uber organ
RMH
he wasn't even looking at me and he found me
Claire Keane
2025 on Tumblr: Trends That Defined the Year

blake kathryn
Monterey Bay Aquarium

if i look back, i am lost
Keni
ojovivo

Kiana Khansmith
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hello vonnie
Cosimo Galluzzi
DEAR READER

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TVSTRANGERTHINGS
Jules of Nature
Sade Olutola
almost home

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@insoundoutsound
uber organ
ELECTROSTATIC BELL CHOIR 2013 http://www.everydaylistening.com/articles/2014/8/31/electrostatic-bell-choir.html
Theometrica Theometrica (first prototype) 99-Prepared Needles, Distance RangeFinder, Sound generation software. Oscar Palou & Alexander Müller-Rakow. Exposed in ImageTransfer; Universität der Künste, November 2013, Berlin.
cloud piano This installation plays the keys of a piano based on the movements and shapes of the clouds. A camera pointed at the sky captures video of the clouds. Custom software uses the video of the clouds in real-time to articulate a robotic device that presses the corresponding keys on the piano. The system is set in motion to function as if the clouds are pressing the keys on the piano as they move across the sky and change shape. The resulting sound is generated from the unique key patterns created by ethereal forms that build, sweep, fluctuate and dissipate in the sky. This installation was commissioned by L’assaut de la Menuiserie, Saint-Etienne, France and completed with support from the Visualization and Digital Imagining Lab and Weber Music Hall, University of Minnesota. dwbowen.com/
The Sand Noise Device (SND) is both a complex generative music system as well as a novel and intuitive interface for influencing and interacting with this system. The interface consists of a table height box filled with sand, a Microsoft Kinect (which provides an RGB camera and depth sensing capabilities), an overhead projector, and several internally lit tangible objects. The Kinect is used to track object position, object color, and sand topography. The projector is used to provide visual feedback. Sound is provided by a multi-channel loudspeaker system arranged around the box. The various parameters that determine the functionality of the SND's generative music system are influenced by the user's interactions with the sandscape and provided tangible objects. By manipulating the sand and objects the user is able to influence various aspects of the generative music system. See it in action at Maker Faire Bay Area 2014 on May 17 + 18: http://makerfaire.com/ More information: http://sandnoisedevice.com/
Example of automated system. Not very experimental, but a great engineering feat! Ragtime Castaway Band (by Modesto Bee)
Out of the Lab (Preview)
Ruffletron - demo Ruffletron is a prototype of a wearable musical interface and an experiment in performative interaction. This project was in collaboration with Cullen Miller. Since I wanted this project to have good sound quality, I asked him to be the sound engineer. I am a very lo-fi sound artist and need to be schooled in high quality DSP, Cullen is the perfect person to fill this role. Cullen is trained in music and has worked as a composer, it was not only important to have his technical skills, but his insight as a musician. http://lara-grant.com/ruffletr0n-2/
Vessel, 2013
http://musichackspace.org/
What is MUSIC HACKSPACE?
Music Hackspace is a place for artists, innovators, entrepreneurs and hobbyists passionate about music and technology. We foster innovation by gathering skilled professionals and facilitating exchanges between disciplines, from software development to music installations and production.
What does MUSIC HACKSPACE do?
The Music Hackspace organises weekly events where professionals present their activities. Examples of activities include the presentation of an augmented piano and curating in the music space.
What does that mean?
For music geeks, professionals and artists, the Music Hackspace offers facilities to develop projects, collaborate and network. For professionals of the music industry, we offer a window on innovation, as we share knowledge and document our practices and projects.
Who are our members?
Our members are software and hardware developers, musicians, sound artists and entrepreneurs. Most members work in the Music Industry or in the Creative Industries. We also count many students and researchers.
What do we do for our members?
Members can use the music equipment available in our studio, access the workshop, soldering stations, 3D printer and laser cutter of the Hackspace. All members can present their works and project and receive feedback and support. The seminars are opportunities to network with professionals and get inspired by artists. We also help our members to promote their work through our blog and outreach activities, participation in festivals and collective performances.
What is the benefit of being a member of MUSIC HACKSPACE?
When becoming members, people can discuss their projects, get help, or find inspiration and discuss ideas in a friendly atmosphere. Members with specific skills will always find someone else to help too.
How can I become a member of MUSIC HACKSPACE?
At the moment, we are integral part of the Hackspace. Becoming a member involves a voluntary donation to the London Hackspace, which can be as little as £5 a month. We suggest to those who can afford it a monthly contribution of £30.
How is MUSIC HACKSPACE different from other music and tech communities?
The Music Hackspace occupies a unique space in tech communities. We benefit from facilities of the Hackspace, and our seminars are hosted in the office of a member. We are the biggest self-organised community dedicated to music in the UK. Most music communities focus on some aspects of music, such as analogue synthesisers or sensor interaction. We have a broader scope and aim to mix disciplines and practices. We insist particularly on involving artists to inspire us.
What is the rationale behind MUSIC HACKSPACE?
Music engages people. For an engineer, working on music applications is very rewarding. The Music Hackspace aims at creating opportunities for passionate people who want to make an impact in music with their particular set of skills. We value highly these skills and provide a space and context where people can thrive, get inspired, share and promote their work.
Who runs MUSIC HACKSPACE?
A list of all the members is available here.
How many employees does MUSIC HACKSPACE have?
None. But we have 20 core members and 100 members in total.
What does ‘MUSIC HACKSPACE’ stand for?
“Music Hackspace” means to express and convey three things:
1) we are focusing on music
2) we adhere to the hacking culture and values: open source, sharing, recycling
3) we have a physical space.
When did all this started?
We started our activity in October 2011
How can we get in touch?
Please see Contact Us.
Music Hackspace and over 1,000 workshops can turn everyday objects into musical instruments. Some respond to physical movement, some are activated by light.
Brain Jazz 1
Video discussing the instrument building processes behind ETHNO TEKH | Gravitate (2014) - haptic platforms @ Pause fest 2014 - Federation Square, Melbourne
Rod Cooper Inventions
Personal draw-ups, Tests and trials
Bridgeman, S 2009, ‘Musicians and boffins, tinkers and dreamers: Experimental Musical Instrument Building in Australia’, in G Priest (ed.), Experimental Music: Audio Explorations in Australia, 1st edn, University of New South Wales Press, Sydney, NSW, pp. 175-195.
In this resource, Bridgeman (2009) categorised the process of instrument building into distinct artistic processes and practices. These processes are extending, perverting and evolving sonic objects or traditional musical instruments, engaging with sonic materials, such as resonant metals, utilising sites and structures, such as sonically activating public wire fences with a violin bow, and lastly, engagement with technology, such as electronics and computer programming to activate, arrange and produce sound. Bridgeman (2009) also noted that instruments makers have engaged with some and/or all of these practices in designing new musical instrumentation. This resource is a valuable documentation in relation to the essay as it has sought to define, document and explain the various artistic discursive processes contemporary instrument makers engage with when designing musical instrumentation. Furthermore, this resource also provides a list of successful instrument builders that have produced work within Australia. This article, however, does not discuss in depth the conceptual practices that are engaged with regarding instrument building, rather more the procedural processes of making an instrument and its artistic considerations.
Mind Map of Contemporary Instrument Design (In Progress)
A Mind Map I am developing of Instrument Building Designs and Processes (In Progress)
Your browser is not able to display frames. Please visit the <a href="http://www.mindmeister.com/395029780/contemporary-instrument-building" target="_blank" data-mce-href="http://www.mindmeister.com/395029780/contemporary-instrument-building">mind map: Contemporary Instrument Building</a> on <a href="http://www.mindmeister.com" target="_blank" data-mce-href="http://www.mindmeister.com">Mind Mapping - MindMeister</a>.