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→Music for Flesh II
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Music for Flesh II is a seamless mediation between human biophysical potential and algorithmic composition. | Music for Flesh II is a seamless mediation between human biophysical potential and algorithmic composition. | ||
By enabling a computer to sense and interact with the muscular potential of human tissues, the work approaches the biological body as a means for computational artistry. | By enabling a computer to sense and interact with the muscular potential of human tissues, the work approaches the biological body as a means for computational artistry. | ||
Muscle movements and blood flow produce subcutaneous mechanical oscillations, which are nothing but low frequency sound waves. | Muscle movements and blood flow produce subcutaneous mechanical oscillations, which are nothing but low frequency sound waves. | ||
Two microphone sensors capture the sonic matter created by my limbs and send it to a computer. This develops an understanding of my kinetic behaviour by *listening* to the friction of my flesh. | Two microphone sensors capture the sonic matter created by my limbs and send it to a computer. This develops an understanding of my kinetic behaviour by *listening* to the friction of my flesh. | ||
Specific gesture, force levels and patterns are identified in real time by the computer; then, according to this information, it manipulates algorithmically the sound of my flesh and diffuse it through a quadraphonic system. | Specific gesture, force levels and patterns are identified in real time by the computer; then, according to this information, it manipulates algorithmically the sound of my flesh and diffuse it through a quadraphonic system. | ||
The neural and biological signals that drive my actions become analogous expressive matter, for they emerge as a tangible sound. | The neural and biological signals that drive my actions become analogous expressive matter, for they emerge as a tangible sound. | ||