- Organic cellular movement (when Scarlet Johansson’s body is transforming)
- Electromagnetic fields (because she can see electromagnetic fields) and
- Voice effects (on her thoughts)
Everyone knows J.S. Bach as a composer, but it turns out he was also a music-technology enthusiast and a sound designer, having spent many hours of his childhood hanging out at the local organ workshop, fascinated with what was the state of the art in sound synthesis technology. Throughout his life, Bach continued to support experimental musical instrument development (like the forte-piano and the bassono grosso) and his experience with the organ (aka additive synthesis), led him to experiment with creating new timbres in his instrumental music through unusual voicings and instrument combinations. In fact it was his technical expertise, as much as his mastery of organ performance, that landed him his first post at the New Church in Arnstadt, where, at age 18, he was hired to both play and maintain the organ there.
In October 1705, the then 20 year-old Bach requested a one-month leave of absence from his post in Arnstadt so he could visit the famed organist/composer Dieterich Buxtehude in Lübeck Germany. Obviously, Bach didn’t have a car, so he ended up walking the 250 miles to Lübeck, where he was so intrigued by what he heard, he stayed for an extra two months. We don’t know exactly what happened to Bach in Lübeck, but we do know the experience had a deep influence on both his music and his ideas for new instrument designs throughout the rest of his career.
On 25-28 September 2014, we invite you to undertake your own music-technology and sound-design pilgrimage to Lübeck for KISS2014. At KISS2014, you can immerse yourself in sound and ideas, surrounded by an international community of sound-technology enthusiasts who share your passion for sound, music, and the future of musical instruments. And, like Bach, you’ll return home refreshed, renewed, and with enough new ideas, contacts, and friendships to keep you motivated and inspired for your entire career.
Whether you’re a Kyma expert, new to Kyma, or are simply curious about what Kyma might be and why it inspires so much enthusiasm among composers, live performers, sound designers for film and games, researchers, and educators, KISS2014 is your opportunity to experience an inspiring four days of ideas, music, and interaction with your fellow music/technology/sound enthusiasts.
Registration open until 25 September 2014
Registration includes access to paper sessions, demonstrations, workshops, the Kyma open lab, opening reception and all evening concerts, plus a free lunch with your fellow symposiasts each day: http://kiss2014.symbolicsound.com/kiss2014-registration
For travel and lodging information, please visit: http://kiss2014.symbolicsound.com/travel-and-lodging
Get the latest KISS2014 news and updates:
Contact the organizers: mailto:firstname.lastname@example.org
He is also at work creating new pieces for Pacarana and Chicago based composer/conductor Renee Baker‘s Chicago Symfonietta to be premiered in New York this fall, and you can hear him lecture on modular sound design for TV and games the Napier University in Edinburgh in February 2015. Check out his full calendar here.
Sound designer François Blaignan had an opportunity to apply Kyma in an unusual way in his work on the interactive multimedia exhibition Marvel’s Avengers STATION (Science Training and Tactical Intelligence Operative Network) now on display in Time Square in NYC and featured in this month’s Mix magazine. The 10,000-square-foot installation is a space where Avengers fans can immerse themselves in characters and artifacts associated with the Avengers.
For the Tesseract Portal Device, the installation designers were having a hard time matching the look of the spectrograms of X-rays, infrared, and gamma rays provided to them by NASA. So Blaignan created an animation using stills from Kyma’s spectrum editor and synched it to the Tessaract sound from the movie for a perfect match.
Kyma wasn’t a totally silent partner on the project; it also played a role in creating the sounds of the particle accelerator in Banner’s lab.
In Garth Paine‘s new interactive Kyma work, CrossTalk, created in collaboration with Simon Biggs and Sue Hawksley, the text is automatically transcribed from the dancers’ speech as they describe inner body sensations and their relationship to the system. Later, the dancers collide with the sentences and the system generates a new language which they then dance, and so on. Watch as the printed sentences take the form of dancing stick figures projected on the back walls:
The creators describe it as an auto poetic system for making behaviors based on the anthropological idea of “making people” as described in their paper published in MOCO the Proceedings of International Workshop on Movement and Computing at IRCAM.
SGR^CAV is a collaboration between composers Cristian Vogel and SØS Gunver Ryberg, exploring a phase space of possible musics, where phantasmagorical sound objects emerge from transient combinations of multi-dimensional parameters.
These works for cassette were composed from the precise arrangement of a number of elements—such as field recordings of coal mining machinery in the arctic mountains, and the creaking of ancient trees in Denmark—combined with digital processing—such as self-similar additive synthesis and granulations—all developed in Kyma. Many of the other characteristic timbres were created using vintage studio technology. An awareness of the sonic qualities of the compact cassette medium was also an important factor in the composition.
Listening to the album feels like exploring a mysterious world with its own, alien yet self-consistent, laws of physics with faint echoes from the Columbia-Princeton Music Center of the 1960s.