Medien Wiki - User contributions [en]

EKK:LoFi Sounds in HiFi Spaces/Mind VS Mind

2013-06-07T07:26:52Z

Marcelonator:

===Singers===
A singer, 4 dancers, plus recorded images of the cast that will be projected during the piece.

===People Involved===
Marcelo F. Lazcano I'm looking for partners!

==Project==
The idea is a variation on a theatrical piece I wrote several years ago in which a man gets help from his "future-self" that has come back to give him advice. This version takes on a more psychological approach:
A main character (let's name her Lucy for the time being) who suffers from mental disorders/ illnesses such as depression, schizophrenia, and/or Alzheimer's disease. Lucy has an encounter with her mind (a projected version of herself. with her own audio channel), and tries to make sense of her world by interacting with her psyche. At the beginning it is very clear to us as an audience which one is Lucy on which on the psyche, but as the work develops the distinction between the two gets blurry and at the end is up to us to make a decision as to which one is the real Lucy. The transition to create the blur between the two characters (real vs mind) has to be scripted.

==My motives==
The reason why I would like to embark on a project with this topic is because I have lost relatives to senile dementia and atherosclerosis, and my wife recently lost a cousin who suffered from schizophrenia. The ending of the piece leaves a question for the audience: which one is the real Lucy? I insist on this idea because, as it was the case with my grandmother, perception of reality as we see it, is altered in the troubled mind of a patient, yet every now and then, in the case of the most critically ill ones, there are moments of lucidity in which they recall moments of their youth or crucial events in their lives. These moments are very similar to hallucinations during analgosedation ( high doses of sedatives) experienced by patients. These events might be completely unknown or relatively known to the relatives and after the loved ones have passed, we are left with the questions: where those moments real? where those moments of lucidity a window to the real person, a moment in which they involuntarily reveal to us their most intimate aspects of their being? In my personal opinion, having experienced this situation with my grandmother, and not too long ago, with my father in-law as he was dying and was under heavy sedation, these are beautiful moments in which we find comfort knowing that in the midst of the tragedy, there are some clear remnants of our loved ones present in the psyche and spirit.

==Technical Aspects==
The singer is given a piece of music specifically written for the piece. These songs are then recorded and processed with Max/Msp or PD; the processed versions will then be the part of the projected image (mind) and the original version will be part of the live performance, assigned to the man character. As the piece evolves and the roles switch, the processed sound becomes clearer and the original singing is processed live. The dancers may represent people which the character has known in the past, people she is confusing then with, etc. These characters will not have a specified role, the do not interact verbally with the main character and I'm considering have them wear white makeup or masks. The contact between Lucy (singer #1) and her mind (singer #2) happens through a video projection on a transparent screen. This way i can make a better use of the space and it will also provide a more dramatic interaction between the two characters.
There will also be pre-recorded videos; these represent flashbacks and are to be shot with low fi cameras and with camera motion. Pre recorded, manipulated videos of the performers will be projected and there will also be projections of the dancers in outdoor settings, also manipulated (look at video link below for an "inspiration source"). The reason for this being that as is the case with trying to understand the mind of the patient, we don't fully know or understand what really is going on inside their heads so there is always this element of wondering sparked by our natural curiosity. This element becomes an unanswered question: are these images of dancers actual memories or are they images the mind is creating to make sense of its surroundings?
The singing consists on songs that are performed as written, manipulated at time in real time, and also pre-recorded, altered, and then played back. For real time manipulation I will create (hopefully in collaboration with someone more experienced than me) a PD patch that will include markov chain. Why markov? I considered markov chain to be "without memory" and every event is dependable on the "current state," this is known as '''Markov Property'''<ref>[[wikipedia:Markov property]]</ref>.
So basically I want the technology is somewhat linked to the theme of the piece. I'm planning for latency to be a part of the piece, but I have yet to figure out how.
I have not yet decided on a number of channels for audio.

==Video Link==

'''Flora Wiegmann, " Riddles in the Sand" (2010).'''

<videoflash>iQfBRIC4e8M|450|250</videoflash>

==Partners/ Collaborators?==
I'm looking for people who have experience with dancers and with theatre.

==Sources==
<references/>

EKK:LoFi Sounds in HiFi Spaces/Mind VS Mind

2013-06-07T07:26:03Z

Marcelonator:

===Singers===
A singer, 4 dancers, plus recorded images of the cast that will be projected during the piece.

===People Involved===
Marcelo F. Lazcano I'm looking for partners!

==Project==
The idea is a variation on a theatrical piece I wrote several years ago in which a man gets help from his "future-self" that has come back to give him advice. This version takes on a more psychological approach:
A main character (let's name her Lucy for the time being) who suffers from mental disorders/ illnesses such as depression, schizophrenia, and/or Alzheimer's disease. Lucy has an encounter with her mind (a projected version of herself. with her own audio channel), and tries to make sense of her world by interacting with her psyche. At the beginning it is very clear to us as an audience which one is Lucy on which on the psyche, but as the work develops the distinction between the two gets blurry and at the end is up to us to make a decision as to which one is the real Lucy. The transition to create the blur between the two characters (real vs mind) has to be scripted.

==My motives==
The reason why I would like to embark on a project with this topic is because I have lost relatives to senile dementia and atherosclerosis, and my wife recently lost a cousin who suffered from schizophrenia. The ending of the piece leaves a question for the audience: which one is the real Lucy? I insist on this idea because, as it was the case with my grandmother, perception of reality as we see it, is altered in the troubled mind of a patient, yet every now and then, in the case of the most critically ill ones, there are moments of lucidity in which they recall moments of their youth or crucial events in their lives. These moments are very similar to hallucinations during analgosedation ( high doses of sedatives) experienced by patients. These events might be completely unknown or relatively known to the relatives and after the loved ones have passed, we are left with the questions: where those moments real? where those moments of lucidity a window to the real person, a moment in which they involuntarily reveal to us their most intimate aspects of their being? In my personal opinion, having experienced this situation with my grandmother, and not too long ago, with my father in-law as he was dying and was under heavy sedation, these are beautiful moments in which we find comfort knowing that in the midst of the tragedy, there are some clear remnants of our loved ones present in the psyche and spirit.

==Technical Aspects==
The singer is given a piece of music specifically written for the piece. These songs are then recorded and processed with Max/Msp or PD; the processed versions will then be the part of the projected image (mind) and the original version will be part of the live performance, assigned to the man character. As the piece evolves and the roles switch, the processed sound becomes clearer and the original singing is processed live. The dancers may represent people which the character has known in the past, people she is confusing then with, etc. These characters will not have a specified role, the do not interact verbally with the main character and I'm considering have them wear white makeup or masks. The contact between Lucy (singer #1) and her mind (singer #2) happens through a video projection on a transparent screen. This way i can make a better use of the space and it will also provide a more dramatic interaction between the two characters.
There will also be pre-recorded videos; these represent flashbacks and are to be shot with low fi cameras and with camera motion. Pre recorded, manipulated videos of the performers will be projected and there will also be projections of the dancers in outdoor settings, also manipulated (look at video link below for an "inspiration source"). The reason for this being that as is the case with trying to understand the mind of the patient, we don't fully know or understand what really is going on inside their heads so there is always this element of wondering sparked by our natural curiosity. This element becomes an unanswered question: are these images of dancers actual memories or are they images the mind is creating to make sense of its surroundings?
The singing consists on songs that are performed as written, manipulated at time in real time, and also pre-recorded, altered, and then played back. For real time manipulation I will create (hopefully in collaboration with someone more experienced than me) a PD patch that will include markov chain. Why markov? I considered markov chain to be "without memory" and every event is dependable on the "current state," this is known as '''Markov Property'''<ref>[[wikipedia:Markov property]]</ref>.
So basically I want the technology is somewhat linked to the theme of the piece. I'm planning for latency to be a part of the piece, but I have yet to figure out how.
I have not yet decided on a number of channels for audio.

==Video Link==

Flora Wiegmann, " Riddles in the Sand" (2010).

<videoflash>iQfBRIC4e8M|450|250</videoflash>

Stefan Prins, "Generation Kill" (Trailer)

http://vimeo.com/60354054

==Partners/ Collaborators?==
I'm looking for people who have experience with dancers and with theatre.

==Sources==
<references/>

EKK:LoFi Sounds in HiFi Spaces/Mind VS Mind

2013-06-07T04:19:36Z

Marcelonator:

===Singers===
A singer, 4 dancers, plus recorded images of the cast that will be projected during the piece.

===People Involved===
Marcelo F. Lazcano I'm looking for partners!

==Project==
The idea is a variation on a theatrical piece I wrote several years ago in which a man gets help from his "future-self" that has come back to give him advice. This version takes on a more psychological approach:
A main character (let's name her Lucy for the time being) who suffers from mental disorders/ illnesses such as depression, schizophrenia, and/or Alzheimer's disease. Lucy has an encounter with her mind (a projected version of herself. with her own audio channel), and tries to make sense of her world by interacting with her psyche. At the beginning it is very clear to us as an audience which one is Lucy on which on the psyche, but as the work develops the distinction between the two gets blurry and at the end is up to us to make a decision as to which one is the real Lucy. The transition to create the blur between the two characters (real vs mind) has to be scripted.

==My motives==
The reason why I would like to embark on a project with this topic is because I have lost relatives to senile dementia and atherosclerosis, and my wife recently lost a cousin who suffered from schizophrenia. The ending of the piece leaves a question for the audience: which one is the real Lucy? I insist on this idea because, as it was the case with my grandmother, perception of reality as we see it, is altered in the troubled mind of a patient, yet every now and then, in the case of the most critically ill ones, there are moments of lucidity in which they recall moments of their youth or crucial events in their lives. These moments are very similar to hallucinations during analgosedation ( high doses of sedatives) experienced by patients. These events might be completely unknown or relatively known to the relatives and after the loved ones have passed, we are left with the questions: where those moments real? where those moments of lucidity a window to the real person, a moment in which they involuntarily reveal to us their most intimate aspects of their being? In my personal opinion, having experienced this situation with my grandmother, and not too long ago, with my father in-law as he was dying and was under heavy sedation, these are beautiful moments in which we find comfort knowing that in the midst of the tragedy, there are some clear remnants of our loved ones present in the psyche and spirit.

==Technical Aspects==
The singer is given a piece of music specifically written for the piece. These songs are then recorded and processed with Max/Msp or PD; the processed versions will then be the part of the projected image (mind) and the original version will be part of the live performance, assigned to the man character. As the piece evolves and the roles switch, the processed sound becomes clearer and the original singing is processed live. The dancers may represent people which the character has known in the past, people she is confusing then with, etc. These characters will not have a specified role, the do not interact verbally with the main character and I'm considering have them wear white makeup or masks. The contact between Lucy (singer #1) and her mind (singer #2) happens through a video projection on a transparent screen. This way i can make a better use of the space and it will also provide a more dramatic interaction between the two characters.
There will also be pre-recorded videos; these represent flashbacks and are to be shot with low fi cameras and with camera motion. Pre recorded, manipulated videos of the performers will be projected and there will also be projections of the dancers in outdoor settings, also manipulated (look at video link below for an "inspiration source"). The reason for this being that as is the case with trying to understand the mind of the patient, we don't fully know or understand what really is going on inside their heads so there is always this element of wondering sparked by our natural curiosity. This element becomes an unanswered question: are these images of dancers actual memories or are they images the mind is creating to make sense of its surroundings?
The singing consists on songs that are performed as written, manipulated at time in real time, and also pre-recorded, altered, and then played back. For real time manipulation I will create (hopefully in collaboration with someone more experienced than me) a PD patch that will include markov chain. Why markov? I considered markov chain to be "without memory" and every event is dependable on the "current state," this is known as '''Markov Property'''<ref>[[wikipedia:Markov property]]</ref>.
So basically I want the technology is somewhat linked to the theme of the piece. I'm planning for latency to be a part of the piece, but I have yet to figure out how.
I have not yet decided on a number of channels for audio.

==Video Link==

Flora Wiegmann, " Riddles in the Sand" (2010).

<videoflash>iQfBRIC4e8M|450|250</videoflash>

==Partners/ Collaborators?==
I'm looking for people who have experience with dancers and with theatre.

==Sources==
<references/>

EKK:LoFi Sounds in HiFi Spaces/Mind VS Mind

2013-06-07T04:13:23Z

Marcelonator:

===Singers===
A singer, 4 dancers, plus recorded images of the cast that will be projected during the piece.

===People Involved===
Marcelo F. Lazcano I'm looking for partners!

==Project==
The idea is a variation on a theatrical piece I wrote several years ago in which a man gets help from his "future-self" that has come back to give him advice. This version takes on a more psychological approach:
A main character (let's name her Lucy for the time being) who suffers from mental disorders/ illnesses such as depression, schizophrenia, and/or Alzheimer's disease. Lucy has an encounter with her mind (a projected version of herself. with her own audio channel), and tries to make sense of her world by interacting with her psyche. At the beginning it is very clear to us as an audience which one is Lucy on which on the psyche, but as the work develops the distinction between the two gets blurry and at the end is up to us to make a decision as to which one is the real Lucy. The transition to create the blur between the two characters (real vs mind) has to be scripted.

==My motives==
The reason why I would like to embark on a project with this topic is because I have lost relatives to senile dementia and atherosclerosis, and my wife recently lost a cousin who suffered from schizophrenia. The ending of the piece leaves a question for the audience: which one is the real Lucy? I insist on this idea because, as it was the case with my grandmother, perception of reality as we see it, is altered in the troubled mind of a patient, yet every now and then, in the case of the most critically ill ones, there are moments of lucidity in which they recall moments of their youth or crucial events in their lives. These moments are very similar to hallucinations during analgosedation ( high doses of sedatives) experienced by patients. These events might be completely unknown or relatively known to the relatives and after the loved ones have passed, we are left with the questions: where those moments real? where those moments of lucidity a window to the real person, a moment in which they involuntarily reveal to us their most intimate aspects of their being? In my personal opinion, having experienced this situation with my grandmother, and not too long ago, with my father in-law as he was dying and was under heavy sedation, these are beautiful moments in which we find comfort knowing that in the midst of the tragedy, there are some clear remnants of our loved ones present in the psyche and spirit.

==Technical Aspects==
The singer is given a piece of music specifically written for the piece. These songs are then recorded and processed with Max/Msp or PD; the processed versions will then be the part of the projected image (mind) and the original version will be part of the live performance, assigned to the man character. As the piece evolves and the roles switch, the processed sound becomes clearer and the original singing is processed live. The dancers may represent people which the character has known in the past, people she is confusing then with, etc. These characters will not have a specified role, the do not interact verbally with the main character and I'm considering have them wear white makeup or masks. The contact between Lucy (singer #1) and her mind (singer #2) happens through a video projection on a transparent screen. This way i can make a better use of the space and it will also provide a more dramatic interaction between the two characters.
There will also be pre-recorded videos; these represent flashbacks and are to be shot with low fi cameras and with camera motion. Pre recorded, manipulated videos of the performers will be projected and there will also be projections of the dancers in outdoor settings, also manipulated (look at video below). The reason for this being that as is the case with trying to understand the mind of the patient, we don't fully know or understand what really is going on inside their heads so there is always this element of wondering sparked by our natural curiosity. This element becomes an unanswered question: are these images of dancers actual memories or are they images the mind is creating to make sense of its surroundings?
The singing consists on songs that are performed as written, manipulated at time in real time, and also pre-recorded, altered, and then played back. For real time manipulation I will create (hopefully in collaboration with someone more experienced than me) a PD patch that will include markov chain. Why markov? I considered markov chain to be "without memory" and every event is dependable on the "current state," this is known as '''Markov Property'''<ref>[[wikipedia:Markov property]]</ref>.
So basically I want the technology is somewhat linked to the theme of the piece. I'm planning for latency to be a part of the piece, but I have yet to figure out how.
I have not yet decided on a number of channels for audio.

==Partners/ Collaborators?==
I'm looking for people who have experience with dancers and with theatre.

==Sources==
<references/>

EKK:LoFi Sounds in HiFi Spaces/Mind VS Mind

2013-05-13T17:01:11Z

Marcelonator:

===Singers===

Two singers, one on each location. Dancers, two on each location plus at least two for video recordings.

===People Involved===

Marcelo F. Lazcano I'm looking for partners!

==Project==
The idea is a variation on a theatrical piece I wrote several years ago in which a man gets help from his "future-self" that has come back to give him advice. This version takes on a more psychological approach:
A main character (let's name her Lucy for the time being) who suffers from mental disorders/ illnesses such as depression, schizophrenia, and/or Alzheimer's disease. Lucy has an encounter with her mind (second singer), and tries to make sense of her world by interacting with her psyche. At the beginning it is very clear to us as an audience which one is Lucy on which on the psyche, but as the work develops the distinction between the two gets blurry and at the end is up to us to make a decision as to which one is the real Lucy. This is true for the audiences at both location since that for each audience, whoever they see on stage (not projected) will be the real Lucy. The transition to create the blur between the two characters has to be scripted.

==My motives==

The reason why I would like to embark on a project with this topic is because I have lost relatives to senile dementia and atherosclerosis, and my wife recently lost a cousin who suffered from schizophrenia. The ending of the piece leaves a question for the audience: which one is the real Lucy? I insist on this idea because, as it was the case with my grandmother, perception of reality as we see it, is altered in the troubled mind of a patient, yet every now and then, in the case of the most critically ill ones, there are moments of lucidity in which they recall moments of their youth or crucial events in their lives. These moments are very similar to hallucinations during analgosedation ( high doses of sedatives) experienced by patients. These events might be completely unknown or relatively known to the relatives and after the loved ones have passed, we are left with the questions: where those moments real? where those moments of lucidity a window to the real person, a moment in which they involuntarily reveal to us their most intimate aspects of their being? In my personal opinion, having experienced this situation with my grandmother, and not too long ago, with my father in-law as he was dying and was under heavy sedation, these are beautiful moments in which we find comfort knowing that in the midst of the tragedy, there are some clear remnants of our loved ones present in the psyche and spirit.

==Technical Aspects==

The singers are in two different locations. The dancers are divided in to two groups and these are assigned a location as well. The contact between Lucy (singer #1) and her mind (singer #2) happens through a video projection on a transparent screen. This way i can make a better use of the space and it will also provide a more dramatic interaction between the two characters.
There will also be pre-recorded videos; these represent flashbacks and are to be shot with low fi cameras and with camera motion. Also, the videos projected on location one, will not necessarily be the same as the ones projected on location 2, the reason for this being that as is the case with trying to understand the mind of the patient, we don't fully know or understand what really is
going on inside their heads so there is always this element of wondering sparked by our natural curiosity. This element becomes an unanswered question.
The singing consists on songs that are performed as written, manipulated at time in real time, and also pre-recorded, altered, and then played back. For real time manipulation I will create (hopefully in collaboration with someone more experienced than me) a PD patch that will include markov chain. Why markov? I considered markov chain to be "without memory" and every event is dependable on the "current state," this is known as '''Markov Property''' [http://en.wikipedia.org/wiki/Markov_property].
So basically I want the technology is somewhat linked to the theme of the piece. I'm planning for latency to be a part of the piece, but i have yet to figure out how.
I have not yet decided on a number of channels for audio.

==Partners/ Collaborators?==

I'm looking for people who have experience with dancers and with theatre.

==Sources==

1] http://en.wikipedia.org/wiki/Markov_property

EKK:LoFi Sounds in HiFi Spaces/Mind VS Mind

2013-05-13T16:53:24Z

Marcelonator: Created page with "===Singers=== Two singers, one on each location. Dancers, two on each location plus at least two for video recordings. ===People Involved=== Marcelo F. Lazcano I'm looking ..."

EKK:LoFi Sounds in HiFi Spaces/Body Instrument

2013-05-13T08:24:26Z

Marcelonator: moved EKK:LoFi Sounds in HiFi Spaces/Body Instrument to EKK:LoFi Sounds in HiFi Spaces/Reality and Psyche

#REDIRECT [[EKK:LoFi Sounds in HiFi Spaces/Reality and Psyche]]

EKK:LoFi Sounds in HiFi Spaces/Reality and Psyche

2013-05-13T08:24:26Z

Marcelonator: moved EKK:LoFi Sounds in HiFi Spaces/Body Instrument to EKK:LoFi Sounds in HiFi Spaces/Reality and Psyche

===Involves===
Body Movement
Singer
Electronic music
Real-time Control of 3D Graphics via Audio
Various Wireless Sensors Attached to the Dancer's Clothing, Hands, and shoes
Wireless Microcontroller
Custom Software Developed for Manipulating Objects in OpenGL

===People===
* [[../ElisabetCurbelo/]]
* [[../czyskows/]]
* …anyone else who cares to be involved

==Product==
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.

The purpose of this project is to link, as closely as possible and in real time, movement, sound, and light.

Previous music by the composer:
* [http://www.elisabetcurbelo.com/elisabetcurbelo/kara_toprak_en.html Kara Toprak]
* [http://www.elisabetcurbelo.com/elisabetcurbelo/Mikrop_en.html Mikrop]

==Literature/Links==

Meredith Monk: Four Decades by Design and by Invention
Nancy Putnam Smithner
TDR (1988-) , Vol. 49, No. 2 (Summer, 2005), pp. 93-118
Published by: The MIT Press
Article Stable URL: http://www.jstor.org/stable/4488644

[http://www.meredithmonk.org Meredith Monk]

[https://vimeo.com/21061149 Meredith Monk DANCING VOICE/SINGING BODY]

[http://www.fatima-miranda.com/finalok/idiom.html Fatima Miranda]

EKK:LoFi Sounds in HiFi Spaces/Mingling sounds/Ives Marcelo

2013-04-29T07:03:35Z

Marcelonator:

==Ives' and Marcelo's answers==

As sound artists (composers, performers, computer musicians, etc) the message we try to convey and its reception highly depend on the circumstances in which our work is presented. For example, a work in an open space won't have the same effect as if it was played in a large room with a large amount of reverb, and it won't be the same if it is played in a small room, therefore we have to consider how to present our work in a way that the message gets across. This is where we agree 100% with McLuhan. How we present our art, and the choices of medium (the space our work is performed/ speaker placements/ sound manipulation with computer software/ acoustic instruments/ etc) have a direct influence in how the work is perceived.

Our question in the end is do we use the medium to convey a message or to manipulate the senses? In a way this question answers the ones regarding Fontana's work. If we use the medium to alter reality -or to create temporary one- then we we are influencing the way a particular work is perceived; the question being “are audiences going to buy this?” If we strip sound from one location and replace it with sounds from a different one there is a 50-50 chance that for that moment our brain will adapt to this new reality and accept it a such, partly because our ability to adapt. In other words, what the eyes see and the ears hear the mind believes.

The last question, in our opinion, it has to do with what we already know about these instruments, like a telephone and a loudspeaker. This knowledge of course includes the good qualities about them but also the troubles that can come up (poor connection, a bad loudspeaker) which are all part of our expectations. For example, if a phone call gets a lot interference or the sound is not good, we get frustrated, but is something that we are somewhat accustomed to. When expectations are not met things can go two ways: either they are exceeded by the new experience or they disappoint. As artists we believe our role is not so much to exceed the expectations but to rather to challenge the brain to accept what could otherwise be seeing as a disappointing experience.

==Video Links==
''
'''San Diego morning with Weimar sounds'''''

<videoflash>zJtGw1Gl6MQ</videoflash>

''
'''Weimar morning with San diego sounds'''''

<videoflash>tBhWirFsE8w</videoflash>

EKK:LoFi Sounds in HiFi Spaces/Mingling sounds/Ives Marcelo

2013-04-29T07:01:34Z

Marcelonator:

==Ives' and Marcelo's answers==

As sound artists (composers, performers, computer musicians, etc) the message we try to convey and its reception highly depend on the circumstances in which our work is presented. For example, a work in an open space won't have the same effect as if it was played in a large room with a large amount of reverb, and it won't be the same if it is played in a small room, therefore we have to consider how to present our work in a way that the message gets across. This is where we agree 100% with McLuhan. How we present our art, and the choices of medium (the space our work is performed/ speaker placements/ sound manipulation with computer software/ acoustic instruments/ etc) have a direct influence in how the work is perceived.

Our question in the end is do we use the medium to convey a message or to manipulate the senses? In a way this question answers the ones regarding Fontana's work. If we use the medium to alter reality -or to create temporary one- then we we are influencing the way a particular work is perceived; the question being “are audiences going to buy this?” If we strip sound from one location and replace it with sounds from a different one there is a 50-50 chance that for that moment our brain will adapt to this new reality and accept it a such, partly because our ability to adapt. In other words, what the eyes see and the ears hear the mind believes.

The last question, in our opinion, it has to do with what we already know about this instruments like a telephone and a loudspeaker. This knowledge of course includes the good qualities about them but also the troubles that can come up (poor connection, a bad loudspeaker) which are all part of our expectations. For example, if a phone call gets a lot interference or the sound is not good, we get frustrated, but is something that we are somewhat accustomed to. When expectations are not met things can go two ways: either they are exceeded by the new experience or they disappoint. As artists we believe our role is not to exceed the expectations so much but to rather challenge the brain to accept what could otherwise be seeing as a disappointing experience.

==Video Links==
''
'''San Diego morning with Weimar sounds'''''

<videoflash>zJtGw1Gl6MQ</videoflash>

''
'''Weimar morning with San diego sounds'''''

<videoflash>tBhWirFsE8w</videoflash>

EKK:LoFi Sounds in HiFi Spaces/Mingling sounds/Ives Marcelo

2013-04-29T06:56:10Z

Marcelonator:

==Ives' and Marcelo's answers==

As sound artists (composers, performers, computer musicians, etc) the message we try to convey and its reception highly depend on the circumstances in which our work is presented. For example, a work in an open space won't have the same effect as if it was played in a large room with a large amount of reverb, and it won't be the same if it is played in a small room, therefore we have to consider how to present our work in a way that the message gets across. This is where we agree 100% with McLuhan. How we present our art, and the choices of medium (the space our work is performed/ speaker placements/ sound manipulation with computer software/ acoustic instruments/ etc) have a direct influence in how the work is perceived.
Our question in the end is do we use the medium to convey a message or to manipulate the senses? In a way this question answers the ones regarding Fontana's work. If we use the medium to alter reality -or to create temporary one- then we we are influencing the way a particular work is perceived; the question being “are audiences going to buy this?” If we strip sound from one location and replace it with sounds from a different one there is a 50-50 chance that for that moment our brain will adapt to this new reality and accept it a such, partly because our ability to adapt. In other words, what the eyes see and the ears hear the mind believes.
The last question, in our opinion, it has to do with what we already know about this instruments like a telephone and a loudspeaker. This knowledge of course includes the good qualities about them but also the troubles that can come up (poor connection, a bad loudspeaker) which are all part of our expectations. For example, if a phone call gets a lot interference or the sound is not good, we get frustrated, but is something that we are somewhat accustomed to. When expectations are not met things can go two ways: either they are exceeded by the new experience or they disappoint. As artists we believe our role is not to exceed the expectations so much but to rather challenge the brain to accept what could otherwise be seeing as a disappointing experience.

==Video Links==
''
'''San Diego morning with Weimar sounds'''''

<videoflash>zJtGw1Gl6MQ</videoflash>

''
'''Weimar morning with San diego sounds'''''

<videoflash>tBhWirFsE8w</videoflash>

EKK:LoFi Sounds in HiFi Spaces/Mingling sounds/Ives Marcelo

2013-04-29T05:54:43Z

Marcelonator:

==Ives' and Marcelo's answers==

As sound artists (composers, performers, computer musicians, etc) the message we try to convey and its reception highly depend on the circumstances in which our work is presented. For example, a work in an open space won't have the same effect as if it was played in a large room with a large amount of reverb, and it won't be the same if it is played in a small room, therefore we have to consider how to present our work in a way that the message gets across. This is where we agree 100% with McLuhan. How we present our art, and the choices of medium (the space our work is performed/ speaker placements/ sound manipulation with computer software/ acoustic instruments/ etc) have a direct influence in how the work is perceived.
Our question in the end is do we use the medium to convey a message or to manipulate the senses? In a way this question answers the ones regarding Fontana's work. If we use the medium to alter reality -or to create temporary one- then we we are influencing the way a particular work is perceived; the question being “are audiences going to buy this?” If we strip sound from one location and replace it with sounds from a different one there is a 50-50 chance that for that moment our brain will adapt to this new reality and accept it a such, partly because our ability to adapt. In other words, what the eyes see and the ears hear the mind believes.
The last question, in our opinion, it has to do with what we already know about this instruments like a telephone and a loudspeaker. This knowledge of course includes the good qualities about them but also the troubles that can come up (poor connection, a bad loudspeaker) which are all part of our expectations. For example, if a phone call gets a lot interference or the sound is not good, we get frustrated, but is something that we are somewhat accustomed to. When expectations are not met things can go two ways: either they are exceeded by the new experience or they disappoint. As artists we believe our role is not to exceed the expectations so much but to rather challenge the brain to accept what could otherwise be seeing as a disappointing experience.

==Video Links==
''
'''San Diegan morning with Weimar sounds'''''

<videoflash>zJtGw1Gl6MQ</videoflash>

EKK:LoFi Sounds in HiFi Spaces/Mingling sounds/Ives Marcelo

2013-04-29T05:54:16Z

Marcelonator:

==Ives' and Marcelo's answers==

As sound artists (composers, performers, computer musicians, etc) the message we try to convey and its reception highly depend on the circumstances in which our work is presented. For example, a work in an open space won't have the same effect as if it was played in a large room with a large amount of reverb, and it won't be the same if it is played in a small room, therefore we have to consider how to present our work in a way that the message gets across. This is where we agree 100% with McLuhan. How we present our art, and the choices of medium (the space our work is performed/ speaker placements/ sound manipulation with computer software/ acoustic instruments/ etc) have a direct influence in how the work is perceived.
Our question in the end is do we use the medium to convey a message or to manipulate the senses? In a way this question answers the ones regarding Fontana's work. If we use the medium to alter reality -or to create temporary one- then we we are influencing the way a particular work is perceived; the question being “are audiences going to buy this?” If we strip sound from one location and replace it with sounds from a different one there is a 50-50 chance that for that moment our brain will adapt to this new reality and accept it a such, partly because our ability to adapt. In other words, what the eyes see and the ears hear the mind believes.
The last question, in our opinion, it has to do with what we already know about this instruments like a telephone and a loudspeaker. This knowledge of course includes the good qualities about them but also the troubles that can come up (poor connection, a bad loudspeaker) which are all part of our expectations. For example, if a phone call gets a lot interference or the sound is not good, we get frustrated, but is something that we are somewhat accustomed to. When expectations are not met things can go two ways: either they are exceeded by the new experience or they disappoint. As artists we believe our role is not to exceed the expectations so much but to rather challenge the brain to accept what could otherwise be seeing as a disappointing experience.

==Video Links==
''
'''San Diegan morning with Weimer sounds'''''

<videoflash>zJtGw1Gl6MQ</videoflash>

EKK:LoFi Sounds in HiFi Spaces/Mingling sounds/Ives Marcelo

2013-04-29T03:13:58Z

Marcelonator:

==Ives' and Marcelo's answers==

As sound artists (composers, performers, computer musicians, etc) the message we try to convey and its reception highly depend on the circumstances in which our work is presented. For example, a work in an open space won't have the same effect as if it was played in a large room with a large amount of reverb, and it won't be the same if it is played in a small room, therefore we have to consider how to present our work in a way that the message gets across. This is where we agree 100% with McLuhan. How we present our art, and the choices of medium (the space our work is performed/ speaker placements/ sound manipulation with computer software/ acoustic instruments/ etc) have a direct influence in how the work is perceived.
Our question in the end is do we use the medium to convey a message or to manipulate the senses? In a way this question answers the ones regarding Fontana's work. If we use the medium to alter reality -or to create temporary one- then we we are influencing the way a particular work is perceived; the question being “are audiences going to buy this?” If we strip sound from one location and replace it with sounds from a different one there is a 50-50 chance that for that moment our brain will adapt to this new reality and accept it a such, partly because our ability to adapt. In other words, what the eyes see and the ears hear the mind believes.
The last question, in our opinion, it has to do with what we already know about this instruments like a telephone and a loudspeaker. This knowledge of course includes the good qualities about them but also the troubles that can come up (poor connection, a bad loudspeaker) which are all part of our expectations. For example, if a phone call gets a lot interference or the sound is not good, we get frustrated, but is something that we are somewhat accustomed to. When expectations are not met things can go two ways: either they are exceeded by the new experience or they disappoint. As artists we believe our role is not to exceed the expectations so much but to rather challenge the brain to accept what could otherwise be seeing as a disappointing experience.

==Video Links==
''
'''San Diegan morning'''''

<videoflash>iKTP3VISJx4</videoflash>

EKK:LoFi Sounds in HiFi Spaces/Mingling sounds/Ives Marcelo

2013-04-29T03:10:46Z

Marcelonator:

==Ives' and Marcelo's answers==

As sound artists (composers, performers, computer musicians, etc) the message we try to convey and its reception highly depend on the circumstances in which our work is presented. For example, a work in an open space won't have the same effect as if it was played in a large room with a large amount of reverb, and it won't be the same if it is played in a small room, therefore we have to consider how to present our work in a way that the message gets across. This is where we agree 100% with McLuhan. How we present our art, and the choices of medium (the space our work is performed/ speaker placements/ sound manipulation with computer software/ acoustic instruments/ etc) have a direct influence in how the work is perceived.
Our question in the end is do we use the medium to convey a message or to manipulate the senses? In a way this question answers the ones regarding Fontana's work. If we use the medium to alter reality -or to create temporary one- then we we are influencing the way a particular work is perceived; the question being “are audiences going to buy this?” If we strip sound from one location and replace it with sounds from a different one there is a 50-50 chance that for that moment our brain will adapt to this new reality and accept it a such, partly because our ability to adapt. In other words, what the eyes see and the ears hear the mind believes.
The last question, in our opinion, it has to do with what we already know about this instruments like a telephone and a loudspeaker. This knowledge of course includes the good qualities about them but also the troubles that can come up (poor connection, a bad loudspeaker) which are all part of our expectations. For example, if a phone call gets a lot interference or the sound is not good, we get frustrated, but is something that we are somewhat accustomed to. When expectations are not met things can go two ways: either they are exceeded by the new experience or they disappoint. As artists we believe our role is not to exceed the expectations so much but to rather challenge the brain to accept what could otherwise be seeing as a disappointing experience.

==Video Links==

San Diego morning

<videoflash>iKTP3VISJx4</videoflash>

EKK:LoFi Sounds in HiFi Spaces/Mingling sounds/Ives Marcelo

2013-04-29T01:23:19Z

Marcelonator:

==Ives' and Marcelo's answers==

As sound artists (composers, performers, computer musicians, etc) the message we try to convey and its reception highly depend on the circumstances in which our work is presented. For example, a work in an open space won't have the same effect as if it was played in a large room with a large amount of reverb, and it won't be the same if it is played in a small room, therefore we have to consider how to present our work in a way that the message gets across. This is where we agree 100% with McLuhan. How we present our art, and the choices of medium (the space our work is performed/ speaker placements/ sound manipulation with computer software/ acoustic instruments/ etc) have a direct influence in how the work is perceived.
Our question in the end is do we use the medium to convey a message or to manipulate the senses? In a way this question answers the ones regarding Fontana's work. If we use the medium to alter reality -or to create temporary one- then we we are influencing the way a particular work is perceived; the question being “are audiences going to buy this?” If we strip sound from one location and replace it with sounds from a different one there is a 50-50 chance that for that moment our brain will adapt to this new reality and accept it a such, partly because our ability to adapt. In other words, what the eyes see and the ears hear the mind believes.
The last question, in our opinion, it has to do with what we already know about this instruments like a telephone and a loudspeaker. This knowledge of course includes the good qualities about them but also the troubles that can come up (poor connection, a bad loudspeaker) which are all part of our expectations. For example, if a phone call gets a lot interference or the sound is not good, we get frustrated, but is something that we are somewhat accustomed to. When expectations are not met things can go two ways: either they are exceeded by the new experience or they disappoint. As artists we believe our role is not to exceed the expectations so much but to rather challenge the brain to accept what could otherwise be seeing as a disappointing experience.

==Video Links==

<videoflash>iKTP3VISJx4</videoflash>

EKK:LoFi Sounds in HiFi Spaces/Mingling sounds/Ives Marcelo

2013-04-29T01:22:57Z

Marcelonator:

==Ives' and Marcelo's answers==

As sound artists (composers, performers, computer musicians, etc) the message we try to convey and its reception highly depend on the circumstances in which our work is presented. For example, a work in an open space won't have the same effect as if it was played in a large room with a large amount of reverb, and it won't be the same if it is played in a small room, therefore we have to consider how to present our work in a way that the message gets across. This is where we agree 100% with McLuhan. How we present our art, and the choices of medium (the space our work is performed/ speaker placements/ sound manipulation with computer software/ acoustic instruments/ etc) have a direct influence in how the work is perceived.
Our question in the end is do we use the medium to convey a message or to manipulate the senses? In a way this question answers the ones regarding Fontana's work. If we use the medium to alter reality -or to create temporary one- then we we are influencing the way a particular work is perceived; the question being “are audiences going to buy this?” If we strip sound from one location and replace it with sounds from a different one there is a 50-50 chance that for that moment our brain will adapt to this new reality and accept it a such, partly because our ability to adapt. In other words, what the eyes see and the ears hear the mind believes.
The last question, in our opinion, it has to do with what we already know about this instruments like a telephone and a loudspeaker. This knowledge of course includes the good qualities about them but also the troubles that can come up (poor connection, a bad loudspeaker) which are all part of our expectations. For example, if a phone call gets a lot interference or the sound is not good, we get frustrated, but is something that we are somewhat accustomed to. When expectations are not met things can go two ways: either they are exceeded by the new experience or they disappoint. As artists we believe our role is not to exceed the expectations so much but to rather challenge the brain to accept what could otherwise be seeing as a disappointing experience.

==Video Links==

San Diego: <videoflash>iKTP3VISJx4</videoflash>

EKK:LoFi Sounds in HiFi Spaces/Mingling sounds/Ives Marcelo

2013-04-29T01:18:36Z

Marcelonator:

==Ives' and Marcelo's answers==

As sound artists (composers, performers, computer musicians, etc) the message we try to convey and its reception highly depend on the circumstances in which our work is presented. For example, a work in an open space won't have the same effect as if it was played in a large room with a large amount of reverb, and it won't be the same if it is played in a small room, therefore we have to consider how to present our work in a way that the message gets across. This is where we agree 100% with McLuhan. How we present our art, and the choices of medium (the space our work is performed/ speaker placements/ sound manipulation with computer software/ acoustic instruments/ etc) have a direct influence in how the work is perceived.
Our question in the end is do we use the medium to convey a message or to manipulate the senses? In a way this question answers the ones regarding Fontana's work. If we use the medium to alter reality -or to create temporary one- then we we are influencing the way a particular work is perceived; the question being “are audiences going to buy this?” If we strip sound from one location and replace it with sounds from a different one there is a 50-50 chance that for that moment our brain will adapt to this new reality and accept it a such, partly because our ability to adapt. In other words, what the eyes see and the ears hear the mind believes.
The last question, in our opinion, it has to do with what we already know about this instruments like a telephone and a loudspeaker. This knowledge of course includes the good qualities about them but also the troubles that can come up (poor connection, a bad loudspeaker) which are all part of our expectations. For example, if a phone call gets a lot interference or the sound is not good, we get frustrated, but is something that we are somewhat accustomed to. When expectations are not met things can go two ways: either they are exceeded by the new experience or they disappoint. As artists we believe our role is not to exceed the expectations so much but to rather challenge the brain to accept what could otherwise be seeing as a disappointing experience.

==Video Links==

San Diego: <videoflash type=youtube.com/watch?v=iKTP3VISJx4&feature=youtu.be/videoflash>

EKK:LoFi Sounds in HiFi Spaces/Mingling sounds/Ives Marcelo

2013-04-29T01:14:46Z

Marcelonator:

==Ives' and Marcelo's answers==

As sound artists (composers, performers, computer musicians, etc) the message we try to convey and its reception highly depend on the circumstances in which our work is presented. For example, a work in an open space won't have the same effect as if it was played in a large room with a large amount of reverb, and it won't be the same if it is played in a small room, therefore we have to consider how to present our work in a way that the message gets across. This is where we agree 100% with McLuhan. How we present our art, and the choices of medium (the space our work is performed/ speaker placements/ sound manipulation with computer software/ acoustic instruments/ etc) have a direct influence in how the work is perceived.
Our question in the end is do we use the medium to convey a message or to manipulate the senses? In a way this question answers the ones regarding Fontana's work. If we use the medium to alter reality -or to create temporary one- then we we are influencing the way a particular work is perceived; the question being “are audiences going to buy this?” If we strip sound from one location and replace it with sounds from a different one there is a 50-50 chance that for that moment our brain will adapt to this new reality and accept it a such, partly because our ability to adapt. In other words, what the eyes see and the ears hear the mind believes.
The last question, in our opinion, it has to do with what we already know about this instruments like a telephone and a loudspeaker. This knowledge of course includes the good qualities about them but also the troubles that can come up (poor connection, a bad loudspeaker) which are all part of our expectations. For example, if a phone call gets a lot interference or the sound is not good, we get frustrated, but is something that we are somewhat accustomed to. When expectations are not met things can go two ways: either they are exceeded by the new experience or they disappoint. As artists we believe our role is not to exceed the expectations so much but to rather challenge the brain to accept what could otherwise be seeing as a disappointing experience.

==Video Links==

San Diego: [http//www.youtube.com/watch?v=iKTP3VISJx4&feature=youtu.be]

EKK:LoFi Sounds in HiFi Spaces/Mingling sounds/Ives Marcelo

2013-04-29T01:14:16Z

Marcelonator:

==Ives' and Marcelo's answers==

As sound artists (composers, performers, computer musicians, etc) the message we try to convey and its reception highly depend on the circumstances in which our work is presented. For example, a work in an open space won't have the same effect as if it was played in a large room with a large amount of reverb, and it won't be the same if it is played in a small room, therefore we have to consider how to present our work in a way that the message gets across. This is where we agree 100% with McLuhan. How we present our art, and the choices of medium (the space our work is performed/ speaker placements/ sound manipulation with computer software/ acoustic instruments/ etc) have a direct influence in how the work is perceived.
Our question in the end is do we use the medium to convey a message or to manipulate the senses? In a way this question answers the ones regarding Fontana's work. If we use the medium to alter reality -or to create temporary one- then we we are influencing the way a particular work is perceived; the question being “are audiences going to buy this?” If we strip sound from one location and replace it with sounds from a different one there is a 50-50 chance that for that moment our brain will adapt to this new reality and accept it a such, partly because our ability to adapt. In other words, what the eyes see and the ears hear the mind believes.
The last question, in our opinion, it has to do with what we already know about this instruments like a telephone and a loudspeaker. This knowledge of course includes the good qualities about them but also the troubles that can come up (poor connection, a bad loudspeaker) which are all part of our expectations. For example, if a phone call gets a lot interference or the sound is not good, we get frustrated, but is something that we are somewhat accustomed to. When expectations are not met things can go two ways: either they are exceeded by the new experience or they disappoint. As artists we believe our role is not to exceed the expectations so much but to rather challenge the brain to accept what could otherwise be seeing as a disappointing experience.

==Video Links==

San Diego: [https:www.youtube.com/watch?v=iKTP3VISJx4&feature=youtu.be]

EKK:LoFi Sounds in HiFi Spaces/Mingling sounds/Ives Marcelo

2013-04-29T01:12:27Z

Marcelonator:

==Ives' and Marcelo's answers==

As sound artists (composers, performers, computer musicians, etc) the message we try to convey and its reception highly depend on the circumstances in which our work is presented. For example, a work in an open space won't have the same effect as if it was played in a large room with a large amount of reverb, and it won't be the same if it is played in a small room, therefore we have to consider how to present our work in a way that the message gets across. This is where we agree 100% with McLuhan. How we present our art, and the choices of medium (the space our work is performed/ speaker placements/ sound manipulation with computer software/ acoustic instruments/ etc) have a direct influence in how the work is perceived.
Our question in the end is do we use the medium to convey a message or to manipulate the senses? In a way this question answers the ones regarding Fontana's work. If we use the medium to alter reality -or to create temporary one- then we we are influencing the way a particular work is perceived; the question being “are audiences going to buy this?” If we strip sound from one location and replace it with sounds from a different one there is a 50-50 chance that for that moment our brain will adapt to this new reality and accept it a such, partly because our ability to adapt. In other words, what the eyes see and the ears hear the mind believes.
The last question, in our opinion, it has to do with what we already know about this instruments like a telephone and a loudspeaker. This knowledge of course includes the good qualities about them but also the troubles that can come up (poor connection, a bad loudspeaker) which are all part of our expectations. For example, if a phone call gets a lot interference or the sound is not good, we get frustrated, but is something that we are somewhat accustomed to. When expectations are not met things can go two ways: either they are exceeded by the new experience or they disappoint. As artists we believe our role is not to exceed the expectations so much but to rather challenge the brain to accept what could otherwise be seeing as a disappointing experience.

==Video Links==

San Diego: http://www.youtube.com/watch?v=iKTP3VISJx4&feature=youtu.be

EKK:LoFi Sounds in HiFi Spaces/Mingling sounds/Ives Marcelo

2013-04-29T01:10:40Z

Marcelonator:

==Ives' and Marcelo's answers==

As sound artists (composers, performers, computer musicians, etc) the message we try to convey and its reception highly depend on the circumstances in which our work is presented. For example, a work in an open space won't have the same effect as if it was played in a large room with a large amount of reverb, and it won't be the same if it is played in a small room, therefore we have to consider how to present our work in a way that the message gets across. This is where we agree 100% with McLuhan. How we present our art, and the choices of medium (the space our work is performed/ speaker placements/ sound manipulation with computer software/ acoustic instruments/ etc) have a direct influence in how the work is perceived.
Our question in the end is do we use the medium to convey a message or to manipulate the senses? In a way this question answers the ones regarding Fontana's work. If we use the medium to alter reality -or to create temporary one- then we we are influencing the way a particular work is perceived; the question being “are audiences going to buy this?” If we strip sound from one location and replace it with sounds from a different one there is a 50-50 chance that for that moment our brain will adapt to this new reality and accept it a such, partly because our ability to adapt. In other words, what the eyes see and the ears hear the mind believes.
The last question, in our opinion, it has to do with what we already know about this instruments like a telephone and a loudspeaker. This knowledge of course includes the good qualities about them but also the troubles that can come up (poor connection, a bad loudspeaker) which are all part of our expectations. For example, if a phone call gets a lot interference or the sound is not good, we get frustrated, but is something that we are somewhat accustomed to. When expectations are not met things can go two ways: either they are exceeded by the new experience or they disappoint. As artists we believe our role is not to exceed the expectations so much but to rather challenge the brain to accept what could otherwise be seeing as a disappointing experience.

==Video Links (Youtube links coming soon!)==

http://www.youtube.com/watch?v=iKTP3VISJx4&feature=youtu.be

https://dl.dropboxusercontent.com/u/72950045/Marcelo's_view_%26_sounds_from_Encinitas.mov

EKK:LoFi Sounds in HiFi Spaces/Mingling sounds/Ives Marcelo

2013-04-29T00:53:40Z

Marcelonator:

==Ives' and Marcelo's answers==

As sound artists (composers, performers, computer musicians, etc) the message we try to convey and its reception highly depend on the circumstances in which our work is presented. For example, a work in an open space won't have the same effect as if it was played in a large room with a large amount of reverb, and it won't be the same if it is played in a small room, therefore we have to consider how to present our work in a way that the message gets across. This is where we agree 100% with McLuhan. How we present our art, and the choices of medium (the space our work is performed/ speaker placements/ sound manipulation with computer software/ acoustic instruments/ etc) have a direct influence in how the work is perceived.
Our question in the end is do we use the medium to convey a message or to manipulate the senses? In a way this question answers the ones regarding Fontana's work. If we use the medium to alter reality -or to create temporary one- then we we are influencing the way a particular work is perceived; the question being “are audiences going to buy this?” If we strip sound from one location and replace it with sounds from a different one there is a 50-50 chance that for that moment our brain will adapt to this new reality and accept it a such, partly because our ability to adapt. In other words, what the eyes see and the ears hear the mind believes.
The last question, in our opinion, it has to do with what we already know about this instruments like a telephone and a loudspeaker. This knowledge of course includes the good qualities about them but also the troubles that can come up (poor connection, a bad loudspeaker) which are all part of our expectations. For example, if a phone call gets a lot interference or the sound is not good, we get frustrated, but is something that we are somewhat accustomed to. When expectations are not met things can go two ways: either they are exceeded by the new experience or they disappoint. As artists we believe our role is not to exceed the expectations so much but to rather challenge the brain to accept what could otherwise be seeing as a disappointing experience.

==Video Links (Youtube links coming soon!)==

https://dl.dropboxusercontent.com/u/72950045/Marcelo's_view_%26_sounds_from_Encinitas.mov

EKK:LoFi Sounds in HiFi Spaces/Mingling sounds/Ives Marcelo

2013-04-29T00:48:18Z

Marcelonator:

==Ives' and Marcelo's answers==

As sound artists (composers, performers, computer musicians, etc) the message we try to convey and its reception highly depend on the circumstances in which our work is presented. For example, a work in an open space won't have the same effect as if it was played in a large room with a large amount of reverb, and it won't be the same if it is played in a small room, therefore we have to consider how to present our work in a way that the message gets across. This is where we agree 100% with McLuhan. How we present our art, and the choices of medium (the space our work is performed/ speaker placements/ sound manipulation with computer software/ acoustic instruments/ etc) have a direct influence in how the work is perceived.
Our question in the end is do we use the medium to convey a message or to manipulate the senses? In a way this question answers the ones regarding Fontana's work. If we use the medium to alter reality -or to create temporary one- then we we are influencing the way a particular work is perceived; the question being “are audiences going to buy this?” If we strip sound from one location and replace it with sounds from a different one there is a 50-50 chance that for that moment our brain will adapt to this new reality and accept it a such, partly because our ability to adapt. In other words, what the eyes see and the ears hear the mind believes.
The last question, in our opinion, it has to do with what we already know about this instruments like a telephone and a loudspeaker. This knowledge of course includes the good qualities about them but also the troubles that can come up (poor connection, a bad loudspeaker) which are all part of our expectations. For example, if a phone call gets a lot interference or the sound is not good, we get frustrated, but is something that we are somewhat accustomed to. When expectations are not met things can go two ways: either they are exceeded by the new experience or they disappoint. As artists we believe our role is not to exceed the expectations so much but to rather challenge the brain to accept what could otherwise be seeing as a disappointing experience.

EKK:LoFi Sounds in HiFi Spaces/Mingling sounds/Ives Marcelo

2013-04-29T00:45:53Z

Marcelonator: Created page with "==Ives' and Marcelo's answers== As sound artists (composers, performers, computer musicians, etc) the message we try to convey and its reception highly depend on the circumstan..."

==Ives' and Marcelo's answers==

As sound artists (composers, performers, computer musicians, etc) the message we try to convey and its reception highly depend on the circumstances in which our work is presented. For example, a work in an open space won't have the same effect as if it was played in a large room with a large amount of reverb, and it won't be the same if it is played in a small room, therefore we have to consider how to present our work in a way that the message gets across. This is where I agree 100% with McLuhan. How we present our art, and the choices of medium (the space our work is performed/ speaker placements/ sound manipulation with computer software/ acoustic instruments/ etc) have a direct influence in how the work is perceived.
My question in the end is do we use the medium to convey a very message or to manipulate the senses? In a way this question answers the ones regarding Fontana's work. If we use the medium to alter reality -or to create temporary one- then we we are influencing the way a particular work is perceived; the question being “are audiences going to buy this?” If we strip sound from one location and replace it with sounds from a different one there is a 50-50 chance that for that moment our brain will adapt to this new reality and accept it a such, partly because our ability to adapt. In other words, what the eyes see and the ears hear the mind believes.
The last question, in my opinion, it has to do with what we already know about this instruments like a telephone and a loudspeaker. This knowledge of course includes the good qualities about them but also the troubles that can come up (poor connection, a bad loudspeaker) which are all part of our expectations. For example, if a phone call gets a lot interference or the sound is not good, we get frustrated, but is something that we are somewhat accustomed to. When expectations are not met things can go two ways: either they are exceeded by the new experience or they disappoint. As artists I believe our role is not to exceed the expectations so much but to rather challenge the brain to accept what could otherwise be seeing as a disappointing experience.

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

2013-04-22T04:10:04Z

Marcelonator:

==ooVoo==

ooVoo is a multi-platform video conferencing/chat application that boasts allowing up to 12 simultaneous video streams.

Unlike Skype, ooVoo doesn't make use of peer-to-peer connections, instead relying on some kind of cloud configuration. Apparently because of this, ooVoo's CEO has stated that ooVoo isn't typically used for "scheduled international calls or professional meetings," instead focusing on casual users. Nevertheless, the Washington Post claimed in 2011 that ooVoo had been approved for official communications within the US House of Representatives.

==The ooVoo Interface==

ooVoo manifests as a cluttered and non-native interface spread across multiple windows for its various tasks: a contacts list, a text chat window, a video chat window, etc. ''Every window'' in ooVoo displays advertisements at you. It can be assumed that these are targeted: during our intercontinental chats, I was shown a Volkswagen ad comprised of text in Spanish, German, and English simultaneously. Some ads automatically play audio at you, destroying any recordings you might be making - this is significant since call recording is a built-in feature.

[[File:[[File:oovoo.jpg]]]]

In a video conference, ooVoo partitions the window based on how many participants are present. In the default view with two people, the video streams appear as adjacent rectangles. With three people present, the right and left streams are angled in a gratuitous 3D effect. As an alternative, any single stream can be designated to fill the window, with the remaining streams delegated into a single corner.

==Testing ooVoo==

We tested ooVoo as a 3-person team with one person in Weimar and 2 people at separate locations in San Diego. Audio fidelity during conversation was relatively poor, as has come to be expected from internet telephony. All three of us experienced intermittent feedback bursts, where audio with about a half-second of delay would return loudly for a few seconds at a time. ooVoo's automatic gain control didn't have much of an effect on this.

Weimar occasionally experienced bandwidth issues, which ooVoo deals with by automatically dropping the affected video stream, while keeping audio alive.

==Exploring==

We explored latency pragmatically. As an initial experiment, we attempted to clap steadily as a group. This failure found new form in our second attempt, where our hands were kept clearly visible in front of the camera, providing both strong visual and audio cues for timing.

The power of feedback in mediating our group dynamic led us to our next experiment. We decided upon a feedback-based "call and response" exercise that would demonstrate the audio, visual, and perceptual latencies present.

Weimar found a way to stream a video file in place of the webcam image, and generated a series of stroboscopic videos displaying a burst of white between lulls of blackness. When darkness fell in San Diego, Weimar began broadcasting. With each flash, Weimar uttered the German word for light, "licht." The San Diegans, from independent locations, monitored Weimar fullscreen. Whenever they witnessed the light of Weimar, they responded in their own native tongues, Spanish and English: "Luz!" "Light!"

With microphone gains and speakers set to maximum, an unsteady but hypnotic mantra emerged. The whole process was recorded by Weimar, who was witness to all three streams. Playback provided clear documentation of the timing discrepancies of audio and video between the three locations. Unable to resist the cycle of feedback, Weimar again recorded the viewing of this recording. We present the result here.

==Video Links==

Video 1:
https://dl.dropboxusercontent.com/u/72950045/Video_1.mov

Video 2:
https://dl.dropboxusercontent.com/u/72950045/Video_2.mov

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

2013-04-22T04:00:10Z

Marcelonator:

EKK:LoFi Sounds in HiFi Spaces/Marcelo

2013-04-15T18:10:18Z

Marcelonator:

[[File:powerball.jpg|thumb]]
My name is Marcelo F. Lazcano, I am originally from Chile. I have been a guitar player for a long time -mainly a combination of trash/metal, progressive rock, and Chilean folkrock- and at some point during my late 20's I was bitten by the contemporary art music bug, so now I am a Ph.D. student in composition at the University of California, San Diego where I get to explore not only contemporary art music, but also the possibilities of incorporating my background into the art music world.

==Interests==

As a composer I am interested in Spectral music, the acoustic properties of performance spaces, and how they can be incorporated into music. Of course this has been done -officially- for almost 40 years, so my personal challenge is how to mix and balance this technique/ art form with my Chilean musical background. also I believe in music and arts as being part of science; with this in mind I'd like to say that I'm intrigued by the acoustics properties of sound and the psychological aspect of performance and perception.

As a guitar player, I like to experiment with alternate tunings and bi-tones; the tones that are produce in the string between the finger(s) and the nut. I am currently working on a project to map -regular- harmonics and those harmonics produced in the bi-tone area.

==Project for this class==

I'm interested in writing a piece for a Soprano singer. The plan involves recording the piece, then transform the recording via PD or Max and have the singer perform along with the altered tracks; this is the first part. The second part involves a video production, with the same singer, which will be projected during the piece. Then on week one I saw the room with multiple projectors which I think is ideal for what I have in mind. Although there would be no audience, it could make for a great documented performance (like a music video). The last aspect of this piece, which I think is the most complex, is the possibility of creating a piece in which this piece would be adapted for dancers and singer. For example,
the dancers would be in Germany and they would interact/ react to the projected image of the singer - the idea is to do this live through telematics - and vice versa, the singer here would react to the projected images of the dancers. Of course there should be a choreography or a central theme ( I was thinking in the lines of Edgar Allan Poe ). As I mentioned in my interests, I'm very interested in the psychological aspects of music and performance from the point of view of the performers; the fact that neither side can experience the physical properties of each other's venues opens the door for an experimentation in psychology.

==Links==

[http://soundcloud.com/marcelo-f-lazcano

==Skype==

Marcelonator

marceloflazcano925@gmail.com

==Platforms==
My main platform is currently OS X

EKK:LoFi Sounds in HiFi Spaces/Marcelo

2013-04-15T18:09:49Z

Marcelonator:

[[File:powerball.jpg|thumb]]
My name is Marcelo F. Lazcano, I am originally from Chile. I have been a guitar player for a long time -mainly a combination of trash/metal, progressive rock, and Chilean folkrock- and at some point during my late 20's I was bitten by the contemporary art music bug, so now I am a Ph.D. student in composition at the University of California, San Diego where I get to explore not only contemporary art music, but also the possibilities of incorporating my background into the art music world.

==Interests==

As a composer I am interested in Spectral music, the acoustic properties of performance spaces, and how they can be incorporated into music. Of course this has been done -officially- for almost 40 years, so my personal challenge is how to mix and balance this technique/ art form with my Chilean musical background. also I believe in music and arts as being part of science; with this in mind I'd like to say that I'm intrigued by the acoustics properties of sound and the psychological aspect of performance and perception.

As a guitar player, I like to experiment with alternate tunings and bi-tones; the tones that are produce in the string between the finger(s) and the nut. I am currently working on a project to map -regular- harmonics and those harmonics produced in the bi-tone area.

==Project for this class==

I'm interested in writing a piece for a Soprano singer. The plan involves recording the piece, then transform the recording via PD or Max and have the singer perform along with the altered tracks; this is the first part. The second part involves a video production, with the same singer, which will be projected during the piece. Then on week one I saw the room with multiple projectors which I think is ideal for what I have in mind. Although there would be no audience, it could make for a great documented performance (like a music video). The last aspect of this piece, which I think is the most complex, is the possibility of creating a piece in which this piece would be adapted for dancers and singer. For example,
the dancers would be in Germany and they would interact/ react to the projected image of the singer - the idea is to do this live through telematics - and vice versa, the singer here would react to the projected images of the dancers. Of course there should be a choreography or a central theme ( I was thinking in the lines of Edgar Allan Poe ). As I mentioned in my interests, I'm very interested in the psychological aspects of music and performance from the point of view of the performers; the fact that neither side can experience the physical properties of each other's venues opens the door for an experimentation in psychology.

==Links==

[http://soundcloud.com/marcelo-f-lazcano

==Skype==

Marcelonator
marceloflazcano925@gmail.com

==Platforms==
My main platform is currently OS X

EKK:LoFi Sounds in HiFi Spaces/Marcelo

2013-04-15T18:08:20Z

Marcelonator:

EKK:LoFi Sounds in HiFi Spaces/Marcelo

2013-04-14T02:18:09Z

Marcelonator:

EKK:LoFi Sounds in HiFi Spaces/Marcelo

2013-04-08T02:15:24Z

Marcelonator:

EKK:LoFi Sounds in HiFi Spaces/Marcelo

2013-04-08T02:11:39Z

Marcelonator:

[[File:powerball.jpg|thumb]]
My name is Marcelo F. Lazcano, I am originally from Chile. I have been a guitar player for a long time -mainly trash, metal, progressive rock- and at some point the contemporary art music bug bit me, so now I am a Ph.D. student in composition at the University of California, San Diego.

==Interests==

As a composer I am interested in Spectral music, the acoustic properties of performance spaces, and how they can be incorporated into music. Of course this has been done -officially- for almost 40 years, so my personal challenge is how to mix and balance this technique/ art form with my Chilean musical background...I will update everyone once I figure that one out.

As a guitar player, I like to experiment with alternate tunings and bi-tones; the tones that are produce in the string between the finger(s) and the nut. I am currently working on a project to map -regular- harmonics and those harmonics produced in the bi-tone area.

==Links==

[http://soundcloud.com/marcelo-f-lazcano

==Platforms==
My main platform is currently OS X

EKK:LoFi Sounds in HiFi Spaces/Marcelo

2013-04-08T02:10:44Z

Marcelonator:

[[File:powerball.jpg|thumb]]
My name is Marcelo F. Lazcano, I am originally from Chile. I have been a guitar player for a long time -mainly trash, metal, progressive rock- and at some point the contemporary art music bug bit me, so now I am a Ph.D. student in composition at the University of California, San Diego.

==Interests==

As a composer I am interested in Spectral music, the acoustic properties of performance spaces, and how they can be incorporated into music. Of course this has been done -officially- for almost 40 years, so my personal challenge is how to mix and balance this technique/ art form with my Chilean musical background...I will update everyone once I figure that one out.

As a guitar player, I like to experiment with alternate tunings and bi-tones; the tones that are produce in the string between the finger(s) and the nut. I am currently working on a project to map -regular- harmonics and those harmonics produced in the bi-tone area.

==Platforms==
[http://soundcloud.com/ marcelo-f-lazcano

==Platforms==
My main platform is currently OS X

EKK:LoFi Sounds in HiFi Spaces/Marcelo

2013-04-08T02:03:02Z

Marcelonator:

File:Powerball.jpg

2013-04-08T02:02:05Z

Marcelonator:

== Summary ==

== Copyright status: ==

== Licensing ==
{{self|c}}
== Source: ==

EKK:LoFi Sounds in HiFi Spaces/Marcelo

2013-04-08T02:01:05Z

Marcelonator:

[[File:powerball.jpg|thumb]]]
My name is Marcelo F. Lazcano, I am originally from Chile. I have been a guitar player for a long time -mainly trash, metal, progressive rock- and at some point the contemporary art music bug bit me, so now I am a Ph.D. student in composition at the University of California, San Diego.

==Interests==

As a composer I am interested in Spectral music, the acoustic properties of performance spaces, and how they can be incorporated into music. Of course this has been done -officially- for almost 40 years, so my personal challenge is how to mix and balance this technique/ art form with my Chilean musical background...I will update everyone once I figure that one out.

As a guitar player, I like to experiment with alternate tunings and bi-tones; the tones that are produce in the string between the finger(s) and the nut. I am currently working on a project to map -regular- harmonics and those harmonics produced in the bi-tone area.

==Platforms==
My main platform is currently OS X

EKK:LoFi Sounds in HiFi Spaces/Marcelo

2013-04-08T01:58:24Z

Marcelonator:

[[File:light.jpg|thumb]]]
My name is Marcelo F. Lazcano, I am originally from Chile. I have been a guitar player for a long time -mainly trash, metal, progressive rock- and at some point the contemporary art music bug bit me, so now I am a Ph.D. student in composition at the University of California, San Diego.

==Interests==

As a composer I am interested in Spectral music, the acoustic properties of performance spaces, and how they can be incorporated into music. Of course this has been done -officially- for almost 40 years, so my personal challenge is how to mix and balance this technique/ art form with my Chilean musical background...I will update everyone once I figure that one out.

As a guitar player, I like to experiment with alternate tunings and bi-tones; the tones that are produce in the string between the finger(s) and the nut. I am currently working on a project to map -regular- harmonics and those harmonics produced in the bi-tone area.

==Platforms==
My main platform is currently OS X

EKK:LoFi Sounds in HiFi Spaces/Marcelo

2013-04-08T01:57:04Z

Marcelonator:

[[File:Example.jpg]]
My name is Marcelo F. Lazcano, I am originally from Chile. I have been a guitar player for a long time -mainly trash, metal, progressive rock- and at some point the contemporary art music bug bit me, so now I am a Ph.D. student in composition at the University of California, San Diego.

==Interests==

As a composer I am interested in Spectral music, the acoustic properties of performance spaces, and how they can be incorporated into music. Of course this has been done -officially- for almost 40 years, so my personal challenge is how to mix and balance this technique/ art form with my Chilean musical background...I will update everyone once I figure that one out.

As a guitar player, I like to experiment with alternate tunings and bi-tones; the tones that are produce in the string between the finger(s) and the nut. I am currently working on a project to map -regular- harmonics and those harmonics produced in the bi-tone area.

==Platforms==
My main platform is currently OS X

EKK:LoFi Sounds in HiFi Spaces/Marcelo

2013-04-08T01:55:35Z

Marcelonator:

[[Image:light.jpg]]
My name is Marcelo F. Lazcano, I am originally from Chile. I have been a guitar player for a long time -mainly trash, metal, progressive rock- and at some point the contemporary art music bug bit me, so now I am a Ph.D. student in composition at the University of California, San Diego.

==Interests==

As a composer I am interested in Spectral music, the acoustic properties of performance spaces, and how they can be incorporated into music. Of course this has been done -officially- for almost 40 years, so my personal challenge is how to mix and balance this technique/ art form with my Chilean musical background...I will update everyone once I figure that one out.

As a guitar player, I like to experiment with alternate tunings and bi-tones; the tones that are produce in the string between the finger(s) and the nut. I am currently working on a project to map -regular- harmonics and those harmonics produced in the bi-tone area.

==Platforms==
My main platform is currently OS X

EKK:LoFi Sounds in HiFi Spaces/Marcelo

2013-04-08T01:50:53Z

Marcelonator:

[[File:AlphaCrucisAB.png|thumb|That's a thumbnail with caption]]
My name is Marcelo F. Lazcano, I am originally from Chile. I have been a guitar player for a long time -mainly trash, metal, progressive rock- and at some point the contemporary art music bug bit me, so now I am a Ph.D. student in composition at the University of California, San Diego.

==Interests==

As a composer I am interested in Spectral music, the acoustic properties of performance spaces, and how they can be incorporated into music. Of course this has been done -officially- for almost 40 years, so my personal challenge is how to mix and balance this technique/ art form with my Chilean musical background...I will update everyone once I figure that one out.

As a guitar player, I like to experiment with alternate tunings and bi-tones; the tones that are produce in the string between the finger(s) and the nut. I am currently working on a project to map -regular- harmonics and those harmonics produced in the bi-tone area.

==Platforms==
My main platform is currently OS X

EKK:LoFi Sounds in HiFi Spaces/Marcelo

2013-04-01T18:58:49Z

Marcelonator:

[[File:AlphaCrucisAB.png|thumb|That's a thumbnail with caption]]
My name is Marcelo F. Lazcano, I am originally from Chile. I have been a guitar player for a long time -mainly trash, metal, progressive rock- and at some point the contemporary art music bug bit me, so now I am a Ph.D. student in composition at the University of California, San Diego.

==Interests==

As a composer I am very interested in Spectral music, the acoustic properties of performance spaces, and how they can be incorporated into music. Of course this has been done -officially- for almost 40 years, so my personal challenge is how to incorporate this technique/ art form into my Chilean musical background...I will update everyone once I figure that one out.

As a guitar player, I am very interested in alternate tunings and bi-tones; the tones that are produce in the string between the finger(s) and the nut. To be continued...

==Platforms==
My main platform is currently OS X

EKK:LoFi Sounds in HiFi Spaces/Marcelo

2013-04-01T18:56:45Z

Marcelonator:

[[File:Mn venezia.png|thumb|That's a thumbnail with caption]]
My name is Marcelo F. Lazcano, I am originally from Chile. I have been a guitar player for a long time -mainly trash, metal, progressive rock- and at some point the contemporary art music bug bit me, so now I am a Ph.D. student in composition at the University of California, San Diego.

==Interests==

As a composer I am very interested in Spectral music, the acoustic properties of performance spaces, and how they can be incorporated into music. Of course this has been done -officially- for almost 40 years, so my personal challenge is how to incorporate this technique/ art form into my Chilean musical background...I will update everyone once I figure that one out.

As a guitar player, I am very interested in alternate tunings and bi-tones; the tones that are produce in the string between the finger(s) and the nut. To be continued...

==Platforms==
My main platform is currently OS X

EKK:LoFi Sounds in HiFi Spaces/Marcelo

2013-04-01T18:54:40Z

Marcelonator:

EKK:LoFi Sounds in HiFi Spaces/Marcelo

2013-04-01T18:48:54Z

Marcelonator:

[[File:Mn venezia.png|thumb|That's a thumbnail with caption]]
My name is Marcelo F. Lazcano, I'm originally from Chile. I have been a guitar player for a long time -mainly trash, metal, progressive rock- and at some point the contemporary art music bug bit me, so now I'm a Ph.D. student in composition at the University of California, San Diego.

==Interests==

EKK:LoFi Sounds in HiFi Spaces

2013-04-01T18:44:39Z

Marcelonator: /* San Diego */

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

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

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

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

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

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

==Admission requirements==
k.A.

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

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

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

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

==Participants==
===Weimar===
* [[/Max/]]
* [[/YourName/]] (Take a look at above example and add yourself here)
===San Diego===
* [[/Brendan Bernhard Gaffney/]]
* [[/Kevin/]]
* [[/Melanie/]]
* [[/Jeffery/]]
* [[/Bo/]]
* [[/Andy/]]
* [[/Jamilah/]]
* [[/Marcelo/]]

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

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

Pd books:
{{Template:PdBooks}}

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

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

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

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

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

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

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

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

EKK:LoFi Sounds in HiFi Spaces/Marcelo

2013-04-01T18:42:17Z

Marcelonator: Created page with "That's a thumbnail with caption This self introduction may serve as a template for your own, please adapt it to your needs. I'm faculty and PhD cand..."

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

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

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

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

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

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

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

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