With "HIVE" we intend to explore the idea of a sonic intelligence: learning, experiencing, reacting, and finally, “thinking” in sound. Can we model such a system? A system with a body whose morphology is based on picking up and sending sound signals, a system who can learn from its environment and evolve in its response, a pseudo ‘being’ that traces our sonic foot-print and projects our sonic reflection.
Created by fusing aspects of sculptural form, spatial sound, and interactive methods, "HIVE" explores the relationship between sound, space, body, and communication. "HIVE" was produced in 2016 by Sölen Kiratli and Akshay Cadambi and debuted in Santa Barbara Center for Art, Science, and Technology (SBCAST) in December of 2016. It was exhibited at ACM SIGGRAPH Asia 2017, in Bangkok, Thailand, November 28 through 31. More info at solenk.net/HIVE.php
Siren is a software environment for exploring rhythm and time through the lenses of algorithmic composition and live-coding. It leverages the virtually unlimited creative potential of the algorithms by treating code snippets as the building blocks for audiovisual playback and synthesis. Employing the textual paradigm of programming as the software primitive allows the execution of patterns that would be either impossible or too laborious to create manually.
The system is designed to operate in a general-purpose manner by allowing multiple compilers to operate at the same time. Currently, it accommodates SuperCollider and TidalCycles as its primary programming languages due to their stable real-time audio generation and event dispatching capabilities.
Harnessing the complexity of the textual representation (i.e. code) might be cognitively challenging in an interactive real-time application. Siren tackles this by adopting a hybrid approach between the textual and visual paradigms. Its front-end interface is armed with various structural and visual components to organize, control and monitor the textual building blocks: Its multi-channel tracker acts as a temporal canvas for organizing scenes, on which the code snippets could be parameterized and executed. It is built on a hierarchical structure that eases the control of complex phrases by propagating small modifications to lower levels with minimal effort for dramatic changes in the audiovisual output. It provides multiple tools for monitoring the current audio playback such as a piano-roll inspired visualization and history components.
"Mandala" by Jiayue Cecilia Wu
The event this year was held from March 29-31 at the University of Oregon School of Music and Dance in Eugene Oregon.
The piece will also be performed at Stanford University and Mills College during the California Electronic Music Exchange, April 5-7, 2018.
The exhibition consists of a wall of 180 photographs organized in 20 thematic clusters of images showing the way of life in 1973 in four James Bay Cree villages in the Canadian sub-arctic. The exhibition also includes 2 large screens featuring video documentation by Andres Burbano of village scenes recorded during two return trips in 2012 and 2014.
In 1973, the Cree invited professor Legrady to photo document their daily life, as a way to strengthen their negotiations with the Canadian government over land rights. At the time, the Québec government had plans for a hydroelectric project that would flood a significant area of Cree land in the James Bay. Although the project went forward, the Cree were able to leverage the issue and negotiate self-governance, improving their political and social position within Québec.
A panel discussion will be held on Thursday, January 18, at 4pm, in room 1312 of the UCSB Library, followed by a reception and exhibition walk-throughs.
Hannah Wolfe's robot "ROVER", studies the nature of human-robot interactions.
The exhibition will be on display from September 2017 until March 2018 at the Zentrum für Kunst und Medien (Center for Art and Media), one of Europe’s most important digital media arts museums.
"Voice of Sisyphus" consists of a large projection of a black and white photograph taken at a formal ball, an image reminiscent of the staging of the Alain Resnais film "Last Year in Marienbad". Custom software was developed that unfolds in 8 audio-visual phases, each with a specific set of image segmentation, filtering, and animation, translating the pixel data into a continuous 4 channel sonic experience distributed through the four corners of the exhibition space.
Production credits include: George Legrady (concept and project development), Ryan McGee (image analysis, sound synthesis and spatialization software), and Joshua Dickinson (audio-visual composition software).
She will present a talk titled "Promoting Underrepresented Cultures through Multimedia Arts Collaboration" at the student fellows symposium "Role/Play: Collaborative Creativity and Creative Collaborations", at the National Academy of Sciences, Washington DC, March 12-14, 2018.
S. Patwardhan, A. Kawazoe, D. Kerr, M. Nakatani, Y. Visell, Too hot, too fast! Using the thermal grill illusion to explore dynamic thermal perception. Proc. IEEE Haptics Symposium, 2018.
J. Jiao, Y. Zhang, D. Wang, Y. Visell, D. Cao, X. Guo, X. Sun, Data-Driven Rendering of Fabric Textures on Electrostatic Tactile Displays. Proc. IEEE Haptics Symposium, 2018.
B. Dandu, I. Kuling, Y. Visell, Where Are My Fingers? Assessing Multi-Digit Proprioceptive Localization. Proc. IEEE Haptics Symposium, 2018.
J. van der Lagemaat, I. Kuling, Y. Visell, Tactile Distances Are Greatly Underestimated in Perception and Motor Reproduction. Proc. IEEE Haptics Symposium, 2018.
M. A. Janko, Z. Zhao, M. Kam, Y. Visell, A partial contact frictional force model for finger-surface interactions. Proc. IEEE Haptics Symposium, 2018.