Microclimates III-VI is a sound installation and concert. The installation plays in almost complete blackout so that the ears focus on the tiny details in the sound. A 3-D sound-space is created using 3rd-order ambisonics spatialisation projected over 16 loudspeakers. The playing duration and arrangement is designed for each exhibition context. The concert version combines spatialisation performance with pre-programmed spatial information.

Natasha Barrett uses a recording technique following the acousmatic composition heritage. Here composing begins at the sound recording stage, improvising with less conventional recording techniques and capturing a spatial and spectral microphone ‘performance’. Continue reading

Gridjam is a real-time, geographically distributed, networked multimedia event. It is an experimental project that brings together a visual artist, composer, musicians and computer scientists, while using the new high speed international LambdaRail network. Gridjam will demonstrate real-time, low latency, interactive, distance computing through the complexity of the live, partly improvised, 3D visualized, musical performance, being both a world-class work of art and a research project into high performance collaborative network computing. Continue reading

Inside the 100 Foot Piano by An-Ting Chung :: December 13 -14, 2007; 10 am – 10 pm :: Legacy Recording Studios, 509 W. 38th St. (between 10th and 11th Ave.), New York City.

Ms. Chung will channel each note from Bach’s “Goldberg Variations,” as performed in 1955 by Glenn Gould, into its own respective speaker – 56 in all – while the piece plays in its entirety. The speakers, spaced six feet apart, will play the piece in unison as the music wraps around the audience. Ms. Chung calls this experiment a “sound sculpture,” or the molding of music around a space. She envisions the notes as individual tangible elements, with substance and mass that can be arrayed into an energized sonic structure throughout the giant Legacy studio space. Continue reading

The Killing Machine and Other Stories by Janet Cardiff and George Bures Miller :: October 21, 2007 - January 20, 2008 :: Miami Art Museum and Freedom Tower, 101 West Flagler Street, Miami, Florida.

The Killing Machine and Other Stories (1995-2007) features 11 installations that weave together independent but complementary experiences. Each piece moves to its own time and rhythm, uniting sound with moving image in order to produce stories that live side by side in time. Continue reading

Flocking Orchestra (aka DT1) by Tatsuo Unemi and Daniel Bisig: DT1 is an interactive installation that employs flocking algorithms to produce music and visuals. The user’s motions are captured by a video camera and influence the flock’s behaviour. Each agent moving in a virtual 3D space controls a MIDI instrument whose playing style depends on the agent’s state. In this system, the user acts as a conductor influencing the flock’s musical activity. In addition to gestural interaction, the acoustic properties of the system can be modified on the fly by using an intuitive GUI. The acoustical and visual output of the system results from the combination of the flock’s and user’s behaviour. It therefore creates on the behavioural level a mixing of natural and artificial reality. The system has been designed to run an a variety of different computational configuration ranging from small laptops to exhibition scale installations.

In Ephemeral Firmament, Gregory Lasserre & Anais met den Ancxt of Scenocosme play live with a specific interface for visual and sound: Aleas. The performance came about as a result of experimentation within the immersive installation SpherAleas. For approximately 30 minutes, the spectator is guided through a visual and sound micro-universe. Continue reading