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Sound+Visual+Movement

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GRAPHIC SOUND VISUALIZERS - XXIV

Collecting five Audiovisual Live Performances. Check previous A/V collections under the tag “Graphic Sound Visualizers”.

[pic. CENTAURE, Franck Vigroux & Kurt d’Haeseleer // NaN:COLLIDER, Joao Martinho Moura and António Rafael // BORIS DIVIDER]

VOID JUNGLE

An audiovisual live performance based on an immersive beam light array installation.

By Chang Funju & Han ChengYeh, 2016. More info here. Find here the quartzcomposer’s code for the moving heads live control.

CENTAURE

“Centaure is a live audio & video. Centaure is a postdigital road trip to a dystopic future. It’s a virtual 'safari’ to a world populated by cloned creatures and mutations of species that seem to have been artificially rebuilt from contaminated DNA.”

By Franck Vigroux & Kurt d’Haeseleer, 2015. NaN:COLLIDER

Audiovisual live performance devoted to the science and the arts.

By Joao Martinho Moura and António Rafael, 2016. More info here.

BORIS DIVIDER

Extracts from Boris Divider live at Mira Festival 2015 - Barcelona

By Boris Divider, 2015. More info here.

AURELIA 1+Hz / proto viva 

“Interactive performance that explores the phenomena of interspecies’ communication. It features live transmitted sound generated by Aurelia Aurita jellyfish and performer. Sound loops containing recordings of jellyfish in closed environment and prerecorded sonic experiments from the sea are mixed in generative score which is assembled into immersive sonic and visual experience.”

By Robertina Šebjanič, 2015. More info here.

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KINETIC STRUCTURES - XI

New collection of Kinetic-Digitally-Controlled-Structures, Reactive Mechanisms and Performing Robots. Check more related post under the tag  “KINETIC STRUCTURES”.

[pic. INFERNO, Louis-Philippe Demers & Bill Vorn // EPIZOO, Marcel-li Antunez Roca // CAPTIVES-b04, Quayola] INFERNO

“Inferno is a participative robotic performance project inspired by the concept of control and the representation of hell.The specificity of this performance resides in the situation where the machines involved in the performance are retrofitted on the body of raptured audience members cum performers

A select group of the public therefore become an active part of the performance, giving a radical instance of immersive and participative experiences. Shifting the exoskeleton’s command from the authors, to the computer, to the audience and to the performers, Inferno questions the nature of control – either machinic or human, either coerced or voluntary – where either utopian or dystopian futures radiate, both real and fictional.”

By Louis-Philippe Demers and Bill Vorn, 2015. More info here.

EPIZOO

“The Epizoo performance enables the spectator to control Marcel.lÌ's body by means of a mechatronic system. This system comprises a body robot, which is an exoskeleton worn by the performer, a computer, a mechanical body control device, a vertical projection screen, two vertical lighting rigs and sound equipment. “

By Marcel-lí Antúnez Roca, 1994. More info here.

POWER OF ONE

“The installation for this piece consists of a laser, a mirror, and a motor. Two identical installations are set up in a vertically symmetrical fashion. The work capitalizes on the nature of the mirror between the two installations (with the right and left sides being reflections of each other). Each installation operates on the same time axis and behaves in the same manner, recalling a substanceless mirrored surface.”

By Shohei Fujimoto, 2016. More info here.

INTERFACE 1

“Interface I investigates the boundary between two interacting systems rendered into the physical. One system is a compound of motors, strings and elastic bands arranged horizontally. The two units face each other vertically (one on the top, one on the bottom).

Each motor of one level (top, bottom) is connected to its opponent with a string, meeting in the center. Both motors pull their string in the opposite direction (like in a tug of war). At the junction of the strings, a mesh of elastic bands connects the string to its neighbours. The mesh couples each element to its surrounding elements in order to achieve a local emergent behaviour.”

By Ralf Baecker, 2016. More info here.

CAPTIVES-b04

“Captives is an ongoing series of digital and physical sculptures, a contemporary interpretation of Michelangelo’s unfinished series “Prigioni” (1513-1534) and his technique of “non-finito”.The work explores the tension and equilibrium between form and matter, man-made objects of perfection and complex, chaotic forms of nature. “

By Quayola, 2013. More info here.

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IMMERSIVE AUDIOVISUAL ENVIRONMENTS - XXI

New collection on immersive environments.  Compiling audiovisual places built on a tridimensional matrix where the data is materialized in space. Check previous collections under the tag “Immersive Audiovisual Environments”.

[pic.: DEEP WEB, Christopher Bauder and Robert Henke // UNFOLD, Ryoichi Kurokawa // TANGENT, 1024arquitecture]

UNFOLD

“Unfold is a synaesthetic, immersive audio-visual experience. Through a complete unison of sight and sound, Kurokawa has created a beautifully abstract (but scientifically based) expression of the beginning of the universe. This new body of work translates space data, specifically the phenomena surrounding the formation and evolution of stars and galaxies, into sounds, images and vibrations.” (description via FACT)

By Ryoichi Kurokawa, 2016. More info here and here.

PLACE SCAPE

“A maze of thousands of white elastic rubber strings, reaching from the floor up to the ceiling, forms a grid of vertical lines on which a moving image of an abstract landscape is being projected. The installation deals with conceptions of cinematic space and the viewer in relation to the projection, i.e. the human to his surroundings. It is designed in a way that directly integrates the viewer by breaking up the distance between projection, audience and screen.”

A collaboration between Wolfgang Bittner, Lyndsey Housden, Yoko Seyama and Jeroen Uyttendaele, 2015. More info at the project’s webpage.

LULL

“In the center of an unlit 6,000-square-foot warehouse, waves of liquid light undulate wistfully across the walls of a semitransparent triangular structure. Simple rules shape this ever-evolving animation, giving rise to organic abstracted patterns with complex behavior that teeter between order and chaos. Immersed in layers of distant melodies that reverberate in sync with the surging fluid, as well as in a dense plume of fog that extends and blurs the light within, visitors dip in and out of the sculpture as if in a dream.”

By av-controls, 2016. More info here.

TANGENT

“A spatial, visual and sound installation for the exhibition "Habiter le Campement”, presented at Cite de l’Architecture et du Patrimoine, Paris”

By 1024 Architecture (Pier Schneider + François Wunschel), 2016.  

DEEP WEB

“Deep Web is an installation using 12 high precision lasers and a matrix of 175 moving balloons to create a dramatic three dimensional sculpture of lines and dots floating in space above the audience. The choreography is synced to a musical score played back in 8 channel surround sound.”

By Christopher Bauder and Robert Henke, 2016. More info here and here. (video by Michael Wolf)

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MOTION SCULPTURES - XII

New collection of projects where movement is tracked and used to generate and manipulate visual shapes and forms. Check more under the tag Motion Sculptures.

[pic.INTEGRATION 04, Dieter Vandoren // DIGITAL DANCE, Andreas Muller // WINDLICHT, Studio Roosegaarde]

WINDLICHT Windlicht shows the beauty of green energy by connecting windmill blades with lines of light.  Special software and tracking technology detect the windmill blades rotating at 280 kilometres per hour. Visitors can tune into radio canal WINDLICHT FM 105.3 FM to hear the stories behind the artwork. WINDLICHT creates the missing link between the Dutch and the beauty of our new landscape.

By Studio Roosegaarde, 2016. More info at the project’s page.

WATER SURFACE

This installation displays water surface movements collected by a 3D camera. The camera captures a grid of points from the surface as it waves and ripples. The movements are scaled and sent to a corresponding matrix of 1,215 LEDs installed in the gallery space.

By David Bowen, 2015. More info at the project’s page.

CELULAR BODY

“Interpretation of "No Time To Fly" choreographed by Deborah Hay and performed by Jeanine Durning. (…) I decided to build a real-life particle system as a metaphor for a cellular body. Since visualization of the body movement has been done already, I focused on interpretation of the choreography in a different dimension, real-life particles. Particles are scattered by SPIDAR-mouse, originally designed as a haptic device but modified to respond to dancer's movement. “

By Naoto Hieda, 2015. Developed at the “4h Choreographic Coding Lab”. More details at the project’s page. Motion data provided by MotionBank. Code here.

INTEGRATION 04

“A realtime sculpture in spatial light and sound. It projects light and sound structures in fog-filled space, immersing both him and the audience in it. He manipulates the ephemeral audiovisual shapes as if they were tangible materials, taking cues from the interaction between the human body and acoustical instruments. The abstract digital processes are thus projected into physical, experiential space and the emergent play becomes a strong embodied experience - for both performer and audience. “

By Dieter Vandoren, 2012. More info at the project’s page.

DIGITAL DANCE

Series of visual explorations of motion capture data. Developed for the “Digital Dance Exploration” workshop at Resonate 2016.

By Andreas Muller, 2016. More about the workshop here, and more visual explorations at Muller’s vimeo gallery.

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SENSITIVE INTERFACES - VI

Collection of exploratory interfaces/devices used for real-time audiovisual interactions. Check more under the tag “SENSITIVE INTERFACES”.

[pic. STELLAR, Francesco Fabris // DIFLUXE, Jesse Lucas - Avoka // SOUNDBOW, Binaura] DIFLUXE

“The purpose of this installation is to experience duality in a living system, certain situations create confusion such that the particles never recover their balance. Their behaviors are also based on human nature and our permanent dissatisfaction. Each particle is endowed with free will that evolves over time, they are attracted to blue, red or completely independent.”

By Jesse Lucas, Collectif Avoka, 2012. More info here. STELLAR “An interactive installation which aims to create a sonic representation of stars and constellations through a dedicated interface. Since there’s no sound in space, I wanted to to conceptualize a link between electromagnetic and sound waves. The goal was to create a minimalistic, interactive device which would allow visitors to learn about specific stars through sound information.”

By Francesco Fabris, 2015. More info here. LIGHT THING “Live performance using the light interface at the Beam @ NIME night at XOYO in London 1/7/2014”

By Leafcutter John, 2014. AKUERY “This installation consists of a light table and plexiglass shapes: colored triangles, circles, squares. AKUERY lets you create small animated movies in minutes without any prior knowledge.”

By Yro & Jesse Lucas / Collectif Avoka, 2010. More info here. SOUNDBOW “SoundBow is a drawing based music instrument with a clean and simple visual interface. Create music by drawing curves over the screen. Apart from drawing, you can experiment by moving the strings around freely to rescale your instrument. Use the microphone and start creating melodies, soundscapes with your own voice. “

By Binaura, 2016. More info here.

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MOVEMENT SONIFICATION - VII

Collection of examples on sonification of body movement. By the use of computer-vision, body-tracking techniques or electronic sensors the body’s movements are captured and used to generate/control sound. Check related works under the tag “Movement Sonification”.

[pic. GøL4M, Frédéric Deslias // OBLIQUE THEOREM, Jung In Jung + Skye Reynolds, Tamsyn Russell + Chih Peng Lucas Kao // PRÉSENCE,  Rudolfo Quintas]

POLYTOPYA

"The second in a series of pieces focusing on creating connections between real body parts, totally synthetic sounds and imagined body parts through artificial neural networks. In this respect, a series of interactive audiovisual bodily extensions are attached to the bodies of the dancers to generate a shared world where both entities (real and virtual) establish their creative conditions reciprocally."

By Pablo Palacio and Muriel Romero, 2014. More info and full credits here.

SOMAPHONY

An interactive audio-visual composition, based on hand gestures tracking and biofeedback sensors.  

By Antony Rayzhekov, performed by Katharina Kölle, 2015.

OBLIQUE THEOREM

“Sound and dance collaboration using interactive computer technology. The sound design corresponds with an improvised physical score during which the dancers animate and sculpt the sound by manipulating the wires on the hacked game controllers (Gametrak) which are interconnected and fixed on the floor in a triangle formation. Data relating to position and length of the wires is programmed into MAX MSP.”

Sound by Jung In Jung; Choreography and Performance: Skye Reynolds, Tamsyn Russell; film: Chih Peng Lucas Kao, 2015. More info here.

GøL4M

“GøL4M is thus both a laboratory choregraphic work on the amplification and the mediatization of the recorded movement, and conversely, the execution of that movement in a field of external forces experienced by the dancer. GøL4M is a mutant form which brings together the digital body and the real, physical, organic being. Here all the elements harmonize progressively to form something indissociable and tragic …”

Directed by Frédéric Deslias, 2014. More info and full credits here.

PRÉSENCE

Interactive sound sculpture that uses the movement of visitors to generate sound.

By Rudolfo Quintas, 2014. More info here.

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KINETIC STRUCTURES - X

New collection of Kinetic-Digitally-Controlled-Structures, Reactive Mechanisms and performing robots. Check more related post under the tag  “KINETIC STRUCTURE”.

“Drawing Operations is an ongoing collaboration between an artist and a robotic arm. The project investigates ideas of automation, autonomy, and collaboration as an exercise in behavioral empathy.”

By Sougwen Chung, 2015. More info here.

WING

“This robotised interactive object / installation looks like a wing, spreading 2,5 meters, hung on the height 3-4 meters. A thin cable is hanging from it, end of which features compact dermal miographic sensors (sensors measuring the electrical potential of muscles). The visitor or performer may install those sensors on his/her head behind the ear. Moving his/her ears, the visitor may direct the movements of the wing robot which hangs above. Only by rhythmical and complete movements one may achieve the full swing of the wing. “

By Vtol, 2015. More info here.

BORDER

“"Border" is an innovative style of dance performance since it consists of the participation of both dancer and audience. Audiences are able to feel the installation space with their senses by riding personal mobilities all controlled by the system. 10 WHILLs -the personal mobility audiences ride- are prepared, so that 10 people can join at one time of the performance.  “

By Rhizomatiks + ElevenPlay, 2015. More info at the project page.

PARTICLE WAVES

“Kinetic sound sculpture comprising of a 4x3 grid of 12 individual kinetic bowls.Within each bowl contains tiny metal beads of various sizes, creating "noises" as the bowl rotates in various angles. The noise from a single bowl forms collectively to become a soundscape, reminding us of waves and oceans.”

By CtrlSave, 2013. More info here.

RHYTHM APPARATUS "The apparatus consists of two analog robots, that are mounted into an aluminum frame. each of them is driven by a simple microcore circuit that generates a movement pattern by triggering motion on two motors."

By Christian Faubel, 2013. More info on here.

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IMMERSIVE AUDIOVISUAL ENVIRONMENTS - XX

Collecting audiovisual spaces shaped by lights and shadow. Check previous collections under the tag “Immersive Audiovisual Environments”.

[pic. LUXATE, João Beira // WAVE IS MY NATURE, Vtol // BOÎTE NOIRE, Martin Messier]

WAVE IS MY NATURE

The project draws from the theory of Wave–particle duality which considers the light to be a particle and a wave at the same time. In this case, the notion of the “wave” is uniform for the sound wave, light wave and a “tangible” kinetic wave with wide amplitude, physically presented in the space as stretched cables moved by a system of motors.

By VTOL, 2015. More info here.

 INTO THE VOID

An array of triangles is placed on the floor, each one has a LED strip on the back which are connected to an Arduino. On MAX, series of random numbers generators and different probabilities trigger a signal to each triangle, making it turn on or off. Max communicates with the Arduino through Maxuino.At the same time that a triangle is triggered a MIDI message is sent to Ableton Live and plays notes on a MIDI Instrument and an OSC message is sent to Processing for the Visual output.

By Rodrigo Carvalho, 2015. More info and full credits at the project’s page.

LUXATE

Luxate explores the perception of light and space awareness. Activated by motion, Luxate morphs from an AV installation to a dance performance, generating a live dialogue between the performers and the environment beyond the screen.

Concept and art direction Joao Beira, 2015.

LUMISOKEA

Stage design and projections for Lumisokea Audiovisual Performance

Visuals by Yannick Jacquet, Music by Lumisokea, 2012.

BOÎTE NOIRE

With BOÎTE NOIRE (Black box), Martin Messier puts a beam of light, projected into a large transparent prism, into sounds and movements. Trying to define the edges of this elusive element, he materializes the extension of its shapes and decomposes its frequencies. In a dark room, the spectator sees and ears the development of the white specter: its contradictions and distensions, its curves and lines, its appearances and disappearances. It is as if the box, filled with ghostly signals, was containing pieces of past events and with his installation, Messier invites the public to put history back together.

By Martin Messier, 2014. More info and full credits here.

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MISCELLANEOUS AV TOPICS: POINT CLOUD AESTHETICS II

Second part of Point Cloud Aesthetics’s collection (first part here), related to projects using Point Cloud visualizations as virtual representations of real worlds.

[pic. SKYLINES III, Patrico Gonzalez Vivo // UPENDING, OpenEndedGroup // GHOST CELL, Antoine Delach // COUNTOR & SHAPE, Denial of Service] GHOST CELL

“Scientific and dreamlike documentary at once, Ghost Cell is a stereoscopic plunge into the guts of an organic Paris seen as a cell through a virtual microscope.”

By Antoine Delach, 2015. More info at the project page.

CONTOUR & SHAPE

Video for the track: “Denial of Service – Contour & Shape”. “All shots (of myself & surroundings) were achieved entirely on the MS Kinect v1. PC & Z data were captured & manipulated with Brekel, Processing and Meshlab.”

Below some stills from 3d scanning explorations. More at Behance Galleries’: Kinect Autoportrait and Contour Shape stills.

By Denial of Service, 2014. Complete track release here.

UPENDING

“Upending takes the form of live 3D cinema and has the viewers’ eyes probing the projected imagery almost as if touching its light, feeling for the illusory surfaces of things as they cross the threshold from abstraction to likeness. “

“Such scenes are captured from the real world photographically, from which the original 3D space is then reconstructed. The resulting “point clouds” of these reconstructions form the basis for our renderings. The effect is of haunting stereoscopic spaces that seem to float halfway between our world and another. “

By OpenEndedGroup, Flux Quartet and Empac, 2011. More info here and here. SKYLINES III: Point Cloud City

“Point Cloud City is part of Skylines, a series of projects about the tools and techniques we use to see the world around us. “ Interactive Point Clouds Cities can be explored also on browser as 3D postcards: Washington Square Park, New York, Queensboro Bridge, New York, Main Post Office, New York, Ile de la Cite, Paris.

By Patricio Gonzales Vivo, 2014. More info here and here.

LIDAR PHOTOGRAPHY, Temporalized Spaces and Visualizations

“LIDAR is a range-sensing technology typically employed by the government and military to survey land from above. By meauring the time of flight of modulated pulses of light, depth can be extracted from a scene, often to very high precision.”

“I set out to surreptitiously capture individuals and places using LIDAR technology in the wee hours of the morning. By hiding the device in my backpack or strapping it to my car, I've been able to extract detailed depth maps of streets and alleys and the people inhabiting them at, documenting the nightlife of a city in a whole new way.” Below some stills from the city scanning walkings. Check videos here.

“The artifacts produced through the process of capture, including the bounce of my gait and the elongated or compressed figures, reveal a deep interconnectedness between observer and observed.”

Below “Bamboo Forest”, a  360 spherical Lidar capture of a Bamboo forest

By Ben Snell, 2015. Project documentation here.

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MISCELLANEOUS AV TOPICS: POINT CLOUD AESTHETICS

Collection of projects using Point Cloud visualizations as virtual representations of 3D scanned real worlds.

[pic. DIY 3D SCANNING, Kyle McDonald // HOUSE OF CARDS, Radiohead + James Frost + Aaron Koblin // CLOUDS, Jonathan Minard and James George]

SIGHT LINES “To see how driverless cars might perceive — and misperceive — the world, ScanLAB Projects drove a 3-D laser scanner through the streets of London.”

By ScanLab, 2015. More info here.

HOUSE OF CARDS Video clip for Radiohead House of cards made without cameras or lights. “Instead, 3D plotting technologies collected information about the shapes and relative distances of objects. The video was created entirely with visualizations of that data”

Director: James Frost, Technical Director: Aaron Koblin, 2008. More info here. Find open source 3D data here. DIY 3D SCANNING Realtime 3d scanning with structured light using one projector and one camera ( in a pre-kinect era).

By Kyle McDonald, 2009. More info and technical details at Instructables. CLOUDS “CLOUDS is an interactive documentary that presents a conversation among 40 artists, designers, and hackers who use code, and collaborate on open source tool kits. It explores themes of creativity and invention, interactive art, simulation, computational design, data visualization, and the future of storytelling.“ “CLOUDS allows the viewer to explore different perspectives on the intersection of code and culture. Filmed using a new 3D cinema format called RGBD and created entirely with open-source software, CLOUDS uses a data-driven “story engine” to present an endless, ever-changing conversation.”

By Jonathan Minard and James George, 2014. More info at the project page. POINT CLOUD SLITSCANNING (EXPLORATIONS) “Point cloud captured in the Kinoptic Dome at Carnegie Mellon University. Slitscanned and rendered in Openframeworks.”

By Michelle Ma, 2015. More info at the project page.

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IMMERSIVE AUDIOVISUAL ENVIRONMENTS - XIX

Collecting Virtual, Augmented and Mixed realities, places built on a tridimensional matrix where the data is materialized in space. More Immersive Spaces under the tag “Immersive Audiovisual Environments”.

“Unthinkable complexity. Lines of light ranged in the non-space of the mind, clusters and constellations of data. Like city lights, receding.” William Gibson “Neuromancer”, 1981

By Sila Sveta and Tundra, 2015. PORTA ESTEL-LAR “An immersive light and sound installation inside a plane.”

“Through the creation of visual and sound sequences that suggest the idea of interstellar travel, we make the audience fly to outer space in an intense six-minute trip, from departure and takeoff to the sighting of comets, planets, galaxies, crossing nebulae and visiting alien worlds, until finally returning safe to earth"

By PlayMID (Playmodes + MID), 2015. More info at the creators project’s article. PRESPECTION “Perspection examines the sound-image relationships from synchronicity to independence of visual and sonic cues of perception through a series of generative audiovisual compositions. Through the use of multistable imagery and sonics the barrier between the physical and screen spaces are modulated between distinct and blurred, heightening the act of perception.”

By Matthew Bierderman and Pierce Warnecke, 2015 .  More info at the project page. IN THE EYES OF THE ANIMALS “This new commission enables audiences to encounter England’s forests anew through an immersive virtual reality experience, told by the inhabitants of the forest. A 360º film, it is an artistic interpretation of the sensory perspectives of three species natural to the site.The forest & animals were captured using techniques such as lidar & CT scanning, photogrammetry and a bespoke-built 360º aerial camera. Footage was processed using custom software to create the landscapes explored in the work. The film is set to a binaural soundtrack using audio recordings sourced from the surrounding woodland.”

By Marshmallow Laser Feast, 2015. Detailed info at creative application’s article. FITZANIA “Part immersive game, part preventative medicine check-up, the Fitzania installation at the Museum of Future Government Services explores ways of making healthcare more personalized, accessible, enjoyable and a part of everyday life.The orb vibrates acknowledging successful log-in as you lift it from the pedestal. Stepping into the game space you complete a series of spatial alignments, increasing in speed and difficulty. As you position the orb in 3D, Fitzania's advanced sensors analyze your bio-metric signals. All tests complete, you return the orb to receive a prescription tailored to your needs.”

By Specular Projects, 2015. More info here.

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KINETIC STRUCTURES - IX

New collection of Interactive Structures and Performative Robots. Check more related post under the tag  “KINETIC STRUCTURE”.

[pic. COLDSTARES by Rhizomatiks  // ObOrO by Ryo Kishi // THE WALKING CUBE by 1024architecture] ObOrO “ObOrO consists of levitating shining balls.Levitating balls are suspended in mid-air not with strings or wires, but with only airstream.ObOrO is still just a structure, but I think this structure can be applied in various thing, for example stage installation with dancers or street lighting. “

By Ryo Kishi, 2015. More info at ryokishi.org/works.html COLDSTARES “This is a music video of “Cold Stares,” a collaboration between Los Angeles-based artist and beatmaker Nosaj Thing and rapper Chance The Rapper. A dance piece by two dancers was produced to express a message in the lyrics—their mental situation and conflict searching for reason of being and memories, wandering along the border between reality and illusion. This dance has been shown in two ways: the real world performed by people and the delusional world of CG.” Below a “Behind the Scenes” video, demonstrating the dynamics between the dancers and the flying drones. The final music video can be watch here.

By RHIZOMATIKS, 2015.  More information here. PATTERN RECOGNITION  (Work in Progress) Pattern Recognition (working title) is a piece for two dancers and light, exploring themes of learning, memory, representation and recognition. The piece explores these themes not only artistically and choreographically, but also in the underlying technology driving it, based on artificial intelligence and machine learning. Explored in both a human context, and a machine context, each approach informing the other.

By Alexander Whitley and Memo Akten, 2015. THE WALKING CUBE “The WALKING Cube is an erratic structure, a simple cube brought to life by a series of mechanical agitations.When animated, it becomes a basic shape turned animal. Performing with twerks and tweaks, it grows and it shrinks, it folds and kinks.”

By 1024Aarchitecture, 2015. More info on 1024architecture.net. TELEPRESENCE WIND “This installation consists of a series of 42 x/y tilting devices connected to thin dried plant stalks installed in the gallery and a dried plant stalk connected to an accelerometer installed outdoors. When the wind blows, it causes the stalk outside to sway. The accelerometer detects this movement transmitting it in real-time to the grouping of devices in the gallery. Therefore the stalks in the gallery space move in real-time and in unison based on the movement of the wind outside.”

By David Bowen, 2011. More into at here.

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GRAPHIC SOUND VISUALIZERS - XXIII

Collecting five Audiovisual Live Performances. Check previous A/V collections under the tag “Graphic Sound Visualizer”.

[pic. ENTROPIA, Fraction + Louis Philippe St-Arnault + Nature Graphique + Ex Nihilo // BLUEPRINT, Joanie Lemercier + James Ginzburg // PROJECTORS, Martin Messier] BORIS CHIMP 504

Boris Chimp 504's AV live performance at Noite Branca, Braga. Audiovisual real-time performance that emphasizes audio synthesis and graphical languages in a futuristic Sci-Fi aesthetics. It's a real time interactive/reactive system between the audio and the image, between the man and the machine.

By Rodrigo Carvalho (Visuals), Miguel Neto (Sound), 2015. More info at borischimp504.com and facebook.com/borischimp504.

BLUEPRINT

“Audio and sound, architecture and cosmos. The renowned French artist Joanie Lemercier once again teams up with British musician James Ginzburg to create "Blueprint", a unique audiovisual installation exclusive to Sónar 2015, launched at the SonarComplex stage.”

By Joanie Lemercier (Visuals), James Ginzburg (sound) , 2015. BluePrint’s also exists as audvisual installation, check it here.

THIS CITY

“This City is an audio-visual performance piece by Mark Eats. It explores what happens when a soundtrack controls the world as much as the world influences its soundtrack. All effects are in‑camera and controlled live.”

By Mark Wheeler markeats.com, 2015. Technical details here , + a nice review on creative applications’ article.

PROJECTORS

“Projectors is a surgical work of art in which he orchestrates the engineering, manipulation and distortion of 8mm projectors under the lights of a digital projector. Through a tight stage lighting and the resynthesis of the 8mm projectors’ quasi-mythical roar, the machines come alive outside of the projection room and turn into bizarre and explosive noise mechanisms. All at once offbeat, unfamiliar and marvelously incongruous, this performance leads the public to a timeless universe, somewhere between dialogue, confrontation and technological contrast. Here, the projectors do not project: Everything but discrete, they take action and become the performance itself – loud and luminous.”

By Martin Messier, 2014. More info and full credits here.

ENTROPIA

“Entropia is an immersive audio visual performance.t's based on a audio reactive geodesic led filled sphere that keeps a constant interaction with immersive visuels projection, and is synchronized to the sound. Sound artist stands inside the sphere while visual team performs real time pixels mapping and generative visuels. Audience is placed in the interstice created by the duality of physical light of the sphere and external walls projection, filled by cutting-edge sonic material, and spatialized using 3D real time programming”

By Fraction (Concept&music), Louis Philippe St-Arnault (sphere&visual), Nature Graphique (sphere visuals & dôme),  Ex Nihilo (generative visuals), 2015. More info here.

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SENSITIVE INTERFACES - V

Collection of exploratory interfaces/devices used for real-time audiovisual interactions. Check more under the tag “SENSITIVE INTERFACES”.

[pic. DWI.MODULAR, Felix Luque // NO_THING, Milla & Partner // AUGMENTED HAND SERIES, Golan Levin, Chris Sugrue and Kyle McDonald] DWI.MODULAR

“The system is composed of 10 rhombic dodecahedrons, geometrical objects part of the family of «Space-filling polyhedra»: shapes that can be assembled to generate a tessellation of an infinite space. These forms act as the building blocks for a sculpture generator. “

By Felix Luque, 2014. More info here.

AUGMENTED HAND SERIES “The "Augmented Hand Series" is a real-time interactive software system that presents playful, dreamlike, and uncanny transformations of its visitors' hands. It consists of a box into which the visitor inserts their hand, and a screen which displays their 'reimagined' hand—for example, with an extra finger, or with fingers that move autonomously.”

By Golan Levin, Chris Sugrue, and Kyle McDonald, 2014. More info here.

BODY (INPUT) “It is a solo dance speculating on a parasitic relationship between the physical body and technology. The interactive light generated according to the dancer’s biological function is used as a metaphor of technology. The way light reacts on the dancer changes during the performance, and thus it also defines their relationship and autonomy.”

By Mária Júdová (Concept, Lighting), Markéta Kuttnerová (Choreography, Dance), Petr Zabrodský (sound),  Andrej Boleslavský (Hardware, Software), 2015. More info here. NO_THING “An interactive low-tech device creating smart spaces. Milla & Partner´s Innovation Lab has developed a cutting-edge new technology that transforms objects of daily use into interactive media surfaces - creating a palpable digital world.The interaction is not controlled by two-dimensional gestures, such as with smartphones, but by spatial movements, which are adjusted individually to each scenario and allow a maximum of intuitive control. This seemingly magical interaction is possible by using light: via infrared markers, the system detects the position and motion of the object in hand.”

By Milla & Partner, 2015. More info here.

WATER LIGHT GRAFFITI

“The "Water Light Graffiti" is a surface made of thousands of LED illuminated by the contact of water. You can use a paintbrush, a water atomizer, your fingers or anything damp to sketch a brightness message or just to draw. Water Light Graffiti is a wall for ephemeral messages in the urban space without deterioration. A wall to communicate and share magically in the city.”

By Antonin Fourneau, 2012. More info here

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GRAPHIC SOUND VISUALIZERS - XXII

Collecting realtime Audio Visualizations and AV live Performances. Check previous A/V collections under the tag “Graphic Sound Visualizer”.

[pic. THE DEEPEST OF SPACE, Joshua Davids // ASCENDENTE, Lucas Gutierrez // LILIUM, Kynd + Yaporigami] THE DEEPEST OF SPACE Work in progress. Exploration for an audiovisual installation.

By Joshua Davids, 2015. More info at joshuadavis.com.

ASCENDENTE “A / V manipulation in real time, with sounds that pass through the experimental, noise and broken beat.”

By Lucas Gutierrez, 2012. More info at lucasgutierrez.com EASTWIND East Wind concert in Rialto Katowice

Music by: Misha Ogorodov, Paul Lawler, Józef Skrzek; Visuals by Drobczyk, Kopaniszyn, Bartek Szlachcic, 2014. LILIUM Real time audiovisual explorations.

By Kynd (Visuals) and Yaporigami (Sound), 2014. More infor here. MORPHIST “A study of mutation and shape changing.It metamorphoses in different matters joining into simples patterns and gathering in complex sets. By playing with the nature of this constantly distorting body, chdh proposes a new step in the usage of an algorithm as an audiovisual instrument.”

By CHDJ, 2015. More info at here.

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KINETIC STRUCTURES - VIII

New collection of Interactive Structures and Performative Robots. Check more related post under the tag  “KINETIC STRUCTURE”.

[pic. RHYTHMIC GYMNASTICS, by FIG // Rx2, by vtol + Anastasia Alekhia // NYLOÏD, by Codact] RHYTHMIC GYMNASTICS “Exploring a rhythmic gymnastics ribbon performance using a robot arm”

By FIG lab, 2015. More info here. NYLOÏD “Nyloïd is an impressive sound sculpture, a huge tripod consisting of 3 nylon limbs of 6 meters in length animated by a sophisticated mechanical and sound devices.”

By CODACT, 2014. More info here. R x2 “Computer algorithm collects from Internet the data on power and depth of shocks in planet's crust and captures all the earthquakes above 0.1 (Richter magnitude scale). On an average day there are up to 200 of such shocks. This data is converted into signals that control the motors which are attached to Thunder Drum acoustic drums”

By Vtol and Anastasia Alekhia, 2015. More info here.

SHADOW Dance Performance with drones and human dancers. Drones control light and shadows on stage.

By ElevenPlay and Rhizomatiks , 2014. More info here. DAITO MANABE’s DRONES AND MOVING LIGHTS Experiments and some failed tests for stage performance interactions. [24 drones flight test - 03 ]

[24 drones flight test - 04 (failed) ]

[sharpy test 04 (failed: needs more accuracy of tracking) ]

[sharpy test 04 another_angle (failed:needs more accuracy of tracking) ]

[sharpy test 01]

Check more on Daito’s Youtube Channel

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IMMERSIVE AUDIOVISUAL ENVIRONMENTS - XVIII

18th collection of immersive spaces, dedicated to audiovisual spaces shaped by lights and sound. Check previous collections under the tag “Immersive Audiovisual Environments”.

The pioneer audiovisual spaces Polytopes, by Iánnis Xenákis during the 1960s and 1970s, can be considered the “starting point for many contemporary researches in multimedia performances and immersive environments” (Farbizi, 2014  “Yannis Xenakis’ Polytopes: Cosmogonies in Sound and Architecture” ).

[pic. PARALLELS, Nonotak // N-POLYTONE,  Chris Salter // HYPERJUMP, Tundra] HYPERLINE

“Immersive audio reactive installation exploring electroluminescent technology (EL). 360 meters of EL wires segmented in 30 independent sections. These sections are controlled by an audio reactive setup built in Arduino and Pure Data that splits the audio signal to represent it visually and dynamically in real time.”

By Devicers, 2014. More info here.

HYPERJUMP

“Hyperjump explores the idea, set by this paradoxical combination: the basketball court, representing the physicality, we have from the nature, together with the architecture of the classicism period, the symbol of the human rationality. 25 moving head light beams on a truss stands and a powerful sound system were installed along the hall. While the light sculpture started to move, the electronic light devices came to life, turning into the actors themselves, bringing the light, shut in the strict geometry back, to its unpredictable nature.”

By TUNDRA, 2015. More info, pictures and full credits here.

PARALLELS

“Parallels explores light as a material, but this time the space as a whole becomes their screen.( Reference to Daydream installation series) The boundaries and notion of space, become abstract as the audience crosses the room, but in doing so, the audience also affects the space by breaking the light. This installation is strongly connected to the space in which it takes place; it lives within it. But as soon as the light hits the walls that define the space it reaches its limits and stops reproducing itself. The installation is also inspired by Anthony Mccall's exploration of light and space.”

By Nonotak, 2015. More info here. A CHANDELIER FOR ONE OF MANY POSSIBLE ENDS

“92 individual light elements each controlled by a Geiger counter. Lights flash in response to the Geiger counters detecting high energy particles of radioactivity from sources both terrestrial and cosmic. Normal levels of environmental radioactivity cause the instillation to flicker randomly. A source of contamination great enough to cause the entire chandelier to remain solidly lit would be fatal to any living thing in the room.”

By Phillip David Stearns, 2014. More info here.

N_POLYTONE - Behaviors in Light and Sound After Iannis Xenakis

“N_Polytope: Behaviors in Light and Sound After Iannis Xenakis is a spectacular light and sound performance-installation combining cutting edge lighting, lasers, sound, sensing and machine learning software inspired by composer Iannis Xenakis’s radical 1960s- 1970s works named Polytopes (from the Greek ‘poly’, many and ‘topos’, space).”

“N_Polytope is based on the attempt to both re-imagine Xenakis’ work with probabilistic/stochastic systems with new techniques as well as to explore how these techniques can exemplify our own historical moment of extreme instability”.

Concept and Direction: Chris Salter, 2012. More info here. Besides the version above (Gijon), N-Polytopes has been presented in different versions and forms in Basel, Berlin and Montreal.