SOUND INTERACTION AND AUTOMATION

http://soundinteractionandautomation.wordpress.com/

ROSE BRUFORD COLLEGE

MODULE: SOUND INTERACTION AND AUTOMATION

24rd September – 6th December

40 hours

Tuesdays 10 – 12pm , 1 – 3pm

1.CONCEPTS
2. REFERENCES
3. TECHNIQUES
4. ARTISTS
5. RESEARCH
6. BIBLIOGRAPHY
6.0 LINKS
7. SOUNDCLOUD
8. HAMLET
9. PROJECT DEVELOPMENT

1. CONCEPTS

http://soundinteractionandautomation.wordpress.com/1-concepts/

1.1 Sound

1.2. Interaction

1.3. Automation

1.1. SOUND: Sound interaction is used in live performances. Sound interaction implies an investigation between sound and movement, from the brain to the hand. Sound interaction implies order and composition with the nervous system. It is developed as an artwork in Theatres and operas, Museums and festivals. Historically, other concepts can help to describe what Sound Interaction is. Gesamtekunstwerk is the definition of the total art work by Wagner. The concept Sound Interaction refers to the embracing capabilities that implement the sensory systems. The inclusion of all arts in the scenery is the path to the total art work. Sound Interaction dis used in different music styles: Electro-acoustic music, sound.art, noise. It uses computational models, algorithmic music, synths, etc…

1.2. INTERACTION: What is interaction? Communication is interactivity. Media is interactivity. Once media and digital technology become more accessible to the masses, the interest in interactivity increases and becomes a cultural trend especially in the arts. The human–computer interaction and the human communication are typologies of interactive communication. Human to human interactivity is also interaction. But human-computer interactivity is essential in new media communication. human computer interactions is an experimental field of cybernetics, the sciences of communication. According rada roy, the “human computer interaction model might consists of 4 main components which consist of human, computer, task environment and machine environment”. Interaction consists in people performing with computers or models of human–computer interfaces. The human to human interaction considers responses to physical movement, body language and explanation to mental states. But others types of interaction are considered:

- Haptic interaction. In Electronic Art understand as an evolution from the optic interfaces to the haptic interfaces. Haptic mode is any form of nonverbal communication involving touch (from Greek ἅπτω = ‘I fasten onto, I touch’).

- Happening

- Human factors

- Interaction

- Interactive art: involves computers, sensors (movement, metereology), internet, virtual reality, electronic art, performance. It started in 1990’s. It includes audiences participation, responses, own interpretation. Maurice Benayoun is a pioneer of electronic art using interaction, in its artwork The Tunnel under the Atlantic (1995), he uses Virtual Reality in an Interactive Installation to link Paris and Montréal. Another example, Roy Ascott, master in cybernetics, with its Change-paintings from 1960-s.

Frank Popper has written: “Ascott was among the first artists to develop an idea about communication science that is human but understanding the methodology of technology, that resembles human behaviour and natural patterns. Aside from the “political” view, it was also current wisdom that interaction and engagement had a positive part to play within the creative process. Another great example for Interactive art is Scott Snibe: Boundary Functions (1998), an interactive floor projection developed at the NTTInterCommunicationCenter in Tokyo. Also the CAVE, an automatic virtual environment is an immersive virtual reality environment where projectors are directed to three, four, five or six of the walls of a room-sized cube.

roy ascott

- Interactive media

- Interaction design

- Sonic interaction design

- Interaction Model

- Virtual reality

- Interactive multimedia installation

Regarding theory about interaction, a reference is the philosopher Merleau – Ponty, its discourse defends the interpretation of the subject and the free association as a methodology for knowledge. Factors like synesthesia involve studies in image-sound or hearing-vision as examples for interaction and sensory responses. Also, studies about acoustic projection and the theories of the Gestalt perception. Artist such as Kandinsky, have developed strong narratives to defend the unity of the senses as a response in front of the universal language. According, Marshall McLuhan, the contemporary neuroscience develops strategies to understand the cause and effect of senses. In a common experience, named chiasm (end of optical nerve), the subject influenced by artworks, media communications, and others, can experiment this kind of phenomena where sound and vision response into an only one common stimuli. So finally, sound and vision are reunited in a one common aesthetic and personal experience. Regarding this experience, there are experiments in visual music and sonic images from Happening by Fluxus to Video and Sound by Bill Viola. To conclude, Intermedia was the nomination that fluxus artist Dick Higgins gives to the confusion and mix of media and techniques along the 1960’s performances.

1.3. AUTOMATION: Automation is a repetition factor that appears in performance. It requires Automated and interactive systems. But, Automation, the concepts, belongs to industrialization process, mechanization, robotics and cybernetics. Automation refers to automatic, automaton. And its defining the process replacing humans. It also is a process for decomposition of movement, capture and repetition. There are many different techniques: electrical, mechanical, hydraulic. Also, automated video-surveillance, automated sound. All of these techniques use sensors, controllers, motors, networks, motion control, etc. Automotion is also Artificial intelligence, Cybernetics. Regarding automation, Walter Benjamin and Theodor Adorno, have written philosophy trying to explain evolution, creation, development or movement. In its philosophical essay from reproduction to reproducibility, modern technologies are analysed as a Newess and its impact in reproduction and intensification of life. This static repletion of evolution that is technology is creating dystopian scenarios.

http://www.media-ecology.org/publications/MEA_proceedings/v1/hypermedia_and_synesthesia.html

http://www.academia.edu/4985984/Continuous_Movement_Fluid_Music_and_

2. REFERENCES

http://soundinteractionandautomation.wordpress.com/2-references/

1. 1700. Automatons and music boxes.

2. 1846. Morse. Telegraph.

3. 1863. EVP Electric Voice Phenomena.

4. 1887. Edward Muybridge.

5. 1896. Gramophone.

6. 1896. Loui Fuller.

7. 1896. Alfred Jarry: Pere Ubu

8. 1900. Edison. Marconi. Tesla. Radio.

9. 1912. Futurism: Giacomo Balla. Boccioni

10. 1913. Luigi Russolo.

11. 1914. Mary Wygman.

12. 1916. Dadaism. Tristan Tzara.

13. 1920. Schonberg.

13. 1924. Fernand Leger: Ballet mecanique.

14. 1925. Kinect Art: Naum Gabo.

15. 1926. Bertolt Brecht: The Radio as an Apparatus of Communication.

16. 1929. Ballets Russes.

17. 1932. Marcel Duchamp.

18. 1938. Antonin Artaud. Theater of Cruelty.

19. 1950. Darmstad.

20. 1951. John Cage. Music of Changes.

21. 1953. Merce Cunningham.

22. 1954. Gutai.

23. 1960. Fluxus.

24. 1960. Vienesse Actionism

25. 1978. Pina Bausch.

26. 1982. Samuel Beckett.

3. TECHNIQUES

1. Ableton live

2. Arduino

3. Bio synths – Portable sound devices – Wearable synth

4. I-CubeX

5. Interactives or Multimedia design

6. Kinect

7. Laser Harps

8. Max/MSP

9. Mapping

10. MIDI controllers

11. Oscillators

12. Processing

13. Pure Data

14. Sensors. 3, 5, 6 or 9 degrees of freedom. Gyroscops

15. Theremins / Body theremins

4. ARTISTS

1. Abramovic, Marina.

2. Anderson, Laurie

3. Antunez, Marceli.

4. Butcher, Rosemary.

5. Cardiff, Janet and Bureaus Miller, Henry.

6. Castelluci, Romeo.

7. Donaruma, Marco.

8. Doo Sung Yoo.

9. Haraway, Donna.

10. Hecker, Tim.

11. Fabre, Jan.

12. FeedBack5

13. Fontana, Bill

14. Jordan, Ryan

15. Judson Dance Theatre: Y. Rainer, Tricia Brown, Yoko Ono

16. Leafcutter, John.

17. Lozano-Hemmer, Rafael.

18. Marclay, Christian

19. Mech, Jean.

20. Mindbox.

21. Nicolai, Carsten

22. Noise, Amaria.

23. Noishx

24. Parmegiani

25. Random Dance.

26. Reich, Steve

27. Scanner, Dj

28. Snibe, Scot.

29. Tanaka, Atau.

30. Tone, Yasunao

31. Vandekeyvus, Wim.

32. Xenakis, Iannis

33. Wollscheid, Achim

34. Ziegler, Chris.

5. RESEARCH

5.1. LABS

5.2. FESTIVALS

5.3. INSTITUTIONS

5.4. MUSEUMS

5,5. UNIVERSITY RESEARCH

5.6. EXHIBITIONS

5.7.WEBSITES

5.8. SOUND ARCHIVES