The Symphony of the Hearth is a project that explores the effects of the hearth beat and various images on our brain waves and the cardio-vascular system.
With the use of multi-channel sampling, the hearth is used as an instrument. These get modulated in real time and thus become the basis of the audio performance. “I will also use an Arduino pulse sensor to trigger the visuals and to control the tempo of the composition, the tempo of the sampler and the effects.”
This immersive interactive installation is envisaged to create a space where a person would physically feel what type imagery and associations people have with the term ‘futurization’. It will allow to physically experiencing the contradictions embedded in the present and uncertainty of moving towards the future by architecturally constructing the space that would influence the human body and senses.
During the PIF camp I’m planning to concentrate on creating a prototype and test some of the elements for the final installation. I would like to explore how to create a certain interactive emotional space, through visuals and sounds (possibly smells), that in one part of the installation would enhance one particular emotion / feeling and something different in another part.
Juan Manuel Escalante will explore the intersections of field recordings, mappings, graphic notations and concrete sound explorations using a modular synthesizer.
“I plan to record different sounds at different locations and map them accordingly on my sketchbook. Based on those sounds, a graphic notation will be generated and used as a tool to arrange sounds in time. Sounds might be remixed using a synthesizer (either at the camp or back home). Either an OP-1 or an eurorack modular synthesizer.
The result could/might be shared online as an interactive map or browser piece similar as our previous “Radical Listening” exploration.”
Ina Thomann will be turning the camp area into a sonic ecosystem.
“I will build and program sensors around the area which will control effects and filters that in turn will manipulate the captured sounds of the camp.
So, don’t be irritated if you see me sitting anywhere in the camp with a little microphone, trying to catch the sounds all around.
As I’m trying to improve my skills on live coding in Supercollider I’m looking forward to a week full of live manipulating the sounds around me.
You can feel free to interact with the sensors. (In fact, you will be involved anyway just by passing the sensor.) I would appreciate if you just have fun with manipulating the sensors and taking part in my sound installation.”
Project by Juan Duarte consists of sound devices that enable an experience of Augmented Listening of wind forces. It focuses on subtle changes in an outdoor environment to create generative soundscapes. Wind-sensitive systems are used to detect orientation and speed of the wind. These create acoustic events, that are registered and processed as a generative sound piece by a network of sensor networks.
The work takes as a reference an ancient instrument that is known as the Aeolian Harp (cf. Kircher, A ca 1650.). The mechanism used the aleatoric forces (wind) to self-play the strings and resonators. This enabled holy spaces, such as mountains and temples, to “speak” to humans.
“I am specifically interested in creating a series of devices that depend on wind forces to transmit a generative sound piece over FM radio. I will bring electronic components to build a number of devices with PIFcamp participants, based on previous experiments I’ve done recently. The device includes an FM radio transmitter and a micro-controller with environmental sensors.”
Here is some project related documentation.
Designed to be an environmental wearable MIDI controller that can connect to a variety of WiFi-enabled devices, the MIDI Jacket Controller plays an integral part in a digital modular synthesizer system that is in the process of being built at a DIY art space in Atlanta, GA, USA called The Bakery.
The physical construction of the jacket mimics that of a scientist’s lab coat. The jacket’s design is derived from the environmental features of the space that it will mainly control, which is an old electrical closet in a decommissioned commercial bakery. When we first discovered this room, we were convinced that a mad scientist had occupied it and performed torturous experiments on people based on what we found in there, which included chains hanging from the ceiling, exposed electrical panels, and empty shell casings – among other things – that we found on the floor. The ravers who previously occupied the old bakery space told us that there was a box in the creepy electrical room that was still live with electricity and would kill anyone who touched it – so the room’s aesthetic and raver lore inspired the name of the room, which we’re calling Deathbox Records.
The primary purpose of Deathbox Records is that it will function as an affordable livestreaming, podcasting, and overall experimental recording studio that artists in Atlanta, GA, USA can rent by the hour. We’re offering equipment rental options, and one of those options will be an interactive synthesizer wall that they can use for performances and/or recordings. The primary controller for the synth wall will be the wearable MIDI jacket controller that people can also use to connect to their own WiFi-enabled devices that accept MIDI signals.
Over the course of PIFcamp, the main goal of the project is to finalize the design of the electronic circuit that will be embedded in the jacket, build n sew the circuit and jacket together, and test its capabilities as a MIDI controller.
If you’re interesting in connecting about the project before PIFcamp, feel free to send me an email at im@streetcat.media to say hi!