This paper discusses Points Further North, a VR documentary that applies an expanded acoustemological framework to the acquisition and dissemination of audio-visual content in order to investigate a non-place that is characteristic of the Anthropocene. The project integrates mnemonic sound as part of the soundscape and exploits the possibilities inherent in the amplification of the vibratory and electromagnetic spectra that permeate our urban environments: infrasonic/tactile elements are disseminated via wearable haptic interfaces and the electrical emissions of our technotope are sonified via the via use of electromagnetic transducers.

Keywords: Virtual Reality, Acoustemology, Psychogeography, Sound Studies, Cinema Studies, Haptic Sound

https://drive.google.com/file/d/1A3V4u_U-wTHzEtA2CxqzgdWs8NVhNEfl/view?usp=sharing

This is a sound art miniature and it’s about Free Press. In some countries press is free but in other countries it’s in chain. I ask to many artists, of different countries, a word, a sentence or more about free press. I decided to put into it sounds of old typewriters and of all the medium needed to write (telephones, fax etc.). This is a social project art because I hope to raise awarness the public opinion on this particular topic.
Voices by:
Bernard Clarke, speaker of ireland RTE lyric fm
Ricardo de Armas, cellist & electroacoustic music composer
Pasquale de Falco, poet and blogger
Danny Germansen, film & videoart director
Panayiotis Kokoras, music composer & electroacoustic music composer
Olivia Louvel, music composer & sound designer
Alberto Morelli, music composer & sound designer
Ornella Rovera, photographer and sculptor
Leonardo Santoli, painter
Nikos Stavropoulos, electroacoustic music composer & sound designer
Freya Treutmann, actress
Zita Vilutyte, painter

Brushing II is a sound installation work for audio feedback by electronics and brushing tools. It aims to create a dynamic sonic space that interacts with the audience inside the feedback loop.

In Brushing II, a strong contrast exists between the physical space and the acoustic space. The exterior of the installation is highly minimal and empty, but it is dense sonically due to the audio feedback, which creates a strong contrast of perception to the audience. The audio feedback is calibrated so that it is subtle enough to preserve the sound made by the audience but prominent enough so that the audience can clearly sense the audio feedback. In addition, the filter was designed so that the audio feedback consists of a high portion of low-frequency sounds so that it can prevent the audiences’ ear from being fatigued. Bit rate crusher, undersampling, and the spectral delay were used to create a dynamic sonic environment.

At the center, there are brushing tools on the table. The interface installed on the table can detect the touch and pressure of the audience’s brushing activity, and the sound is synthesized based on this interaction. Below the table, there are two wood blocks with contact microphones mounted below. Whereas the space itself is ‘interactive’ due to the audio feedback, the brushing section in the center provides an instrumental characteristic to the piece and enables audiences to be more ‘expressive’ with the installation.

Doppelgänger II is an interactive audiovisual installation that explores the idea of self-awareness. It’s a part of IMUU’s installation series that explores the human condition in a future dystopia where machinery analysis and prediction of our mind become possible, and data monetization becomes uncontrollable.
This project utilizes virtual reality, motion-sensing camera, 3d sound and brainwave(EEG) headband. There is a “mirror portal” in the virtual world that reflects the audiences’ physical bodies as well as their psychological activities. The audience is brought into the VR world seeing a primitive state of the mind and they may consciously or subconsciously interact with the visual elements and the movement of surrounding sound by using their brains to influence their level of concentration and calmness. Meanwhile, all five brainwaves are constantly modulating different harmonic partials of a computer-generated sine tone.

https://drive.google.com/file/d/1ya67e_5IlExG5xABymujstE2_X0wpXk0/view?usp=sharing

every morning is the second in an evolving series of works about the Central Florida soundscape. Between June 2018 and June 2019, I made 24 visits and recorded over 16 hours of audio field recordings at DeLeon Springs State Park in Florida. The resulting material has been edited into five compositions to form the basis of a gallery installation where listeners can experience the audio from DeLeon over headphones. The intent is for visitors to spend time listening to the aural montage of this installation and reflect on their own encounters with geophony, biophony, and anthrophony.

A soundscape depicting landscapes that pro-voke similarity and nowness among cities. A sound recording of a slow daily life of a villager in a national park and sounds and images col-lected in rapidly developing cities in Korea and Japan are combined with real-time sound per-formance, narration, etc. By collecting and reinterpreting the landscapes objectively, the work asks the questions about the urban land-scape that future generation need. Sodalguji is an ox cart in Korean.

“Vespucio-Vals” is an installation that through a simple mechanism formed by a crank, a GameTrack and a computer, the auditor could access to the organ grinder practitioner place. The installation is an alternative way to show the result of a big human barrel organ that was performed in 2019 just when in Chile is commemorating the Heritage Day. In this performance, 12 volunteers played original pipes of barrel organs on a bridge over Americo Vespucio Avenue (one of the most significant streets in Santiago). The recording that was registered with portable audio recorders and one drone on the air, establish the central material in “Vespucio-Vals”. The installation is an electronic barrel organ that shows the first performance through an interactive system.A device that requires the user participation to intervene with his own performance the sound and visual result of the video.

ちとせ ももとせ — chitose momotose is a sound and light installation using candle lights and infrared sensors. The movements of candle flames create subtle fluctuations in sound. Slow and introspective time flows in the space, and participants and witnesses are encouraged to immerse themselves in this ritualistic environment that the installation creates. The lights, sounds, warmth, smell, and texture of the candles speak to the participants’ senses.

By lighting a candle, a participant triggers a sound that gradually changes along with candle burning – a change in the length of the candle is read by an infrared sensor. With seven candles lit, each candle triggers a unique sound at a unique timing; as a result, they together create weaving sound streams. The musical composition will always be unique due to varying combinations of sounds based on numbers, timings, and size of the candles that participants light.

ちとせ/chitose means a thousand years, ももとせ /momotose means a hundred years. The title of the piece refers to a sense of time, history, and life.

https://uoregon-my.sharepoint.com/:v:/g/personal/akikoh_uoregon_edu/EeID1EwZENpGqSiC2Ds0JqoBh5N5sExCjdw6CCmnnor1DQ?e=G8BWuR

The Aural Weather Etude is a sound installation that explores the spatial dimension as the primary means of organizing music and the devolution of narrative agency to the audience, inspired by the wall drawings by Sol Lewitt. The work deals with the matter of installing atmospheres in public space in a generative manner, implemented in the Kronos signal processing language. We started from the instructions given by Sol Lewitt for his Wall Drawing #118, and interpreted them in the context of multi-channel audio and rapid spatial modulation.

https://www.dropbox.com/s/keyothzn13dwc2z/awe-installationsounddemo-binaural-fragment.wav?dl=0

In this project, players can create and set different parameters such as color, size, corona sprite’s scale, density, waves, and ripple (for the sun), and flare size and contrast for their own celestial body. The sound of the celestial body would be changed in real-time while players are customizing it.
After players finished their celestial body. They can set the orbit length for it by themselves and send it into the orbit with other planets and stars. Enter the play mode and listen to the sounds or music created by several different celestial bodies while they are moving around you.
At the same time, players can do live coding with uRTcmix while they are playing the Cosmic Music Box.

In Fragile Intersections, performance and installation are merged in a single work, reflecting on the contemporary body that emerges from the intersection and interaction of its biology with technology; a new hybrid body crossed by a multiplicity of information that questions its subjectivity, identity and its simultaneous state between organicity and artificiality. Voice, movement, dance, biosignals and sculpture converge in Fragile Intersections, all merged in an interactive system constructed by biosensors mapped to a real time generated sound environment. This art piece proposes a multiple and complex body: abstract as well as concrete, sometimes singular and others collective, part flesh and part machine, immersed in an unstable environment that forces the body to feel, act and transform.
The installation is composed of two interactive objects: Juniperus and Sensorium. Both objects have an autonomous behaviour, which is sometimes related to each other. These objects, in conjugation with the performance, conform the poetic structure of Fragile Intersections.
The installation will be intervened in specific moments by a solo performance based on live voice, biosignal data, inertial and electromyography signals connected to the sculpture. Voice comes to signify the movements of consciousness, emotion, intention, desire and presence, at the same time as having the power to communicate through language. The technological object is linked to the biological body by following, responding and also appearing as an extension of it, mediated by the technologies that constitute the macro system of the piece, building a human-machine dialogue.

https://drive.google.com/file/d/110_TufPujxiwJU-_H0C8M-v3YqLlJsx-/view?usp=sharing

Technologized bodies, traversed by images feeding back information systems
in daily fictional constructions. In this acceleration, I let myself fall traversed by gravity as if it were that culture of the technologization of our bodies. Language as the cyborg’s first technology and gender as a constantly becoming of performativity, in a state of continuous movement, borderless.

I[t] suggest[s] that we can stop “thinking” musically. All of those musical thoughts could be replaced by something else, I don’t know what.
R.A. The future of music – 2000

AfterTrump the gringo has the Mexican Dream

Through the semiotic exchange of language to sound, a latent notion is perceived by a crack: In every energy swap there is contingency.
It’s a dream / poetry, crossing into something cooler
From displacement of speech to sound dissipates and information is gestated. Listening produces an emotional inflection that releases that residue.
Todos vuelven a la tierra en que nacieron, al embruje inconfundible de su sol. Y quien quiere ta comiendo mierda e’ hielo, cuando puede estar bailando algo mejor. (PERO EN INGLISH)
When moving topographies of affection, intertwined in temporality but segregated by tangible borders; the encounter of an ontology based on sound is released and channeled. It is already a territory that disagrees with itself.

Divagaciones is an acousmatic project for virtual reality that uses a poem written by the Chilean poet Armando Uribe to trigger sounds effects.
The project proposes a transit where humans over a conveyor are controlled by machines who guide us to the death.

“Hang-ups” is a sound art installation that asks us to think about communicating. We spend a lot of time communicating with other people, but what should we be communicating to ourselves? “Hang-ups” is made out of the form of an antique candlestick telephone. Anyone who uses it is immediately arrested by the form and the experience of operating such an old piece of telecommunications equipment. It makes us question how to use it and what to communicate. The trick about “Hang-ups” is that instead of transmitting speech to a remote location, it takes speech sounds, transforms them into rhythms using a network of delay lines, and relays the sound back to the visitor to encourage further reflection. It communicates to visitors that it’s ok to let go of their hang-ups.

https://drive.google.com/file/d/1hNMIfDgPDrdkD4lbkxP-1eUoNTQLCONV/view?usp=sharing

[Not Answered]

Sound installation and wind sculpture/instrument. Using computer vision and simple machine learning algorithms, this piece transforms and synthesizes the movements of a light fabric and a plastic sheet into electronic sonic textures in real time. As the sheet is moved by the wind or (or any other intervention), its visual patterns are learned as gestures, and assigned several tonal and timbrical parameters, which blends with the actual noise of the material itself. This work is part of a series of installation pieces that explore the environment and chaotic natural forces as mediums for outdoor musical and deep listening experiences by implementing real-time soundscape composition through technology and interaction.