scholarly journals Click::RAND#2. An Indeterminate Sound Installation

2021 ◽  
Author(s):  
Paul Dunham
Keyword(s):  
Sound Installation

scholarly journals BSoniq: A 3-D EEG Sound Installation

2017 ◽  
Author(s):  
Marlene Mathew ◽  
Mert Cetinkaya ◽  
Agnieszka Roginska
Keyword(s):  
Brain Activity ◽  
Spatial Location ◽  
Data Access ◽  
Mental States ◽  
Brain Wave ◽  
Sound Installation ◽  
Eeg Data ◽  
Additional Process ◽  
Event Based ◽  
Exciting Possibility

Brain Computer Interface (BCI) methods have received a lot of attention in the past several decades, owing to the exciting possibility of computer-aided communication with the outside world. Most BCIs allow users to control an external entity such as games, prosthetics, musical output etc. or are used for offline medical diagnosis processing. Most BCIs that provide neurofeedback, usually categorize the brainwaves into mental states for the user to interact with. Raw brainwave interaction by the user is not usually a feature that is readily available for a lot of popular BCIs. If there is, the user has to pay for or go through an additional process for raw brain wave data access and interaction. BSoniq is a multi-channel interactive neurofeedback installation which, allows for real-time sonification and visualization of electroencephalogram (EEG) data. This EEG data provides multivariate information about human brain activity. Here, a multivariate event-based sonification is proposed using 3D spatial location to provide cues about these particular events. With BSoniq, users can listen to the various sounds (raw brain waves) emitted from their brain or parts of their brain and perceive their own brainwave activities in a 3D spatialized surrounding giving them a sense that they are inside their own heads.

Encountering Space, Places and Memories in Australian Landscapes

2007 ◽  
Vol 124 (1) ◽  
pp. 166-176
Author(s):  
Francesca Veronesi ◽  
Petra Gemeinboeck
Keyword(s):  
National Park ◽  
Research Project ◽  
Cultural Contexts ◽  
Sound Installation ◽  
Spatial Exploration ◽  
Spontaneous Exploration ◽  
Relational Qualities ◽  
Location Sensing ◽  
Opening Up

Mapping Footprints: Lost Geographies in Australian Landscapes is a research project in development that explores the relational qualities of places and contemporary perceptions of geography. It reflects on new mapping technologies that have the capacity to reinstate relations between subjects and places via a spatial exploration that engages with inventive and specific uses of location sensing technologies informed by physical and cultural contexts. The Elvina rock engravings in Ku-ring-gai Chase National Park are the site of a location-sensitive sound installation in which we integrate the specificities of landscape with a navigational medium. A sonic map is overlayed over the physical terrain, opening up the site as a place embedded with memories, creating the potential for spontaneous exploration and new understandings of place. The ‘map’ in Mapping Footprints is composed from the geographical narration of the cartographers’ exploration across Indigenous mediascapes.

Carl Michael von Hausswolff

2008 ◽  
Vol 13 (1) ◽  
pp. 21-29 ◽  
Author(s):  
Daniela Cascella
Keyword(s):  
Visual Arts ◽  
Installation Art ◽  
Site Specific ◽  
Sound Installation ◽  
Avant Garde ◽  
Wide Range ◽  
The World ◽  
Art Photography ◽  
Conceptual Research ◽  
Audio Production

AbstractFor over twenty years, Swedish artist Carl Michael von Hausswolff (born 1956 in Linköping) has been giving shape to a range of works which push the boundaries of sound experimentation and reach out into installation art, photography, video, performance and curating projects. Stemming from his experiments with tape and investigations into EVP (Electronic Voice Phenomena) throughout the 1980s and 1990s, and setting up a number of ongoing collaborations with artist Leif Elggren and with a wide range of experimental musicians in the collective, site-specific sound installation freq_out, von Hausswolff's work spans the undefined territory between sound and the visual arts – he has done so, also by organising exhibitions such as the 2nd Göteborg Biennial in 2003. His audio production, using devices such as oscillators, tone generators, microphones attached to electricity circuits, is inextricably linked to his visual and conceptual research, always addressing issues of borders, interior/exterior, liminal states and hidden fluxes of energies. At the forefront of international experimentation, his work has been featured in some of the most important exhibitions and museums in the world, and his audio pieces have been published by the most remarkable avant-garde labels.

Soundscape as Interface: The Threshold Project

2012 ◽  
Vol 22 ◽  
pp. 58-59
Author(s):  
Kristian Derek Ball
Keyword(s):  
Acoustic Ecology ◽  
Sound Installation

The author discusses his sound installation Threshold as a system to explore an evolving acoustic ecology. For the purpose of this brief examination, the author observes how the soundscape functions as an interface in communion with its participants.

scholarly journals Making Acoustic Computer Music: The Rumentarium project

2013 ◽  
Vol 18 (3) ◽  
pp. 242-254 ◽  
Author(s):  
Andrea Valle
Keyword(s):  
Computer Music ◽  
The Other ◽  
Sound Sources ◽  
Sound Installation ◽  
Dc Motors ◽  
Design Production ◽  
Computer Based ◽  
Anthropological Approach ◽  
Generating System ◽  
Sound Generator

The article describes the design, production and usage of the ‘Rumentarium’, a computer-based sound generating system involving physical objects as sound sources. The Rumentarium is a set of handmade resonators, acoustically excited by DC motors, interfaced to the computer by means of various microcontrollers. Following an ecological/anthropological approach, in the Rumentarium discarded materials are used as sound sources. Every instrument is ‘produced while designed’ in an improvisation-like manner, starting from available materials. In this way, hardware is ‘softened’: that is, it can be continuously modified as in software development. Analogously, the onsite setup is very light, so that components can be added or removed on the fly, even while the Rumentarium is at work. Differently from typical computer music, the Rumentarium, while entirely computationally controlled, is an acoustic sound generator. On one hand, the Rumentarium can be played like an instrument in conjunction with a MIDI controller, for use in live musical performance. On the other side, it can be driven by algorithmic strategies. In this way, the Rumentarium can be configured also as a sound installation, in a standalone mode. Some artistic works are discussed while introducing the various control modalities that have been specifically developed for the Rumentarium.

The Singing Shamail: A Computer Sound Installation

Leonardo ◽  
2007 ◽  
Vol 40 (5) ◽  
pp. 458-458
Author(s):  
Bulat M. Galeyev
Keyword(s):  
Sound Installation

Modelling storms in sound: the Atmospherics/Weather Works project

2004 ◽  
Vol 9 (2) ◽  
pp. 175-180
Author(s):  
ANDREA POLLI
Keyword(s):  
Sound Installation ◽  
Interdisciplinary Project ◽  
Atmospheric Data ◽  
Sound Environment

Atmospherics/Weather Works is an interdisciplinary project in the sonification of storms and other meteorological events generated directly from atmospheric data produced by a highly detailed and physically accurate simulation of weather systems. This paper discusses the background, conception and execution of the first stage of the project that has resulted in several performances, stereo recordings, a multi-channel spatialised sound installation, and an interactive sound environment.

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