Suzanne Ciani

Senor Loop and some more

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audiostories

Sailing Thailand Destination

Floating cinema


Archipelago Cinema is an auditorium raft that recently debuted at the Film on the Rocks Yao Noi festival on the island of Yao Noi, in Southern Thailand. The cinema was designed by German architect Ole Scheeren.


Handpresso





and a moving set
of furniture

fabulous street view

Amazon

the alps, UNESCO world Heritage and more

389

fabulous website

http://www.the389.com/

R U Experienced

based on Sol LeWitt

An audio work that I created based on Sol LeWitt - Successive Rows of Horizontal, straight lines from Top to Bottom and vertical straight lines from left to right 1972 pen and ink - created late one night in a bed room in New Bedford MA - 2012


This is one iteration, a proof of concept as it were.

Marcos Novak

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unnamed sound sculpture

unnamed soundsculpture from Daniel Franke on Vimeo.

Project by Daniel Franke & Cedric Kiefer

produced by:
onformative.com
chopchop.cc

The basic idea of the project is built upon the consideration of creating
a moving sculpture from the recorded motion data of a real person. For
our work we asked a dancer to visualize a musical piece (Kreukeltape by
Machinenfabriek) as closely as possible by movements of her body. She was
recorded by three depth cameras (Kinect), in which the intersection of the
images was later put together to a three-dimensional volume (3d point cloud),
so we were able to use the collected data throughout the further process.
The three-dimensional image allowed us a completely free handling of the
digital camera, without limitations of the perspective. The camera also reacts
to the sound and supports the physical imitation of the musical piece by the
performer. She moves to a noise field, where a simple modification of the
random seed can consistently create new versions of the video, each offering
a different composition of the recorded performance. The multi-dimensionality
of the sound sculpture is already contained in every movement of the dancer,
as the camera footage allows any imaginable perspective.

The body – constant and indefinite at the same time – “bursts” the space
already with its mere physicality, creating a first distinction between the self
and its environment. Only the body movements create a reference to the
otherwise invisible space, much like the dots bounce on the ground to give it
a physical dimension. Thus, the sound-dance constellation in the video does
not only simulate a purely virtual space. The complex dynamics of the body
movements is also strongly self-referential. With the complex quasi-static,
inconsistent forms the body is “painting”, a new reality space emerges whose
simulated aesthetics goes far beyond numerical codes.

Similar to painting, a single point appears to be still very abstract, but the
more points are connected to each other, the more complex and concrete
the image seems. The more perfect and complex the “alternative worlds” we
project (Vilém Flusser) and the closer together their point elements, the more
tangible they become. A digital body, consisting of 22 000 points, thus seems
so real that it comes to life again.

Joe Meek, elastic~ demo & snail sounds

Gun Powder Paintings

distributed patch

dig it here

Drifting

Jimi Hendrix, Drifting Sessions

process

1 sec a day / year video

check it out

Zappa

lecture

200 Motels

Underwater Art

Underwater Art

Design - 10 Rules of Braun

ascent

movie from the point of view of the Solid Rocket Booster

Mr Rogers

Mr Rogers said “Spread the message” that “deep and simple is far more essential than shallow and complex.”

That has interesting implications in an age of digital art. First, the definitions of deep, simple, shallow and complex must be established. That established, where does your work/being reside? Are these all the parameters?

dubstep

Word

Mullet Tasking (copyright, all rights reserved Christopher Jette - 2012)

writing/editin

This is a useful perspective on editing from the wsj

By LUC SANTE

To be a writer is, in effect, to be an editor as well. This is true whether you are the sort of writer who throws on the page everything that runs through your mind and later carves it into shape, or the sort that fashions and perfects every sentence before moving on to the next.

It does not follow, however, that every decent writer is a good editor. Even some justly famous writers are known in the trade for regularly filing dog's breakfasts that require many hours of labor on the other end: unpacking, parsing, cutting, shifting, reordering and so on. I feel for the editors whose working days are thus burdened, but what has made me try to be my own editor is more laziness than generosity. When I turn in a story, I want to be done with it.

Therefore I strive to start with a decent lead and achieve a justified and logical conclusion. I try to stick as close to the word count as possible without violence. I make sure that everything is spelled correctly—without assistance from a spelling-check program, which will accept "peak," for example, when what you mean is "peek." I stay on guard against grammatical errors, inconsistencies, unfulfilled promises, lopsided or superfluous imagery and logical tie-ups. I attempt to keep my paragraphs more or less the same length; a paragraph shorter than the rest is usually missing something important.

“Imagine someone you know—a mean teacher, a bar-stool wit, a smart but uneducated acquaintance—reading your work critically.”
One of the means to assure such things is constant rereading. I reread from the top—or some similar landmark if the work is long—whenever I take a significant break from writing, and that doesn't just mean overnight but includes eating lunch, going to the bathroom, answering the phone and searching for elusive facts.

Rereading not only ferrets out problems, but it also ensures continuity of voice, as well as that elusive quality dear to both writers and rappers: flow. Constant rereading, which can be done out loud if you don't trust your inner ear, is especially important now that progress has eliminated the tiresome but useful drudgery of retyping. Sometimes a glaring error that you motored blithely past a dozen times will become apparent only on the 13th read.

Some people like to hand their work over to another pair of eyes for an objective view. This is not always possible, however, and even the most loving partner will have limits, so I prefer to slip another set of eyes over my own.

It's a bit like method acting. You choose someone from your life who is reliably opinionated but very different from you (preferably a number of people: a mean teacher, a bar-stool wit, a highly intelligent but uneducated acquaintance) and then read your work imagining what they would see. One of them will call you out on the overwriting here, another on your groundless assertions there, a third on the fact that you never make good on your claim at the top. With only a small bit of imaginative exertion you can hire phantoms! They won't expect anything in return.

Cutting words is always beneficial and often necessary. If you set yourself an arbitrary number of words to eliminate, you will soon find all kinds of excessive verbiage, semi-relevant anecdotes, references that won't make much sense outside your circle of friends, and instances of showing-off you would later regret anyway. Finally, you must be mindful of every writing choice and be prepared to account for it. Some editors will always feel they have to meddle, but having already considered their objections, you'll be able to head them off at the pass.

dance/movement

Black Dynamite

Fighting Smack in the Orphanage

wave glider

Wave Glider by California-based Liquid Robotics is an unmanned marine research robot that is powered by wave and solar energy. The robot is made up of two parts, a float and a tethered underwater glider—as waves move the float up and down, the vertical motion is converted to forward thrust by ingenious fins on the glider. The float houses solar panels which power onboard sensors for marine research or even intelligence gathering. The Wave Glider can travel at up to two knots and can operate for about a year without human assistance.

Flexing

digital video

Dull music cliche's but compelling visual language

SOLIPSIST from Andrew Huang on Vimeo.

GIF

Cinemagraph

Stretch Sound

SoundLines at CCRMA

2nd camera

CT Arts + Technology Symposium

I presented a lecture on In Vitro Oink within the context of Algorithmic and Manual practices in composition. Keith Kirchof performed In Vitro Oink in the final evenings concert.

The three days, including paper sessions and concerts -- http://www.conncoll.edu/CAT/sym2012/schedule.html
The concert schedule - http://www.conncoll.edu/CAT/sym2012/concerts.html


Here are two links

tight

video

A

http://yooouuutuuube.com/

data sorting music metadata

Bohemian Rhapsichord

Dubstep

Die Antwood

Nicky Minaj