Roth launched Animated Gif Mashup 2.0 last week at SPEED SHOW vol.1: TELE-INTERNET curated by Aram Bartholl.
Networked art non profit Turbulence announced two new (sound-related) commissions yesterday - WWW-Enabled Noise Toy by Loud Objects and Moments of Inertia by R. Luke DuBois, with Todd Reynolds. Be sure to check them out - you can read a bit about the works below.
Loud Objects (Kunal Gupta, Tristan Perich and Katie Shima), NYC-based circuit sorcerers, present a wacky way to learn hardware audio programming. The WWW-Enabled Noise Toy invites anyone with a web browser to write their own audio code, program it remotely onto a Noise Toy, and play it live via webcam. In the spirit of “try it yourself” software demos, the website provides a simple environment for experimenting with low-level microchip-generated audio. Load code from the Loud Objects’ own library of performance algorithms, hone your own noise techniques, and add your work to the online archive to share it with other microchip coders and create an open source noise community.
Moments of Inertia is an evening-length performance based on a teleological study of gesture in musical performance and how it relates to gesture in intimate social interaction. The work is written for solo violin with real-time computer accompaniment and video. Moments consists of twelve violin études written for Todd Reynolds - ranging from 1-10 minutes in length - each of which uses a different violin performance gesture as a control input for manipulating a short piece of high-speed film (300 frames-per-second) - of objects and people in motion. Taking its cue from principles in physics that determine an object’s resistance to change, the violinist’s gestures time-remap and scrub the video clip to explore the intricacies of the performed action.
The installation "capacitive body" is a modular light system that reacts to the sound of its environment. Each custom built module consists of an electroluminescent light wire linked to a piezoelectric sensor and a microcontroller. Through its modular setup it can easily be adapted to various urban spaces.
In the summer of 2009, I wrote an article here at Rhizome about the burgeoning activities of media artists creating new works or updating versions of their older interactive screen-based projects for Apple's iPhone and iTouch mobile devices. As the article made its way throughout the blogosphere, comments surfaced ranging from criticism of the "closed world of Apple's App Store and iPhone devices" to a championing of the availability of inexpensive multi-touch technology now available to artists who had been waiting for a platform that could adequately display and allow for the type of interaction their projects demanded. A year after the article came out, the draw of these devices and their potentially expansive audience has become even more irresistible to artists enough so that several more "apps" have surfaced. The following article catalogs several new iPhone works which have emerged over the past year, works that are pioneering the next generation of portable media art.
Most demoscene music is characteristic in that it's made by hand, distributed as semi-open source, and executed in real-time. Composers adapt to the technical limitations as well as the cultural conditions, where resources were often reserved for the visual content. For these purposes, demosceners refined the tracker-software, which is essentially a text-based step-sequencer with quick access to all sound parameters.
The Amiga 500 (1987) was the first home computer that you could make chart hits with. The megamix was a popular form in the scene [see clip above] but used too much memory for demos. The so-called 'ST-01 style' used smaller samples bundled with the Soundtracker software. In 1989, 4-mat cut out snippets of these samples and looped them, to make beeps. The term chipmusic was coined for this music, which flirted with C64-aesthetics and had a file size of about 15 kb, which made intro-coders happy.
Meanwhile, several e.g. C64-musicians were striving away from 'chipmusic' towards e.g. industrial/rave, in line with the demoscene desire for transgression. Some tried to mimic older styles such as jazz and funk  and what was known in the demoscene as 'doskpop' - something inbetween Jarre and Laserdance, very popular in the early 1990s demoscene.
On the PC, demos became more similar to music videos or media art and some demoscene musicians were signed to labels (e.g. Brothomstates on Warp). Demos started to use MP3-audio, while other composers (again) preferred more restrictive settings like soundchips and tiny soft-synthesis.
The musicdisk is an emblematic artifact of demoscene music. It's an executable file that contains music, graphics and texts generated in real-time. The songs are not linear recordings from A to B, but ...
I visited ITP’s Spring Show on Monday, the open house for NYU’s graduate interactive technology program. Like years past, the kiosk-like presentation of projects makes the event seem a bit like a science fair, with artists and inventors on hand to answer questions. ITP’s student body is quite diverse - ranging from web entrepreneurs to roboticists to performance artists and more - and this aspect usually guarantees that you’ll come across something interesting. See below for some quick notes from this year’s show.
Field Broadcast, which kicks off tomorrow and runs through May 17th, will present unedited, live streams of a series of artworks from thirty-three artists captured in fields (yes, the green, earthy kind) to your desktop. When I first read about the show on Networked Music Review, it reminded me a bit of David Claerbout's Present, a work he created for Dia's Artist Web Projects in 2000. Present is an application that allows the user to watch the full lifespan of a flower on their desktop. Like the Field Broadcast exhibition, it inserts a semblance of the natural or the organic into the virtual environment. With so many artists involved in Field Broadcast, it will be interesting to see how they interact with their surroundings -- if the fields will factor in as a component or simply become a backdrop.
David Toop is the author of several landmark books about music, including Rap Attack (1984), Ocean of Sound (1995), and Haunted Weather (2004). He is also a musician, with a discography spanning nearly four decades. His first record - a collaboration with the sound sculptor Max Eastley titled New and Rediscovered Musical Instruments -- was released in 1975 on Brian Eno's Obscure label.
In Toop's previous books Ocean of Sound and Haunted Weather, he explored sound in all its ephemeral, enigmatic, amorphous connotations. His new book Sinister Resonance, out next month on Continuum, takes those explorations a step further, drawing a dense web of connections between sound and visual art. Toop begins the book with the concept that “sound is a haunting, a ghost, a presence whose location in space is ambiguous and whose existence in time is transitory.” To explore sound’s intangibility and mystery, Toop wanders through a bewildering array of references from fiction, myth, painting, and architecture, allowing him to approach sound in oblique and unexpected ways.