content that is submitted. It also offers a new way of watching/hearing. For example if there is an error in the medium the message will be distorted. Another example is when we read a book or a music score we are reading and interpreting the medium which might give us a different message than the author wanted to.<br />
# American sound artist Bill Fontana made several pieces in which he transfers sound from one location to another. How does this locational switch change our understanding of a the space(s) in question? What new aspects of a sonic environment might emerge? What happens to our perception of a location once it is stripped from its original sounds and these are replaced by sounds from another location?<br />Normally we associate images with sounds, we know that we cannot hear the sound of a city in a forest. Although if you don't know the place you can accept certain sounds in that space. For example we can have an image of a big city and the sound of another big city and we accept it but of we know the city and we know in this city people speak Spanish and we are hearing Italian then we realize that the sound does not correspond with the image. <br />
# How does an instrument through which sound is transmitted shape our expectation and the perception of it (loudspeaker, telephone, alarm-clock), in other words, what if the expectation is not met, what impact can this have on our perception?<br /><br />
An example of this is when I used one salsa song that I liked so much as a ring tone then I got use it hear that music as a ring tone and when one day in a Club I heard the song I felt I didn´t like the song anymore to dance it. The same experience could be applied to an alarm-clock. Once we are familiar with the function of a sound it is hard to accept it in another context.<br />
Here there is an interesting song that uses the sound of an alarm-clock. Fred Frith-Morning Song <br />
<viedoflash type="youtube">Kx5RPHoR0A4</videoflash><br />
<br />
Also we can consider the cognitive prototypes (helmut rösing) -> As a child you learn to assemble an image with a sound and vice versa, to interact in your environment without distraction.<br />
<br />
-> We can make the difference between nature sounds and reproduced sounds (e.g. in a concert piece). <br />
<br />
<br />
==Video Documentation==<br />
<br />
<videoflash type="vimeo">65038191</videoflash> San Weigo Diemar<br />
<br />
<videoflash type="vimeo">64954955</videoflash> Weimar Soundscape<br />
<br />
<videoflash type="vimeo">65006956</videoflash> San Diego Soundscape<br />
<br />
<videoflash type="vimeo">65063662</videoflash> WeimarSound-SDVideo<br />
<br />
<videoflash type="vimeo">65069832</videoflash> SD Sound- Weimar Video</div>Ecurbelohttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces/Mingling_sounds/Ben_Elisabet&diff=57371EKK:LoFi Sounds in HiFi Spaces/Mingling sounds/Ben Elisabet2013-04-29T17:03:22Z<p>Ecurbelo: </p>
<hr />
<div>Hi Elisabet my mail address is: benjamin.vossler@hotmail.de<br />
<br />
Hi Ben my email address is: elisabetcurbelo@gmail.com<br />
<br />
=="Medium is the message"==<br />
a quote of Marshall McLuhan<br />
<br />
===[[User:Ben|Ben]]s' thoughts:===<br />
* the medium influences the way we interact and communicate<br />
* there's a difference between writing by using a typewriter, a laptop or a pencil<br />
* „Unser Schreibzeug arbeitet mit an unseren Gedanken / Our writing tools are also working on our thoughts“ ''Friedrich Nietzsche''<br />
* the structure of a medium influences the understanding on the receivers' site<br />
<br />
====in our transcontinental context====<br />
* our communication media and devices influence the quality of our communication<br />
* misunderstanding leads to new interpretation of the submitted content <br />
* the quality of the connection affects the esthetic of the experience -> a "glitchy memory" <br />
* the latency forces to slow down (if a Hi-Fi perception of San Diego is wanted -> need the upload on a video hoster)<br />
<br />
-> creates new "space" -> virtual Space <br/><br />
<br />
If I will remember San Diego, while a realtime connection via internet, I only have a destructive image in memory.<br />
<br />
====Ideas to work with====<br />
# using the latency time as a metronome <br/> -> waves from Weimar to San Diego<br />
# using the artifacts of the sound-transmission for the esthetic of an impulse response<br />-> Live-Electronic improvisation<br />
# collect sound spaces <br/>-> sending claps to open spaces in San Diego and use them to convole with sounds of Weimar and vice versa<br />
<br />
===[[User:ElisabetCurbelo|Elisabet]]s' thoughts:===<br />
<br />
As a composer I think that there are two different ways of creating: <br />
The message is the primary element and we should find the best medium to create it.<br />
The medium is limited and we have to be creative using it in a way that the message could be interesting.<br />
<br />
I think that the sentence "Medium is the message" refers to the second way of creating I wrote above. It makes sense to use the characteristics of the tools as inspiration to create a message in our transcontinental context because we are using a limited medium. I think It does not make sense for us to try to improve some that seems impossible in 3 month but we can create a message using the defects of the medium as part of the message . <br />
<br />
===Updated [[User:ElisabetCurbelo|Elisabet]]s' and [[User:Ben|Ben]]s' thoughts after the Skype discussion:===<br />
<br />
# How does the sentence “The medium is the message” by Marshall McLuhan applies to your practice? Comment on this quote in the context of your own work and in regards to this transcontinental collaboration, etc.<br />-> The medium influences and changes the content that is submitted. It also offers a new way of watching/hearing. For example if there is an error in the medium the message will be distorted. Another example is when we read a book or a music score we are reading and interpreting the medium which might give us a different message than the author wanted to.<br />
# American sound artist Bill Fontana made several pieces in which he transfers sound from one location to another. How does this locational switch change our understanding of a the space(s) in question? What new aspects of a sonic environment might emerge? What happens to our perception of a location once it is stripped from its original sounds and these are replaced by sounds from another location?<br />Normally we associate images with sounds, we know that we cannot hear the sound of a city in a forest. Although if you don't know the place you can accept certain sounds in that space. For example we can have an image of a big city and the sound of another big city and we accept it but of we know the city and we know in this city people speak Spanish and we are hearing Italian then we realize that the sound does not correspond with the image. <br />
# How does an instrument through which sound is transmitted shape our expectation and the perception of it (loudspeaker, telephone, alarm-clock), in other words, what if the expectation is not met, what impact can this have on our perception?<br /><br />
An example of this is when I used one salsa song that I liked so much as a ring tone then I got use it hear that music as a ring tone and when one day in a Club I heard the song I felt I didn´t like the song anymore to dance it. The same experience could be applied to an alarm-clock. Once we are familiar with the function of a sound it is hard to accept it in another context.<br />
Here there is an interesting song that uses the sound of an alarm-clock. Fred Frith-Morning Song <br />
<viedoflash type="youtube">Kx5RPHoR0A4</videoflash><br />
<br />
Also we can consider the cognitive prototypes (helmut rösing) -> As a child you learn to assemble an image with a sound and vice versa, to interact in your environment without distraction.<br />
<br />
-> We can make the difference between nature sounds and reproduced sounds (e.g. in a concert piece). <br />
<br />
<br />
==Video Documentation==<br />
<br />
<videoflash type="vimeo">65038191</videoflash> San Weigo Diemar<br />
<br />
<videoflash type="vimeo">64954955</videoflash> Weimar Soundscape<br />
<br />
<videoflash type="vimeo">65006956</videoflash> San Diego Soundscape<br />
<br />
<videoflash type="vimeo">65063662</videoflash> WeimarSound-SDVideo<br />
<br />
<videoflash type="vimeo">65069832</videoflash> SD Sound- Weimar Video<br />
<br />
<a href="http://www.4shared.com/video/gqcHsCwp/SoundSD-VideoWeimar.html" target=_blank><img src="http://dc582.4shared.com/img/gqcHsCwp/0.04038536142951987/SoundSD-VideoWeimar.mov" border="0"></a> SD Sound- Weimar Video</div>Ecurbelohttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces/Mingling_sounds/Ben_Elisabet&diff=57370EKK:LoFi Sounds in HiFi Spaces/Mingling sounds/Ben Elisabet2013-04-29T17:02:34Z<p>Ecurbelo: </p>
<hr />
<div>Hi Elisabet my mail address is: benjamin.vossler@hotmail.de<br />
<br />
Hi Ben my email address is: elisabetcurbelo@gmail.com<br />
<br />
=="Medium is the message"==<br />
a quote of Marshall McLuhan<br />
<br />
===[[User:Ben|Ben]]s' thoughts:===<br />
* the medium influences the way we interact and communicate<br />
* there's a difference between writing by using a typewriter, a laptop or a pencil<br />
* „Unser Schreibzeug arbeitet mit an unseren Gedanken / Our writing tools are also working on our thoughts“ ''Friedrich Nietzsche''<br />
* the structure of a medium influences the understanding on the receivers' site<br />
<br />
====in our transcontinental context====<br />
* our communication media and devices influence the quality of our communication<br />
* misunderstanding leads to new interpretation of the submitted content <br />
* the quality of the connection affects the esthetic of the experience -> a "glitchy memory" <br />
* the latency forces to slow down (if a Hi-Fi perception of San Diego is wanted -> need the upload on a video hoster)<br />
<br />
-> creates new "space" -> virtual Space <br/><br />
<br />
If I will remember San Diego, while a realtime connection via internet, I only have a destructive image in memory.<br />
<br />
====Ideas to work with====<br />
# using the latency time as a metronome <br/> -> waves from Weimar to San Diego<br />
# using the artifacts of the sound-transmission for the esthetic of an impulse response<br />-> Live-Electronic improvisation<br />
# collect sound spaces <br/>-> sending claps to open spaces in San Diego and use them to convole with sounds of Weimar and vice versa<br />
<br />
===[[User:ElisabetCurbelo|Elisabet]]s' thoughts:===<br />
<br />
As a composer I think that there are two different ways of creating: <br />
The message is the primary element and we should find the best medium to create it.<br />
The medium is limited and we have to be creative using it in a way that the message could be interesting.<br />
<br />
I think that the sentence "Medium is the message" refers to the second way of creating I wrote above. It makes sense to use the characteristics of the tools as inspiration to create a message in our transcontinental context because we are using a limited medium. I think It does not make sense for us to try to improve some that seems impossible in 3 month but we can create a message using the defects of the medium as part of the message . <br />
<br />
===Updated [[User:ElisabetCurbelo|Elisabet]]s' and [[User:Ben|Ben]]s' thoughts after the Skype discussion:===<br />
<br />
# How does the sentence “The medium is the message” by Marshall McLuhan applies to your practice? Comment on this quote in the context of your own work and in regards to this transcontinental collaboration, etc.<br />-> The medium influences and changes the content that is submitted. It also offers a new way of watching/hearing. For example if there is an error in the medium the message will be distorted. Another example is when we read a book or a music score we are reading and interpreting the medium which might give us a different message than the author wanted to.<br />
# American sound artist Bill Fontana made several pieces in which he transfers sound from one location to another. How does this locational switch change our understanding of a the space(s) in question? What new aspects of a sonic environment might emerge? What happens to our perception of a location once it is stripped from its original sounds and these are replaced by sounds from another location?<br />Normally we associate images with sounds, we know that we cannot hear the sound of a city in a forest. Although if you don't know the place you can accept certain sounds in that space. For example we can have an image of a big city and the sound of another big city and we accept it but of we know the city and we know in this city people speak Spanish and we are hearing Italian then we realize that the sound does not correspond with the image. <br />
# How does an instrument through which sound is transmitted shape our expectation and the perception of it (loudspeaker, telephone, alarm-clock), in other words, what if the expectation is not met, what impact can this have on our perception?<br /><br />
An example of this is when I used one salsa song that I liked so much as a ring tone then I got use it hear that music as a ring tone and when one day in a Club I heard the song I felt I didn´t like the song anymore to dance it. The same experience could be applied to an alarm-clock. Once we are familiar with the function of a sound it is hard to accept it in another context.<br />
Here there is an interesting song that uses the sound of an alarm-clock. Fred Frith-Morning Song <br />
<viedoflash type="youtube">Kx5RPHoR0A4</videoflash><br />
<br />
Also we can consider the cognitive prototypes (helmut rösing) -> As a child you learn to assemble an image with a sound and vice versa, to interact in your environment without distraction.<br />
<br />
-> We can make the difference between nature sounds and reproduced sounds (e.g. in a concert piece). <br />
<br />
<br />
==Video Documentation==<br />
<br />
<videoflash type="vimeo">65038191</videoflash> San Weigo Diemar<br />
<br />
<videoflash type="vimeo">64954955</videoflash> Weimar Soundscape<br />
<br />
<videoflash type="vimeo">65006956</videoflash> San Diego Soundscape<br />
<br />
<videoflash type="vimeo">65063662</videoflash> WeimarSound-SDVideo<br />
<br />
<videoflash type="vimeo">65069832</videoflash> SD Sound- Weimar Video<br />
<br />
<a href="http://www.4shared.com/video/gqcHsCwp/SoundSD-VideoWeimar.html" target=_blank><img src="http://dc582.4shared.com/img/gqcHsCwp/0.04038536142951987/SoundSD-VideoWeimar.mov" border="0"></a></div>Ecurbelohttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces/Mingling_sounds/Ben_Elisabet&diff=57361EKK:LoFi Sounds in HiFi Spaces/Mingling sounds/Ben Elisabet2013-04-29T16:42:07Z<p>Ecurbelo: </p>
<hr />
<div>Hi Elisabet my mail address is: benjamin.vossler@hotmail.de<br />
<br />
Hi Ben my email address is: elisabetcurbelo@gmail.com<br />
<br />
=="Medium is the message"==<br />
a quote of Marshall McLuhan<br />
<br />
===[[User:Ben|Ben]]s' thoughts:===<br />
* the medium influences the way we interact and communicate<br />
* there's a difference between writing by using a typewriter, a laptop or a pencil<br />
* „Unser Schreibzeug arbeitet mit an unseren Gedanken / Our writing tools are also working on our thoughts“ ''Friedrich Nietzsche''<br />
* the structure of a medium influences the understanding on the receivers' site<br />
<br />
====in our transcontinental context====<br />
* our communication media and devices influence the quality of our communication<br />
* misunderstanding leads to new interpretation of the submitted content <br />
* the quality of the connection affects the esthetic of the experience -> a "glitchy memory" <br />
* the latency forces to slow down (if a Hi-Fi perception of San Diego is wanted -> need the upload on a video hoster)<br />
<br />
-> creates new "space" -> virtual Space <br/><br />
<br />
If I will remember San Diego, while a realtime connection via internet, I only have a destructive image in memory.<br />
<br />
====Ideas to work with====<br />
# using the latency time as a metronome <br/> -> waves from Weimar to San Diego<br />
# using the artifacts of the sound-transmission for the esthetic of an impulse response<br />-> Live-Electronic improvisation<br />
# collect sound spaces <br/>-> sending claps to open spaces in San Diego and use them to convole with sounds of Weimar and vice versa<br />
<br />
===[[User:ElisabetCurbelo|Elisabet]]s' thoughts:===<br />
<br />
As a composer I think that there are two different ways of creating: <br />
The message is the primary element and we should find the best medium to create it.<br />
The medium is limited and we have to be creative using it in a way that the message could be interesting.<br />
<br />
I think that the sentence "Medium is the message" refers to the second way of creating I wrote above. It makes sense to use the characteristics of the tools as inspiration to create a message in our transcontinental context because we are using a limited medium. I think It does not make sense for us to try to improve some that seems impossible in 3 month but we can create a message using the defects of the medium as part of the message . <br />
<br />
===Updated [[User:ElisabetCurbelo|Elisabet]]s' and [[User:Ben|Ben]]s' thoughts after the Skype discussion:===<br />
<br />
# How does the sentence “The medium is the message” by Marshall McLuhan applies to your practice? Comment on this quote in the context of your own work and in regards to this transcontinental collaboration, etc.<br />-> The medium influences and changes the content that is submitted. It also offers a new way of watching/hearing. For example if there is an error in the medium the message will be distorted. Another example is when we read a book or a music score we are reading and interpreting the medium which might give us a different message than the author wanted to.<br />
# American sound artist Bill Fontana made several pieces in which he transfers sound from one location to another. How does this locational switch change our understanding of a the space(s) in question? What new aspects of a sonic environment might emerge? What happens to our perception of a location once it is stripped from its original sounds and these are replaced by sounds from another location?<br />Normally we associate images with sounds, we know that we cannot hear the sound of a city in a forest. Although if you don't know the place you can accept certain sounds in that space. For example we can have an image of a big city and the sound of another big city and we accept it but of we know the city and we know in this city people speak Spanish and we are hearing Italian then we realize that the sound does not correspond with the image. <br />
# How does an instrument through which sound is transmitted shape our expectation and the perception of it (loudspeaker, telephone, alarm-clock), in other words, what if the expectation is not met, what impact can this have on our perception?<br /><br />
An example of this is when I used one salsa song that I liked so much as a ring tone then I got use it hear that music as a ring tone and when one day in a Club I heard the song I felt I didn´t like the song anymore to dance it. The same experience could be applied to an alarm-clock. Once we are familiar with the function of a sound it is hard to accept it in another context.<br />
Here there is an interesting song that uses the sound of an alarm-clock. Fred Frith-Morning Song <br />
<viedoflash type="youtube">Kx5RPHoR0A4</videoflash><br />
<br />
Also we can consider the cognitive prototypes (helmut rösing) -> As a child you learn to assemble an image with a sound and vice versa, to interact in your environment without distraction.<br />
<br />
-> We can make the difference between nature sounds and reproduced sounds (e.g. in a concert piece). <br />
<br />
<br />
==Video Documentation==<br />
<br />
<videoflash type="vimeo">65038191</videoflash> San Weigo Diemar<br />
<br />
<videoflash type="vimeo">64954955</videoflash> Weimar Soundscape<br />
<br />
<videoflash type="vimeo">65006956</videoflash> San Diego Soundscape<br />
<br />
<videoflash type="vimeo">65063662</videoflash> WeimarSound-SDVideo<br />
<br />
<videoflash type="vimeo">65069832</videoflash> SD Sound- Weimar Video</div>Ecurbelohttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces/Mingling_sounds/Ben_Elisabet&diff=57360EKK:LoFi Sounds in HiFi Spaces/Mingling sounds/Ben Elisabet2013-04-29T16:36:18Z<p>Ecurbelo: </p>
<hr />
<div>Hi Elisabet my mail address is: benjamin.vossler@hotmail.de<br />
<br />
Hi Ben my email address is: elisabetcurbelo@gmail.com<br />
<br />
=="Medium is the message"==<br />
a quote of Marshall McLuhan<br />
<br />
===[[User:Ben|Ben]]s' thoughts:===<br />
* the medium influences the way we interact and communicate<br />
* there's a difference between writing by using a typewriter, a laptop or a pencil<br />
* „Unser Schreibzeug arbeitet mit an unseren Gedanken / Our writing tools are also working on our thoughts“ ''Friedrich Nietzsche''<br />
* the structure of a medium influences the understanding on the receivers' site<br />
<br />
====in our transcontinental context====<br />
* our communication media and devices influence the quality of our communication<br />
* misunderstanding leads to new interpretation of the submitted content <br />
* the quality of the connection affects the esthetic of the experience -> a "glitchy memory" <br />
* the latency forces to slow down (if a Hi-Fi perception of San Diego is wanted -> need the upload on a video hoster)<br />
<br />
-> creates new "space" -> virtual Space <br/><br />
<br />
If I will remember San Diego, while a realtime connection via internet, I only have a destructive image in memory.<br />
<br />
====Ideas to work with====<br />
# using the latency time as a metronome <br/> -> waves from Weimar to San Diego<br />
# using the artifacts of the sound-transmission for the esthetic of an impulse response<br />-> Live-Electronic improvisation<br />
# collect sound spaces <br/>-> sending claps to open spaces in San Diego and use them to convole with sounds of Weimar and vice versa<br />
<br />
===[[User:ElisabetCurbelo|Elisabet]]s' thoughts:===<br />
<br />
As a composer I think that there are two different ways of creating: <br />
The message is the primary element and we should find the best medium to create it.<br />
The medium is limited and we have to be creative using it in a way that the message could be interesting.<br />
<br />
I think that the sentence "Medium is the message" refers to the second way of creating I wrote above. It makes sense to use the characteristics of the tools as inspiration to create a message in our transcontinental context because we are using a limited medium. I think It does not make sense for us to try to improve some that seems impossible in 3 month but we can create a message using the defects of the medium as part of the message . <br />
<br />
===Updated [[User:ElisabetCurbelo|Elisabet]]s' and [[User:Ben|Ben]]s' thoughts after the Skype discussion:===<br />
<br />
# How does the sentence “The medium is the message” by Marshall McLuhan applies to your practice? Comment on this quote in the context of your own work and in regards to this transcontinental collaboration, etc.<br />-> The medium influences and changes the content that is submitted. It also offers a new way of watching/hearing. For example if there is an error in the medium the message will be distorted. Another example is when we read a book or a music score we are reading and interpreting the medium which might give us a different message than the author wanted to.<br />
# American sound artist Bill Fontana made several pieces in which he transfers sound from one location to another. How does this locational switch change our understanding of a the space(s) in question? What new aspects of a sonic environment might emerge? What happens to our perception of a location once it is stripped from its original sounds and these are replaced by sounds from another location?<br />Normally we associate images with sounds, we know that we cannot hear the sound of a city in a forest. Although if you don't know the place you can accept certain sounds in that space. For example we can have an image of a big city and the sound of another big city and we accept it but of we know the city and we know in this city people speak Spanish and we are hearing Italian then we realize that the sound does not correspond with the image. <br />
# How does an instrument through which sound is transmitted shape our expectation and the perception of it (loudspeaker, telephone, alarm-clock), in other words, what if the expectation is not met, what impact can this have on our perception?<br /><br />
An example of this is when I used one salsa song that I liked so much as a ring tone then I got use it hear that music as a ring tone and when one day in a Club I heard the song I felt I didn´t like the song anymore to dance it. The same experience could be applied to an alarm-clock. Once we are familiar with the function of a sound it is hard to accept it in another context.<br />
Here there is an interesting song that uses the sound of an alarm-clock. Fred Frith-Morning Song <br />
<viedoflash type="youtube">Kx5RPHoR0A4</videoflash><br />
<br />
Also we can consider the cognitive prototypes (helmut rösing) -> As a child you learn to assemble an image with a sound and vice versa, to interact in your environment without distraction.<br />
<br />
-> We can make the difference between nature sounds and reproduced sounds (e.g. in a concert piece). <br />
<br />
<br />
==Video Documentation==<br />
<br />
<videoflash type="vimeo">65038191</videoflash> San Weigo Diemar<br />
<br />
<videoflash type="vimeo">64954955</videoflash> Weimar Soundscape<br />
<br />
<videoflash type="vimeo">65006956</videoflash> San Diego Soundscape<br />
<br />
<videoflash type="vimeo">65063662</videoflash> WeimarSound-SDVideo</div>Ecurbelohttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces/Mingling_sounds/Ben_Elisabet&diff=57281EKK:LoFi Sounds in HiFi Spaces/Mingling sounds/Ben Elisabet2013-04-29T07:02:27Z<p>Ecurbelo: </p>
<hr />
<div>Hi Elisabet my mail address is: benjamin.vossler@gmail.com<br />
<br />
Hi Ben my email address is: elisabetcurbelo@gmail.com<br />
<br />
=="Medium is the message"==<br />
a quote of Marshall McLuhan<br />
<br />
===[http://www.uni-weimar.de/medien/wiki/User:Ben Ben]s' thoughts:===<br />
<br />
- the medium influences the way we interact and communicate <br /><br />
- there's a difference between writing by using a typewriter, a laptop or a pencil <br /><br />
- „Unser Schreibzeug arbeitet mit an unseren Gedanken / Our writing tools are also working on our thoughts“ ''Friedrich Nietzsche''<br/><br />
- the structure of a medium influences the understanding on the receivers' site <br /><br />
<br />
====in our transcontinental context====<br />
<br />
- our communication media and devices influence the quality of our communication <br/><br />
- misunderstanding leads to new interpretation of the submitted content <br/><br />
- the quality of the connection affects the esthetic of the experience -> a "glitchy memory" <br/><br />
- the latency forces to slow down (if a Hi-Fi perception of San Diego is wanted -> need the upload on a video hoster)<br />
<br />
-> creates new "space" -> virtual Space <br/><br />
<br />
If I will remember San Diego, while a realtime connection via internet, I only have a destructive image in memory.<br />
<br />
====Ideas to work with====<br />
<br />
1. using the latency time as a metronome <br/><br />
-> waves from Weimar to San Diego <br/><br />
<br />
2. using the artifacts of the sound-transmission for the esthetic of an impulse response <br/><br />
-> Live-Electronic improvisation<br />
<br />
3. collect sound spaces <br/><br />
-> sending claps to open spaces in San Diego and use them to convole with sounds of Weimar and vice versa<br />
<br />
===[http://www.uni-weimar.de/medien/wiki/User:ElisabetCurbelo Elisabet]s' thoughts:===<br />
<br />
As a composer I think that there are two different ways of creating: <br />
The message is the primary element and we should find the best medium to create it.<br />
The medium is limited and we have to be creative using it in a way that the message could be interesting.<br />
<br />
I think that the sentence "Medium is the message" refers to the second way of creating I wrote above. It makes sense to use the characteristics of the tools as inspiration to create a message in our transcontinental context because we are using a limited medium. I think It does not make sense for us to try to improve some that seems impossible in 3 month but we can create a message using the defects of the medium as part of the message . <br />
<br />
===Updated [http://www.uni-weimar.de/medien/wiki/User:ElisabetCurbelo Elisabet]s' and [http://www.uni-weimar.de/medien/wiki/User:Ben Ben]s' thoughts after the Skype discussion:===<br />
<br />
1. How does the sentence “The medium is the message” by Marshall McLuhan applies to your practice? Comment on this quote in the context of your own work and in regards to this transcontinental collaboration, etc.<br />
<br />
-> The medium influences and changes the content that is submitted. It also offers a new way of watching/hearing. For example if there is an error in the medium the message will be distorted. Another example is when we read a book or a music score we are reading and interpreting the medium which might give us a different message than the author wanted to.<br />
<br />
<br />
2. American sound artist Bill Fontana made several pieces in which he transfers sound from one location to another. How does this locational switch change our understanding of a the space(s) in question? What new aspects of a sonic environment might emerge? What happens to our perception of a location once it is stripped from its original sounds and these are replaced by sounds from another location?<br />
<br />
Normally we associate images with sounds, we know that we cannot hear the sound of a city in a forest. Although if you don't know the place you can accept certain sounds in that space. For example we can have an image of a big city and the sound of another big city and we accept it but of we know the city and we know in this city people speak Spanish and we are hearing Italian then we realize that the sound does not correspond with the image. <br />
<br />
3. How does an instrument through which sound is transmitted shape our expectation and the perception of it (loudspeaker, telephone, alarm-clock), in other words, what if the expectation is not met, what impact can this have on our perception?<br />
<br />
An example of this is when I used one salsa song that I liked so much as a ring tone then I got use it hear that music as a ring tone and when one day in a Club I heard the song I felt I didn´t like the song anymore to dance it. The same experience could be applied to an alarm-clock. Once we are familiar with the function of a sound it is hard to accept it in another context.<br />
Here there is an interesting song that uses the sound of an alarm-clock. Fred Frith-Morning Song <br />
http://www.youtube.com/watch?v=Kx5RPHoR0A4<br />
<br />
Also we can consider the cognitive prototypes (helmut rösing) -> As a child you learn to assemble an image with a sound and vice versa, to interact in your environment without distraction.<br />
<br />
-> We can make the difference between nature sounds and reproduced sounds (e.g. in a concert piece). <br />
<br />
<br />
==Video Documentation==<br />
<br />
[https://vimeo.com/64954955 Weimar Soundscape]<br />
<br />
[https://vimeo.com/65006956 San Diego Soundscape]<br />
<br />
[https://vimeo.com/65033235 WeimarSound-SDVideo]</div>Ecurbelohttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces/ElisabetCurbelo&diff=57258EKK:LoFi Sounds in HiFi Spaces/ElisabetCurbelo2013-04-29T05:55:21Z<p>Ecurbelo: /* My collaboration interest */</p>
<hr />
<div>[[File:Eli rojo.jpg|left|120px|thumb]]<br />
I am a composer and performer (voice and piano) from the Canary Islands (Spain). I am pursuing my Phd in Composition at UCSD. I did my bachelor´s degree in Piano Pedagogy at The Conservatory of the Canary Islands and Music Theory at The Madrid Royal Conservatory of Music. I studied my master´s in Composition at MIAM in Istanbul Technical University.<br />
<br />
My website [http://www.elisabetcurbelo.com elisabetcurbelo.com]<br />
<br />
Skype: Elisabetcurbelo<br />
==Interests==<br />
<br />
I am interested in composing for electronics, acoustic (western and non-western) and electronic instruments, video, dance. I am also interested in performing. <br />
<br />
===My collaboration interest===<br />
<br />
I am interested in working with visuals and sound. I would like to perform and compose.<br />
<br />
==Project Idea==<br />
<br />
<br />
==Platforms==<br />
<br />
I use OS X.</div>Ecurbelohttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces/Mingling_sounds/Ben_Elisabet&diff=57251EKK:LoFi Sounds in HiFi Spaces/Mingling sounds/Ben Elisabet2013-04-29T05:41:36Z<p>Ecurbelo: </p>
<hr />
<div>Hi Elisabet my mail address is: benjamin.vossler@gmail.com<br />
<br />
Hi Ben my email address is: elisabetcurbelo@gmail.com<br />
<br />
=="Medium is the message"==<br />
a quote of Marshall McLuhan<br />
<br />
===[http://www.uni-weimar.de/medien/wiki/User:Ben Ben]s' thoughts:===<br />
<br />
- the medium influences the way we interact and communicate <br /><br />
- there's a difference between writing by using a typewriter, a laptop or a pencil <br /><br />
- „Unser Schreibzeug arbeitet mit an unseren Gedanken / Our writing tools are also working on our thoughts“ ''Friedrich Nietzsche''<br/><br />
- the structure of a medium influences the understanding on the receivers' site <br /><br />
<br />
====in our transcontinental context====<br />
<br />
- our communication media and devices influence the quality of our communication <br/><br />
- misunderstanding leads to new interpretation of the submitted content <br/><br />
- the quality of the connection affects the esthetic of the experience -> a "glitchy memory" <br/><br />
- the latency forces to slow down (if a Hi-Fi perception of San Diego is wanted -> need the upload on a video hoster)<br />
<br />
-> creates new "space" -> virtual Space <br/><br />
<br />
If I will remember San Diego, while a realtime connection via internet, I only have a destructive image in memory.<br />
<br />
====Ideas to work with====<br />
<br />
1. using the latency time as a metronome <br/><br />
-> waves from Weimar to San Diego <br/><br />
<br />
2. using the artifacts of the sound-transmission for the esthetic of an impulse response <br/><br />
-> Live-Electronic improvisation<br />
<br />
3. collect sound spaces <br/><br />
-> sending claps to open spaces in San Diego and use them to convole with sounds of Weimar and vice versa<br />
<br />
===[http://www.uni-weimar.de/medien/wiki/User:ElisabetCurbelo Elisabet]s' thoughts:===<br />
<br />
As a composer I think that there are two different ways of creating: <br />
The message is the primary element and we should find the best medium to create it.<br />
The medium is limited and we have to be creative using it in a way that the message could be interesting.<br />
<br />
I think that the sentence "Medium is the message" refers to the second way of creating I wrote above. It makes sense to use the characteristics of the tools as inspiration to create a message in our transcontinental context because we are using a limited medium. I think It does not make sense for us to try to improve some that seems impossible in 3 month but we can create a message using the defects of the medium as part of the message . <br />
<br />
===Updated [http://www.uni-weimar.de/medien/wiki/User:ElisabetCurbelo Elisabet]s' and [http://www.uni-weimar.de/medien/wiki/User:Ben Ben]s' thoughts after the Skype discussion:===<br />
<br />
1. How does the sentence “The medium is the message” by Marshall McLuhan applies to your practice? Comment on this quote in the context of your own work and in regards to this transcontinental collaboration, etc.<br />
<br />
-> The medium influences and changes the content that is submitted. It also offers a new way of watching/hearing. For example if there is an error in the medium the message will be distorted. Another example is when we read a book or a music score we are reading and interpreting the medium which might give us a different message than the author wanted to.<br />
<br />
<br />
2. American sound artist Bill Fontana made several pieces in which he transfers sound from one location to another. How does this locational switch change our understanding of a the space(s) in question? What new aspects of a sonic environment might emerge? What happens to our perception of a location once it is stripped from its original sounds and these are replaced by sounds from another location?<br />
<br />
Normally we associate images with sounds, we know that we cannot hear the sound of a city in a forest. Although if you don't know the place you can accept certain sounds in that space. For example we can have an image of a big city and the sound of another big city and we accept it but of we know the city and we know in this city people speak Spanish and we are hearing Italian then we realize that the sound does not correspond with the image. <br />
<br />
3. How does an instrument through which sound is transmitted shape our expectation and the perception of it (loudspeaker, telephone, alarm-clock), in other words, what if the expectation is not met, what impact can this have on our perception?<br />
<br />
An example of this is when I used one salsa song that I liked so much as a ring tone then I got use it hear that music as a ring tone and when one day in a Club I heard the song I felt I didn´t like the song anymore to dance it. The same experience could be applied to an alarm-clock. Once we are familiar with the function of a sound it is hard to accept it in another context.<br />
Here there is an interesting song that uses the sound of an alarm-clock. Fred Frith-Morning Song <br />
http://www.youtube.com/watch?v=Kx5RPHoR0A4<br />
<br />
Also we can consider the cognitive prototypes (helmut rösing) -> As a child you learn to assemble an image with a sound and vice versa, to interact in your environment without distraction.<br />
<br />
-> We can make the difference between nature sounds and reproduced sounds (e.g. in a concert piece). <br />
<br />
<br />
==Video Documentation==<br />
<br />
[https://vimeo.com/64954955 Weimar Soundscape]<br />
<br />
[https://vimeo.com/65006956 San Diego Soundscape]</div>Ecurbelohttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces/Mingling_sounds/Ben_Elisabet&diff=57248EKK:LoFi Sounds in HiFi Spaces/Mingling sounds/Ben Elisabet2013-04-29T05:26:16Z<p>Ecurbelo: </p>
<hr />
<div>Hi Elisabet my mail address is: benjamin.vossler@gmail.com<br />
<br />
Hi Ben my email address is: elisabetcurbelo@gmail.com<br />
<br />
=="Medium is the message"==<br />
a quote of Marshall McLuhan<br />
<br />
===[http://www.uni-weimar.de/medien/wiki/User:Ben Ben]s' thoughts:===<br />
<br />
- the medium influences the way we interact and communicate <br /><br />
- there's a difference between writing by using a typewriter, a laptop or a pencil <br /><br />
- „Unser Schreibzeug arbeitet mit an unseren Gedanken / Our writing tools are also working on our thoughts“ ''Friedrich Nietzsche''<br/><br />
- the structure of a medium influences the understanding on the receivers' site <br /><br />
<br />
====in our transcontinental context====<br />
<br />
- our communication media and devices influence the quality of our communication <br/><br />
- misunderstanding leads to new interpretation of the submitted content <br/><br />
- the quality of the connection affects the esthetic of the experience -> a "glitchy memory" <br/><br />
- the latency forces to slow down (if a Hi-Fi perception of San Diego is wanted -> need the upload on a video hoster)<br />
<br />
-> creates new "space" -> virtual Space <br/><br />
<br />
If I will remember San Diego, while a realtime connection via internet, I only have a destructive image in memory.<br />
<br />
====Ideas to work with====<br />
<br />
1. using the latency time as a metronome <br/><br />
-> waves from Weimar to San Diego <br/><br />
<br />
2. using the artifacts of the sound-transmission for the esthetic of an impulse response <br/><br />
-> Live-Electronic improvisation<br />
<br />
3. collect sound spaces <br/><br />
-> sending claps to open spaces in San Diego and use them to convole with sounds of Weimar and vice versa<br />
<br />
===[http://www.uni-weimar.de/medien/wiki/User:ElisabetCurbelo Elisabet]s' thoughts:===<br />
<br />
As a composer I think that there are two different ways of creating: <br />
The message is the primary element and we should find the best medium to create it.<br />
The medium is limited and we have to be creative using it in a way that the message could be interesting.<br />
<br />
I think that the sentence "Medium is the message" refers to the second way of creating I wrote above. It makes sense to use the characteristics of the tools as inspiration to create a message in our transcontinental context because we are using a limited medium. I think It does not make sense for us to try to improve some that seems impossible in 3 month but we can create a message using the defects of the medium as part of the message . <br />
<br />
===Updated [http://www.uni-weimar.de/medien/wiki/User:ElisabetCurbelo Elisabet]s' and [http://www.uni-weimar.de/medien/wiki/User:Ben Ben]s' thoughts after the Skype discussion:===<br />
<br />
1. How does the sentence “The medium is the message” by Marshall McLuhan applies to your practice? Comment on this quote in the context of your own work and in regards to this transcontinental collaboration, etc.<br />
<br />
-> The medium influences and changes the content that is submitted. It also offers a new way of watching/hearing. For example if there is an error in the medium the message will be distorted. Another example is when we read a book or a music score we are reading and interpreting the medium which might give us a different message than the author wanted to.<br />
<br />
<br />
2. American sound artist Bill Fontana made several pieces in which he transfers sound from one location to another. How does this locational switch change our understanding of a the space(s) in question? What new aspects of a sonic environment might emerge? What happens to our perception of a location once it is stripped from its original sounds and these are replaced by sounds from another location?<br />
<br />
-> You dive places into other sonic environment. ->- If you don't know the place you can accept everything.<br />
<br />
3. How does an instrument through which sound is transmitted shape our expectation and the perception of it (loudspeaker, telephone, alarm-clock), in other words, what if the expectation is not met, what impact can this have on our perception?<br />
<br />
An example of this is when I used one salsa song that I liked so much as a ring tone then I got use it hear that music as a ring tone and when one day in a Club I heard the song I felt I didn´t like the song anymore to dance it. The same experience could be applied to an alarm-clock. Once we are familiar with the function of a sound it is hard to accept it in another context.<br />
Here there is an interesting song that uses the sound of an alarm-clock. Fred Frith-Morning Song <br />
http://www.youtube.com/watch?v=Kx5RPHoR0A4<br />
<br />
Also we can consider the cognitive prototypes (helmut rösing) -> As a child you learn to assemble an image with a sound and vice versa, to interact in your environment without distraction.<br />
<br />
-> We can make the difference between nature sounds and reproduced sounds (e.g. in a concert piece). <br />
<br />
<br />
==Video Documentation==<br />
<br />
[https://vimeo.com/64954955 Weimar Soundscape]<br />
<br />
[https://vimeo.com/65006956 San Diego Soundscape]</div>Ecurbelohttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces/Mingling_sounds/Ben_Elisabet&diff=57247EKK:LoFi Sounds in HiFi Spaces/Mingling sounds/Ben Elisabet2013-04-29T04:53:35Z<p>Ecurbelo: </p>
<hr />
<div>Hi Elisabet my mail address is: benjamin.vossler@gmail.com<br />
<br />
Hi Ben my email address is: elisabetcurbelo@gmail.com<br />
<br />
=="Medium is the message"==<br />
a quote of Marshall McLuhan<br />
<br />
===[http://www.uni-weimar.de/medien/wiki/User:Ben Ben]s' thoughts:===<br />
<br />
- the medium influences the way we interact and communicate <br /><br />
- there's a difference between writing by using a typewriter, a laptop or a pencil <br /><br />
- „Unser Schreibzeug arbeitet mit an unseren Gedanken / Our writing tools are also working on our thoughts“ ''Friedrich Nietzsche''<br/><br />
- the structure of a medium influences the understanding on the receivers' site <br /><br />
<br />
====in our transcontinental context====<br />
<br />
- our communication media and devices influence the quality of our communication <br/><br />
- misunderstanding leads to new interpretation of the submitted content <br/><br />
- the quality of the connection affects the esthetic of the experience -> a "glitchy memory" <br/><br />
- the latency forces to slow down (if a Hi-Fi perception of San Diego is wanted -> need the upload on a video hoster)<br />
<br />
-> creates new "space" -> virtual Space <br/><br />
<br />
If I will remember San Diego, while a realtime connection via internet, I only have a destructive image in memory.<br />
<br />
====Ideas to work with====<br />
<br />
1. using the latency time as a metronome <br/><br />
-> waves from Weimar to San Diego <br/><br />
<br />
2. using the artifacts of the sound-transmission for the esthetic of an impulse response <br/><br />
-> Live-Electronic improvisation<br />
<br />
3. collect sound spaces <br/><br />
-> sending claps to open spaces in San Diego and use them to convole with sounds of Weimar and vice versa<br />
<br />
===[http://www.uni-weimar.de/medien/wiki/User:ElisabetCurbelo Elisabet]s' thoughts:===<br />
<br />
As a composer I think that there are two different ways of creating: <br />
The message is the primary element and we should find the best medium to create it.<br />
The medium is limited and we have to be creative using it in a way that the message could be interesting.<br />
<br />
I think that the sentence "Medium is the message" refers to the second way of creating I wrote above. It makes sense to use the characteristics of the tools as inspiration to create a message in our transcontinental context because we are using a limited medium. I think It does not make sense for us to try to improve some that seems impossible in 3 month but we can create a message using the defects of the medium as part of the message . <br />
<br />
===Updated [http://www.uni-weimar.de/medien/wiki/User:ElisabetCurbelo Elisabet]s' and [http://www.uni-weimar.de/medien/wiki/User:Ben Ben]s' thoughts after the Skype discussion:===<br />
<br />
1. How does the sentence “The medium is the message” by Marshall McLuhan applies to your practice? Comment on this quote in the context of your own work and in regards to this transcontinental collaboration, etc.<br />
<br />
-> The medium influences and changes the content that is submitted. It also offers a new way of watching/hearing. For example if there is an error in the medium the message will be distorted. Another example is when we read a book or a music score we are reading and interpreting the medium which might give us a different message than the author wanted to.<br />
<br />
<br />
2. American sound artist Bill Fontana made several pieces in which he transfers sound from one location to another. How does this locational switch change our understanding of a the space(s) in question? What new aspects of a sonic environment might emerge? What happens to our perception of a location once it is stripped from its original sounds and these are replaced by sounds from another location?<br />
<br />
-> You dive places into other sonic environment. ->- If you don't know the place you can accept everything.<br />
<br />
3. How does an instrument through which sound is transmitted shape our expectation and the perception of it (loudspeaker, telephone, alarm-clock), in other words, what if the expectation is not met, what impact can this have on our perception?<br />
<br />
-> cognitive prototypes (helmut rösing) -> As a child you learn to assemble an image with a sound and vice versa, to interact in your environment without distraction.<br />
<br />
-> We can make the difference between nature sounds and reproduced sounds (e.g. in a concert piece). <br />
<br />
Fred Frith-Morning Song <br />
http://www.youtube.com/watch?v=Kx5RPHoR0A4<br />
<br />
==Video Documentation==<br />
<br />
[https://vimeo.com/64954955 Weimar Soundscape]<br />
<br />
[https://vimeo.com/65006956 San Diego Soundscape]</div>Ecurbelohttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces/Mingling_sounds/Ben_Elisabet&diff=57227EKK:LoFi Sounds in HiFi Spaces/Mingling sounds/Ben Elisabet2013-04-28T22:38:29Z<p>Ecurbelo: </p>
<hr />
<div>Hi Elisabet my mail address is: benjamin.vossler@gmail.com<br />
<br />
Hi Ben my email address is: elisabetcurbelo@gmail.com<br />
<br />
=="Medium is the message"==<br />
a quote of Marshall McLuhan<br />
<br />
===[http://www.uni-weimar.de/medien/wiki/User:Ben Ben]s' thoughts:===<br />
<br />
- the medium influences the way we interact and communicate <br /><br />
- there's a difference between writing by using a typewriter, a laptop or a pencil <br /><br />
- „Unser Schreibzeug arbeitet mit an unseren Gedanken / Our writing tools are also working on our thoughts“ ''Friedrich Nietzsche''<br/><br />
- the structure of a medium influences the understanding on the receivers' site <br /><br />
<br />
====in our transcontinental context====<br />
<br />
- our communication media and devices influence the quality of our communication <br/><br />
- misunderstanding leads to new interpretation of the submitted content <br/><br />
- the quality of the connection affects the esthetic of the experience -> a "glitchy memory" <br/><br />
- the latency forces to slow down (if a Hi-Fi perception of San Diego is wanted -> need the upload on a video hoster)<br />
<br />
-> creates new "space" -> virtual Space <br/><br />
<br />
If I will remember San Diego, while a realtime connection via internet, I only have a destructive image in memory.<br />
<br />
====Ideas to work with====<br />
<br />
1. using the latency time as a metronome <br/><br />
-> waves from Weimar to San Diego <br/><br />
<br />
2. using the artifacts of the sound-transmission for the esthetic of an impulse response <br/><br />
-> Live-Electronic improvisation<br />
<br />
3. collect sound spaces <br/><br />
-> sending claps to open spaces in San Diego and use them to convole with sounds of Weimar and vice versa<br />
<br />
===[http://www.uni-weimar.de/medien/wiki/User:ElisabetCurbelo Elisabet]s' thoughts:===<br />
<br />
As a composer I think that there are two different ways of creating: <br />
The message is the primary element and we should find the best medium to create it.<br />
The medium is limited and we have to be creative using it in a way that the message could be interesting.<br />
<br />
I think that the sentence "Medium is the message" refers to the second way of creating I wrote above. It makes sense to use the characteristics of the tools as inspiration to create a message in our transcontinental context because we are using a limited medium. I think It does not make sense for us to try to improve some that seems impossible in 3 month but we can create a message using the defects of the medium as part of the message . <br />
<br />
===Updated [http://www.uni-weimar.de/medien/wiki/User:ElisabetCurbelo Elisabet]s' and [http://www.uni-weimar.de/medien/wiki/User:Ben Ben]s' thoughts after the Skype discussion:===<br />
<br />
1. How does the sentence “The medium is the message” by Marshall McLuhan applies to your practice? Comment on this quote in the context of your own work and in regards to this transcontinental collaboration, etc.<br />
<br />
2. American sound artist Bill Fontana made several pieces in which he transfers sound from one location to another. How does this locational switch change our understanding of a the space(s) in question? What new aspects of a sonic environment might emerge? What happens to our perception of a location once it is stripped from its original sounds and these are replaced by sounds from another location?<br />
<br />
3. How does an instrument through which sound is transmitted shape our expectation and the perception of it (loudspeaker, telephone, alarm-clock), in other words, what if the expectation is not met, what impact can this have on our perception?<br />
<br />
Fred Frith-Morning Song <br />
http://www.youtube.com/watch?v=Kx5RPHoR0A4<br />
<br />
==Video Documentation==<br />
<br />
[https://vimeo.com/64954955 Weimar Soundscape]<br />
<br />
[https://vimeo.com/65006956 San Diego Soundscape]</div>Ecurbelohttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces/Mingling_sounds/Ben_Elisabet&diff=57212EKK:LoFi Sounds in HiFi Spaces/Mingling sounds/Ben Elisabet2013-04-28T20:20:46Z<p>Ecurbelo: </p>
<hr />
<div>Hi Elisabet my mail address is: benjamin.vossler@gmail.com<br />
<br />
Hi Ben my email address is: elisabetcurbelo@gmail.com<br />
<br />
=="Medium is the message"==<br />
a quote of Marshall McLuhan<br />
<br />
===[http://www.uni-weimar.de/medien/wiki/User:Ben Ben]s' thoughts:===<br />
<br />
- the medium influences the way we interact and communicate <br /><br />
- there's a difference between writing by using a typewriter, a laptop or a pencil <br /><br />
- „Unser Schreibzeug arbeitet mit an unseren Gedanken / Our writing tools are also working on our thoughts“ ''Friedrich Nietzsche''<br/><br />
- the structure of a medium influences the understanding on the receivers' site <br /><br />
<br />
====in our transcontinental context====<br />
<br />
- our communication media and devices influence the quality of our communication <br/><br />
- misunderstanding leads to new interpretation of the submitted content <br/><br />
- the quality of the connection affects the esthetic of the experience -> a "glitchy memory" <br/><br />
- the latency forces to slow down (if a Hi-Fi perception of San Diego is wanted -> need the upload on a video hoster)<br />
<br />
-> creates new "space" -> virtual Space <br/><br />
<br />
If I will remember San Diego, while a realtime connection via internet, I only have a destructive image in memory.<br />
<br />
====Ideas to work with====<br />
<br />
1. using the latency time as a metronome <br/><br />
-> waves from Weimar to San Diego <br/><br />
<br />
2. using the artifacts of the sound-transmission for the esthetic of an impulse response <br/><br />
-> Live-Electronic improvisation<br />
<br />
3. collect sound spaces <br/><br />
-> sending claps to open spaces in San Diego and use them to convole with sounds of Weimar and vice versa<br />
<br />
===[http://www.uni-weimar.de/medien/wiki/User:ElisabetCurbelo Elisabet]s' thoughts:===<br />
<br />
As a composer I think that there are two different ways of creating: <br />
The message is the primary element and we should find the best medium to create it.<br />
The medium is limited and we have to be creative using it in a way that the message could be interesting.<br />
<br />
I think that the sentence "Medium is the message" refers to the second way of creating I wrote above. It makes sense to use the characteristics of the tools as inspiration to create a message in our transcontinental context because we are using a limited medium. I think It does not make sense for us to try to improve some that seems impossible in 3 month but we can create a message using the defects of the medium as part of the message . <br />
<br />
===Updated [http://www.uni-weimar.de/medien/wiki/User:ElisabetCurbelo Elisabet]s' and [http://www.uni-weimar.de/medien/wiki/User:Ben Ben]s' thoughts after the Skype discussion:===<br />
<br />
1. How does the sentence “The medium is the message” by Marshall McLuhan applies to your practice? Comment on this quote in the context of your own work and in regards to this transcontinental collaboration, etc.<br />
<br />
2. American sound artist Bill Fontana made several pieces in which he transfers sound from one location to another. How does this locational switch change our understanding of a the space(s) in question? What new aspects of a sonic environment might emerge? What happens to our perception of a location once it is stripped from its original sounds and these are replaced by sounds from another location?<br />
<br />
3. How does an instrument through which sound is transmitted shape our expectation and the perception of it (loudspeaker, telephone, alarm-clock), in other words, what if the expectation is not met, what impact can this have on our perception?<br />
<br />
Fred Frith-Morning Song <br />
http://www.youtube.com/watch?v=Kx5RPHoR0A4<br />
<br />
==Video Documentation==<br />
<br />
[https://vimeo.com/64954955 Weimar Soundscape]<br />
<br />
[[File:Clip 3.mov]]</div>Ecurbelohttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces/Mingling_sounds/Ben_Elisabet&diff=57211EKK:LoFi Sounds in HiFi Spaces/Mingling sounds/Ben Elisabet2013-04-28T20:18:44Z<p>Ecurbelo: </p>
<hr />
<div>Hi Elisabet my mail address is: benjamin.vossler@gmail.com<br />
<br />
Hi Ben my email address is: elisabetcurbelo@gmail.com<br />
<br />
=="Medium is the message"==<br />
a quote of Marshall McLuhan<br />
<br />
===[http://www.uni-weimar.de/medien/wiki/User:Ben Ben]s' thoughts:===<br />
<br />
- the medium influences the way we interact and communicate <br /><br />
- there's a difference between writing by using a typewriter, a laptop or a pencil <br /><br />
- „Unser Schreibzeug arbeitet mit an unseren Gedanken / Our writing tools are also working on our thoughts“ ''Friedrich Nietzsche''<br/><br />
- the structure of a medium influences the understanding on the receivers' site <br /><br />
<br />
====in our transcontinental context====<br />
<br />
- our communication media and devices influence the quality of our communication <br/><br />
- misunderstanding leads to new interpretation of the submitted content <br/><br />
- the quality of the connection affects the esthetic of the experience -> a "glitchy memory" <br/><br />
- the latency forces to slow down (if a Hi-Fi perception of San Diego is wanted -> need the upload on a video hoster)<br />
<br />
-> creates new "space" -> virtual Space <br/><br />
<br />
If I will remember San Diego, while a realtime connection via internet, I only have a destructive image in memory.<br />
<br />
====Ideas to work with====<br />
<br />
1. using the latency time as a metronome <br/><br />
-> waves from Weimar to San Diego <br/><br />
<br />
2. using the artifacts of the sound-transmission for the esthetic of an impulse response <br/><br />
-> Live-Electronic improvisation<br />
<br />
3. collect sound spaces <br/><br />
-> sending claps to open spaces in San Diego and use them to convole with sounds of Weimar and vice versa<br />
<br />
===[http://www.uni-weimar.de/medien/wiki/User:ElisabetCurbelo Elisabet]s' thoughts:===<br />
<br />
As a composer I think that there are two different ways of creating: <br />
The message is the primary element and we should find the best medium to create it.<br />
The medium is limited and we have to be creative using it in a way that the message could be interesting.<br />
<br />
I think that the sentence "Medium is the message" refers to the second way of creating I wrote above. It makes sense to use the characteristics of the tools as inspiration to create a message in our transcontinental context because we are using a limited medium. I think It does not make sense for us to try to improve some that seems impossible in 3 month but we can create a message using the defects of the medium as part of the message . <br />
<br />
===Updated [http://www.uni-weimar.de/medien/wiki/User:ElisabetCurbelo Elisabet]s' and [http://www.uni-weimar.de/medien/wiki/User:Ben Ben]s' thoughts after the Skype discussion:===<br />
<br />
1. How does the sentence “The medium is the message” by Marshall McLuhan applies to your practice? Comment on this quote in the context of your own work and in regards to this transcontinental collaboration, etc.<br />
<br />
2. American sound artist Bill Fontana made several pieces in which he transfers sound from one location to another. How does this locational switch change our understanding of a the space(s) in question? What new aspects of a sonic environment might emerge? What happens to our perception of a location once it is stripped from its original sounds and these are replaced by sounds from another location?<br />
<br />
3. How does an instrument through which sound is transmitted shape our expectation and the perception of it (loudspeaker, telephone, alarm-clock), in other words, what if the expectation is not met, what impact can this have on our perception?<br />
<br />
Fred Frith-Morning Song <br />
http://www.youtube.com/watch?v=Kx5RPHoR0A4<br />
<br />
==Video Documentation==<br />
<br />
[https://vimeo.com/64954955 Weimar Soundscape]</div>Ecurbelohttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces/Mingling_sounds/Ben_Elisabet&diff=57210EKK:LoFi Sounds in HiFi Spaces/Mingling sounds/Ben Elisabet2013-04-28T20:00:03Z<p>Ecurbelo: </p>
<hr />
<div>Hi Elisabet my mail address is: benjamin.vossler@gmail.com<br />
<br />
Hi Ben my email address is: elisabetcurbelo@gmail.com<br />
<br />
=="Medium is the message"==<br />
a quote of Marshall McLuhan<br />
<br />
===[http://www.uni-weimar.de/medien/wiki/User:Ben Ben]s' thoughts:===<br />
<br />
- the medium influences the way we interact and communicate <br /><br />
- there's a difference between writing by using a typewriter, a laptop or a pencil <br /><br />
- „Unser Schreibzeug arbeitet mit an unseren Gedanken / Our writing tools are also working on our thoughts“ ''Friedrich Nietzsche''<br/><br />
- the structure of a medium influences the understanding on the receivers' site <br /><br />
<br />
====in our transcontinental context====<br />
<br />
- our communication media and devices influence the quality of our communication <br/><br />
- misunderstanding leads to new interpretation of the submitted content <br/><br />
- the quality of the connection affects the esthetic of the experience -> a "glitchy memory" <br/><br />
- the latency forces to slow down (if a Hi-Fi perception of San Diego is wanted -> need the upload on a video hoster)<br />
<br />
-> creates new "space" -> virtual Space <br/><br />
<br />
If I will remember San Diego, while a realtime connection via internet, I only have a destructive image in memory.<br />
<br />
====Ideas to work with====<br />
<br />
1. using the latency time as a metronome <br/><br />
-> waves from Weimar to San Diego <br/><br />
<br />
2. using the artifacts of the sound-transmission for the esthetic of an impulse response <br/><br />
-> Live-Electronic improvisation<br />
<br />
3. collect sound spaces <br/><br />
-> sending claps to open spaces in San Diego and use them to convole with sounds of Weimar and vice versa<br />
<br />
===[http://www.uni-weimar.de/medien/wiki/User:ElisabetCurbelo Elisabet]s' thoughts:===<br />
<br />
As a composer I think that there are two different ways of creating: <br />
The message is the primary element and we should find the best medium to create it.<br />
The medium is limited and we have to be creative using it in a way that the message could be interesting.<br />
<br />
I think that the sentence "Medium is the message" refers to the second way of creating I wrote above. It makes sense to use the characteristics of the tools as inspiration to create a message in our transcontinental context because we are using a limited medium. I think It does not make sense for us to try to improve some that seems impossible in 3 month but we can create a message using the defects of the medium as part of the message . <br />
<br />
===Updated [http://www.uni-weimar.de/medien/wiki/User:ElisabetCurbelo Elisabet]s' and [http://www.uni-weimar.de/medien/wiki/User:Ben Ben]s' thoughts after the Skype discussion:===<br />
<br />
1. How does the sentence “The medium is the message” by Marshall McLuhan applies to your practice? Comment on this quote in the context of your own work and in regards to this transcontinental collaboration, etc.<br />
<br />
2. American sound artist Bill Fontana made several pieces in which he transfers sound from one location to another. How does this locational switch change our understanding of a the space(s) in question? What new aspects of a sonic environment might emerge? What happens to our perception of a location once it is stripped from its original sounds and these are replaced by sounds from another location?<br />
<br />
3. How does an instrument through which sound is transmitted shape our expectation and the perception of it (loudspeaker, telephone, alarm-clock), in other words, what if the expectation is not met, what impact can this have on our perception?<br />
<br />
<br />
==Video Documentation==<br />
<br />
[https://vimeo.com/64954955 Weimar Soundscape]</div>Ecurbelohttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces/Mingling_sounds/Ben_Elisabet&diff=57209EKK:LoFi Sounds in HiFi Spaces/Mingling sounds/Ben Elisabet2013-04-28T19:58:45Z<p>Ecurbelo: </p>
<hr />
<div>Hi Elisabet my mail address is: benjamin.vossler@gmail.com<br />
<br />
Hi Ben my email address is: elisabetcurbelo@gmail.com<br />
<br />
=="Medium is the message"==<br />
a quote of Marshall McLuhan<br />
<br />
===[http://www.uni-weimar.de/medien/wiki/User:Ben Ben]s' thoughts:===<br />
<br />
- the medium influences the way we interact and communicate <br /><br />
- there's a difference between writing by using a typewriter, a laptop or a pencil <br /><br />
- „Unser Schreibzeug arbeitet mit an unseren Gedanken / Our writing tools are also working on our thoughts“ ''Friedrich Nietzsche''<br/><br />
- the structure of a medium influences the understanding on the receivers' site <br /><br />
<br />
====in our transcontinental context====<br />
<br />
- our communication media and devices influence the quality of our communication <br/><br />
- misunderstanding leads to new interpretation of the submitted content <br/><br />
- the quality of the connection affects the esthetic of the experience -> a "glitchy memory" <br/><br />
- the latency forces to slow down (if a Hi-Fi perception of San Diego is wanted -> need the upload on a video hoster)<br />
<br />
-> creates new "space" -> virtual Space <br/><br />
<br />
If I will remember San Diego, while a realtime connection via internet, I only have a destructive image in memory.<br />
<br />
====Ideas to work with====<br />
<br />
1. using the latency time as a metronome <br/><br />
-> waves from Weimar to San Diego <br/><br />
<br />
2. using the artifacts of the sound-transmission for the esthetic of an impulse response <br/><br />
-> Live-Electronic improvisation<br />
<br />
3. collect sound spaces <br/><br />
-> sending claps to open spaces in San Diego and use them to convole with sounds of Weimar and vice versa<br />
<br />
===[http://www.uni-weimar.de/medien/wiki/User:ElisabetCurbelo Elisabet]s' thoughts:===<br />
<br />
As a composer I think that there are two different ways of creating: <br />
The message is the primary element and we should find the best medium to create it.<br />
The medium is limited and we have to be creative using it in a way that the message could be interesting.<br />
<br />
I think that the sentence "Medium is the message" refers to the second way of creating I wrote above. It makes sense to use the characteristics of the tools as inspiration to create a message in our transcontinental context because we are using a limited medium. I think It does not make sense for us to try to improve some that seems impossible in 3 month but we can create a message using the defects of the medium as part of the message . <br />
<br />
===Updated [http://www.uni-weimar.de/medien/wiki/User:ElisabetCurbelo Elisabet]s' and [http://www.uni-weimar.de/medien/wiki/User:Ben Ben]s' thoughts after the Skype discussion:===<br />
<br />
<br />
<br />
==Video Documentation==<br />
<br />
[https://vimeo.com/64954955 Weimar Soundscape]</div>Ecurbelohttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces/Mingling_sounds/Ben_Elisabet&diff=57208EKK:LoFi Sounds in HiFi Spaces/Mingling sounds/Ben Elisabet2013-04-28T19:58:00Z<p>Ecurbelo: </p>
<hr />
<div>Hi Elisabet my mail address is: benjamin.vossler@gmail.com<br />
<br />
Hi Ben my email address is: elisabetcurbelo@gmail.com<br />
<br />
=="Medium is the message"==<br />
a quote of Marshall McLuhan<br />
<br />
===[http://www.uni-weimar.de/medien/wiki/User:Ben Ben]s' thoughts:===<br />
<br />
- the medium influences the way we interact and communicate <br /><br />
- there's a difference between writing by using a typewriter, a laptop or a pencil <br /><br />
- „Unser Schreibzeug arbeitet mit an unseren Gedanken / Our writing tools are also working on our thoughts“ ''Friedrich Nietzsche''<br/><br />
- the structure of a medium influences the understanding on the receivers' site <br /><br />
<br />
====in our transcontinental context====<br />
<br />
- our communication media and devices influence the quality of our communication <br/><br />
- misunderstanding leads to new interpretation of the submitted content <br/><br />
- the quality of the connection affects the esthetic of the experience -> a "glitchy memory" <br/><br />
- the latency forces to slow down (if a Hi-Fi perception of San Diego is wanted -> need the upload on a video hoster)<br />
<br />
-> creates new "space" -> virtual Space <br/><br />
<br />
If I will remember San Diego, while a realtime connection via internet, I only have a destructive image in memory.<br />
<br />
====Ideas to work with====<br />
<br />
1. using the latency time as a metronome <br/><br />
-> waves from Weimar to San Diego <br/><br />
<br />
2. using the artifacts of the sound-transmission for the esthetic of an impulse response <br/><br />
-> Live-Electronic improvisation<br />
<br />
3. collect sound spaces <br/><br />
-> sending claps to open spaces in San Diego and use them to convole with sounds of Weimar and vice versa<br />
<br />
===[http://www.uni-weimar.de/medien/wiki/User:ElisabetCurbelo Elisabet]s' thoughts:===<br />
<br />
As a composer I think that there are two different ways of creating: <br />
The message is the primary element and we should find the best medium to create it.<br />
The medium is limited and we have to be creative using it in a way that the message could be interesting.<br />
<br />
I think that the sentence "Medium is the message" refers to the second way of creating I wrote above. It makes sense to use the characteristics of the tools as inspiration to create a message in our transcontinental context because we are using a limited medium. I think It does not make sense for us to try to improve some that seems impossible in 3 month but we can create a message using the defects of the medium as part of the message . <br />
<br />
===Updated [http://www.uni-weimar.de/medien/wiki/User:ElisabetCurbelo Elisabet]s' and [http://www.uni-weimar.de/medien/wiki/User:Ben Ben]s' thoughts after the skype discussion===<br />
<br />
<br />
<br />
==Video Documentation==<br />
<br />
[https://vimeo.com/64954955 Weimar Soundscape]</div>Ecurbelohttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces/Mingling_sounds/Ben_Elisabet&diff=57207EKK:LoFi Sounds in HiFi Spaces/Mingling sounds/Ben Elisabet2013-04-28T19:54:00Z<p>Ecurbelo: </p>
<hr />
<div>Hi Elisabet my mail address is: benjamin.vossler@gmail.com<br />
<br />
Hi Ben my email address is: elisabetcurbelo@gmail.com<br />
<br />
=="Medium is the message"==<br />
a quote of Marshall McLuhan<br />
<br />
===[http://www.uni-weimar.de/medien/wiki/User:Ben Ben]s' thoughts:===<br />
<br />
- the medium influences the way we interact and communicate <br /><br />
- there's a difference between writing by using a typewriter, a laptop or a pencil <br /><br />
- „Unser Schreibzeug arbeitet mit an unseren Gedanken / Our writing tools are also working on our thoughts“ ''Friedrich Nietzsche''<br/><br />
- the structure of a medium influences the understanding on the receivers' site <br /><br />
<br />
====in our transcontinental context====<br />
<br />
- our communication media and devices influence the quality of our communication <br/><br />
- misunderstanding leads to new interpretation of the submitted content <br/><br />
- the quality of the connection affects the esthetic of the experience -> a "glitchy memory" <br/><br />
- the latency forces to slow down (if a Hi-Fi perception of San Diego is wanted -> need the upload on a video hoster)<br />
<br />
-> creates new "space" -> virtual Space <br/><br />
<br />
If I will remember San Diego, while a realtime connection via internet, I only have a destructive image in memory.<br />
<br />
====Ideas to work with====<br />
<br />
1. using the latency time as a metronome <br/><br />
-> waves from Weimar to San Diego <br/><br />
<br />
2. using the artifacts of the sound-transmission for the esthetic of an impulse response <br/><br />
-> Live-Electronic improvisation<br />
<br />
3. collect sound spaces <br/><br />
-> sending claps to open spaces in San Diego and use them to convole with sounds of Weimar and vice versa<br />
<br />
===[http://www.uni-weimar.de/medien/wiki/User:ElisabetCurbelo Elisabet]s' thoughts:===<br />
<br />
As a composer I think that there are two different ways of creating: <br />
The message is the primary element and we should find the best medium to create it.<br />
The medium is limited and we have to be creative using it in a way that the message could be interesting.<br />
<br />
I think that the sentence "Medium is the message" refers to the second way of creating I wrote above. It makes sense to use the characteristics of the tools as inspiration to create a message in our transcontinental context because we are using a limited medium. I think It does not make sense for us to try to improve some that seems impossible in 3 month but we can create a message using the defects of the medium as part of the message . <br />
<br />
<br />
<br />
==Video Documentation==<br />
<br />
[https://vimeo.com/64954955 Weimar Soundscape]</div>Ecurbelohttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces/Mingling_sounds/Ben_Elisabet&diff=57206EKK:LoFi Sounds in HiFi Spaces/Mingling sounds/Ben Elisabet2013-04-28T19:52:45Z<p>Ecurbelo: </p>
<hr />
<div>Hi Elisabet my mail address is: benjamin.vossler@gmail.com<br />
<br />
Hi Ben my email address is: elisabetcurbelo@gmail.com<br />
<br />
=="Medium is the message"==<br />
a quote of Marshall McLuhan<br />
<br />
===[http://www.uni-weimar.de/medien/wiki/User:Ben Ben]s' thoughts:===<br />
<br />
- the medium influences the way we interact and communicate <br /><br />
- there's a difference between writing by using a typewriter, a laptop or a pencil <br /><br />
- „Unser Schreibzeug arbeitet mit an unseren Gedanken / Our writing tools are also working on our thoughts“ ''Friedrich Nietzsche''<br/><br />
- the structure of a medium influences the understanding on the receivers' site <br /><br />
<br />
====in our transcontinental context====<br />
<br />
- our communication media and devices influence the quality of our communication <br/><br />
- misunderstanding leads to new interpretation of the submitted content <br/><br />
- the quality of the connection affects the esthetic of the experience -> a "glitchy memory" <br/><br />
- the latency forces to slow down (if a Hi-Fi perception of San Diego is wanted -> need the upload on a video hoster)<br />
<br />
-> creates new "space" -> virtual Space <br/><br />
<br />
If I will remember San Diego, while a realtime connection via internet, I only have a destructive image in memory.<br />
<br />
===[http://www.uni-weimar.de/medien/wiki/User:ElisabetCurbelo Elisabet]s' thoughts:===<br />
<br />
As a composer I think that there are two different ways of creating: <br />
The message is the primary element and we should find the best medium to create it.<br />
The medium is limited and we have to be creative using it in a way that the message could be interesting.<br />
<br />
I think that the sentence "Medium is the message" refers to the second way of creating I wrote above. It makes sense to use the characteristics of the tools as inspiration to create a message in our transcontinental context because we are using a limited medium. I think It does not make sense for us to try to improve some that seems impossible in 3 month but we can create a message using the defects of the medium as part of the message . <br />
<br />
<br />
<br />
===Ideas to work with===<br />
<br />
1. using the latency time as a metronome <br/><br />
-> waves from Weimar to San Diego <br/><br />
<br />
2. using the artifacts of the sound-transmission for the esthetic of an impulse response <br/><br />
-> Live-Electronic improvisation<br />
<br />
3. collect sound spaces <br/><br />
-> sending claps to open spaces in San Diego and use them to convole with sounds of Weimar and vice versa<br />
<br />
==Video Documentation==<br />
<br />
[https://vimeo.com/64954955 Weimar Soundscape]</div>Ecurbelohttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces/Mingling_sounds/Ben_Elisabet&diff=57202EKK:LoFi Sounds in HiFi Spaces/Mingling sounds/Ben Elisabet2013-04-28T04:28:51Z<p>Ecurbelo: </p>
<hr />
<div>Hi Elisabet my mail address is: benjamin.vossler@gmail.com<br />
<br />
Hi Ben my email address is: elisabetcurbelo@gmail.com<br />
<br />
=="Medium is the message"==<br />
a quote of Marshall McLuhan<br />
<br />
===[http://www.uni-weimar.de/medien/wiki/User:Ben Ben]s' thoughts:===<br />
<br />
- the medium influences the way we interact and communicate <br /><br />
- there's a difference between writing by using a typewriter, a laptop or a pencil <br /><br />
- „Unser Schreibzeug arbeitet mit an unseren Gedanken / Our writing tools are also working on our thoughts“ ''Friedrich Nietzsche''<br/><br />
- the structure of a medium influences the understanding on the receivers' site <br /><br />
<br />
===in our transcontinental context===<br />
<br />
- our communication media and devices influence the quality of our communication <br/><br />
- misunderstanding leads to new interpretation of the submitted content <br/><br />
- the quality of the connection affects the esthetic of the experience -> a "glitchy memory" <br/><br />
- the latency forces to slow down (if a Hi-Fi perception of San Diego is wanted -> need the upload on a video hoster)<br />
<br />
-> creates new "space" -> virtual Space <br/><br />
<br />
If I will remember San Diego, while a realtime connection via internet, I only have a destructive image in memory.<br />
<br />
===[http://www.uni-weimar.de/medien/wiki/User:ElisabetCurbelo Elisabet]s' thoughts:===<br />
<br />
As a composer I think that there are two different ways of creating: <br />
The message is the primary element and we should find the best medium to create it.<br />
The medium is limited and we have to be creative using it in a way that the message could be interesting.<br />
<br />
I think that the sentence "Medium is the message" refers to the second way of creating I wrote above. It makes sense to use the characteristics of the tools as inspiration to create a message in our transcontinental context because we are using a limited medium. I think It does not make sense for us to try to improve some that seems impossible in 3 month but we can create a message using the defects of the medium as part of the message . <br />
<br />
<br />
<br />
===Ideas to work with===<br />
<br />
1. using the latency time as a metronome <br/><br />
-> waves from Weimar to San Diego <br/><br />
<br />
2. using the artifacts of the sound-transmission for the esthetic of an impulse response <br/><br />
-> Live-Electronic improvisation<br />
<br />
3. collect sound spaces <br/><br />
-> sending claps to open spaces in San Diego and use them to convole with sounds of Weimar and vice versa<br />
<br />
==Video Documentation==<br />
<br />
[https://vimeo.com/64954955 Weimar Soundscape]</div>Ecurbelohttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces/Mingling_sounds/Ben_Elisabet&diff=57201EKK:LoFi Sounds in HiFi Spaces/Mingling sounds/Ben Elisabet2013-04-28T04:18:39Z<p>Ecurbelo: </p>
<hr />
<div>Hi Elisabet my mail address is: benjamin.vossler@gmail.com<br />
<br />
Hi Ben my email address is: elisabetcurbelo@gmail.com<br />
<br />
=="Medium is the message"==<br />
a quote of Marshall McLuhan<br />
<br />
===[http://www.uni-weimar.de/medien/wiki/User:Ben Ben]s' thoughts:===<br />
<br />
- the medium influences the way we interact and communicate <br /><br />
- there's a difference between writing by using a typewriter, a laptop or a pencil <br /><br />
- „Unser Schreibzeug arbeitet mit an unseren Gedanken / Our writing tools are also working on our thoughts“ ''Friedrich Nietzsche''<br/><br />
- the structure of a medium influences the understanding on the receivers' site <br /><br />
<br />
===[http://www.uni-weimar.de/medien/wiki/User:ElisabetCurbelo Elisabet]s' thoughts:===<br />
<br />
As a composer I think that there are two different ways of creating: <br />
The message is the primary element and we should find the best medium to create it.<br />
The medium is limited and we have to be creative using it in a way that the message could be interesting.<br />
<br />
I think that the sentence Medium is the message refers to the second way of creating which make sense to use it in our context because we are using a limited medium that we cannot improve but create using it. <br />
<br />
===in our transcontinental context===<br />
<br />
- our communication media and devices influence the quality of our communication <br/><br />
- misunderstanding leads to new interpretation of the submitted content <br/><br />
- the quality of the connection affects the esthetic of the experience -> a "glitchy memory" <br/><br />
- the latency forces to slow down (if a Hi-Fi perception of San Diego is wanted -> need the upload on a video hoster)<br />
<br />
-> creates new "space" -> virtual Space <br/><br />
<br />
If I will remember San Diego, while a realtime connection via internet, I only have a destructive image in memory.<br />
<br />
===Ideas to work with===<br />
<br />
1. using the latency time as a metronome <br/><br />
-> waves from Weimar to San Diego <br/><br />
<br />
2. using the artifacts of the sound-transmission for the esthetic of an impulse response <br/><br />
-> Live-Electronic improvisation<br />
<br />
3. collect sound spaces <br/><br />
-> sending claps to open spaces in San Diego and use them to convole with sounds of Weimar and vice versa<br />
<br />
==Video Documentation==<br />
<br />
[https://vimeo.com/64954955 Weimar Soundscape]</div>Ecurbelohttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces/Mingling_sounds/Ben_Elisabet&diff=57200EKK:LoFi Sounds in HiFi Spaces/Mingling sounds/Ben Elisabet2013-04-28T04:10:49Z<p>Ecurbelo: </p>
<hr />
<div>Hi Elisabet my mail address is: benjamin.vossler@gmail.com<br />
<br />
Hi Ben my email address is: elisabetcurbelo@gmail.com<br />
<br />
=="Medium is the message"==<br />
a quote of Marshall McLuhan<br />
<br />
===[http://www.uni-weimar.de/medien/wiki/User:Ben Ben]s' thoughts:===<br />
<br />
- the medium influences the way we interact and communicate <br /><br />
- there's a difference between writing by using a typewriter, a laptop or a pencil <br /><br />
- „Unser Schreibzeug arbeitet mit an unseren Gedanken / Our writing tools are also working on our thoughts“ ''Friedrich Nietzsche''<br/><br />
- the structure of a medium influences the understanding on the receivers' site <br /><br />
<br />
===[http://www.uni-weimar.de/medien/wiki/User:ElisabetCurbelo Elisabet]s' thoughts:===<br />
<br />
===in our transcontinental context===<br />
<br />
- our communication media and devices influence the quality of our communication <br/><br />
- misunderstanding leads to new interpretation of the submitted content <br/><br />
- the quality of the connection affects the esthetic of the experience -> a "glitchy memory" <br/><br />
- the latency forces to slow down (if a Hi-Fi perception of San Diego is wanted -> need the upload on a video hoster)<br />
<br />
-> creates new "space" -> virtual Space <br/><br />
<br />
If I will remember San Diego, while a realtime connection via internet, I only have a destructive image in memory.<br />
<br />
===Ideas to work with===<br />
<br />
1. using the latency time as a metronome <br/><br />
-> waves from Weimar to San Diego <br/><br />
<br />
2. using the artifacts of the sound-transmission for the esthetic of an impulse response <br/><br />
-> Live-Electronic improvisation<br />
<br />
3. collect sound spaces <br/><br />
-> sending claps to open spaces in San Diego and use them to convole with sounds of Weimar and vice versa<br />
<br />
==Video Documentation==<br />
<br />
[https://vimeo.com/64954955 Weimar Soundscape]</div>Ecurbelohttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces/Mingling_sounds/Ben_Elisabet&diff=57199EKK:LoFi Sounds in HiFi Spaces/Mingling sounds/Ben Elisabet2013-04-28T04:10:17Z<p>Ecurbelo: /* [http://www.uni-weimar.de/medien/wiki/User:Elisabet]s' thoughts: */</p>
<hr />
<div>Hi Elisabet my mail address is: benjamin.vossler@gmail.com<br />
<br />
Hi Ben my email address is: elisabetcurbelo@gmail.com<br />
<br />
=="Medium is the message"==<br />
a quote of Marshall McLuhan<br />
<br />
===[http://www.uni-weimar.de/medien/wiki/User:Ben Ben]s' thoughts:===<br />
<br />
- the medium influences the way we interact and communicate <br /><br />
- there's a difference between writing by using a typewriter, a laptop or a pencil <br /><br />
- „Unser Schreibzeug arbeitet mit an unseren Gedanken / Our writing tools are also working on our thoughts“ ''Friedrich Nietzsche''<br/><br />
- the structure of a medium influences the understanding on the receivers' site <br /><br />
<br />
===[http://www.uni-weimar.de/medien/wiki/User:ElisabetCurbelo]s' thoughts:===<br />
<br />
===in our transcontinental context===<br />
<br />
- our communication media and devices influence the quality of our communication <br/><br />
- misunderstanding leads to new interpretation of the submitted content <br/><br />
- the quality of the connection affects the esthetic of the experience -> a "glitchy memory" <br/><br />
- the latency forces to slow down (if a Hi-Fi perception of San Diego is wanted -> need the upload on a video hoster)<br />
<br />
-> creates new "space" -> virtual Space <br/><br />
<br />
If I will remember San Diego, while a realtime connection via internet, I only have a destructive image in memory.<br />
<br />
===Ideas to work with===<br />
<br />
1. using the latency time as a metronome <br/><br />
-> waves from Weimar to San Diego <br/><br />
<br />
2. using the artifacts of the sound-transmission for the esthetic of an impulse response <br/><br />
-> Live-Electronic improvisation<br />
<br />
3. collect sound spaces <br/><br />
-> sending claps to open spaces in San Diego and use them to convole with sounds of Weimar and vice versa<br />
<br />
==Video Documentation==<br />
<br />
[https://vimeo.com/64954955 Weimar Soundscape]</div>Ecurbelo