Anthropology of Sound

Roger Linn Design, Berkeley, CA, USA

Looping musical phrases are represented on a map as overlapping circular territories. As the vehicle approaches the center of a circle, the volume increases. In areas of the map where territories overlap the vehicle generates dynamic mixes of the overlapping musical phrases. By exploring a very large map of many overlapping territories the Beatmap creates complex, dynamic mash-ups.

The map can be explored on foot, by plane, boat, train, or automobile. In this footage the map is explored by car on the Bonneville Salt Flats, allowing the user to freely accelerate, swerve, and slam to a stop for optimum musical control of the instrument.

(via der stets großartigen Glaserei des großen Peter Glaser)

Aus der DVD “Slices” gibt es einen Blick hinter die Kulissen der elektronischen Pop-Produktion.Viel Spass! 

Die CD-Soundqualität des neuen Album Death Magnetic von Metallica soll so schlecht sein das sogar der Chief Mastering Engineer Ted Jensen sich dafür entschuldigt: “I’m not proud to be associated with this one, and we can only hope that some good will come from this in some form of backlash against volume above all else.”

Eigenartigerweise sind die Guitar Hero-Versionen der Songs weitaus besser abgemischt und enthalten weniger Clipping. Folgendes Video führt es vor:

(Dank an Karlheinz Jeron für seinen Hinweis auf Wissen belastet)

Eine Software komponiert automatisiert Filmmusik. Nach der Analyse eines Videos können verschiedene musikalische Parameter definiert werden, nach denen eine Datenbank Musik zusammenstellt.

Building on what we know

23 June 2008 at ICAD08
organized by Christopher Frauenberger, Stephen Barrass
workshop-website: http://www.dcs.qmul.ac.uk/~frauenberger/rad/

A workshop on re-using design knowledge

Despite the many achievements in the field of auditory display, designing the auditory feedback channel in human-technology interaction only plays a minor role. Designing functional sound is widely perceived as a craft, guidance and methods are scattered in the design space and often highly specialised on specific application contexts. This workshop aims to pull together what we know about auditory display, conceptualise the design space and work towards making this design knowledge re-usable to allow the community and others to effectively build on our research.

Call for participation

The workshop will be held at IRCAM on 23 June 2008 (details about the venue to be announced). Participants are asked to bring a paper/publication they consider marking a cornerstone in the field of auditory display research, one sound recording of a designed sound they particularly like, and one they particularly dislike. The workshop is free, but places are limited to 25 and are given on a first-come first-serve basis. Please email [ frauenberger AT dcs.qmul.ac.uk ] to book.

Hands-on workshop on 23 June 2008 at IRCAM (Paris, France).

Part of the 14th International Conference on Auditory Display, 24-27 June 2008
Organizers: Karmen Franinovic, Lalya Gaye, Frauke Behrendt
Workshop website: http://sonicinteraction.wordpress.com/

Deadline for call for expressions of interest: 6 June 2008

This workshop introduces participants to the use of creative interaction design methods when exploring the design of sonic interactions with computational artefacts. Specifically, focus will be on physical interactions that rely on continuous sonic feedback. Participants will generate future scenarios and concepts for such interactions, and everyday sounding objects in context will be taken as a starting point. By taking part in the workshop activities, participants will get an embodied understanding of the challenges of designing for meaningful and engaging physical interaction with computational sonic artefacts. Methods employed in the workshop will thus be good complements to the cognition or technology-based approaches to designing sounding objects that are mainstream within the ICAD community.

This one day, hands-on workshop will be divided in fours parts: warm-up exercises, creative idea generation, concept exploration through bodystorming and final presentation and discussion. The workshop is aimed at an ICAD audience, but welcomes a wide range of participants with various backgrounds such as artists, designers, musicians, programmers, cultural and media studies scholars, etc. No previous technical knowledge or design experience is required.

The workshop will give participants the opportunity to explore key aspects of tangible interaction and continuous sonic feedback, all in an activity-based way: the fact that the workshop consists of low-tech small group exercises and interaction-focused creative activities instead of paper presentations or technology tutorials, invites participants to have an active role and to engage all senses in the exploration of this type of situated sonic interaction. The focus is taken away from technology itself and turned instead towards the situated activities of using technology.

If you would like to participate in this workshop, please e-mail an expression of interest to sonicinteraction at googlemail dot com by 6 June 2008, as places are limited. Your expression of interest should explain in a few sentences why you are interested in participating in the workshop and include a short biography. The submission should not excess one A4 page. Please state if you are a member of SID or are applying for a Short Term Scientific Mission (http://www.cost-sid.org/wiki/STSMCall3).

DATES
Deadline for expression of interest: 6 June 2008
Notification of acceptance: 10 June 2008
Workshop: 23 June 2008

CONTACT AND INFORMATION
sonicinteraction at googlemail dot com
http://sonicinteraction.wordpress.com/
http://icad08.ircam.fr/site/