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== [[Kyd Campbell]]: == | == [[Kyd Campbell]]: == | ||
===concept=== | ===concept=== | ||
I'm interested in exploring time-related breaks between the senses of sight and hearing. I believe there is a sensory gap when one moves in perception between the spaces of micro and macro. In this instance, time and sound are stretched, as the body adjusts to receiving intense macro detail. A journey/passage from one time/space environment to another is an overwhelming experience, a momentary loss of one's self into an aesthetic space, which may be considered cathartic. | I'm interested in exploring time-related breaks between the senses of sight and hearing. I believe there is a sensory gap when one moves in perception between the spaces of micro and macro. In this instance, time and sound are stretched, as the body adjusts to receiving intense macro detail. A journey/passage from one time/space environment to another is an overwhelming experience, a momentary loss of one's self into an aesthetic space, which may be considered cathartic. | ||
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[[Image:tape1.jpg|right|thumb|300px|Tape Pic 1]]<br /> | [[Image:tape1.jpg|right|thumb|300px|Tape Pic 1]]<br /> | ||
<videoflash type=vimeo>12737337|300|230</videoflash><br /><br /> | <videoflash type=vimeo>12737337|300|230</videoflash><br /><br /> | ||
<videoflash type=vimeo>12737800|300|230</videoflash> | <videoflash type=vimeo>12737800|300|230</videoflash> | ||
<gallery> | |||
Image:kpd1.jpg | |||
Image:kpd2.jpg | |||
<br> | Image:Looking1screen.jpg|Still | ||
</gallery> | |||
<br clear="all" /> | |||
''video documentation video on the way'' | ''video documentation video on the way'' | ||
=== progress === | === progress === | ||
On September 25th I will perform TAPE at TodaysArt festival in Den Haag. I will continue to develop the interface and AV materials until then. | On September 25th I will perform TAPE at TodaysArt festival in Den Haag. I will continue to develop the interface and AV materials until then. | ||
== [[Andreas Beyer]]: Prosody== | == [[Andreas Beyer]]: Prosody== | ||
the keyword for this projekt is "prosody", that means the science about rhythm, stress and intonation of speech. I'll try to manipulate any given speech with a specific overlay to generate a new meaning or a strange combination of content and meaning e.g. reading the telephonbook like a holy speech and so on. The "overlayed" "structure" is given by the performer and the imput will be live. I want to realize this with a pd patch that i have to write or build till the semester. The background is a theorie that any kind of speech independent from the cultural background could be identified by anybody because of the intonation, the speech, the pitch (political, religious, news, sport, and so on) - this instrument could be used as a "translater" of the cultural melody of the voice or just to play with different meaning. It is the other way around how an anchorman works, he is trying to speak any typ of news in any combination more or less neutral - this is more difficult than it sounds. | the keyword for this projekt is "prosody", that means the science about rhythm, stress and intonation of speech. I'll try to manipulate any given speech with a specific overlay to generate a new meaning or a strange combination of content and meaning e.g. reading the telephonbook like a holy speech and so on. The "overlayed" "structure" is given by the performer and the imput will be live. I want to realize this with a pd patch that i have to write or build till the semester. The background is a theorie that any kind of speech independent from the cultural background could be identified by anybody because of the intonation, the speech, the pitch (political, religious, news, sport, and so on) - this instrument could be used as a "translater" of the cultural melody of the voice or just to play with different meaning. It is the other way around how an anchorman works, he is trying to speak any typ of news in any combination more or less neutral - this is more difficult than it sounds. | ||
== [[Anja Erdmann]]: == | == [[Anja Erdmann]]: == | ||
- in this class i will get to work on "Schatten→Klang" | - in this class i will get to work on "Schatten→Klang" | ||
* [[GMU:Audio+Video/projekte/Schatten→Klang]] | * [[GMU:Audio+Video/projekte/Schatten→Klang]] | ||
== [[Dominique Wollniok]]: == | == [[Dominique Wollniok]]: == | ||
[[File:Dominique_Anschauung_gesamt.jpg|right|thumb|300px|Skizze]] | [[File:Dominique_Anschauung_gesamt.jpg|right|thumb|300px|Skizze]] | ||
===Idee=== | |||
In einem Raum kann man durch Bewegung Geräusche auslösen. | In einem Raum kann man durch Bewegung Geräusche auslösen. | ||
Von einem Bild ausgehend, liegen die Geräusche in verschiedenen Ebenen. | Von einem Bild ausgehend, liegen die Geräusche in verschiedenen Ebenen. | ||
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Der Besucher erfühlt die akustische Umwelt und kann sie durch seine Bewegungen beeinflussen. | Der Besucher erfühlt die akustische Umwelt und kann sie durch seine Bewegungen beeinflussen. | ||
===Ziel=== | |||
Ziel ist es eine akustische Topographie einer Landschaft auf ein sich im Raum befindliches Raster zu übertragen. | Ziel ist es eine akustische Topographie einer Landschaft auf ein sich im Raum befindliches Raster zu übertragen. | ||
Der Körper des Besuchers ist Auslöser der Geräusche. | Der Körper des Besuchers ist Auslöser der Geräusche. | ||
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Es entsteht ein anderer, interaktiver Zugang zur Landschaft. | Es entsteht ein anderer, interaktiver Zugang zur Landschaft. | ||
===Ton=== | |||
Die Soundscape besteht aus der gesamten Geräusche-Umwelt und ihre Einzelheiten. | Die Soundscape besteht aus der gesamten Geräusche-Umwelt und ihre Einzelheiten. | ||
Die Einzelgeräusche sollen so konstruiert werden, dass sie im Kontext zur gesamten Soundscape bestehen bleiben. | Die Einzelgeräusche sollen so konstruiert werden, dass sie im Kontext zur gesamten Soundscape bestehen bleiben. | ||
Die Ton-Ausgabe geschieht über eine 5.1 Anlage. | Die Ton-Ausgabe geschieht über eine 5.1 Anlage. | ||
===Tracking=== | |||
Ausgehend von einem nicht sichtbaren Raster auf dem Boden, werden bestimmte Sounds ausgelöst. | Ausgehend von einem nicht sichtbaren Raster auf dem Boden, werden bestimmte Sounds ausgelöst. | ||
Ist man weit vom Bild entfernt, nimmt man die Soundscape als Gesamtes wahr. | Ist man weit vom Bild entfernt, nimmt man die Soundscape als Gesamtes wahr. | ||
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</gallery> | </gallery> | ||
===Anstehende Tests:=== | |||
* Geräusch-Selektion einer Soundscape | * Geräusch-Selektion einer Soundscape | ||
* Lautsprecher-Aufstellung | * Lautsprecher-Aufstellung | ||
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== [[Jeffers Egan]]: == | == [[Jeffers Egan]]: == | ||
===Theory=== | ===Theory=== | ||
Viewing Live AV as a platform for experimentation, my live sets explore the inscription of visual culture in time. By utilizing custom algorithms and animation software and without the use of prerecorded video or still footage, these works result in a hyperreal fluidity of visual mutations, ranging from tightly synchronized passages, to moments of free improvisation. Developing the concepts of digital as organism and software as ecosystem, my sets create a focused, personal aesthetic, finding commonalities in tone, texture and movement between audio and visual elements. | Viewing Live AV as a platform for experimentation, my live sets explore the inscription of visual culture in time. By utilizing custom algorithms and animation software and without the use of prerecorded video or still footage, these works result in a hyperreal fluidity of visual mutations, ranging from tightly synchronized passages, to moments of free improvisation. Developing the concepts of digital as organism and software as ecosystem, my sets create a focused, personal aesthetic, finding commonalities in tone, texture and movement between audio and visual elements. | ||
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== [[Maureen Anderson]]: Ulysses== | == [[Maureen Anderson]]: Ulysses== | ||
===The Starting Point=== | ===The Starting Point=== | ||
James Joyce spent 7 years writing a story that takes place on June 16, 1904, the day he met his future wife. It is the product of his attempt to depict the haphazrdness of thought and action of Leopold Bloom as they occur in their own separate and distinctive versions of "real time" in turn of the 20th century Dublin. Though ''Ulysses'' depicts a kind of disorder of what has come to be called "stream of consciousness," a concept of real time as something already broken and fractured for which it can depict in its wholeness by means of depicting its fractured nature, it is one of the most rigorously structured works of modern fiction, but one which does not exist in a "definitive edition." | James Joyce spent 7 years writing a story that takes place on June 16, 1904, the day he met his future wife. It is the product of his attempt to depict the haphazrdness of thought and action of Leopold Bloom as they occur in their own separate and distinctive versions of "real time" in turn of the 20th century Dublin. Though ''Ulysses'' depicts a kind of disorder of what has come to be called "stream of consciousness," a concept of real time as something already broken and fractured for which it can depict in its wholeness by means of depicting its fractured nature, it is one of the most rigorously structured works of modern fiction, but one which does not exist in a "definitive edition." | ||
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== [[Natercia Chang]]: Mutually Intelligible == | == [[Natercia Chang]]: Mutually Intelligible == | ||
===Background=== | ===Background=== | ||
# I remember the first few meetings and classes when I got here last semester, they were all in German. And without any knowledge in the German language, it sounded like noises to me and I started making up the content when they talked. The initial idea that I came up was to film some of the lectures and edit subtiles on the images, which would be totally unrelated to the acutal content that they were discussing. | # I remember the first few meetings and classes when I got here last semester, they were all in German. And without any knowledge in the German language, it sounded like noises to me and I started making up the content when they talked. The initial idea that I came up was to film some of the lectures and edit subtiles on the images, which would be totally unrelated to the acutal content that they were discussing. | ||